In Paris, a Dim Sum Restaurant Finds Bold Ways to Invoke Tradition (Published 2022)

Friedmann & Versace is an interior architecture studio based in Paris, founded in 2018 by Virginie Friedmann and Delphine Versace. The duo specializes in designing restaurants, bars, hotels, boutiques, homes, and custom furniture, emphasizing a sophisticated 'art de vivre.' Their design philosophy centers on creating a dialogue between historical and contemporary elements, using a blend of colors, materials, and objects from various styles and periods to tell a unique story for each project. Notable projects include eateries like Bistrot Rougemont and Baby Doll. The article features an interview with Friedmann and Versace, discussing their approach to narrative design and their inspirations. They delve into two of their recent restaurant projects in Paris: Matilda and La Riviera. The Matilda project began when a client sought to open an Italian restaurant in a space with large windows and Art Nouveau wooden decorations, honoring his Italian grandmother. The designers aimed to retain these existing features while creating a poetic, dreamlike atmosphere. Their inspiration for Matilda came from Milanese reception rooms, the aesthetic of frescoes aged by time, and the elegance of Italian furniture, blending different eras and styles. For La Riviera restaurant, the vision was to evoke an endless summer and a Mediterranean journey. The design draws inspiration from the Mediterranean coast, the scent of pine trees, enameled, raw, and varnished terracotta, the architecture of cruise ships, and the artistic world of Jean Cocteau. The primary challenge for La Riviera was to construct an immersive environment that transports diners to a different setting, despite its location in a busy Paris neighborhood near Gare du Nord, devoid of a natural seaside view. Friedmann and Versace observe that restaurant design trends have evolved significantly over the past decade, with owners increasingly prioritizing distinct designs. Their narrative design approach involves crafting a unique story for every project, focusing on developing lifestyle spaces with soul and personality. They extend their design work beyond mere decoration to include graphic elements such as logos, menus, signage, and the selection of tableware and music, ensuring a cohesive and perceptible story throughout the customer experience. Their French design heritage significantly influences their work. They express admiration for designers like Charlotte Perriand, Roger Capron for his ceramic paintings, and Madeleine Castaing for her patterns. Their earliest design memories include a Gabriella Crespi bronze and rattan lamp and Charlotte Perriand's furniture for Le Corbusier's La Cité Radieuse. They draw inspiration from industry figures such as Janine Abraham and Dirk Jan Rol, appreciating their collaborative spirit, compositional skills, respect for traditional craftsmanship, and shared creations. Dimore Studio is also cited for their singular projects and adept blending of colors, styles, and eras. Virginie Friedmann describes her own home as a Haussmannian apartment in Paris, characterized by large windows, velvet accents, green-hued lamps, and a mix of contemporary and vintage furniture, ceramics, candles, and plants. The studio has several upcoming projects, including two new restaurants in Paris slated to open by year-end: one designed as an Estancia's winter garden in the 8th arrondissement and another as a warm, elegant country house with a fireplace in the 13th arrondissement. In 2020, they plan to complete two houses near Paris, a skin studio concept, and a showcase at Hotel Lutetia. For leisure reading, both designers enjoy lifestyle magazines, and Delphine Versace recently reread Virginia Woolf's "A Room of One’s Own." #InteriorDesign #RestaurantDesign #ParisianDesign #NarrativeDesign #FrenchDesignCulture #DesignInspiration #FriedmannVersace #HospitalityDesign #ResidentialDesign

The author, Camille Dubuis-Welch, recounts her recent trip to Paris, highlighting four interior design trends observed in various establishments, including homes, stores, cafés, and restaurants. The first trend identified is "Bibliothèque charm," inspired by a visit to the Cravan bar in Saint-Germain-des-Prés. The bar's Rizzoli Library on the second floor, designed by Ramy Fischler, showcased a cozy yet luxurious aesthetic. This space featured red velvet couches, Parquet de Versailles wooden floors, and a combination of built-in and free-standing bookshelves. The color scheme was neutral, complemented by clean lines and angular furniture, creating an open yet intimate atmosphere. This observation reinforced the "Bookshelf wealth" trend, prompting the author to consider incorporating similar design cues into her own reading nook. The second covetable trend is the "hint of unexpected marble." While marble is traditionally associated