Maison Francois Iṣẹ́ Àkọ́kọ́: Ilé Oúnjẹ láti ọwọ́ John Whelan - GSL

Maison Francois Iṣẹ́ Àkọ́kọ́: Ilé Oúnjẹ láti ọwọ́ John Whelan - GSL jẹ́ aṣẹ́gun olókìkí púpọ̀ ti 2021 Àmì-ẹ̀yẹ Fàdákà A' Design Award nínú Ẹ̀ka Ìdíje Àpẹẹrẹ Ìgbàlejò, Ìsinmi, Ìrìnàjò àti Àṣàrìnrìn.

FàdákàÌgbàlejò· 2021

Maison Francois Iṣẹ́ Àkọ́kọ́: Ilé Oúnjẹ

látọ̀wọ́ John Whelan - GSL

Oníbàárà: The Guild of Saint Luke

Aṣẹ́gun Àmì-ẹ̀yẹ Fàdákà A' Design Award nínú Ẹ̀ka Ìgbàlejò

51,886

Aṣẹ́gun Àmì Ẹ̀yẹ Tí a Jẹ́rìísí

Jẹ́rìísí Ipò Àmì Ẹ̀yẹ fún #123843

Ṣàbẹ̀wò Ojú Òpó Wo ní A' Design Award Ìwé Ìròyìn Àmì Ẹ̀yẹ

Àwọ̀

Àpẹrẹ Náà

Nípa Maison Francois Iṣẹ́ Àkọ́kọ́: Ilé Oúnjẹ

Maison Francois jẹ́ ilé oúnjẹ tí ó ní ìwọ̀n mítà onígun mẹ́rin ẹ̀ẹ́dẹ́gbẹ̀ta (500), tí a ṣẹ̀dá nínú kọ́ǹkẹ́rìtì tí kò ní nǹkan kankan. Àjà tí a ṣe lọ́ṣọ̀ọ́ pẹ̀lú àwọn ihò onígun mẹ́rin jẹ́ láti inú ohun èlò tí ń dín ariwo kù tí a fi àwọ̀ tí ó dàbí símẹ́ǹtì kùn láti bá ilẹ̀ kọ́ǹkẹ́rìtì tí a fọ́ mọ́lẹ́ mú. Àwọn ibùjókòó gígùn tí a fi igi wọ́lnọ́ọ̀tì ṣe pẹ̀lú àwọ̀ gíláàsì aṣírí ní òkè ni a fi ọ̀gbọ̀ aláwọ̀ ìpara wúrà (cream) ṣe lọ́ṣọ̀ọ́, àwọn aṣọ ìkélé tí ó jẹ́ ọ̀gbọ̀ aláwọ̀ ìpara wúrà láti orí àjà dé ilẹ̀ sì ń dọ́gba pẹ̀lú aṣọ ọ̀ṣọ́ ògiri terracotta àti àwọn ọ̀nà onígun tí ó ní dígí. Iṣẹ́ igi náà wà nínú igi wọ́lnọ́ọ̀tì àti mahọ́gánì, pẹ̀lú iṣẹ́ irin idẹ àti nikẹ́lì tí ó ti gbó lọ́ṣọ̀ọ́. Àárín gbùngbùn ibi tí ń fi oúnjẹ jáde jẹ́ ohun àfiyèsí pàtàkì nínú yàrá náà ó sì so ilé ìdáná pọ̀ mọ́ ibi ìjẹun.

