PABLO TELLEZ© Breaking news!!!!PROJECTSPRESSCONTACTLEGAL

INTERVIEW FOR R&B DESIGN BLOG.
30 ARTICLES BETWEEN NOVEMBER2009-JANUARY 2010
ME DESIGN,29TH DECEMBER 2009
PLUS MOOD,3TH DECEMBER 2009
KITSUNE NOIR,2TH DECEMBER 2009
YATZER,17TH NOVEMBER 2009
SnyDESIGN,18TH NOVEMBER 2009
NOTIGRAS,APRIL 2009


PRESS
THIS IS THE PUBLISHED INTERVIEW.
AND THIS IS THE COMPLETE INTERVIEW.THANKS TO MONICA OTAEGUI FOR THE TRANSLATION.

Pablo Tellez, interior designer as well as landscape architect, has been collaborating for years with architecture,design and landscape architecture leading firms.
He has won several competitions and received acknowledgements and his work has been widely published.
He is giving lectures and seminars at different academic institutions as well as conferences cycles under the title and theme "ARTS&CAM".

In 2009 he founds in Barcelona his own firm Pablo Téllez©, focused on interior design and product design.
In 2010 together with Mariana Pestana founds in London, Mrs. Wolf; a new firm focused on the traditional fields of architecture, design and curatorship, relying on narrative strategies to deal with the design process, creating stories that are brought to the build space, creating a new sphere in the field of designing.
What are the biggest influences to your restaurant and bar designs?
Actually, I ‘m not aware of being influenced by any trend in particular more than by any other one not even of being fond of any special shape. As a matter of fact, I strongly believe in the powerful influence of the numberless stimulus that our current information society provides us with. The thing is that’s it’s plenty of them, of any sort and of a very different nature, that almost without us noticing are getting left as sediments in our imaginary, shaping it, feeding it; stimulus which essence and nature most of the times we can hardly distinguish, but that definitely inspire us. It comes to my head now, among many others, the video games I grew up with, the delicious smell from the fish “chiringuitos” (kind of stalls on the beach, very popular in Spain), and of course, one of my favorite cocktails: the walls in Vermeer paintings, the scenarios in Kaurismaki movies, the colors from Almodovar movies and from Hitchcok ones… very suggesting also the work of Ferràn Adrià and the one of Pablo Palazuelo,all with the soundtrack by Fugazi
What does the future hold for restaurant and bar design?
I’m upset that in most of the Restaurant projects that I’ve seen, it’s precisely the most essential for me, what it lacks: the culinary concept applied to the inside designing.
Cooks like Heston Blumenthal, Ferran Adriá,René Redzepi or Yoshihiro Narisawa are coming to break, at last, with clichés in gastronomy.
You just need to read their “cartes” and menus to realize that we still have a long and fascinating way to walk as regards restaurants designing.
For me the R&B designing of the future is the one that leads to a new narrative and sensory content, the one that plays with senses in a subtle, delicate way. It will be essential the Arts&CAM, as a digital tool at the “new handicraft” service, to allow designers to develop a larger field of expression in the same way cooks rely on their cooking tools.
 What are the main trends, in your opinion, in restaurant and bar design at the moment?
I’ am afraid that in R&B designing the most widespread trend consists on the gratuitous ostentation and the excess of “catalogue”, that’s unfortunately the main trend I notice, although thanks god there are still arising exciting projects that bring you back to life, reversing that tendency of “dramatic” mediocrity. We’ ve decided to be optimistic, so we are going to believe that these kind of inspiring, suggesting and sparkling projects are going to become the new “new” trend. I’ve to say that we always manage to do our best, in designing, with low budgets, maybe when this changes and we begin to work with fabulous budgets, we’ll also get completely nuts.
Who’s hot now in restaurant and bar design and why?
I’ve seen many good and interesting ideas among the works of the nominees for the award, especially as for the detail level. I remember I liked the Germain by India Mahdavi, the Cut by Julian Taylor, the Pio Pio by Sebastian Mariscal and the work of Burdifilek.
Which is your favourite designed restaurant or bar and why?
The restaurant from which I keep my best memories is in Talamanca, Ibiza. It’s a small anonymous building, where delicious dishes based on rice and fish (their speciality) are cooked. The tables are just on the sand, so close to the sea and the rocks that water splash your feet, the tasty smells from the kitchen mixed and melted with the smell of the sea and from the aromatic Mediterranean “maquia” create a delicious atmosphere. Strings of naked incandescent light bulbs give a beautiful light to the place, so charm and soft that you still can see the stars, the moon shaking on the sea and the city lights from Ibiza far in the distance…to be able to bring that kind of atmosphere and feelings to my projects is today one of my main goals.
What’s the best / worst thing about your job?
Basically, I enjoy doing what I do, travelling, discovering, inventing, imagining new places, meeting interesting people…the best of all this is that sometimes you are even paid for that!!!.
What I cannot stand are the kind of people that makes you waste time, those who are systematically negative, and above all mediocricy.
 What would be your dream brief restaurant or bar project?
The brief is not what I ‘m most interested in from a project; since from a just normal one it is possible to get a brilliant project. I’m definitely much more interested in the space, its light, and the location where we are going to work, things that I regard as fundamental. Now we are precisely focused on a project that I have been pursuing for a long time; it’s about designing the bar and restaurant of the Cinematheque  of Cataluña (La Filmoteca de Cataluña).
Regarding places, I’m specially interested in UK, where we recently have opened MRS WOLF (is a narrative driven design practice. We add fictional layers to the spatial environment, playing with notions of identity and history, at times revealing less visible narratives within the built environment, other times creating new stories, games and adventures and unfolding them in the space); as for the restoration field we must pay fully attention to the new branch of master cooks like Heston Blumenthal, who is definitely in the vanguard or Jamie Oliver, whose target is mainly the mass, who are educating the masses to feed themselves in a proper and healthy way. I’ m sure that this together with the cosmopolitan factor and the crossing cultures will make arise a new batch of interesting restaurants offering affordable menus as it has already happened in Spain, where the joint vanguard cooks and the masses ones have achieved to turn the great recipes into dishes that everybody can manage to prepare. In a few years the clichés related to British gastronomy will disappear, and we definitely want to witness that.