with kitchens and bathrooms, the author noticed its subtle integration into Parisian decor through accessories, statement lamps, and small side tables. This observation broadened her perspective on marble, suggesting its use in less conventional ways to enhance a home's aesthetic, particularly when aiming for a "Paris Grandma Aesthetic." This trend encourages a fresh approach to incorporating luxurious materials in unexpected details rather than solely in large-scale applications. The third trend is the striking "Red and white" color combination. Although summer color palettes often lean towards peach tones, the author found herself drawn to the classic red and white scheme prevalent in Parisian settings, including outdoor bistro chairs at Bar Bisou Paris. The article notes that by toning down the red and warming up the white, a high-contrast yet livable design can be achieved. An example from Les Bains Paris hotel illustrated how a rustier red paired with white can create an effortlessly cool and inviting space, especially when combined with sculptural furniture to add visual interest. Finally, the author observed a trend towards "Exaggerated sculptural decor." Examples included silver hot air balloons in Louis Vuitton window displays and voluminous light shades in restaurants. This trend suggests using subtle yet dramatic elements, such as curvaceous furniture or unique ceramic pieces, to elevate traditional Parisian interiors. The interplay of fluid shapes with angular architectural features, like marble hearths, can soften a space. The author also notes the use of gold and silver accents to inject life into a room. These observations collectively provide practical and inspiring ideas for readers looking to infuse their homes with a modern French aesthetic, moving beyond conventional country-style interpretations.

Atelieramo, a design studio, has completed the interior design for Bao Express, a Chinese restaurant located near Bastille in the 11th arrondissement of Paris. The restaurant specializes in dim sum and bao buns and is housed in a former button factory, encompassing a 500-square-metre space. The interior concept, overseen by architect Tala Gharagozlou and designer Virginie de Graveron, draws inspiration from the architecture and pop culture of 1970s Hong Kong, particularly its cha chaan tengs, which are traditional greasy spoon cafes. The design aims to create distinct yet interconnected spaces within the restaurant, consisting of a bakery, a diner, and a basement bar. The studio’s approach was to reinterpret elements of Hong Kong’s urban atmosphere, incorporating pastel colors, colored pavings, neon lights, and a rich mix of patterns and motifs. The intention was to evoke a unique atmosphere for Bao Express rather than simply replicating a specific decor style. Significant structural alterations were made to the abandoned building, including modifications to floor plates, the addition of a new staircase, and reconfigured circulation paths. Upon entering from the street, customers encounter a bakery and cafe area that serves snacks for dine-in or takeaway. This front section, which appears as a simple neighborhood cafe, discreetly leads to the larger dining areas located deeper within the building. The kitchens are designed to be visible from the street, and guests walk past displays of colorful raw produce before passing through a metal curtain to access the main diner. The main dining space features comfortable booths with curved wooden frames, complemented by pastel-green walls. Custom-designed bright-red sconces and mosaic panels, which mimic the materials of the central bar, provide contrasting accents. Towards the rear of the building, a larger dining area is situated under an expansive skylight, making it bright and airy. This space is adorned with plants, creating a winter garden-like dining experience. The exposed masonry walls are painted in a celadon-green shade, forming a playful color palette with peach and pink elements visible in the glossy tabletops. The design studio’s use of color and pattern extends to geometric tiled floors and bold black-and-white stripes painted on the walls of the staircase that descends to the basement bar, named Underpool. The Underpool bar area features a distinctive hammered-metal ceiling installation created by French artist SupaKitch. The rippled surface of the artwork reflects the bar's blue-green interior, designed to give the impression of looking up at an inverted swimming pool. Bao Express is part of a family of eateries in Paris owned by restaurateurs Céline Chung and Billy Pham, with Atelieramo having designed several of their establishments, each with a unique character inspired by different facets of Chinese culture. The project highlights a contemporary interpretation of traditional Hong Kong diner aesthetics in a Parisian setting. #ChineseRestaurant #ParisInteriorDesign #Atelieramo #HongKongDiner #RetroDesign #RestaurantInterior #CulturalInspiration #SupaKitchArt #UrbanAtmosphere

