Silver Interior Space and Exhibition Design · 2020
Roble Cafe and Restaurant
by Peyman Kiani and Parisa Biriya
- A' Design Award 2020 Silver Winner in Interior Space and Exhibition Design
- Awarded April 15, 2020
- CLIENT: Roble
- Estimated Number of Design Views: 47,038
- Verification code 756EA0F1F3 · Verify this award
About Roble Cafe and Restaurant
The idea of its design was taken from the US steak and smokehouses, and as a result of the first phase research team, the research team decided to use of wood and leather with dark colors such as black and green, along with the gold and rose gold was taken with a warm and light luxury light. The Characteristics of the design are 6 large suspended chandeliers which consist of 1200 handmade anodized steel. As well as the 9 meters bar counter, which is covered by a 275 centimeters umbrella which consists of beautiful and different bottles, without any support cover the bar counter.
Press Kit
- Unique Properties
- Considering the placement of the restaurant on the roof of a famous commercial complex in the north of Tehran (with the high altitude of sea level and full area of the Tehran), the whole roof is made of the movable ceiling-fabric which customers enjoy of sunlight at the proper season or the shining of the stars while eating food.
- Dimensions & Packaging
- The whole restaurant space is 890 sqm, 270 Square meters Main hall, 150 square meters of the smoking-room, 70 square meters VIP, 130 square meters of kitchen and the rest of the space dedicated to the health services, depot, Administrative department, and service corridors.
As well as for endowing all people in the whole restaurant, from the unique landscape of Tehran, we build a large deck of 4 levels in the entrance spaces (0.00 +), the main hall (0. +), space (0.42 +), and Wei (0, 57 +). - Tags
- Cafe, Roble Restaurant, Luxury, Cafe and Restaurant, Interior Design
- Production Technology
- Main hall Floor:
Combination of ceramic slabs with different sizes and brass ingots in its bands.
VIP Floor:
Handmade ceramic.
Large chandeliers:
The anodized steel bubble.
Cargo counter:
2 types of white and green jade stone and one type of transparent, patterned ceramic, black walnut lumber, brass ingot, iron profile and plate.
Entrance Chandeliers:
Bent Iron pipe and LED light.
Input body:
Wooden baguette with oak veneer. - Design Challenge
- From the beginning, the design goal was alongside to maintain the main concept and of space and the restaurant's usage (American smokehouse), which if we imagine we can misplace it to a city in another country like Los Angeles, Frankfurt, Dubai, or elsewhere, again, people of that region with any culture, thoughts, belief, and climate accept it and feel comfortable and enjoy moments.
Now, this restaurant, other than the indigenous people of his own region, hosts diplomats were deployed in Tehran and ministers of other countries traveling to Tehran. Like Sidorf (popular footballer), the Minister of Qatar Communications and the British and Swiss diplomats. (This claim is confirmed by joining these friends in the restaurant survey). - Project Duration
- Roble restaurant with the American menu and focus on steak and smoked foods, which is located on the roof of a famous commercial complex in the north of Tehran. The project has been implemented in 2018.
- Operation Flow
- All the items worked in the restaurant like elements, VIP ceramics, accessories, furniture and etc... Customized or handmade, are special for this project. As well as the placement of forms, styles and different materials, such as wood, metal, glass and curved lines, along with vertical lines and different colors, which individually provide independent identity, totally has created an integrated and pleasant atmosphere for the audiences.
- Research
- According to the American restaurant's menu, which is mostly focused on steak and smoked foods. The Phase Zero research team of the project focused on American steak houses and the smokehouses.
- Inspiration
- After introducing the project, we found out that the food style is an American restaurant and it focuses mostly on steak and smoked foods. Therefore, wood, leather, and metal were used with relatively dark colors in the space. Also, the use of warm lighting with a low luxury light will put the restaurant space into America's Pup up or American restaurants. As well as green and black color alongside gold and rose gold (which offer more luxury space) had been used in the whole project.
- Image Credits
- Image #1:Photographer, Mohammad Ali Rezaeiyan, Photography, 2020.
Image #2:Photographer, Mohammad Ali Rezaeiyan, Photography, 2020.
Image #3:Photographer, Mohammad Ali Rezaeiyan, Photography, 2020.
