Casa Taittinger Kitchen · Proyecto Público Prim
Miele Chef's Table
Mexico City
This Casa Taittinger kitchen was designed for a specific season and a specific stage. The venue: one of the buildings of Proyecto Público Prim, in Colonia Juárez, where the French Maison set up its house during the 2026 World Cup. For that reason, Vitelier conceived it as an integral project —creative direction, design and coordination— in collaboration with three regular partners of the studio: Miele, Cosentino and Blum. In turn, the building that received the project is a 1905 Porfirian house that came to the brief with its layers exposed.
The program: Miele Chef’s Table. A table for ten guests where some of Mexico’s most recognized chefs cook in front of their visitors. The Casa Taittinger kitchen is not behind the dining room; it is the dining room. In other words, work and conversation happen on the same plane.
Client: Miele Chef’s Table
Kitchen Design: VitelierYear: 2026Kitchen Type: EnclosedKitchen Size: LargeArea: 24 m²
Countertop: Dekton Bromo by Cosentino
Tall Cabinet Fronts: copper-finish panelIsland and Buffet Fronts: aluminum-finish MDP
Miele Appliances: Combi MasterCool, Compact Combi-Steam Oven, Warming Drawer, Built-in Coffee Machine, Fully Integrated Dishwasher, MasterCool Wine Conditioner, 36″ Induction Cooktop, Downdraft Extractor
The Casa Taittinger kitchen inside Proyecto Público Prim
Proyecto Público Prim is a pair of neighboring Porfirian houses, built at the start of the twentieth century. The restoration left in view what time had accumulated: walls with multiple layers of paint and plaster, wooden beams, worn stone floors, doorways where the brick shows through. Indeed, the restoration kept that condition on purpose. Thus, the place reads as a palimpsest: not a ruin, but accumulated history.
Designing a kitchen there forces one decision before any other. What role does a contemporary kitchen take inside a space that already has its own materiality and its own history?
The answer was to work by surface contrast, not by tone. For that reason, the kitchen does not imitate the patina of the wall and does not camouflage into it. Instead, it is a contemporary volume, geometric, with defined edges, occupying the center of the space without disputing the building’s authority.
The palette —saturated copper, aged metal, ultra-compact stone in warm gray— stays close to the range of the original walls. The surfaces, by contrast, are different: smooth where the building is rough, flat where the building is irregular. Ultimately, the agreement is one of color; the difference, one of hand.
Three volumes, one countertop
The Casa Taittinger kitchen is organized in three pieces. At the back, a wall of tall columns housing the Miele appliances and vertical storage. Also at the center, the island: body of work and cooking point. At the opposite end, the buffet, a low and long cabinet that receives service and connects with the table for ten. The island, the buffet, and the table share a single countertop: Dekton Bromo by Cosentino, an ultra-compact surface that moves from one body to the next without changing material.
Bromo is a technical stone: it resists heat, scratching, staining and UV light. In a kitchen used several hours in front of guests, that stability is a condition of operation, not a decorative attribute. But its value in this project is also compositional. Bromo has a warm veining, gray with brownish tones, that sits next to the original wall without imitating it. It is the continuous horizontal line that ties island, buffet, and table under a single reading.
Copper and aged metal: the palette of the Casa Taittinger kitchen
The palette comes from two references: the elegance of Taittinger —the champagne, copper as the brand’s heraldic color— and the materiality of Proyecto Público Prim itself. From there come the two finishes that organize the project.
The tall cabinets at the back are clad in a copper laminate. It is a saturated, matte tone. In the low light of the space it approaches brick and rust. With point light over the shelves, it recovers a warm glow that evokes the reflection of champagne in the glass. Put differently, it is not decorative: it is the color that orders the entire composition.
The island and the buffet are clad in an aged metallic sheet. It is a surface with tonal variations and its own texture. The worked metal does not read as an industrial finish; it enters into direct conversation with the patinated walls of the building. In fact, it is the piece that most belongs to the place and, at the same time, the one that most declares itself as new.