The article explores the Parisian apartment of Benoît Rauzy and Anthony Watson, founders of the design studio Atelier Vime, in Saint-Germain-des-Prés. The apartment, originally Rauzy's childhood home, embodies a deep connection to the past through its blend of family heirlooms, vintage furniture, and the couple's contemporary wicker designs. Rauzy's parents moved into the two-floor flat in 1953, a time when the neighborhood was a hub for artists and intellectuals. His father, a dentist, ran his practice from the first floor, serving the diverse residents of the area. Decades later, Rauzy and Watson have transformed the apartment into both a living space and an occasional showroom for their work, maintaining much of its original character. Atelier Vime specializes in making wicker furniture relevant again, drawing inspiration from Modernist designers like Charlotte Perriand and Tito Agnoli. Their journey began 16 years ago with a collection of woven furniture. In 2014, after purchasing an 18th-century hôtel particulier in Vallabrègues, they discovered its history as a basket-weaving workshop, which inspired them to start their own business. With the help of Raphaëlle Hanley, a former creative director at Yves Saint Laurent, they began dealing in vintage pieces and producing their own designs, known for balancing handcrafted warmth with refined forms. Their creations range from leaf-shaped wall sconces to daybeds with scalloped rattan skirting, including the signature Aramis pendant lamp, which requires extensive braiding. For Rauzy, the Paris apartment is a repository of memories, largely unchanged since his return in 2002 to care for his ailing father. The home's entrance leads into a small galley kitchen painted deep forest green, featuring modular plastic Kartell storage units from Rauzy's parents. The space unfolds through an enfilade of narrow rooms with worn herringbone parquet floors. A small lounge showcases a 1940s raffia armchair by Adrien Audoux and Frida Minnet, alongside wicker panels from Atelier Vime displaying 19th-century ceramic plates. The dining room contrasts a white lacquered Eero Saarinen tulip table with historical wooden antiques, including an 18th-century rosewood commode that belonged to Rauzy’s grandmother and an empire armchair with tapestry upholstery. The apartment is also filled with an extensive art collection, primarily 1920s and 1930s works acquired at auction. Notable pieces include an oversized plaster bust by Margaret Cossaceanu, a smaller terra cotta bust by Josep Clarà, and wartime pencil drawings believed to be by Marcel Duchamp. Many artworks were acquired through exchanges with artist friends of Rauzy's parents, who often stayed in the apartment's former maid’s suite, now a guest room. This tradition continues with Rauzy and Watson, who collaborate with artists like Wayne Pate for rattan and hammered-copper cabinets and Marie Victoire de Bascher for hand-printed linen tablecloths. These collaborations foster a sense of community, reflecting a natural way of living that honors both personal history and artistic connection. #ParisApartment #AtelierVime #WickerFurniture #HomeDesign #InteriorDecoration #HeirloomFurniture #ModernistDesign #ArtCollection #SaintGermainDesPres

Carlo's, a new American-Italian restaurant in Manila, sets a new standard for experiential dining by blending the vibrant spirit of New York's Little Italy with old-world charm. Designed by JJ Acuna, the restaurant is situated on the ground floor of a modern commercial building, a location that prompted Acuna to imbue the space with vitality while incorporating unexpected touches of traditional elegance. The design features a dark raw walnut floor, green beadboard timber millwork, and sheer curtains adorned with woven green ribbon, all contributing to an atmosphere that harks back to the unique hospitality brought by Italian immigrants to New York. The interior design of Carlo's is characterized by a strong narrative, combining a retro Italian aesthetic with a polished, contemporary edge. The color palette is rich, featuring deep burgundies, profound pine green, and mustard accents, meticulously chosen to evoke the typical textures and colors found in Little Italy's eateries. Acuna collaborated with skilled local artisans to craft the diverse material finishes, signage, and furnishings, ensuring authenticity and a personalized touch. Custom-made ceiling lamps and sconces illuminate the dining areas, while original 'Akari' paper lamps serve as a subtle nod to the owner's Japanese heritage. All graphic elements were developed by the emerging studio Kix Suarez. The 190 sq m rectangular space is thoughtfully divided into four distinct zones, each with subtle variations in decor that define its character while maintaining a