How did you become a restaurant and bar designer?

We face the development of a very wide range of projects; from the design of public areas and green zones as landscape architects ,to the design of furniture, and Interiors for living, commercial and business purposes, as well as the scripting of “real games” with Mrs. Wolf.
What appeals to me most, from this kind of projects is that they belong to what we called “contemporary dreams to escape reality”, projects to get rid of the routine of a “normal” job, a “normal” life, like getting lost in a Caribbean island or having a four by four.
What I really mean is, that opening a restaurant on your own implies, to be engaged in your own business, to be involved in trying to materialize your own dream instead of stay working on behalf of someone else, what turns this kind of projects into something really challenging and interesting, since so many expectations and hopes are asked to be crystallized in them.
How is design important to the success of a restaurant and bar?
It’s one of the most important factors; what defines the nature and shapes the experience of attending a restaurant or a bar.
The interior design must achieve two goals; on one hand it must be absolutely efficient as for the invisible part of the project (the acoustics, smells, Heating, Ventilating and Air Conditioning) what provides us with physical comfort and for the other one, must be able to suggest, to evoke, to help us to develop our daydream skills.

Which Restaurant or Bar that you have designed is your favourite and why?
“Ara Pizza” has been a fantastic adventure for many reasons: The project came to us in the days of October-November 2008, the worst of the contexts to undertake a new business, when the worldwide financial crisis was shaking so violently our market economy that it seemed was about to collapse. My clients, young people facing their first business, who against any odds, achieve to get a loan from the bank; came to us with a tiny budget; NOBODY thought we were going to succeed.
The concept is clear; an eco-fast food specialized in pizzas. We knew this might shock many.
It comes to my mind, regarding the fast food meals, what Ferràn Adrià stated about it in an interview to The Independent. He referred to Mc Donald’s as the only restaurant in the world capable of offering such good quality hamburgers at the lowest prices,and he couldn’t fight this concept. I do agree with him in times when the “sold out”restaurants are the charitable organizations.I like the concept for Ara Pizza as a FAST GOOD.
 Coming back to “Ara Pizza”; we gave the project a careful approach,we can say dignity, that has turn the place into a really well attended restaurant, whose target is large enough to welcome people of any age.
I want to emphasize the arising of a new tool, what we called Arts&CAM, which incorporates parametric design together with digital manufacturing. By means of this new tool and thanks to its new approach to handicraft, we are allowed to minimize costs increasing however at the same time the personalization quotas of the project.That tool worked very well in Ara Pizza that run with a very low budget.
30 ARTICLES BETWEEN NOVEMBER2009-JANUARY 2010 Different articles appeared in Internet between November 2009-January 2010.
ME DESIGN,29TH DECEMBER 2009 M.E. thinks this fresh interior is a clever use of space that manages to be both spacious and contemporary, whilst retaining the perfect friendly atmosphere for dining.
www.medesignmag.com
PLUS MOOD,3TH DECEMBER 2009 Spanish designer Pablo Téllez recently has completed a fast food restaurant – Ara Pizza, in Sant Quirze del Valles, Barcelona, Spain. A very good attempt of using color tones to emphasize the faceted planes, it produces different light effects on walls that creating different spaces inside the same room.