Image #4:Photographer, Mohammad Ali Rezaeiyan, Photography, 2020.
Image #5:Photographer, Mohammad Ali Rezaeiyan, Photography, 2020.
Colors of Roble Cafe and Restaurant
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G0E23 ShopGrand Interview about Roble Cafe and Restaurant
My mind is naturally very playful, and many of my ideas begin with simple moments of curiosity. One day, while walking through an IKEA store in Dubai, I noticed a collection of stainless-steel bowls. I picked up two of them and placed one on top of the other, and suddenly a beautiful spherical form appeared. I was simply playing with the objects when they reminded me of the soap bubbles we used to make as children.At that time, I was working on the design of Roble Cafe and Restaurant. The image of those floating bubbles stayed with me, and I began imagining them suspended in the air instead of disappearing after a few seconds. I wanted to arrange them in a rhythmic composition that would visually interact with the curved sofa seating below, almost like a cloud of bubbles frozen in time.That playful moment became the starting point for the Roble lighting installation. What began as an ordinary encounter with everyday objects evolved into one of the defining design elements of the project, transforming a childhood memory into an immersive architectural experience.
Because of Roble's location on the foothills of the Alborz Mountains, at one of the highest points in Tehran, the rooftop of the Galleria Shopping Center offered an exceptional panoramic view of the city. However, the protective parapet surrounding the rooftop blocked this view whenever guests were seated.To solve this challenge, we designed an elevated deck along the edge of the terrace, allowing the first row of seating to enjoy an uninterrupted view over the parapet. We then introduced two additional stepped levels for the central seating area. This prevented the guests in the front row from obstructing the view of those seated farther back.As a result, every guest could enjoy the remarkable panorama of Tehran. This architectural decision not only maximized the visual connection with the landscape but also became a defining element of the interior experience, ensuring that the city's breathtaking skyline remained an integral part of every visitor's experience.
I believe some design principles are universal. Certain proportions, materials, textures and colors create positive emotional responses across different cultures. At the same time, every culture has its own identity and subtle preferences that deserve respect.My goal with Roble was not to simply combine American and Iranian aesthetics, but to find a common language between them. I carefully selected forms, colors, furniture and fabrics that would feel familiar to Iranian guests while also feeling comfortable and authentic to someone from the United States or any other part of the world.Rather than emphasizing cultural differences, I focused on shared human experiences. I wanted an Iranian guest to feel a sense of belonging, while an American guest would never feel like a stranger. Finding that balance between local identity and universal appeal became one of the most rewarding aspects of the design process.
The first challenge was purely structural. We were designing on a completely open rooftop with no existing columns or supports where we needed them. To create the movable fabric ceiling, we had to carefully locate and utilize the primary structural points of the building. Those structural anchors were not necessarily positioned where we wanted them, so developing a safe and elegant support system became one of the project's biggest engineering challenges.Once this challenge was solved, the result completely transformed the dining experience. Guests could enjoy what felt like an outdoor environment while still benefiting from the comfort, services and protection of an indoor restaurant. During spring, the cooler evenings of summer and until mid-autumn, the retractable ceiling could open, allowing visitors to dine beneath the sky. I often compare this experience to staying in a fully equipped cabin in the middle of untouched nature—you feel immersed in the outdoors without sacrificing comfort.This feature became one of the defining characteristics of Roble. After its completion, several rooftop restaurants in Tehran adopted similar concepts, demonstrating how an innovative architectural idea can influence future hospitality design within a city.
Most steakhouse restaurants around the world share a common atmosphere—they are warm, intimate, comfortable and inviting. Roble was no exception. However, because it was located in one of Tehran's most prestigious luxury destinations, I believed the interior also needed to express a sense of sophistication that matched its surroundings and attracted the right audience.Rather than following the expected visual language of a traditional steakhouse, I developed a different material palette and mood board. I combined wood, leather and metal with dark tones, while introducing carefully balanced gold and rose gold accents to elevate the overall experience. I also brought together a variety of forms, textures, patterns and colors that each had their own distinct identity.Individually, every element tells its own story. Together, they create a unified identity that belongs only to Roble. For me, luxury is not about using expensive materials—it is about orchestrating diverse elements into a harmonious experience that feels memorable, authentic and timeless.
