New York Bar Oppenheimer has exactly the same size and proportions of the original Bar Oppenheimer, a regular hangout for the artistic community in Frankfurt. It contains the same furniture and details, from the lighting fixtures to the tall radiators.

Unlike the original, Rehberger has decorated every surface of the replica bar with black and white stripes, which zigzag in every direction and are interspersed with flashes of red and orange.

The patterns are based on the concept of "dazzle camouflage", a tactic employed during World War I to make it difficult for soldiers to pinpoint a target.

New York Bar Oppenheimer opened last week at Hôtel Americano, coinciding with the annual Frieze New York art fair. Functioning as both an installation and a working bar, it will remain in place until 14 July.

"The way I look at it is like a suitcase," Rehberger told Wallpaper magazine. "I'm going to be in New York for a bit so I'm able to pack up my favourite bar and take it with me. And because I'm there for the art fair, the bar has to come dressed as a work of art."

Other monochrome interiors featured on Dezeen include a house-shaped cultural centre and a series of fashion boutiques designed by Zaha Hadid. See more black and white interiors.

See more bars on Dezeen, including one made from scrap materials.

Here's some more information from the exhibition organisers:

Tobias Rehberger Bar Oppenheimer

Pilar Corrias, London and Hôtel Americano are pleased to announce a new sculptural artwork, Tobias Rehberger Bar Oppenheimer by the German artist Tobias Rehberger. Presented from 11 May until 14 July 2013, the piece opened to coincide with Frieze New York and is on view at Hôtel Americano.

Rehberger creates objects, sculptures and environments as diverse as they are prolific. Drawing on a repertoire of quotidian objects appropriated from everyday mass-culture, Rehberger translates, alters and expands ordinary situations and objects with which we are familiar. It is in this spirit that Rehberger has created a 'second edition' of Bar Oppenheimer, the Frankfurt late-night hangout he frequents and which is at the heart of the city's artistic community. The work is a sculpture and, at the same time, a fully functioning bar. Rehberger remains faithful to the essence of the original bar: dimensions of space and objects are replicated and re-imagined to produce a familiar yet unfamiliar environment. Vodka Steins, Rehberger's own favourite drink, are seconded to New York, transporting the artist's own Frankfurt Oppenheimer Bar experience to Hôtel Americano for two months only.

A place where creatives and thinkers meet to form, discuss, argue, and pursue ideas and follies late into the night, Bar Oppenheimer acts as a catalyst for change. Repatriated in New York as Tobias Rehberger Bar Oppenheimer, the artist is curious as to the effect that its influence will have on a new audience.

11 May – 14 July 2013
Tues – Sat 5pm – midnight
Hôtel Americano, 518 W. 27th Street, New York

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by Tobias Rehberger appeared first on Dezeen.

The restaurant serves Polish food, so Richard Lindvall visited a few factories in Poland to find inspiration for the project and came with a concept for an industrial interior filled with raw materials rather than soft furnishings.

The designer left many of the concrete surfaces exposed inside the old car park, while others he lined with plain white ceramic tiles. "The natural raw atmosphere of the space was kept and used as a base for the concept," he says.

Some of the copper pipes snake across walls to function as radiators, while others create a lighting framework overhead and more can be found as plumbing for sinks in the toilets. Copper is also used for the facade of a large fireplace.

The bar is made from concrete, as are the shelves that span the walls behind it. Industrial lights hang from the ceiling, which the designer sourced from an old factory in the Czech Republic, and a hunting trophy is mounted to the wall.

Metal stools surround concrete tables in the dining room. Other details in this space include framed photographs by Mattias Lindbäck of the construction workers who installed the interior.

Other recently completed restaurant and bar interiors on Dezeen include a penthouse bar and nightclub in Paris with black trees inside and a bar in Vienna with a faceted ceiling of upside-down peaks.

See more restaurants and bars »

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by Richard Lindvall appeared first on Dezeen.

"We wanted to see what we could do with the 150-millimetre square-format tiles" Christian Ducker told Dezeen. "Our medley of references included graphics from New York in the 1950s and 1980s."

The tiles spell out "pizza" in large letters along the wall running from outside the restaurant parallel to the serving counter, though the top of the word is cut off by the ceiling.

Dark blue tiles cover the surfaces and seats along the same wall, while columns and beams are wrapped in yellow and red.

The late night pizza slice bar was converted from a nightclub so the architects had to start from scratch in the space.

"We completely gutted the whole place, took out all the flooring and built in a slope at the entrance," said Ducker. "The space is all tiled at the front, and they gradually fade towards the back where there are just a few clusters left."

"We left some exposed brickwork because we wanted the one-tile-thick insertion to be noticeable," he added.

The tiles extend out and around the building's entrance, branded with a red neon sign by graphic designers Studio Partyline.