Ìdánimọ̀ Náà

Nípa Àmì-ẹ̀yẹ Fàdákà A' Design Award

Maison Francois Iṣẹ́ Àkọ́kọ́: Ilé Oúnjẹ jẹ́ olùborí Àmì-ẹ̀yẹ Fàdákà A' Design Award, ìdánimọ̀ onípọ̀nlé lọ́nà àrà ọ̀tọ̀ tí a fún àwọn àwòṣe ìpele gíga jùlọ tó dára tó sì ń kan ọkàn. Àwọn olùborí Fàdákà jẹ́ àwọn iṣẹ́ tó ń tàn yòò gidigidi tó sì ní ìṣẹ̀dá púpọ̀ tí wọ́n ń ṣàfihàn ìmọ̀ ìjìnlẹ̀, ẹ̀bùn àti ìmọ̀ràn àwọn olùṣàwòṣe wọn. A retí pé Maison Francois Iṣẹ́ Àkọ́kọ́: Ilé Oúnjẹ yóò jẹ́ iṣẹ́ àgbàyanu, àpẹẹrẹ rere, ti ọ̀jáfáfá lọ́nà tó ṣe pàtàkì tó sì ní ìmúṣẹ̀dá tuntun jinlẹ̀. Àwòṣe tó borí Àmì-ẹ̀yẹ Fàdákà A' Design Award yìí jẹ́ ohun ìmúṣẹ̀dá tó hàn gbangba gidigidi tí a mọrírì tó ń ṣe anfàní tó sì ń tì ààlà iṣẹ́ ọnà, sáyẹ́ǹsì, àwòṣe àti ìmọ̀-ẹ̀rọ síwájú. Maison Francois Iṣẹ́ Àkọ́kọ́: Ilé Oúnjẹ jẹ́ ẹ̀dá tí ọ̀pọ̀lọpọ̀ ń ṣe ìlara, tó ń jí ìfẹ́ inú, tó ń mú ìmọ̀lára rere wá tó sì ń jí ìyàlẹ́nu àti ìyanu.

Lẹ́yìn Àpẹrẹ Náà

Àkójọ Ìròyìn

Àwọn ẹ̀tọ́, àwọn ọmọ ẹgbẹ́ àti àlàyé ìmọ̀ ẹ̀rọ tí olùṣàpẹrẹ pèsè.

Àwọn Ohun Àkànṣe: Initially, the concrete shell was taken as the starting point, creating a Brutalist ceiling coffering and laying down a polished concrete floor. Once the framework was established, ensuing elements were designed to create that elusive warmth and intimacy. Curved walnut banquettes with privacy glass uppers are upholstered in a resistant cream linen that are tactile and inviting. They correspond with floor-to-ceiling cream linen curtains that offset the grandeur of the imposing terracotta stucco and mirror arches.
Ìwọ̀n àti Àpò: 500 square metres floor space
Àwọn Àkọlé: Restaurant, Brasserie, London
Ìmọ̀-ẹ̀rọ Ìṣelọ́pọ̀: The coffered ceiling was realised in phonic material and painted in faux-cement to match the polished concrete floor. Joinery is in walnut and mahogany, with patinated brass and nickel metalwork. Upholstery and drapery is in cream linen.
Ìpèníjà Àpèsè: The main challenge was the space that was inherited from the landlord. A far cry from the warm and welcoming environment desired by the client, it was a cavernous concrete shell with no discernible features of interest. The façade offered little more by way of inspiration, being part of a somewhat generic new build. It was therefore necessary to think carefully about how the large volume could be animated, and how to create visibility from the street.
Ìwádìí: Much of the research that went into this project had been conducted over several years, working on restoring and re-designing historic brasseries in France. Everything that was learned by the studio during this period was applied to the project, but this knowledge was infused with more contemporary reference points such as Postmodernism and Brutalism in order to evolve the genre.
Ìmísí: Rather than taking the more tried and tested route of looking to the Art Deco period for inspiration, the design looked at successful residential conversions of Brutalist spaces, such as Ricardo Bofill’s, La Fabrica. What interested the team was how the designers managed to create a sense of intimacy and warmth despite their imposing concrete surrounds. The solution was to find the right dosage of these ideas, within a more traditional brasserie framework.
Àkókò Iṣẹ́ Àkànṣe: The project started in September 2019 and opened in September 2020
Ìlànà Ìṣiṣẹ́: Bringing the kitchen into direct conversation with the room was key to creating a vibrant atmosphere, and so the central island pass became the focal point of the room. It sits underneath a monumental Rado inspired clock flanked by a lambs-tongue mahogany and bevelled mirror canopy that recalls the windows of the Ismaili Centre. Metals range from patinated nickel to burnished brass, all heavy on texture and designed to warm up the space.
Àwọn Ọmọ Ẹgbẹ́: Designer: John Whelan for The Guild of Saint Luke
Ìfọwọ́sí Àwòrán: Photography by Oskar Proctor