Photo by Inga Powilleit.
Photo courtesy of Maarten Spruyt.
Photo courtesy of Maarten Spruyt.
Photo courtesy of Maarten Spruyt.
Photo courtesy of Maarten Spruyt.
Photo by Inga Powilleit.
Photo by Inga Powilleit.
There are many things to love about : its great canals, the bike culture, the gorgeous cityscape and the adorable houseboats. Not to forget, the friendly locals and the stroopwafels that melt in your mouth like little spots of sunshine. If the city had a resumé, there wouldn’t be space to fit anymore. Not that that would stop it from adding to its already stellar list of attractions. One of the latest in said list is Capital Kitchen, a new restaurant conceived by multi-talented artist and style icon . The place is unlike any other in the city, pivoting on the concept of “the inner self”, and brimming with curiosities inspired by the human body.
As far as design decisions were concerned, Maarten was given carte blanche to design the interior decor in line with his own vision. This inspired him to invite fellow artists and creatives to collaborate on the space. Artist , for example, was responsible for the showstopper sculpture above the main bar: a deconstructed human skeleton—christened ‘The Being’—symbolising exposure of the inner self.
But that was just the beginning.
Photo courtesy of Maarten Spruyt.
Photo courtesy of Maarten Spruyt.
Photo by Tiago Rosado.
Photo by Inga Powilleit.
Photo courtesy of Maarten Spruyt.
‘Quelle Fête’, the melted disco ball by Dutch-American designer collective Rotganzen. Photo courtesy of Maarten Spruyt.
‘Cleaning’ by artist Folkert De Jong (left). ‘Adem’ by artist Maria Roosen. Photos courtesy of Maarten Spruyt.
For Maarten, the idea was to manifest the inner self everywhere: from the menus to the tabletops to the walls and ceilings and floors. “From the moment you read the menu, neurons in your brain are activated. The tabletops, too, are highly magnified, down to the cellular level, with images of the oesophagus, the pancreas, the liver and even the genitals,” he says. For the design of the chairs—each one with a unique backrest—Maarten tapped artist and designer, , whose work is exhibited at some of the world’s leading museums, including MoMA, as well as Amsterdam’s Stedelijk Museum and Rijksmuseum. The execution for these chairs was done by .
Some things don’t have—or need—an explanation: the melted disco ball above the balustrade on the mezzanine is a case in point. Named ‘Quelle Fête’, they are by Dutch-American designer collective , their curious shape a nod to the amorphous nature of the human mind. Other novelties include the watercolour ‘van de Moeder en van de adem’ [Mother and the breath of life] by ; branches emerging from a human form by ; ‘s organic work transforming household waste, and ‘s artwork made of concrete. Each presents Mother Nature in a unique avatar.
Photo by Inga Powilleit.
Photo by Inga Powilleit.
Photo by Inga Powilleit.
Photo by Inga Powilleit.
Photo by Inga Powilleit.
Wall sculpture by artist Esther Hoogendijk. Photo by Inga Powilleit.
For Maarten, the primary aim was to leave more space for art, something of a challenge given the limited wall space available. “There was also a clear demand for locally sourced and sustainable cuisine. This inspired me to go back to pared-back tones and materials: white walls to reflect the light, a salmon pink staircase, and stainless steel for the open-plan kitchen,” he says. Evidently, with all the stripping back and laying bare, it was an object lesson on “the inner self” well delivered.
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