Architect Tereza Froňková on Štangl restaurant: Identity is created by employees
A tasting dinner at Štangl
Tereza, what was the brief for the Štangl restaurant?
I was given the task of redesigning the upper floor so that the environment would fit the concept and not repeat the story of Eska. The original interior didn't give the feeling that guests should go there for a gala dinner, and maybe that's why Eska became more of a brunch or business lunch address. At Štangl, I was asked to design a space adequate for a tasting restaurant.
How did you approach this?
Personally, I saw the renovation as a facelift. With completely new ventures, it's usually much harder to get inside the head of Tomáš Karpíšek as a visionary and investor, because you're trying to understand something you've never seen or tasted. In the case of Štangl, however, I knew exactly what the interior was going to be the backdrop for - one floor up, the cuisine we'd seen on plates long before was now being made, only lost among the scrambled eggs.
I was equally sure that the interior of the restaurant would be based on Eska. It justifies the shared address of businesses that share more than a common entrance. While the graphic designers conceived Štangl quite differently, I followed the ground floor.
Still, Štangl is distinctly different from the lower floor.
During the reconstruction, the difference was not as visible as at the end - for a long time it looked like I had designed Eska, but with more wood panelling. The new identity was helped by the change of the Štangl's environment; it was supposed to be more intimate. In practice, this meant reducing the number of guests. The first time this happened was during the covid, when about 20% of the chairs in the restaurant were taken away, but even then it didn't succeed in creating an intimate atmosphere. Eska was, is and will be dynamic, while Štangl evokes slowing down and moving forward at the same time.
The larger spacing and tightly placed round tables subliminally feel like a luxury element. Furniture can be merged through interstitials, but primarily has its given position, giving the impression of uniqueness. In addition, we were able to hang designer lamps directly above the tables. In the past, the furniture was constantly being moved, so it was lit by technical lighting in the form of floodlights. This also added to the industrial character of Eska, and we wanted to suppress this slightly in Štangl.
How did you do that?
I was genuinely curious to see if the idea on paper would translate into reality. The industrial nature of the building is very powerful and cannot be completely muted - it will always be present in the envelope, whether it is the roof or the historic steel structure. However, we could have at least partially gotten rid of the steel and used natural materials instead, which support a non-industrial aesthetic and correspond to the philosophy of the restaurant.
At Esca, steel, stainless steel and white paint reign supreme, whereas at Štangl, wood predominates. It also appears in the container background, toilets or railings and brings the necessary elegance to the restaurant. In Eska, on the other hand, I fought for it to be recycled and retain its original design. People love it. Plus, the recycling theme is making its way into the kitchen, so I thought it was nice to be inspired by it in a space we were "just" rearranging. It made me think of Tomas's statement that good interiors can survive for decades. Eska has this potential, so why deprive it of it?
What exactly did you do in Štangl to build on Eska?
The connecting factor is the material, especially the wood - I chose oak, which was there from the very beginning. The continuity is also reflected in the aforementioned lamps, which resemble a conversion of an industrial lamp or torch. It wouldn't have made sense to install trim chandeliers just for the sake of trying to differentiate.
We could have gone for velvet and intense colour, or darkened the whole space, but as I say - I didn't want to contrast the concepts and it seemed too theatrical. I created Štangl with the chef's personality in mind, and Martin is definitely not an extroverted thespian. I was even more concerned that he would like the restaurant. Introverts find it extremely challenging to work in an environment that doesn't suit them. I speak from experience.
So the kitchen renovation played a significant role...
From a material point of view, it certainly did. Eska's kitchen was part of the interior from the beginning, it was just neglected upstairs. We decided to enlarge it and give it a different style. We moved away from the usual stainless steel equipment and replaced it with wood and stone, which made the kitchen dominate the restaurant. But at the same time, we wanted to blur the imaginary boundaries between chefs and guests. That's why the islands are perpendicular to the tables - everything is completely transparent and the team never have their backs to the guests. Not to mention the easier movement of service.
Are there any details in Štangl that guests should notice?
I don't know of any. The interior should never overpower the restaurant's production. I last saw the moss-decorated ceramic bowls at the serving area and realised again that the guest should primarily notice the details on the plate. The design enhances the dining experience, but shouldn't detract from it. More important than the décor and glamour effects is the overall atmosphere, and that ultimately depends on the staff.
The same goes for the identity of the restaurant. I can contribute to it interior-wise, but the business is defined by the staff, so it is essential for me that the team is in tune with the space, feels comfortable in it and fills it with positive energy. I'd liken it to visiting friends - their place may not be your cup of coffee, but if it exudes contentment, you'll be comfortable there.
How do you design an interior to please the team?
Tricky. It may sound like a contradiction in terms, but I'm personally uncompromising and only tackle designs with one person. Most of the time I tune myself to the wishes of Tomáš Karpíšek, it wouldn't work in a group. Working in gastronomy is specific in that the interior of a business serves not only the team, but also hundreds of guests - so it faces hundreds of opinions. That's why I need to stick to a person who knows the idea of the restaurant and gives me supportive feedback. All the while, however, I listen carefully to everyone involved.
I'm interested in what they like, but above all I ask why. A lot of people translate their goals into visuals and can't name them - they insist on red bricks, yet they don't really just want a white house. I help clients solidify the abstract level of their ideas, and sometimes even guide them to what they want to do - in the restaurant and in life. I sometimes joke that I should be issuing a second invoice for psychoanalysis.
What is your signature on the space?
I'm not aware of leaving a distinctive signature. I like to use the contextual component of architecture - exploring a given space, respecting it and adding all possible materials and elements. I stick to a simple principle, and that is consistency. We all generally thrive on balance, so we look for it in the spaces we live and create in. It's true that harmony can turn into boredom, but I maintain that there is plenty of time for design and wit. An interior should be based on harmony, only then can it be refined and jewelled according to the clients' preferences and trends.
At what stage of the project does the architect take a breather?
Some are relieved when the design is finished and handed over for implementation. I also enjoy the actual production, so I'm with the renovation until the end, even though it's adrenaline and a lot of pressure. Now I'm talking about gastronomy, where you learn to concentrate and act in a crazy fast sequence of events. Over the years, I've mastered the pitfalls, but I still get stressed by the avalanche of reviews that come down after a facelift or opening.
Gastronomy is close to my heart, but I would never have entered it as an architect if it weren't for Tomáš Karpíšek. Working with him has been extremely rewarding and I believe that if he had an electrical shop, I would be just as happy renovating his stores as I am renovating his restaurants.
