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Dezeen » Blog Archive » Little Chef by Ab Rogers Design
London designers Ab Rogers Design have designed the interior of a Little Chef restaurant in Popham, UK, for chef Heston Blumenthal.
Inspired by “influences from the history of roadside eating,” the interior comprises red vinyl upholstery, and white ceramic tiles with cooking tips and illustrations printed on them.
In collaboration with graphic design studio Praline, ARD also created the graphic design of the menu and uniform, signage and food packaging.
The designers installed “an interactive extract sound, all about food, which triggers when the customer enters the toilets,” created in collaboration with Dominic Robson of Robson & Jones, to encourage visitors using the toilets at the roadside restaurant to stay for a meal.
The restaurant was redesigned for a Channel 4 documentary called Big Chef takes on Little Chef, broadcast last week.
Here’s some more information from Ab Rogers Design:
–
Ab Rogers Design (ARD) was appointed by Michelin star chef Heston Blumenthal and commissioned by Little Chef to design a new future-facing Little Chef restaurant ready for the 21st Century.
Heston Blumenthal and ARD’s new Little Chef in Popham is a multi-sensual oasis, an escape which reflects the best of modern 21st century Britain: fresh food, good service, and a positive outward attitude.
With a limited timeframe of three months from commission to completion, and a comparatively tight budget, ARD embraced the challenge of redesigning all the elements within the Little Chef brand, from the interior design of the restaurant to the graphics, from the menu and the uniform, to the signage and food packaging.
Working closely with Heston and the Little Chef team, ARD has developed the concept in collaboration with graphic design studio Praline for the branding and graphics, and Dominic Robson of Robson & Jones for the sound and interactive elements.
The result is an inspirational eatery, which engages and excites the old customers whilst welcoming and inspiring the new.
Drawing influences from the history of roadside eating – from coaching staging posts to turnpike taverns, early inns with their ‘snugs’ to chop houses, from eel and pie shops to American diners – a vocabulary of common materials and prefabricated details combined with timeless elements has been created. Key features are the use of laminate, vinyl upholstery, ceramic tiles, and pendant lighting.
These simple materials have been put together in a sensitive manner. For example, the walls are covered in a grid of traditional butchers tiles, but at the same time they are contaminated by splashes of colour or some even have cooking tips and illustrations printed on them.
The tiled floor grid flows up to form an innovative micro-mosaic bar.
Standard perforated ceiling tiles make reference to a blue sky with a flock of seagulls flying across it. The sky feature connects all three of the restaurant’s dining areas: the Booth area, the Communal table area and the ‘Grab and stay’ lounge style low table area.
ARD and Praline have developed a palette for Little Chef’s new brand colour as part of the new brand identity by focusing on a new spectrum of red, and using Charlie, the much-loved brand character of Little Chef.
ARD has brought Charlie into the 21st Century, by minimising the design and making it coloured and mirrored.
ARD has created a sophisticated yet humorous and intimate graphic identity that calibrates the history of Little Chef whilst uniting nostalgia with the modern colours and materials of the 21st century.
This is displayed in every element of the new brand, from the uniform to the restaurant, into the toilets, onto the signage and far beyond.
Another of the issues to be solved was to convert the many passers-by who stopped to use the toilet without spending a penny. ARD’s aim was to capture the imagination of these potential clients.
The new scheme incorporates a unique and unforgettable experience: Cooking tips screen-printed on the walls, the ambient sounds of the kitchen in the lobby, the aroma of coffee passing through the space, and an interactive extract sound, all about food, which triggers when the customer enters the toilets.
Together with Heston’s special new menu, ARD has turned Little Chef into a bright, clean space filled with wonderment and excitement.
A place where one can happily escape and discover a new world, a new environment, new tastes and new smells. A scene of discovery with nostalgic corners with a sense of modernity that engages the past, and celebrates the future.
The Little Chef, Popham is a trial site and will operate as a blueprint for future roll outs following customer feedback.
Name project
Little Chef, Popham
Used materials
Laminate / Ceramic Tiles / Vinyl / Printed perforated ceiling panels / Mosaic tiles / Sounds and Colour
Construction methods
Assembled and Applied (Nothing’s been moulded). By ATLAS
Furniture manufacturer
Ethos Design Limited
Lighting manufacturer
Liminaires Limited (Consultant)
Floor manufacturer
Ceramic Tiles (Domus Tiles) + Glass Mosaic tiles (Domus Tiles) + Vinyl Floor (Altro)
Wall manufacturer
Ceramic Tile Wall (Domus Tiles)
Floor area (m2)
Approx 210 squared metres (Including Servery and Toilet)
Costs (€)
Approx £ 115,000 -> € 130,000 (Including New WC services and full architectural refurbishment)
Budget
Approx £ 100,000 -> € 113,000
Date of completion
21st November 2008
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AMNESTY INTERNATIONAL - 50 years on Vimeo
AMNESTY INTERNATIONAL - 50 years from Carlos Lascano on Vimeo.
