Hoxar.studio

27/04/2026

23/04/2026

The lower level had every reason to feel secondary:�
Low ceiling, no daylight, awkward orientation: the basement brought together the most difficult conditions of the project.�
So, we designed the lower level to as a place guest need to discover.�
The descent was treated as part of the experience.�
Mirrors extend perception downward.��The luminous ceiling counters the absence of natural light. A denser rhythm of signs shifts the atmosphere without breaking continuity. Downstairs was not conceived as an appendix, but as a more concentrated register of the same world.�

17/04/2026

Furniture does more than furnish a room. It shapes hospitality.

Every piece for Pretty Patty was designed specifically for this project.

Not as a standalone collection, but as part of the same spatial language as the counter, the lighting, the signs, and the circulation.

That precision matters because furniture influences posture, distance, rhythm, and the way people gather, share the space and return.

In hospitality designing furniture is never neutral.

Can furniture change the way people stay in a place?

14/04/2026

The ground floor had to work in one glance.

At street level, Pretty Patty needed to feel immediate, active, and easy to read.

The counter, ceiling letters, seating, warm cream tiles, and blue joints were not designed as separate features.
They were arranged to shape arrival, focus attention, and give the space a strong first reading without overload.

What matters is not one element on its own, but how they work together to define the first contact between the guest and the place.

A hospitality space often succeeds in the first few seconds.

What makes a hospitality space feel immediate to you?

09/04/2026

Pretty Patty Zurich was designed to make the brand feel real in space.
Pretty Patty already had a vivid identity.

Our task was to translate it into a complete hospitality environment.

Light, sequence, materials, furniture, and use were designed together so the space could be read as one coherent experience from the moment of entry.

We designed a new identity built into how the place is entered, used, and remembered.

02/04/2026

Recycled PET is used here as a surface of contact. It is where colour, variation, and use meet most directly.

The material is not neutralised, disguised, or finished into sameness. Each pattern has its own identity because it comes from the recycled substrate itself.

That is what allows each surface to keep a visible difference without leaving the logic of the room.
At Alba, reuse does not sit beside the project as a message. It enters the room through the tables, through touch, and through daily use.

31/03/2026

We approach hospitality through operations and use:
How high a table sits.
How long a body wants to stay.
How light settles. How sound carries.
How a seat gives support.
How service moves without interruption.

At Alba, hospitality is shaped through these small decisions.

What matters is not mood alone, but the relation between bodies, objects, and room.

24/03/2026

At Alba, furniture was not added after the space.

Tables, counters, and seating help organise posture, service, distance, and gathering.
They clarify how each part of the restaurant is meant to be occupied.

20/03/2026

Outside, the furniture is made from galvanised steel grating.

Its industrial character suits exposure, drainage, load, and repeated use.
We are drawn to materials that do not need to pretend.

Materials that remain legible in what they do, and that can withstand weather, time, and contact while maintaining their identity.

13/12/2024

Alba
Zürich, Switzerland

10/12/2024

Alba
Zürich, Switzerland