Between the two —copper above, metal below— the Dekton countertop is the truce. The three surfaces hold without any one dominating.
Miele appliances in the Casa Taittinger kitchen
The back wall gathers eight pieces of Miele’s professional line within the tall cabinets. For that reason, the decision was not to hide them. The fronts of the Combi MasterCool, the steam oven, the built-in coffee machine, the warming drawer, the dishwasher, and the wine conditioner are incorporated into the rhythm of the copper doors. Their screens and dark glass sit cropped against the matte laminate. The equipment is legible —Miele has a clear graphic identity and does not dilute—, but stays inside the wall’s chromatic order.
The MasterCool wine conditioner occupies the tallest column and becomes the most visible element of the wall: a vertical case to chill bottles of Taittinger champagne. In turn, its transparency opens the closed plane of the cabinetry and, in passing, declares the program of the place.
On the island, the independent 36-inch induction cooktop and the Downdraft extractor —which rises behind the cooking zone only when needed— keep the Dekton plane free. As a result, without a hanging hood, the line of sight between chef and guests stays open.
The island as a monolithic volume
The island is the most visible body of the project. Clad in aged metallic sheet, it reads as a solid block resting on the original floor. Moreover, the edges are well defined. The seams are visible: the material does not pretend to be continuous —it is sheet, there are laps, and it is acknowledged as such. That decision, together with the fine reveal of the Dekton countertop at the upper edge, gives it the quality of a fabricated piece, not a clad cabinet.
Above the island lies the full cooking plane. To that end, the Miele induction cooktop is integrated into the countertop and the Downdraft extractor disappears when not in use. The rest of the volume is deep storage: drawers for utensils, cookware, and service the invited chefs use during the experience.
The open cabinet: a reinterpretation
The piece that most departs from the language of a premium kitchen is the open display cabinet. Instead of a closed body with glass —the classic format for showing tableware and crystal—, the project resolves it as open shelves with a copper backing, lit by warm indirect light. Glassware, vessels, and utensils stay in view, with no door between them and the guest.
However, the gesture changes the relationship. In a conventional kitchen, what will be served is stored and then retrieved. In the Casa Taittinger kitchen, what will be used is always present: it is part of the table setting, not of its preparation. Next to the shelves, a fragment of antique mosaic on one of the walls is framed by the composition. Even the kitchen does not cover it: it lets it be. It is the place that leans into the kitchen, not the other way around.
Blum hardware in dark interiors
The cabinet interiors were finished in dark wood and with the Blum hardware specified for the project. These include Legrabox drawers in Noble Rust, Onyx Black hinges, and matte Carbon Black AMBIA-LINE organization systems. In an open kitchen, in front of a long table, the interiors are seen every time a drawer is opened. The chromatic continuity of the copper outside and the reddish tones of the Noble Rust inside is a deliberate decision: the Casa Taittinger kitchen keeps its language even while being used.
A collaboration with Miele, Cosentino and Blum
The project is held together by the coordination of four disciplines: Vitelier’s creative direction and design, Miele’s appliances, Cosentino’s technical surface, and Blum’s hardware. In fact, the three are recurring partners of the studio. Casa Taittinger was the occasion to work with them in a scenario different from the residential one: a kitchen installed for a specific season, with conditions of intensive use and public exposure.
The challenge was to combine a professional working kitchen —with the full set of Miele appliances necessary for a serious culinary experience— and a table for ten guests in the same space, without dividing. A custom kitchen tailored to a temporary program over permanent architecture. The island is a workbench and the principal piece of the frame. Storage and backdrop of the conversation, the open cabinet holds the scene together. The Dekton countertop is the technical plane that ties island, buffet, and table from afar.
Over the Porfirian walls of 1905, for a few weeks, this Casa Taittinger kitchen will be the space where some of the country’s best chefs prepare their table. This project was made possible thanks to the collaboration of Miele, Cosentino and Blum.
