Tombo Den, the latest concept from Lucas Restaurants, brings a flavour of late-night Tokyo to the Windsor end of Chapel Street, Melbourne.

Inspired by Chris Lucas’ time spent in Japan during the'90s and the site’s illicit history as a smoking paraphernalia shop, the project sees a narrow shopfront transformed into a dynamic restaurant space where diners are immersed in the theatre of culinary performance.

"This project has been a true collaboration between DKO and Lucas Restaurants. We wanted to create something sophisticated yet dynamic, where materiality becomes part of the experience. The interplay of textures and the theatrical quality of the space creates a dining environment that’s intimate and memorable,” Isabel Munro, Senior Associate at DKO says.

“Collaborating with Chris Lucas to build a strong narrative really shaped the vision. With projects like this, we draw references from film, music and even urban legends to inform every aspect of the design in order to create something authentic and unique. Every detail at Tombo Den, from the interiors to the menu, the music and the art, comes together to tell a seamless story from the moment you step inside until you leave. That’s what makes the experience so unforgettable.

“This is no doubt the start of a continued partnership between DKO and Lucas Restaurants and we look forward to continuing to work together to push the creative boundaries of experiential restaurant design.”

The year-long collaboration between DKO and Chris Lucas embraces contrasts in space and materiality to craft a distinctive dining environment. Led by Isabel Munro, Michael Drescher, and Dylan Rodan, the design team at DKO have turned the site’s proportion constraints into a creative opportunity, pushing the boundaries of form, function and atmosphere.

From the street, Tombo Den’s brutalist concrete façade hints at the mystery within. Unlike the wide windows of neighbouring venues, this intentionally controlled reveal stirs curiosity and anticipation.

Once inside, a high-gloss sliding door opens into a velvet-curtained entryway, transitioning guests from the bustle of Chapel Street to an intimate, almost secretive dining room.

The ground-floor, seating 74, is anchored by a sculptural granite sushi counter, with solid timber detailing inspired by traditional Japanese dovetail joinery. The material palette juxtaposes raw concrete and exposed steel beams with warm timber accents and plush velvet banquettes, creating a rich, tactile atmosphere that feels both industrial and inviting.

At the far end of the room, a bespoke staircase leads to a more intimate upstairs space, where low, sloping ceilings compress the atmosphere, enhancing the sense of privacy. Seating for 92 guests, a sake bar and a karaoke lounge infuse the upper level with a playful, irreverent energy. Red lighting and textured glass amplify the moody vibe, while a lacquered red corridor, reminiscent of a hidden alleyway, leads to bathrooms adorned with stainless steel fixtures and red VOLA taps.

Collaboration with local artists reinforces the project’s commitment to Melbourne’s craftsmanship. Hand-dyed shibori fabric banners by Shibori hang from the ceiling and introduce movement and texture, while AI-generated artworks by photographer Tom Blachford conjure the dystopian aura of a Japanese gambling den, adding an edge to the late-night, underground vibe.

Clémence Carayol

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