When we first presented the design of the bar, almost everyone's first question was, "How is this going to stand?" That question led us into a close collaboration with structural engineers to develop a solution that was both safe and visually invisible.The suspended bottle display above the bar was not simply hanging from the ceiling. Its load was carefully distributed through the bar canopy and transferred to a series of concealed structural columns positioned behind the bar. These hidden columns carried the weight down to the floor, while the bar canopy, the concealed columns, the bar base and the elevated rooftop deck were all structurally connected and designed to work as one integrated system.From the very beginning, my vision was to make the structure appear effortless—as if the bottle display were floating above the bar without any visible support. Achieving that illusion required a great deal of engineering precision. I believe the best structural design is the one people never notice; they only experience the elegance and simplicity of the final result.
One of the most important aspects of my design process is thinking about how people experience a project even before they enter it. I always pay close attention to the first impression a building creates for those who are simply passing by.At Roble, the restaurant was located on the rooftop of the Galleria commercial complex, but because of the building's setbacks on the upper levels, it was almost invisible from street level. However, it was clearly visible from the surrounding buildings. This meant that the roof structure itself became part of the architectural composition rather than just a technical necessity.For that reason, the structural system had to be visually elegant as well as functional. Instead of using conventional box sections or steel channels to support the main beams, I chose circular steel tubes. Their softer geometry created a lighter and more refined appearance while complementing the overall design language of the project. I believe that even structural elements should contribute to the architectural identity of a space, because good design exists in every visible detail—not only in the interior.
One of the most important reasons I choose to design and customize so many elements of a project is that it allows me to offer people an experience they have never had before. When every detail is created specifically for a project, the final result becomes unique and almost impossible to replicate.Roble is a good example of this philosophy. Some of its custom elements required an enormous amount of effort and patience to manufacture and install. For example, the lighting installation was assembled from more than a thousand individual handcrafted pieces. Most designers would probably avoid such complexity, but I believe these challenges are worthwhile when they contribute to creating a truly original identity.More importantly, customization removes the "expiration date" from a project. When a space is built primarily with ready-made products, standard materials and fashionable elements, it will eventually look outdated as trends change. My goal is different. I try to create original forms, materials and details that belong to the project itself rather than to a particular trend. In this way, the design remains timeless, memorable and difficult to imitate, giving Roble an identity that is entirely its own.
As I mentioned before, I intentionally worked with forms, proportions and materials that feel familiar to people regardless of where they come from. I believe there are certain design languages that transcend cultural boundaries because they appeal to our shared human perception.Roble was designed with this philosophy in mind. If it could be lifted by helicopter and placed on the rooftop of another commercial complex in a different Iranian city, it would still feel relevant. I believe the same would be true if it were built in another country. The reason is that its identity does not rely on temporary trends or overly local references. Instead, it is built around forms, colors and spatial qualities that are recognizable and welcoming across different cultures.My goal was to create a place where local guests would feel a sense of familiarity, while international visitors—including diplomats and travelers—would never feel out of place. When design speaks a universal language while still respecting its local context, it has the ability to connect people from different backgrounds without losing its own distinctive identity.
Every project naturally evolves between the design phase and construction. Unexpected challenges arise, details are refined, and certain decisions must adapt to reality. Fortunately, Roble was one of those rare projects that remained remarkably faithful to the original renderings. This was only possible because of an outstanding construction team and highly dedicated engineers who believed in the vision and executed it with exceptional precision.More importantly, Roble reinforced one of my strongest design beliefs. I see every architectural element as having its own unique personality. Every wall, floor, ceiling and corner deserves to be treated as an individual character within the project. For this reason, I never believe in simply repeating a design by mirroring one wall onto another. A wall facing west is fundamentally different from one facing east. One may overlook a beautiful view, receive different natural light, have a different height or simply carry a different spatial role. These subtle differences give each surface its own identity and deserve their own design response.Roble became a turning point because it proved that this philosophy could successfully become reality. The project gave me even greater confidence in my approach and encouraged me to continue designing with the same conviction. Since then, I have remained committed to creating architecture where every element has its own purpose, character and voice, rather than treating a building as a collection of repeated components.