www.plusmood.com
KITSUNE NOIR,2TH DECEMBER 2009

KITSUNE NOIR
Unintentionally I’ve got a Spanish vibe going with my posts, though the next post will have to do with the French, so that’s close enough. Ara Pizza is a little pizza place in Barcelona which was designed by architect Pablo Téllez to help invigorate this previously cut and dry space. Before it was just a simple, boxy space, but Mr. Téllez has filled it with triangular prisms painted a bunch of different colors, giving it a rather trippy appearance.

It’s still a rather simple space overall, filled with Dr. Yes chairs and minimal tables but the addition of that… vortex? It really makes the space seem like something unusual and fun.

BOBBY
www.kitsunenoir.com
 

YATZER,17TH NOVEMBER 2009


Ara Pizza  by Pablo Téllez
text by Marcia Argyriades for Yatzer

It’s always quite impressive to see new approaches in traditional spaces; such is the example with Ara Pizza in the surroundings of Barcelona which was recently designed by Pablo Téllez who runs a young design agency founded last year.  Ara Pizza is a newly opened eco-fast food restaurant in Sant Quirze del Valles, thirty minutes away from Barcelona city center. Located in the main commercial road of Sant Quirze, Téllez took the challenge of reconverting an almost rectangular old Smith's workshop, where it's best attribute was an outstanding high ceiling.

 

Téllez divided the restaurant space into two main functioning areas; a space for take away or home service deliveries and a second floor area which functions in serving the customers who wish to sit and enjoy their food.

Most of the functioning activities take place in the area where the customers sit to enjoy their food; the customer’s circulation and the get together have been solved by means of linking prism shapes at different heights.  The distinguishing element which is no other than the high ceiling was used as the backdrop of these prisms.  Téllez gathers all his creativity by using the height to his advantage; he created triangular prisms with a void in some spaces, which come down at different heights thus producing different light effects on the walls.  The result is very inviting for the customer who is able to enjoy different views from different positions within the restaurant.  This interesting and clever approach suits very well into a pizza fast food restaurant as one could identify the shapes with the triangular pizza slices!

The atmosphere within the restaurant is very minimal; the colors which have been used have assisted in promoting this feeling where very neutral colors and tones of grey have been used in the customers’ area.   On the contrary the staff areas have warmer colors and a more revealing function along with the restaurants corporative logo. Furthermore, Tellez designed the space having the end-user in mind.  For this instance he designed a special shaped table, build in Valchromat and cut with CNC. The tables which he designed particularly for this space can overlap like different segments of a silkworm, adapting every set of tables to the spatial condition defined by every group of people that occupies the space during the day.  Similarly, they selected the Dr.yes chairs from Kartell designed by Eugeni Quitllet and Phillip Stark.  These chairs were chosen for being light weight and resistant, therefore allowing a very flexible and easy-to-move set.

 

All the decoration and artwork images have been designed and drawn by hand.  Téllez wanted to escape from the “conventional fast-food images based on shouting-signs and choosing a set of more relaxed images with specific cheerful/humorist set of colorful animals interacting with different restaurant products.”
 
Undoubtedly what draws attention the most is the creative approach taken towards the ceiling which continues and has been drawn on the walls creating a totally different appearance every time that you change your seat within the restaurant.  The different color of the triangular prisms creates an interest to the client who wants to discover if what he sees is void or not.  In many cases it seems as if the wall is at an angle creating an optical illusion to the human eye.
 

SnyDESIGN,18TH NOVEMBER 2009 I came across these great photos via Yatzer and approached Pablo Tellez, the designer, to learn more about the project:
"Ara Pizza, is a newly opened fast food restaurant in Sant Quirze del Valles, 30 minutes away from Barcelona city center. Located in the main commercial road of Sant Quirze, 'Ara Pizza' has taken a challenge to reconverted an almost rectangular old Smith's workshop, where it's best attribute was an outstanding high ceiling .The space is divided in two main areas, one dedicated to produce take away or home service deliveries and a second floor area, dedicated to serve customers on site.This second area, where most of the shop activity takes place, where different movements and people get together, have been solved by means of linking prism shapes spaces at different heights, thus producing different light effects on walls that invites to enjoy the view from different positions, creating different spaces inside the same room.Colors play a big role in this project, as the room have very neutral tones, that contrast with the staff working area, where warmer colors have a more informative function, together with the restaurant corporative logo. The study of people's disposition in this type of areas have been crucial to design a special shaped table, build in Valchromat and cut with CNC. These tables can be overlapped between them like different segments of a silkworm, adapting every set of tables to the spacial circumstance defined by every group of people that occupies the space during the day. Likewise, we opted for Dr.yes chairs from Kartell (Eugeni Quitllet+Phillip Stark) for its lightness and resistance, which allows a very flexible and easy-to-move set.As well the decoration artwork images have been designed and drawed by hand, escaping from the conventional fast-food images based on shouting-signs and choosing a set of more relaxed images with specific cheerful/humorist set of colourful animals interacting with different restaurant products."

