John Whelan - GSL ᱨᱮᱱᱟᱜ Maison Francois ᱢᱩᱲᱩᱛ ᱠᱟᱹᱢᱤ: ᱡᱚᱢᱟᱠ ᱚᱲᱟᱜ

John Whelan - GSL ᱨᱮᱱᱟᱜ Maison Francois ᱢᱩᱲᱩᱛ ᱠᱟᱹᱢᱤ: ᱡᱚᱢᱟᱠ ᱚᱲᱟᱜ ᱫᱚ ᱯᱟᱦᱩᱱ ᱥᱮᱵᱟ ᱯᱨᱚᱛᱤᱡᱚᱜᱤᱛᱟ ᱵᱷᱟᱜ ᱨᱮ 2021 A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱨᱮᱱᱟᱜ ᱟᱹᱰᱤ ᱢᱟᱱ ᱟᱠᱟᱱ ᱡᱤᱛᱠᱟᱨ ᱠᱟᱱᱟ᱾

ᱨᱩᱯᱟᱯᱟᱦᱩᱱ ᱥᱮᱵᱟ· 2021

Maison Francois ᱢᱩᱲᱩᱛ ᱠᱟᱹᱢᱤ: ᱡᱚᱢᱟᱠ ᱚᱲᱟᱜ

John Whelan - GSL ᱞᱮᱠᱟᱛᱮ

ᱜᱟᱦᱟᱠ: The Guild of Saint Luke

ᱯᱟᱦᱩᱱ ᱥᱮᱵᱟ ᱵᱷᱟᱜ ᱨᱮ A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱡᱤᱛᱠᱟᱨ

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ᱥᱟᱭᱤᱴ ᱧᱮᱞ ᱢᱮ A' Design Award ᱨᱮ ᱧᱮᱞ ᱢᱮ ᱯᱨᱮᱥ ᱨᱤᱞᱤᱡ ᱯᱩᱨᱥᱠᱟᱨ ᱵᱮᱡ

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ᱰᱤᱡᱟᱭᱤᱱ

Maison Francois ᱢᱩᱲᱩᱛ ᱠᱟᱹᱢᱤ: ᱡᱚᱢᱟᱠ ᱚᱲᱟᱜ ᱵᱟᱵᱚᱛ ᱛᱮ

ᱢᱟᱭᱡᱚᱱ ᱯᱷᱨᱟᱸᱠᱚᱭᱥ ᱫᱚ ᱕᱐᱐ ᱵᱚᱨᱜᱟ ᱢᱤᱴᱟᱨ ᱨᱮᱭᱟᱜ ᱢᱤᱫ ᱡᱚᱢᱟᱠ ᱚᱲᱟᱜ ᱠᱟᱱᱟ, ᱡᱟᱦᱟᱸ ᱫᱚ ᱢᱤᱫ ᱠᱷᱟᱹᱲᱤ ᱠᱚᱸᱠᱨᱤᱴ ᱯᱩᱨᱟᱹᱣ ᱵᱷᱤᱛᱨᱤ ᱛᱮ ᱛᱮᱭᱟᱨ ᱦᱩᱭᱮᱱᱟ ᱾ ᱠᱚᱯᱷᱟᱨᱰ ᱪᱷᱟᱛ ᱫᱚ ᱯᱚᱞᱤᱥ ᱦᱩᱭᱟᱠᱟᱱ ᱠᱚᱸᱠᱨᱤᱴ ᱚᱛᱟ ᱥᱟᱶ ᱢᱮᱞᱟᱣ ᱞᱟᱹᱜᱤᱫ ᱡᱚᱛᱚ ᱥᱤᱢᱮᱸᱴ ᱨᱚᱝ ᱛᱮ ᱨᱚᱝ ᱚᱠᱛᱮ ᱦᱩᱭᱟᱠᱟᱱ ᱯᱷᱚᱱᱤᱠ ᱡᱤᱱᱤᱥ ᱛᱮ ᱛᱮᱭᱟᱨ ᱠᱟᱱᱟ ᱾ ᱜᱩᱴᱠᱩ ᱣᱟᱞᱱᱟᱴ ᱵᱮᱸᱠᱩᱮᱴ ᱡᱟᱦᱟᱸ ᱨᱮᱭᱟᱜ ᱪᱮᱛᱟᱱ ᱨᱮ ᱯᱨᱟᱭᱣᱮᱥᱤ ᱠᱟᱸᱪ ᱢᱮᱱᱟᱜ-ᱟ ᱚᱱᱟ ᱫᱚ ᱠᱨᱤᱢ ᱨᱚᱝ ᱨᱮᱭᱟᱜ ᱞᱤᱱᱮᱱ ᱛᱮ ᱠᱷᱚᱡᱚᱜ ᱟᱠᱟᱱᱟ, ᱟᱨ ᱚᱛᱟ ᱠᱷᱚᱱ ᱪᱷᱟᱛ ᱦᱟᱹᱵᱤᱡ ᱨᱮᱭᱟᱜ ᱠᱨᱤᱢ ᱨᱚᱝ ᱞᱤᱱᱮᱱ ᱯᱚᱨᱫᱟ ᱫᱚ ᱴᱮᱨᱟᱠᱚᱴᱟ ᱥᱴᱟᱠᱚ ᱟᱨ ᱟᱹᱭᱱᱟ ᱢᱮᱦᱮᱨ ᱠᱚ ᱥᱟᱸᱛᱟᱣ ᱮᱫᱟ ᱾ ᱡᱚᱭᱱᱟᱨᱤ ᱫᱚ ᱣᱟᱞᱱᱟᱴ ᱟᱨ ᱢᱟᱦᱚᱜᱟᱱᱤ ᱛᱮ ᱠᱟᱱᱟ, ᱚᱱᱟ ᱥᱟᱶ ᱯᱟᱹᱴᱤᱱᱮᱴᱮᱰ ᱯᱤᱛᱚᱞ ᱟᱨ ᱱᱤᱠᱮᱞ ᱢᱮᱴᱟᱞᱣᱟᱨᱠ ᱢᱮᱱᱟᱜ-ᱟ ᱾ ᱛᱟᱞᱟ ᱨᱮ ᱛᱟᱦᱮᱸ ᱟᱭᱞᱮᱸᱰ ᱯᱟᱥ ᱫᱚ ᱚᱲᱟᱜ ᱨᱮᱭᱟᱜ ᱢᱩᱬᱩᱛ ᱱᱮᱞ ᱴᱷᱟᱶ ᱫᱚᱦᱚ ᱠᱟᱱᱟ ᱟᱨ ᱨᱟᱱᱫᱷᱟ ᱚᱲᱟᱜ ᱟᱨ ᱡᱚᱢᱟᱜ ᱴᱷᱟᱶ ᱥᱟᱸᱜᱮ ᱡᱚᱲᱟᱣ ᱠᱟᱱᱟ ᱾