AMNESTY INTERNATIONAL - 50 years on Vimeo: "Spot for the 50th anniversary of Amnesty International, produced by Eallin Motion Art and Dreamlife Studio, with Music by Academy Award Winner Hans Zimmer and Nominee Lorne Balfe. --------- Director: Carlos Lascano Music: Hans Zimmer, Lorne Balfe Producers:..."
Tuesday, 31 May 2011
Rezept-Destillate
An incredible packaging design for Swiss fruit spirits, based on the principle of "reduction to the pure essential":
'Rezept-Destillate is an assortment of different pure fruit spirits from a local Swiss producer. The packaging design reflects the process of distillation, during which the fruits are reduced to theirs flavor essences. This approach leads to a unique brand concept incorporating the context of pharmaceuticals at the beginning of the last century.
The labels refer to the periodic table and imply the products‚ elementary purity. Though simple technical solutions had to be found for its production, the design now evokes an impression of high class and exclusiveness."
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Sir Kensington's Ketchup Miniature Jars
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'We're excited to say that we've released the next version of these, which are 1.5oz miniature jars evoking the same aesthetic as the larger ones. Our intention was to create a compelling option for premium hotels, restaurants, and caterers to offer their customers in single-serve sizes. Though this exists in jams, jellies, and mustards, we simply didn't think it existed with ketchup.'
ALLOTINABOX
ilovedust created the packaging for this kit of implements and information on growing one's own food:
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Adnams Southwold Bitter
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Saké Jun Daiti
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"The slender, blue tinted glass bottle and highly embossed black texts printed on a cream coloured textured label, firmly place Jun Daiti in the premium Saké category. The hand drawn visual of a Japanese samurai and the original Kanji calligraphy reinforce the authenticity of the product. "
Omine
Check out Stockholm Design Lab's contemporary take on Sake Packaging. The abstracted graphic of the grain/ grains on the bottles indicates the quality of the sake. In this case, less truly is more.
"Takeshi Akiyama is a exclusive sake manufacturer based in southern Japan. For generations, his family has produced sake in three qualities; Junmai, Junmai Ginjo, Junmai Daiginjo. The quality of the sake is determined buy the percentage of the original rice grain that is used in the brewing process. The lesser the better. And that is also the core idea of our design. The label on the bottle of the best quality sake, Daiginjo, only shows one single grain. The Unique White bottle has à traditional cap and screenprinted text. In addition to the bottles, we have created the corporate identity."
Current Lets its Bold Flag Fly
Launched in 2005 by former Vice President Al Gore (before An Inconvenient Truth fame) and entrepreneur Joel Hyatt, Current TV was originally a pretty drastic model of programming, featuring user-generated 'pods' reflecting a broad range of topics and opinions that lasted anywhere from 3 to 10 minutes. You could tune in at any time of day and just jump right in into whatever was going on and not have to worry about following typically scheduled programming. This was the same year YouTube launched and before it went as big as it is now, so the concept was fairly ahead of the curve. Current gathered some initial attention but then it just kind of disappeared as the novelty wore off and despite hiring former MTV Networks' President Mark Rosenthal, toying with the idea of going public, and transitioning into 30- and 60-minute programming Current felt anything but. Enter Keith Olbermann, the love-him-or-hate-him, ex-ESPN anchor turned political commentator. In February Current announced that Olbermann would be taking his show, Countdown With Keith Olbermann, from MSNBC to their cable channel starting June 20. Reminiscent of when Howard Stern announced he would be leaving the broader air waves for SiriusXM, Olbermann's move to Current gave it instant relevance. Last week, Current quietly introduced a new look, launched the website for Olbermann's show, Countdown, and over the Summer will be implementing the new look. The identity has been designed by Wolff Olins with motion assistance by Ghava, the on-air look is by loyalkaspar, and web design by Code and Theory.
Logo animation, brought to life by Ghava. Click here to view.
The previous identity was designed by Meta Design and Peter Saville and, at the time, the idea of a pixelated logo was somewhat forgivable despite the internet-sized cliché it represented. Six years later and the idea is inexcusable. Looking dated is an understatement. Current needed an extreme statement to indicate a completely new direction and almost erase its previous history to establish a new reputation. A flag, signaling they have arrived and that they stand for a specific kind of journalism, is exactly what they needed. And it looks awesome. Conceived as a moving logo first and static logo second, the execution is dynamic, bold, and innovative without feeling like it's trying hard to be cool and relevant. The black and white approach also gives it a sharp edge in contrast to all the colorful identities found on TV. The identity applications and on-air look are still limited but everything shows plenty of promise. So far, one of my favorite logos of the year.
On-air look by loyalkaspar, above.
Vanguard promo, click here to view.