PERVY DOM RESTAURANT CONCEPT
We designed a place where every guest feels comfortable and at ease — a warm, welcoming space with touches of understated elegance.
At the heart of the concept is a sense of comfort, warmth, and beauty expressed through refined details. The brief was far from standard: the space had to adapt to six different scenarios — a classic restaurant layout, buffet format, theater seating, several gala dinner arrangements, and workshop setups.
Naturally, it was impossible to design a separate furniture set for each scenario. We developed universal height-adjustable tables, used stackable chairs, and introduced mobile partitions. From the start, the team understood the challenge: how to make the space highly functional without losing its lightness and aesthetic appeal.
That is why it was so important for us to find a strong visual core for the concept — something not dependent on furniture, allowing the furniture itself to remain максимально functional. This is how the openwork vault came to life.
We played with perception: metal becomes an elegant, almost lace-like structure that softens the space and gives it a distinct identity. Against this vaulted feature, rough and cool unfinished surfaces are balanced by soft, cozy, comfortable furniture
A classic scene
The interior features an artwork inspired by Walter Dendy Sadler’s The Feast. In it, the main character enjoys wine and crab — a touch of hedonism and unhurried pleasure. At the same time, the contemporary shelving system seems almost indifferent to the painting’s richness and relaxed mood, sharply cutting through the image with its purely functional role. Even so, the fresco remains the visual dominant of the space.
As a counterpoint to this ironic context, we chose a work by Portuguese sculptor Rui Matos — not as a bright accent for the sake of form, but for its meaning. We treated this piece as the emotional center and built a neutral background around it. The artist creates what feels like a “living” sculpture: his forms are never static, the lines seem to continue moving, and the volumes unfold through space. He works with the idea of an inner impulse — what happens in a person before words, before decisions, before action.
The Tell Me Stories series is about dialogue — not external, but internal. Each form along the line feels like a suspended moment of thought, emotion, or memory. In our interior, the piece became an emotional center and helped us find a balance between irony and depth.