ᱢᱟᱱᱟᱱ

A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱵᱟᱵᱚᱛ ᱛᱮ

Maison Francois ᱢᱩᱲᱩᱛ ᱠᱟᱹᱢᱤ: ᱡᱚᱢᱟᱠ ᱚᱲᱟᱜ ᱫᱚ A' Design Award ᱨᱩᱯᱟ ᱯᱩᱨᱚᱥᱠᱟᱨ ᱧᱟᱢ ᱟᱠᱟᱱᱟ, ᱱᱚᱶᱟ ᱫᱚ ᱥᱩᱱᱫᱚᱨ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ ᱞᱟᱹᱜᱤᱫ ᱮᱢ ᱟᱠᱟᱱ ᱥᱚᱢᱟᱱ ᱠᱟᱱᱟ᱾ ᱱᱚᱶᱟ ᱠᱚ ᱫᱚ ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱠᱚ ᱨᱮᱭᱟᱜ ᱵᱷᱟᱵᱱᱟ ᱟᱨ ᱵᱷᱟᱞᱟᱭ ᱠᱟᱢᱤ ᱡᱷᱟᱞᱠᱟᱣ ᱠᱚ᱾ Maison Francois ᱢᱩᱲᱩᱛ ᱠᱟᱹᱢᱤ: ᱡᱚᱢᱟᱠ ᱚᱲᱟᱜ ᱫᱚ ᱠᱚᱞᱟ, ᱣᱤᱜᱭᱟᱱ, ᱰᱤᱡᱟᱭᱤᱱ ᱟᱨ ᱴᱮᱠᱱᱚᱞᱚᱡᱤ ᱨᱮᱭᱟᱜ ᱥᱤᱢᱟ ᱵᱟᱲᱦᱟᱣ ᱟᱨ ᱫᱩᱱᱤᱭᱟ ᱵᱷᱟᱞᱟᱭ ᱞᱟᱹᱜᱤᱫ ᱜᱚᱲᱚ ᱮᱢ ᱠᱟᱱᱟ᱾

ᱰᱤᱡᱟᱭᱤᱱ ᱯᱤᱪᱷᱟ ᱨᱮ

ᱯᱨᱮᱥ ᱠᱤᱴ

ᱰᱤᱡᱟᱭᱤᱱᱟᱨ ᱧᱮᱞ ᱠᱷᱚᱱ ᱠᱨᱮᱰᱤᱴ, ᱴᱤᱢ ᱥᱫᱚᱥᱭ ᱟᱨ ᱴᱮᱠᱱᱤᱠᱮᱞ ᱵᱤᱵᱚᱨᱚᱬ ᱮᱢ ᱟᱠᱟᱱᱟ᱾

ᱟᱞᱜᱟ ᱜᱩᱱ ᱠᱚ: 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.
ᱢᱟᱯ ᱟᱨ ᱯᱮᱠᱮᱡᱤᱝ: 500 square metres floor space
ᱴᱮᱜ ᱠᱚ: Restaurant, Brasserie, London
ᱛᱮᱭᱟᱨ ᱛᱮᱠᱱᱚᱞᱚᱡᱤ: 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.
ᱰᱤᱡᱟᱭᱱ ᱪᱮᱞᱮᱧ: 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.
ᱜᱚᱵᱮᱥᱚᱱᱟ: 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.
ᱯᱨᱮᱨᱚᱱᱟ: 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.
ᱯᱨᱚᱡᱮᱠᱴ ᱥᱚᱢᱚᱭ: The project started in September 2019 and opened in September 2020
ᱠᱟᱹᱢᱤ ᱦᱚᱨ: 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.
ᱴᱤᱢ ᱥᱮᱫᱟᱭ ᱠᱚ: Designer: John Whelan for The Guild of Saint Luke
ᱪᱤᱛᱟᱹᱨ ᱥᱟᱹᱦᱟ: Photography by Oskar Proctor