Under the red neon light of a former tire shop in Chinatown, Los Angeles, you will find Café Tondo. Conceived by Abraham Campillo, founder of the multidisciplinary design practice Mouthwash Studio, Café Tondo brings Campillo’s version of Mexico to Los Angeles. Despite the diversity of Los Angeles, it lacks the kind of layered, communal spaces that Mexico City and other Latin American capitals do so well. Campillo drew on artistic references, personal memories,and his own upbringing to design a space that feels both intimate yet expansive, vibrant yet comforting—a true reflection of the Mexican cantina and the “third spaces” he aimed to capture.
Occupying a former tire shop, its industrial framework is carefully preserved and softened through layers of texture and warmth. Exposed concrete floors and traces of the building’s past provide an authentic foundation, beautifully contrasted with handcrafted furnishings from Mexico City by Umbia Studio, interior design interventions by Aunt Studio, and curated objects sourced from Mexico City by Bugambilia. Together, these collaborators have created a space that merges authenticity, design mastery, and personal nostalgia.
Café Tondo evening exterior
Mouthwash treats Tondo as an extension of its broader creative philosophy. It is easy to see why the studio was once referred to as a “culture engine”—a description Campillo shares jokingly, but one that feels entirely fitting for the creators of Café Tondo. Design thinking informs every detail, from the layout of the seating and the selection of objects to the programming of collaborations and events with other artists. This mindset transforms the café into more than just a place to eat or drink; it becomes a living, evolving canvas.
Yet the defining feature of Café Tondo is not its design, but its spirit of community. Campillo describes the people as the true heartbeat of the space—an ever-evolving environment that is not only created for, but shaped by those who inhabit it. Weekly bolero performances, salsa nights, and live bands transform the café into a hub for creativity and cultural exchange, where people can gather at any time of day and participate freely. “It’s not about the walls,” he explains. “It’s about the people and the memories.”
In conversation, Abraham Campillo explores how Café Tondo exists as a space where design, community and culture intersect, tracing its story from early inspirations to exciting future plans.
The Greenhouse, featuring furniture by OMBIA Studio and ceramics by Bugambilia
Cantina tables and chairs by OMBIA Studio, lamp shade by Bianca Augustine
| Zachari Gotmy | I guess, first and foremost, a Mexico City-inspired café/bar in Chinatown, Los Angeles—can you share a little bit about the ethos and vision behind Café Tondo? |
| Abraham Campillo | Yes, it was created and exists to provide a “third space” that I think make cities, like Mexico City and New York, unique. There is also a strong personal sense, you know. I'm Mexican, and for me, it mirrors a lot of the things that I grew up with. Between the music, the food, the design, and the overall ambience, I think it was created to just mirror the things that I love about Mexico, and Latin America in general. |
| ZG | The presence of Mouthwash Studio can be seen throughout the space. How did coming from a design studio affect the creation of Tondo? |
| AC | The philosophy or mission of Mouthwash has always been to influence culture. Someone once referred to us as a culture engine, which I thought was funny. [Coming from a design studio] helped a tonne though, because everything we do is designed. It helps us through design thinking obviously, but also how we solve problems. It's almost like an operating system, in a way. It always gets updated and we're just constantly designing and iterating. I think a bar or restaurant needs so much of that, so it felt very natural to jump into this space—even though it was foreign… We've never done this before, but I always felt like we could do it because I firmly believe in our design thinking. Design also helps [bring in] the community. When we did our billboard, we were able to work with ABC Dinamo, which was so fun. In addition, we are reaching out to Actual Source and a few other design studios to help with collaborations. So yes, I think that’s where we start to see [Tondo] as more of a culture hub than a restaurant or bar, where people also come to visit and buy beautiful things that they can take away to their homes. I think that's what coming from a design studio makes you appreciate, and then be able to actualise when you have a restaurant. It's almost like a canvas for all the stuff that we want to design, do, and host. |
| ZG | You worked with some really cool collaborators for Tondo. Can you share a little bit about that process of working with Ombia Studio, Aunt Studio, and Bugambilia? |
| AC | We had 75 days from when we first got the keys to opening. It was a very stressful 75 days to be honest! But I can't think of better people to have done it with. I'm hugely inspired by all three of them. They're also some of my closest friends, so it felt really nice to be able to work with them and then to be able to celebrate with them when it was all said and done... We’re still working with them, and I think we'll keep working with them as the space continues to grow. It felt right to work with Aunt, because we worked with them on our office space and consider them lifelong collaborators. They did such a good job and treated it like it was theirs. And then Christina from Ombia Studio does all her [furnishings]in Mexico City. She knew exactly what we were going for and brought that cantina vibe with the furniture. And then Bugambilia is based in Mexico City. He's the sweetest person in the world, but also has such a great eye. It just felt very natural working with them, because I didn't even have to explain myself half of the time. So yes, 10 out of 10—would do it all over again with them. |