natural, cohesive flow throughout the restaurant. The main dining room embodies a classic Italian feel, complete with an oak coffee-to-cocktail bar, an antique brass-framed mirror, and hand-plastered walls. The central area, dubbed Nonna's Open Kitchen, evokes a sense of nostalgia with its terrazzo flooring, poured in the traditional manner, complemented by brass trims and whimsical green tartan counter seating. A striking white-tile pizza oven, imported from Anagni—a medieval hill town between Rome and Naples, and a birthplace of pizza—serves as a focal point in this section. Towards the rear of the restaurant, banquettes offer more intimate dining experiences. These are framed by a geometric motif rendered in three shades of burgundy, adding a sophisticated visual element. For the semi-private dining room, recycled PET fiber wallpaper from Omexco in Belgium introduces a playful texture. An American influence is woven into the design through vibrant art pieces by contemporary artists such as Mr Star City, Nicasio Fernandez, Brian Calvin, and Megan Whitmarsh, all chosen to reflect Carlo’s creative and eclectic character. The culmination of these design choices is a vibrant, inventive, and cohesive space that successfully captures the authentic spirit of Italy, infused with both New York and Manila influences. Carlo's functions as a relaxed, friendly, and design-led all-day destination. Its menu remains true to its Italian roots, offering a wide array of options from morning cappuccinos to classic antipasti, primi, secondi piatti, and cocktails. Notably, the 18-inch vodka pizza and Aperol spritz come highly recommended, completing the immersive dining experience at Carlo's, located at the Asian Century Center, Manila. #restaurantDesign #interiorDesign #manilaDining #americanItalianCuisine #jjAcunaDesign #newYorkInspired #italy #contemporaryArt #experientialDining

Frenchette, a new French brasserie in New York City by chefs Riad Nasr and Lee Hanson, offers a unique dining experience designed to encourage lingering. Unlike many trendy establishments where guests are often rushed, Frenchette's design allows patrons to comfortably absorb the restaurant's vibrant energy even while waiting. The restaurant's design was a collaborative effort with the Springs Collective, comprising Sam Buffa, Amy Butchko, and Zeb Stewart, who aimed to create a luxurious yet unstuffy atmosphere, departing from the chefs' previous experiences with more traditional French brasseries. The design draws inspiration from the Vienna Secession movement, incorporating art deco and art nouveau elements. Nasr and Hanson, known for their work with restaurateur Keith McNally's French empire, embarked on their own venture five years prior. Their vision for Frenchette evolved from initial ideas of grand, formal French dining, such as using vintage silver-plated water pitchers from the Waldorf-Astoria and white tablecloths. However, the custom-made sapele wood tables, with their distinct grain and heft, persuaded them against covering them, emphasizing a more casual yet refined aesthetic. The water pitchers, originally intended for a grand water service, now serve as plant holders, reflecting the restaurant's whimsical approach. The restaurant is subtly divided into two main sections: an intimate bar area at the front and a more formal dining room at the back, separated by a sapele bannister and a wall. This layout was carefully considered, with the wall being erected and dismantled twice during the design process to ensure the distinct energies of each space were maintained. The bar area is designed to foster lively interaction, while the dining room offers comfortable booths for a more extended stay. The Springs Collective also maximized the long, narrow space by studying layouts from sailboats and train cars. Accidental design elements, born from space constraints and fire codes, contribute to Frenchette's unique character. A dramatic corridor, for instance, leads to the open kitchen, creating compelling sightlines. The restaurant features custom woodworking by Jeff Ford of Lucky Rabbit Brand Design, including the distinctive tables, large rectangular mirrors, and rounded door frames that soften the space. Erika Langstroth of Erilan Design added a feminine touch with flower sketches on the plaster walls, balancing the masculine wood-heavy decor. Nasr’s stepfather crafted the ceramic vases and egg holders, further personalizing the space. The ceiling was lowered and curved to enhance coziness, and a whimsical arched takeaway window behind the pewter bar adds an element of mystery. The kitchen itself, though initially not intended to be open, became a focal point due to the designers' insistence. It features red and black tiles creating an undulating effect, and a striking Athanor cooktop allows three chefs to work face-to-face. Red Le Creuset gratin covers and the visible presence of Nasr and Hanson in the expo station add to the cinematic appeal of the kitchen, turning the culinary process into a dramatic and engaging scene visible from the moment guests enter the restaurant. #restaurantDesign #frenchBrasserie #interiorDesign #newYorkCityRestaurants #whimsicalDecor #customFurniture #artDecoInfluence #diningExperience #kitchenDesign

