Tasty design at Ruth's Chris Steak House

The restaurant is located in The Monarch, Dubai.
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The underlying inspiration for the restaurant was a classical dining room, with strong art deco influences from the 1920s and 30s. A simple yet striking colour scheme favours beige, black and red – but while the design is subtle and understated, it is also extremely rich, Penketh pointed out.  

“We were careful not to overdesign, but every inch of the space contains some level of detail. It is a very rich design but we’ve created something that is comfortable and that you are not overwhelmed by,” he elaborated. “There is an incredible amount of work in the detailing and this grows on you as you sit in the restaurant.”

Sculpted ceilings

The depth of the design is intended to reveal itself only upon closer inspection. Ceilings, for example, have been carefully sculpted, with different layers, coffered effects and elaborate inlays acting as a sophisticated differentiator of spaces. “Ceilings are an important element in restaurants at the high end of the market. You have to use them to define the space.

“We’ve also used the ceiling to create perspective and to give the impression of more space. Most people don’t look up when they go into a restaurant but part of our aim was to make sure that the longer you spend in there, the
more you notice how much is going on,”
Penketh explained.

The carefully considered nature of the design also reveals itself in the seating, which was all conceptualised from scratch and manufactured in Dubai. Different types and heights of seating create choice for diners, as well as visual contrast across the space. Along one side of the restaurant, red banquet seating melds itself into curved booths cut into the wall to create secluded, semi-enclosed cocoons.

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Elsewhere, statuesque, free-standing seats in black and beige leather stand almost throne-like. Sturdy, high-backed and all-enveloping, these seats promote comfort and accessibility, a central  characteristic of the design. “There’s a really exclusive feel to every table. You almost get the feel of private dining in every place that you sit,” Penketh said.

Client relations

Outcast was also responsible for the project management of Ruth’s Chris, which is why the relatively young firm is happy to present the restaurant as its signature project. Intent on establishing itself as a company that does things a little differently, Outcast made a point of establishing open and clear channels of communication with the client, and ensuring that they were involved every step of the way. This made sure that when the design impacted on the operational efficiency of the space, necessary changes could be made immediately, with minimum fuss. “Anyone can produce a fancy picture, but that’s not what it’s about. Our objective is to be friends with the clients after the project has been completed!

“Spatial constraints, time constraints, budgetary constraints and client interference are the four things working against you as a designer. It is our job to work within these constraints, and be answerable to the client,” Penketh maintained. “If we can’t sit down with a client and explain our design clearly enough for them to understand it, what chance do we have with people walking into the restaurant?”

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