Oki Doki was established in one of Wrocław’s most recognisable buildings – the former Barasch brothers’ department store, known today as Feniks. The venue is situated outside the retail area, with its own entrance at 75 Szewska Street – one of the building’s three historic addresses. It is a place that adds a new layer to the building’s history, spanning over a century, without detracting from its character.
Feniks has been part of the city’s everyday life since 1904. In the Barasch era, it was regarded as one of the most modern department stores in Europe, dubbed a ‘temple of commerce’, featuring an illuminated glass globe supported by sphinxes and – from 1929 – Wrocław’s first escalators. After the war, it returned to retail as a co-operative store; it has borne the name Feniks since 1965 and has been listed as a historic monument since 1970. Oki Doki has taken over the space where, for years, a fabric shop operated, frequented by Wrocław residents who sewed their own clothes or had them made to measure. This continuity – of buying items through which one expresses oneself – became an important point of reference for the project.
Designing from strategy
Work on the interior did not begin with sketches, but with defining the target audience and the principles that would guide the entire project. The brand’s strategic team determined that Oki Doki was being created for people who are overstimulated, who need the presence of others but without the pressure of conversation. From this idea, the concept of ‘together in solitude’ was derived – a contemporary interpretation of Ray Oldenburg’s ‘third place’, a space between home and work where one can simply be.
The interior was designed to translate this principle into physical space. Hence the decisions regarding how a guest’s gaze is guided, where one can sit, what is deliberately absent from the premises, and how individual elements communicate with the visitor: the cobalt-blue mural, the mirror with a slogan by the entrance, the menu printed on plain paper and taped to the wall, as well as the way the staff address guests. Every detail is a form of interaction.
The starting point
The staircase was a key feature of the existing space. From the outset, it was clear that the design had two possible paths – the stairs could either be removed or made into the central motif of the space. The latter option was chosen. The stairs became the axis of the composition, and their presence necessitated precise planning of the functional layout within the small premises, which had never been designed with catering in mind.
Two extremes had to be avoided: the interior could be neither too ornate nor too sterile. During the work, there was a recurring risk of creating a cold concept store or gallery – a space that looked impressive in photographs but was uninviting to spend time in. At the same time, the layout of the plumbing, ventilation, water and electrical systems had to be adapted to the existing fixtures and structural constraints. The bar was divided into four zones – washing-up, coffee, matcha and serving – so that work could proceed in a single direction, without staff crossing paths behind the bar, whilst the technical elements remained out of sight of the guests.
Working with history
Once the plasterboard cladding had been stripped away, a historic wooden ceiling and the original walls with their distinctive texture were revealed. Designers Barbara Szymczak and Dobrochna Rajcic contrasted this raw aesthetic with mirrors, industrial metal and natural wood, creating a space that combines an urban character with a tranquillity that allows one to catch one’s breath in the city centre. The minimalism is broken up by a single bold accent – a mural by Beata Rojek, whose dynamic form flows from the wall onto the floor and runs the length of most of the premises. This is a deliberate departure from the repetitiveness that dominates many contemporary interiors.
The aesthetic direction changed several times: from greenery, through urban austerity and deliberate grime, to a return to white. Ultimately, the choice fell on minimalism with a cobalt accent, in line with the brand’s principles. The ‘cute Japan’ aesthetic – from lanterns to mascots – was rejected, as Oki Doki was intended to be an urban brand from Wrocław, not a theme park. It was agreed that the venue had to have ‘character’, even if it didn’t appeal to everyone.
A mirrored bar as a stage
The centrepiece of Oki Doki is the mirrored bar, which functions as both a stage and a backdrop. It reflects the guests, the street traffic and the mural, making the 58 square metres appear larger, whilst anyone approaching to place an order sees their own reflection in it. The mirror motif also recurs at the entrance, where a mirror bearing a slogan takes the place of a chalkboard. This is a nod to the building’s history – the interiors of the Barasch department store were adorned with crystal mirrors, and a giant mirror hung above the main staircase, reflecting the glass roof.
Oki Doki specialises in original matcha-based drinks and carefully brewed coffee. The menu, created by Michalina Kolasa, develops the idea of a ‘third place’: a neutral space where you can be amongst people without pressure or obligations. Baked goods from local bakeries are finished on the premises, and the whole experience brings generations together – from those who used to buy fabrics here to those who are now looking for a place to take a breather.
design: Dobrochna Rajcic, in collaboration with: Barbara Szymczak
photography: Migdał Studio
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