The restaurant is located on two floors in a restored historic building, inscribed in a new residential complex. The masonry of the first floor with low-set windows remained from the historical building. Low windows create a "presence effect" - they interact with the street. Also, an arch remained from the historical building, which was also inscribed in the interior. On the ground floor there is a hall for connoisseurs of open cuisine, and there is also a small VIP-hall, and on the second floor there is a hall for 25 seats with non-linear zoning. A large, almost square hall is divided by a decorative wall of glass blocks, dividing the space into 3 small zones, while all tables remain illuminated by natural light. This makes the restaurant enjoyable for both daytime and evening visits.

The restaurant is focused on author's cuisine. And the main emphasis was on the eventfulness of the interior, and not on its decorative effect. The task was to ensure the interaction of the visitor with the space and staff, the interior had to become a background, not an exhibit, but a lively and attractive background.

At the entrance we are met by an arch that immediately gives a reference to history. Already from the entrance we see the open kitchen area. This includes us in interaction with the chef. We can observe the work of the chef, feel the energy and involvement. It should be noted that the open kitchen is visible from the street. A separate art object is a staircase leading us to the second floor. In addition to various subtle details, such as brass elements and lighting, realistic painting with graffiti elements on the wall attracts attention. (the painting was done by a professional artist) The 2-storey panoramic mirror completely reflects the staircase, reflects cages with small hummingbirds that react to the slightest breath of air and start spinning. The staircase is the largest and most popular photo zone in the restaurant. In this idea with a mirror was fully realized.

On the second floor, a cozy bar area is hidden behind a large hall. Such a planning decision allows us to open up the space gradually, to recognize it, to look at it, to explore it. By the same principle, the VIP-hall on the first floor was hidden.

A lot of work has been done with light and color. On the 1st floor, the most complex wall decorative coating with the effect of a flood, specially designed for the project, was made. On the 2nd floor on the walls there is a delicate coating with a worn effect with light golden strokes along the perimeter of the walls. The floor on both floors is neutral, made of different materials, but in the same tonal key, despite the inclusions of color in the concrete tiles made specifically for the object, a careful selection of color shades was made that did not stand out from the overall concept. There are 3 black prints on the ceiling of the 2nd floor, here you can read them like a trace from a glass, they were made to slightly reduce the pathos and tenderness of this floor. The same technique is used in the VIP area to reduce the pathos of a crystal Italian chandelier. Black tubes are specially hung through it, and the chandelier becomes an art object. All window slopes are filled with a dense bronze coating with spectacular illumination of each slope. This technique works both for the interior, giving a soft interior light, and for spectacular facade lighting.