Voodoo Ray's is named after a 1988 acid house track by UK artist A Guy Called Gerald, who switched on the sign at the restaurant's opening party.

Gundry & Ducker's other projects in London include a sushi restaurant in Soho and a blackened larch house extension south of the city.

Photography is by Hufton + Crow.

See more architecture and design by Gundry & Ducker »
See more restaurant interiors »
See all our stories in London »

Here some further details from the architects:

Voodoo Rays is a late night pizza slice shop and restaurant in Dalston East London.

The design is intended to sit within, and celebrate its location on Kingsland High Street, a typical inner London high street strip with its ad-hoc signs and frontages. Its neon signage and brightly light interior is intended to be part of the nighttime street scene.

The design of all surfaces is formed predominately from coloured  6" ceramic tiles. We wanted to form the interior as a sequence of volumes, reducing in scale and density to reveal the original building interior as you move towards the back of the shop. Each element is expressed in a different colour, the larger elements incorporating giant abstracted text.

A long pizza counter runs the length of the shop and projects beyond the shop frontage, which is recessed, so that the counter feels like part of the street. A hidden door leads to a basement club.

The design is intended to have multiple references taken from both East London and New York, and from between the 1950s -1980s. The references range from launderettes to pie shops, to seaside amusement arcades all of which are reinterpreted with a cartoon sensibility.

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Gundry & Ducker appeared first on Dezeen.

The new cafe occupies an elevated platform in one of the former courtyards of the historic decorative arts museum, a space that now functions as the building's entrance hall following an extensive renovation by Cruz y Ortiz Arquitectos.

Studio Linse used tables and chairs by Gerrit Rietveld, Wim Rietveld, Kho Liang Ie, Friso Kramer and Martin Visser to create a symmetrical dining area featuring pale shades of cream, grey and beige.

"The main goal was to honour the architecture of the building, so we designed something that was not too overwhelming and in the same colour tones as the rest of the space," designer Barbara de Vries told Dezeen. "We then decided to take Dutch design classics and tried to choose really timeless pieces."

The studio used the same polished Portuguese stone as the new flooring to create a long counter spanning the length of the cafe. "We wanted the bar to look like it rises out of the floor," added De Vries.

To complete the space, two statues from the Rijksmuseum's large collection were relocated to the entrance points and positioned to face one another.

The Rijksmuseum reopened to the public earlier this month. See pictures of the renovated galleries in our earlier story.

See more cafes on Dezeen, including one that also combines a laundrette and a hairdressing salon.

Photography is by Ewout Huibers.

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by Studio Linse appeared first on Dezeen.

Named Electric, the music venue features soundproofed music rooms, an outdoor terrace and a dance floor facing out over the city skyline.

Mathieu Lehanneur collaborated with architect Ana Moussinet to design the interior and added split levels to define different zones.

By day, sofas and trunk-shaped stools can be dotted around the space to form lounge seating areas. By night, these are stored away to open up a ballroom with a rippled DJ booth.

Faceted windows and diagonal panels give texture to the walls in one of the spaces. Others can be used as screens for lighting and video projections.

Mathieu Lehanneur launched his industrial design and interiors studio in 2001. Other interiors he's designed include a renovation of a Romanesque church in France and an office filled with pulped paper caves. See more design by Mathieu Lehanneur.

Trees have featured in a few interiors recently. See a few more in our recent feature all about indoor forests.

Daytime photography is by Felipe Ribon and night photography is by Fred Fiol.

Here's some more information from the design team:

Electric by Mathieu Lehanneur

"If Alice in Wonderland had liked rock this is where she would have spent her days and nights…" summarised Mathieu Lehanneur. Electric, the new cultural platform in Paris, is already an event in itself: a 1,000 m2 penthouse in which the designer has devised a canopy of sound suspended between heaven and earth, monumental electrical braids emerging like pitch black trees.

Impressive by day, magical by night, Electric is a venue which never sleeps. A lounge interspersed with soundproofed modules and an 80m2 terrace, Electric is a space equipped with a mixing console whose ballroom floor provides a new perspective over Paris, integrating the ring road as a perpetually moving graphic foreground facing the metal mesh of the Eiffel Tower.

An ephemeral restaurant at lunchtime, a lounge or a club from dusk 'til dawn, Lehanneur and Ana Moussinet have designed a space which can also be freely customised through video projections and an infinite number of layouts available to its customers.

A huge trompe l'œil window onto the city, surrounded by streams of LED lights, is an ultimate nod to a new Versailles, Electric has already been chosen by We Love Art, and Kavinski for the global launch of his next album, and Ducasse… Meanwhile there are already rumours about the installation of an enormous open-air swimming-pool on the site of the car park this summer.

A result of the high creative demands of the management ensured by curator John Michael Ramirez whose range of artists contributes to the cultural distinction of the venue: Greater Paris has found its centre of gravity.

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Mathieu Lehanneur appeared first on Dezeen.