| ZG | The space is filled with all of these beautiful design features and objects. Is there an feature or object that has any special backstory or significance for you? |
| AC | It's hard to single out one, but I think the paintings because they were sourced from Mexico. Anytime I go, I try to [collect] art. I grew up Catholic so there's a Virgin Mary in the bathroom, which is super insane, and then there's some paintings throughout the space that are just really old, like 18th-century Mexican. There’s also some personal ones, which came from my house as well, so it feels really nice to see them in a different context. I'm a huge believer in living with art, because I think it's different than going to a museum. I think things that you live with mirror you, so it’s nice to have a little bit of home in spaces that I spend a lot of time, like my office or Tondo. |
| ZG | Culture and community are clearly a very important part of Tondo. From bolero nights to DJs, I was wondering if you could share a little bit about how community influences the identity of Tondo? |
| AC | I think the community is Tondo. To me, it's not about the walls, it's the people, it's the memories. It's almost more about community and culture than it is the food or the drinks. Obviously, we want to do those well. But at the end of the day, people go there to see their friends, to hang out, to dance, to listen to live music, and hopefully to also get inspired. It's a beautiful space with beautiful people, and I think that aspect of community is more important to us than the transaction of a restaurant. For us, it's not about just being transactional—that’s the baseline—it's about being genuine. A good example of this is that on Tuesdays we pay to have live bolero music, and people can just come and listen for free, even if they just want to stop by for one drink. That is the risk we take, but then we see people start to gather. Additionally, we often pay to have salsa instructors and a live band come in and host salsa nights. There are no ticketed events. To me, the community really is Tondo. It's the heartbeat, and that might be weird for a restaurateur to say, but we're open all day because we believe LA needs more third spaces. So yes, that’s why you can pop in at 8am, or at 2am somedays. Although it is very hard to execute, that community aspect really motivates us to be open for those hours. |
| ZG | Existing as a true third space is difficult. How did you approach creating a space that could host both intimate café moments in the day, as well as high energy nightlife moments? |
| AC | We started with a question, “What does the future of the café look like?” And I think the answer to that is closely connected to the questions, “What does the modern individual need?” and “What does their life look like?” I think we're a large part of the target audience so, when I try to answer those questions, I think about a space that you can go to before work to get something small to eat or drink and maybe read a book, a place you can go for brunch with some friends, and a place you can go after work or on the weekends. So yes, it was almost like, could those be mixed? That multiplicity is really interesting. In addition, part of my critique of LA is that it is so reservation-heavy—not just LA, but most places—so that also influenced Tondo as well. Can you create a place where a large group can go, without a reservation, and know that the vibes are going to be there? I think being open from morning to night naturally creates this cadence, like the energy is naturally calmer in the morning and then it kind of ramps up at night. |
| ZG | Speaking of your musical events, was that something you always had planned for Tondo? And do you have any plans for future events? |
| AC | Yes, 100% that was always part of the vision. Regarding the future, we have a lot of stuff planned. The World Cup next year will be big, and then we have Coachella as well. We will work with some of the artists that are going to be there in the in-between week and host them at Tondo. So yes, lots to look forward to regarding future collaborations. I think Tame Impala was one of the first, but definitely not the last to perform at Tondo. I see music as a huge protagonist in our story, and that was always the intent. |
| ZG | Thinking back to the early days, was there a dish, pastry, or beverage that you knew had to be on the menu from day one? |
| AC | Yes, the easiest question of the day! Concha for sure. I knew we had to nail the concha and the Café de Olla. Those two were the ones that we were like, “100%, we must have.” |
| ZG | Does the visual identity of the space dictate how the menu is curated? Or are those two things separate? |
| AC | I think the identity is that it’s an all-day Mexican café/bar. We have one menu; you can get coffee and pastries all day. It's fairly simple. We have individual items that you can stack and enjoy on beautifully handcrafted, natural wooden tables or you can go outside and eat on a crate, and I love that. |
| ZG | As Café Tondo continues to grow, are there any things in particular that you're excited to explore or introduce to the space? |
| AC | We have some new speakers that we're working on with [Zac Benloulou], who is extremely talented… He runs Pavilion Audio Systems out of Victoria, Canada. It will be almost similar to Public Records in New York, but we will have some speakers indoors as well as some outdoors. So yes, I'm very excited about that, especially with our upcoming music events next year. |
Aunt Studio |
