Lunasol, the ‘Quin House’s New Restaurant, Is a Vibrant, Playful Escape

Double doors painted a vibrant yellow hue with geometric paneling signal that a unique dining experience awaits inside. / Photo by Jenna Peffley

This article is from the spring 2025 issue of Boston Home. Sign up here to receive a subscription.

The ’Quin House’s newest restaurant, Lunasol, is a riot of color and pattern. It’s entirely unexpected and endlessly layered—at every turn, there is something captivating. References to the natural world abound: There are hummingbirds, parrots, beguiling monkeys, lush tropical flora, and starbursts incorporated into the décor. “There’s a playful sense of humor about the space and nothing too serious,” says Ken Fulk, who took cues from Latin and South America as he set the scheme.

Concepting The ’Quin’s fourth restaurant since it opened in 2021 was a process that evolved gradually. “Despite being housed in this incredible historic building, we always want to be sure that it grows and changes as a place so it’s fun and lively, vibrant and convivial,” says Fulk, noting that Lunasol is a “delightful departure” from the club’s other spaces. Housed in the former Sun and Moon Parlors, which were very formal gathering spots devoted to private events, the second-floor space is utterly unrecognizable from its previous incarnation.

It’s a slow reveal by design: “I love a surprise,” Fulk says. From the landing, the doors to the restaurant remain closed, but as one approaches, the orange-painted double doors and plaster walls spur intrigue, beckoning one to step inside where “an intentionally beautiful mélange of pattern and color awaits,” says Fulk, who strove to create a transformative experience that echoed and mixed the rich cultural traditions of countries including Argentina, Mexico, and Peru.

Both walls and ceiling are painted in a trompe l’oeil mural depicting a fantastical tent by artist Deborah Phillips. / Photo by Jenna Peffley

Work by Latin American artists, including Fernando Botero, Jorge Pardo, and Efrain Almeida, adorns the walls. Fulk considered designing tile to be inset into the wood floor, but he reconsidered in favor of carpet, which is equally appealing and softer underfoot with better acoustics. / Photo by Jenna Peffley

Archways defining the two dining areas are embellished with ornate ironwork and stained-glass details. In one room, a tented trompe l’oeil mural is both dramatic and enveloping, while handstenciled plasterwork comprises the walls in the adjacent space. Patterns are found everywhere, even underfoot, where you’ll catch yourself looking down during dinner to marvel at the inlaid parquet (made of salvaged antique wood) or the vibrant geometric carpet. Upholstered in bold fabrics, all furnishings are bespoke and deeply considered, right down to the handcarved wood service stations.

“It’s pattern on pattern and color on color—though it’s almost insane, it’s not too much because it becomes a holistic experience,” Fulk says. “People love color, but they aren’t sure how to live with it. If you just do an accent wall, it’s going to be louder than you think, but you step into this saturated space, and it becomes an immersive experience.”

Photo by Jenna Peffley

First published in the print edition of Boston Home’s Spring 2025 issue, with the headline, “Full Immersion.”