I love it!
NOTIGRAS,APRIL 2009

PABLO TÉLLEZ

“El césped de colores tiene un largo

recorrido como elemento decorativo”

El césped artificial de colores ha irrumpido con fuerza en España en los últimos meses,

sorprendiendo gratamente al mundo del paisajismo y la jardinería por las grandes posibilidades

que ofrece. El variado abanico de tonalidades que presenta es una excelente paleta de pintor para

desarrollar todo tipo de proyectos. Así lo considera el experto Pablo  Téllez, graduado

superior en Paisaje por la Escuela Técnica superior de Arquitectura de Barcelona (UPC) y en

Diseño de Interiores por la escuela ELISAVA (UPF). Es también el fundador de la firma iTopia

Landscape Urbanism, dedicada a la arquitectura del paisaje y diseño urbano. En una entrevista

concedida a NOTIGRAS,  Téllez destaca las ventajas y utilidades de este innovador

material.

NOTIGRAS.- Abril de 2009

Llega la primavera y con ella la preocupación por el estado de nuestro jardín y por cómo mejorar su

vistosidad. ¿El césped artificial de colores puede ser un elemento a tener en cuenta?

Si. El producto con el que hemos trabajado en iTopia es el Bermuda Urban de Verdalia, que ofrece una

extensa gama de colores de césped artificial. Precisamente, esta variedad es el gran potencial que tiene

el producto como generador de nuevos espacios. Desde mi punto de vista, creo que el césped de colores

tiene un largo recorrido como elemento decorativo para la renovación de un jardín o una terraza.

¿Qué opinión tiene de este producto el mundo de la jardinería y el paisajismo?

Al tratarse de una novedad tiene el lógico proceso de adaptación de cualquier material, la

experimentación. Cuando los profesionales comiencen a integrarlo como un nuevo elemento, dentro de

la paleta de materiales a los que recurrir, podremos ver resultados espectaculares y creadores de nuevas

tendencias en jardinería.

¿En qué situaciones y casos recomendaría especialmente el empleo de esta superficie colorista?

Concretamente, en espacios donde sea necesario crear transiciones entre interior y exterior, en espacios

urbanos nuevos, en edificios híbridos público-privados, en jardines... Definitivamente en cualquier lugar

donde quieras dar una imagen renovadora y diferente. Si no me equivoco se trata del único material

artificial para exterior que mantiene el color durante años.

¿Cuáles son las principales ventajas que aporta el producto en un jardín o zona verde?

Creo que las principales ventajas que aporta son la frescura y la diferencia. Otro de los principales

beneficios que presenta es su resistentica, por las excelentes características que tiene frente a la

abrasión y el desgaste, junto a un tacto sedoso que invita a tumbarse sobre él. Si tuviéramos que

compararlo con algún material tradicional seria con una suave alfombra de interior, pero en este caso

para exterior.

Por su experiencia, ¿qué resultados está arrojando la aplicación de este elemento en los proyectos de

paisajismo o jardinería que usted ha desarrollado?

Sin ningún género de duda, los resultados son rompedores. Por ejemplo, cuando presentamos el

producto Bermuda Urban en la pasada edición de la Bienal de Paisaje en Barcelona, la gente se

sorprendió bastante. No fueron pocos los que se retrataron encima de esta superficie, desde luego que

supuso una sorpresa inesperada.

¿Qué evolución augura que puede experimentar este producto en los próximos años?

Creo que el futuro será la adaptación de las máquinas tejedoras de césped artificial para poder reproducir

cualquier imagen que podamos crear informáticamente. Confío en que así ocurra y que la máquina

reproduzca la imagen al igual que sucede cuando se fabrica una prenda.

0 elementos


PABLO TELLEZ© Breaking news!!!!PROJECTSPRESSCONTACTLEGAL