Founded by Noam Saragosti, who also serves as director of the historic Neutra VDL House in Silverlake, LA, and Juhee Park, Aunt Studio helped to transform Café Tondo from a former tire shop into a space that feels simultaneously industrial and inviting, blending light, spatial flow, and texture to create a space that can host quiet mornings, lively evenings, and everything in between. Their collaboration with Abraham Campillo extends beyond Tondo, having previously worked together on Mouthwash Studio’s office space. Bringing a deep understanding of Campillo’s design sensibilities and vision for a communal, culturally rich space, their interior design work ensures that every corner of Tondo feels thoughtfully composed yet effortlessly alive, setting the stage for the café’s signature atmosphere |
| Zachari Gotmy | Was there an aspect of your collaboration with Café Tondo that really inspired you? |
| Noam Saragosti | I want to start by mentioning my partner at Aunt Studio, Juhee Park. We did every part of this project together. What inspired us most was getting to work with so many collaborators on a space that feels unlike anything else in Los Angeles. The building itself is this modest little neon-lit Streamline Moderne structure tucked under the Metro A Line that sits on a small triangular wedge, where a few major streets meet. Inside, it breaks into six quirky rooms, each with traces of its past lives—a French bar, an acupuncture clinic, even a mechanic shop. Juhee and I loved that the owners chose this site for Café Tondo. It already had character and history baked in. We were also really happy to work with Cristina Moreno of Ombia Studio, who is a close friend of Abe’s, again. Her furniture takes cues from traditional Mexican cantinas, with fun details like a bottle holder carved into a table leg or skirted bar stools that hint at white-tablecloth dining. Everything is made from wood, fabric and metal sourced in Mexico, so it brings this warmth and tactility to the space. We also collaborated with [Bianca Augustine of] Augustine Ceramics on custom lighting. Her lamps have these textured paper shades, deep red ceramic bases, and red stitching that ties back to our curtains—they add such a cosy glow. Abe and Isabella Marengo of Bugambillia curated all the artworks and artefacts, which adds another layer of discovery as you move through the café. |
| ZG | You and Abe are obviously more than just collaborators. How was it working together? And do you guys have any plans for future collaborations? |
| NS | We always love working with Abe. He’s an incredible creative director—he sees things clearly, moves quickly, and has this amazing ability to balance high and low. That’s something Juhee and I share, and it makes collaboration with him feel really natural. We each bring our own backgrounds and references, and they mix in ways that surprise all of us. We’d already worked together before Café Tondo. Aunt Studio designed the office for Abe’s design studio, Mouthwash, and before that Mouthwash did the branding and website for the Neutra VDL House, which I direct. Both of those projects had tight budgets and timelines, and instead of being stressful, it actually pushed all of us to be more inventive—to make something great out of very little. Abe has a great radar for when to take a bold leap and when to hold back. That makes the design better every time. And yes, we’re definitely planning more together. I can’t talk about it yet, but there’s more coming. |
| ZG | The space at Café Tondo has lived many lives. Did this aspect of the property’s past influence the design? And if so, in what ways did you aim to capture this layered history through the design? |
| NS | Definitely! We were really drawn to the fact that this small building has gone through so many identities—from a mechanic shop to an acupuncture clinic to a French restaurant—and that you could still see hints of all of them. Instead of wiping the slate clean, we wanted to work with that history. We made a lot of deliberate choices about what to keep, what to remove, and where to add something new. We kept the scuffed floors, the painted brick, the exposed wood, and the metal ceilings—all of those textures tell the story of the building. Then we layered in new elements that quietly tie everything together. One big move was a continuous, earthen-red plaster datum that runs throughout the café. It marks thresholds, frames windows, and creates little niches for the owners’ objects and artwork. In certain spots, we embedded traditional Mexican tiles that [Abe] handpicked. It gives the feeling that parts of the space have been there for ages, almost like a small architectural ruin. To balance out that softness, we added details that play off the mechanic shop history and the presence of the train overhead, like a triangular steel clock, mirrors that stretch and dissolve the space, and metal kitchen doors with circular translucent portals. These new elements sit comfortably next to the old ones, so the whole place feels layered, lived in, and a little mysterious, in the best way. |
ŌMBIA Studio |
Founded by Cristina Moreno, ŌMBIA Studio contributed one of the most defining elements of Café Tondo: its bespoke, handcrafted furnishings. Inspired by Mexico City’s cantinas and the warmth of everyday domestic life, ŌMBIA’s pieces merge artistry with utility—from chairs designed to feel as comforting as your grandmother’s to tables with built-in bottle holders that encourage social interaction. Having shared a friendship and a love of Latin culture with Campillo for years, Moreno’s involvement extends beyond design. Rather hers is a personal investment in Tondo’s commitment to bring a vision of home, hospitality and community to Los Angeles through tangible, functional art. |
| Zachari Gotmy | Can you tell us a little bit about your relationship with Abe and how this collaboration came to be? |
