The project Firenze Gelataria and caffe, began with a direct and focused brief from the client: to create a gelato space that reflects how gelato is sold in Italy. There was no request for reinterpretation or stylisation. The intent was to follow the source as closely as possible. Having worked together on earlier projects, the client approached the process with trust, allowing the design direction to evolve without restrictions. This made it possible to develop a space rooted in observation rather than assumption.
The design approach was guided by references from gelaterias in Florence. Instead of extracting fragments, the aim was to understand how these spaces function, how they are occupied, and how they feel over time. The project was shaped around the idea of a place that could exist within an old residential setting that has been adapted into a gelateria and café. This formed the base for all decisions, from layout to material selection.
The space is organised across two levels of approximately equal size. The ground floor operates as the primary interface of the brand. It is designed for movement, short visits, and direct interaction with the product. The gelato storage system, the pozzetti, is positioned as the central element. Around it, the plan accommodates production requirements including storage, machines, and service counters. Circulation is narrow by intent and by site condition, allowing the operational layer to take precedence. A mezzanine level, part of the existing structure, is used for limited seating.
The upper floor shifts the experience. It functions as a café where visitors can stay for longer durations. The layout introduces varied seating arrangements, allowing users to choose how they occupy the space. Smaller seating pockets are distributed across the floor, offering a sense of separation without physical barriers. This level supports a slower mode of use, where the focus moves from product to pause.
One of the primary challenges was the constraint of the ground floor. The site presented multiple level changes, limited width, and an existing mezzanine. Integrating production within this footprint required careful planning. Every element had to serve a function without excess. Another challenge was maintaining a connection to the reference without turning it into a surface-level imitation. The project avoids direct symbols and instead relies on spatial and material cues. There was also a need to balance two different modes of use: fast service at the ground level and longer engagement upstairs.
Material selection followed a consistent logic. The aim was to build a sense of continuity rather than contrast. Stone mosaic flooring forms the base layer, with custom patterns integrated into the surface. Walls are finished with textured plaster, introducing variation without relying on added elements. Wood is used in railings, counters, and panels, with a tone that aligns with the overall palette. Metal details are introduced through brass elements, used in a controlled manner across the space. Glass appears in fluted form, allowing partial visibility. Seating surfaces incorporate leatherette in a tone that connects with the rest of the materials.
The colour approach remains within a limited range. It is derived from materials rather than applied finishes. Surfaces rely on their inherent tone. Texture plays a key role in breaking uniformity. Lighting is used to support the material palette, creating consistency across both levels. The layering of elements such as framed artwork, wall treatments, and mouldings contributes to the perception of time. These components are placed in a way that suggests accumulation rather than installation.
A defining aspect of the project is the absence of a single focal point. The design does not direct attention to one feature. Instead, it allows multiple points of engagement. Visitors can form their own connection with the space, whether through seating, surfaces, or details. This approach supports repeat visits, as different aspects can be noticed over time.
The project’s strength lies in its commitment to the brief. It does not rely on visual signals to communicate its intent. Instead, it builds an environment through planning, material, and use. The result is a space that aligns with its reference not through replication, but through structure and experience.
