The Farinella restaurant is located in the European quarter of Luxembourg City, one of the three European capitals together with Strasbourg and Brussels. Its creation as a food and beverage brand stems from the idea of the Colapietro and Valentini families, who, together with four other restaurants in the same city, have grown their business for more than forty years.
For the Colapietro-Valentini family, Farinella has always been a flagship project, so much so that its members wanted to begin a new chapter through a renewed interior concept. The project’s conceptual foundation was based on the desire to continue the food and wine tradition of Puglia.
From this ambitious programme, and from the practical shared need not to close the restaurant for renovation work, came the idea of architect Giuseppe Giannini, an Italian designer from Puglia. He worked with the teams by dividing the intervention into two separate construction phases, alternating restaurant service with site work. This led to the idea of creating two different entities: two restaurants in one, with a transition space at the centre.
The result is therefore two restaurants in one. In the central space, the design lines of both distinct parts of the restaurant can be perceived: to the right on entering is the area of tradition, happily simulating the typical courtyard of a Puglian masseria, where white tuff and pergolas, Fisionarte lamps woven by the expert hands of Domenico Rinaldi from Altamura, reused terracotta and new pieces by Enza Fasano from Grottaglie take centre stage. The left-hand side is called innovation and tends towards universality, without losing the coherence and strength of the olive tree, reinterpreted in an international key.
This is a highly intriguing part of the venue: intimate and reserved, designed with mastery and experience, successfully combining tradition with the speed of Carminati’s industrial process. All materials used were curated and installed by the Bergamo-based company and, despite their modernity, remain connected to Puglian culture: Essenzialed lighting, Trani stone for the Damura floors from Monopoli, building works by Hasa, and olive wood for the boiseries produced by Carminati Interiors itself.
The result is widely satisfying, both for the protagonists of the intervention and for the public that returns to the venue repeatedly, showing appreciation for the cuisine, the staff and, not least, the recreated atmosphere.