| Cristina Moreno | Abe and I have been very good friends for a couple of years now. We connected through the design world, but what really brought us close was our shared love for Latin culture. We always spoke about how a good Latin spot was missing in LA: somewhere that felt like a home, that had great food, where you could dance, and feel a sense of community. We talked about it so much that, when he decided to do it himself, I really wanted to find a way to be a part of it. I decided to invest and create furniture for the space. |
| ZG | The furniture in Café Tondo is one of the most defining features of the space. Can you share a little about the design process and the inspiration behind the pieces? |
| CM | All the furniture is inspired by Mexico City; it's an ode to their traditional cantinas. For the past four years, I have lived and spent a lot of time in Mexico, and I wanted to make sure I brought this energy into the furniture. There are so many details that were important for me to translate into what ultimately I created. The bar stools are my interpretation of the white tablecloths; the tables have bottle holders in the legs, which are used to create more space on the table to play games; and the chairs are meant to feel warm, like your grandma’s furniture. It’s a feeling that you have everywhere you walk in Ciudad de México. |
| ZG | Your pieces often blur the line between art and utility. In the context of Café Tondo, your furniture becomes part of people’s everyday routines, whether in the morning or at night. How do you define its success—is it about how it looks, how it’s used, or the feeling it leaves behind? |
| CM | I think it encompasses all of these. For me, a good piece of furniture needs to be something that catches your eye at first sight, there needs to be an allure; but then the functionality aspect is also so important. I want people to always enjoy and be comfortable in what I create, and leave a space remembering that piece. |
Bugambilia |
Founded by Isabella Marengo, Bugambilia’s contribution to Café Tondo goes way beyond decoration. It brings the soul of Mexico into the space through carefully selected objects that are as personal as they are beautiful. Inspired by the colours, textures and traditions of everyday life in Mexico, each piece—from hand-painted ceramics to sculptural accents—carries a sense of memory. Guided by the space itself, Mareengo’s curation allows the objects to find their place organically and to create a dialogue between the café and its visitors. The result is a space in which every object feels as if it has always belonged, seamlessly weaving into Tondo’s layered design. |
| Zachari Gotmy | Can you share a little about the story behind Bugambilia? |
| Isabella Marengo | Bugambilia began as a feeling, before it became a brand. The name comes from the bougainvillea flowers that are everywhere in Mexico—bright, overflowing, almost impossible to contain. I grew up surrounded by them, and for me they’ve always symbolised home, memory, and the emotional abundance that my culture carries. Bugambilia is my way of honouring that. It’s a collection of pieces, inspired by the textures, objects and atmospheres that shaped me—the silver jewellery my mom and aunts wore, the ceramics on my grandmother’s table, the colour of houses in the afternoon Sun, the quiet rituals that make a home feel lived-in. Everything I create, or curate, for Bugambilia is meant to feel personal, warm, and a little nostalgic, like something you’ve known forever but didn’t realise you were missing. It’s less about trends and more about emotional resonance, objects that hold memory and become more meaningful the longer they’re with you. |
| ZG | The curation of objects within Café Tondo is so beautifully unique. How did you source most of these items? And were there any special processes for your collaboration with Café Tondo? |
| IM | This project was truly a dream. Café Tondo already has such a distinct atmosphere: warm, intimate and thoughtful. The space itself guided the objects. It never felt like I was “decorating,” more like I was listening to the room and responding. I source in a very instinctive way. A lot of it comes from Mexico—from vintage markets, small ceramic studios, and the kinds of home goods shops I grew up going to with my mom. My whole family is constantly on the lookout for pieces for me now, which is very sweet. But I also do a lot of deep diving online—following a thread, a technique, a shape—and seeing where it leads.
For Café Tondo specifically, I gave myself a brief: to highlight the range of craft across different regions of Mexico. I loved the idea of people sitting in this café in Los Angeles, drinking coffee, and being surrounded by quiet traces of Oaxaca, Puebla, Tonalá, Veracruz, etc., each piece carrying the memory of its place and maker. There are hand-painted talavera from Puebla, burnished ceramics from Tonalá, stone sculptures from Mérida, and plates from Oaxaca. Every object has a story, and bringing those stories into a space where people gather felt very meaningful. |
| ZG | The items sourced for Tondo fit so effortlessly into the space, while still being able to sing individually. Is there an object that you feel carries the conversation or took on a leading role within your collaboration? |
| IM | I wouldn’t say one piece necessarily led the conversation, no. What I loved about this project was how everything felt in dialogue with one another. But there was one that stood out to me: a vintage talavera sconce that Noam decided to place in a small nook. The moment it went up, it felt like it had always belonged there. I love when those serendipitous moments happen—when an object finds its perfect place, almost on its own. |
Interiors by Aunt Studio
Bar stools by OMBIA Studio
Concha and Pan de Elote
Different Times typeface designed by Dinamo
*Credits