Manko, the first Peruvian eatery in France by acclaimed chef Gaston Acurio, is a significant addition to the Parisian culinary scene, reflecting Acurio's global influence in popularizing Peruvian cuisine. Located on Avenue Montaigne in Paris' prestigious Golden Triangle, the restaurant is appropriately named after Manco Cápac, Son of the Inca Sun God, hinting at its elevated status and cultural roots. The interior design, conceived by Laura Gonzalez, draws inspiration from the concept of a "diamond in the rough," aiming to embody modern Peru. Gonzalez's approach is evident in her selection of natural materials, which include raw leather banquettes, plush velvet teal chairs, and furnishings adorned with traditional Inca prints. The space also features vivid gold accents that contribute to an atmosphere of understated luxury. Materials such as marble, oak, and two-hundred-year-old terracotta floor tiles sourced from Provence are used in their natural state, emphasizing authenticity and a connection to the earth. Given its lower-ground floor location, lighting was a critical element in the design. Bronze lampshades were custom-designed to cast a golden glow, enhancing the ambiance and creating an intimate setting that Gonzalez humorously suggests makes diners "look their very sexiest." This attention to lighting underscores the designer's comprehensive approach to creating a specific mood and experience within the restaurant. The layout of Manko is designed to foster a communal and generous dining experience, mirroring Chef Acurio's own personality. Large oak tables are strategically placed to encourage groups to order and share substantial dishes, promoting social interaction. The kitchen is open and positioned at diner's eye level, allowing guests to observe the culinary process and engage with the preparation of their meals, which adds an element of transparency and entertainment. The menu at Manko focuses on sustainably sourced fish, presented in various traditional Peruvian preparations such as ceviches and tiraditos, which are marinated in 'leche de tigre'—a flavorful blend of lime juice, fish fumet, coriander, onion, and yellow chilli pepper. Beyond seafood, the menu also features smoky charcoal-grilled beef, complemented by an array of Peruvian vegetables, including quinoa, asparagus, choclo (Peruvian corn), and distinct yellow and purple potatoes. This emphasis on indigenous ingredients highlights the rich biodiversity and culinary heritage of Peru. Following the dining experience, guests can ascend a golden Art Deco staircase to visit the Manko Cabaret, suggesting a seamless transition from a sophisticated meal to an engaging entertainment option. This dual offering of fine dining and cabaret contributes to Manko's appeal as a comprehensive destination for an evening out. The restaurant, located at 15 Avenue Montaigne, is positioned within a vibrant district, enhancing its accessibility and allure. #PeruvianCuisine #ParisRestaurants #InteriorDesign #LauraGonzalez #GastonAcurio #FineDining #RestaurantInteriors #CulturalFusion #SustainableSeafood

The article showcases 53, an Asian-fusion restaurant in Midtown Manhattan, designed by ICrave, led by founder and CEO Lionel Ohayon. Located at the base of Ateliers Jean Nouvel’s 53 West 53 residential tower, adjacent to the Museum of Modern Art (MoMA), the restaurant aims to provide an immersive dining experience that transcends mere culinary satisfaction. Ohayon emphasizes the concept of a “yummy” room, where a harmonious blend of lighting, acoustics, materiality, layout, visual impact, and a sense of discovery compels diners to return. The restaurant was recognized as a 2022 Best of Year Winner for Fine Dining. The 11,000-square-foot space is divided into a street-level bistro and a subterranean main dining room. Jean Nouvel’s architectural design, characterized by angular beams, allows for expansive column-free areas and intimate dining zones. Given its proximity to a world-renowned contemporary art museum, ICrave approached the project not as traditional interior design but as a sculptural or painterly endeavor. This artistic philosophy is evident in the restaurant's most prominent feature: three dozen giant curving fins that span the entire width of the space. These fins emerge from the street-level ceiling, cascade down in front of the bistro, sweep underneath, and wrap around the ceiling of the main dining room. Each fin is edged with a bright stripe, featuring nine neon-like colors derived from the Nine-Dragon Wall reliefs found in Chinese imperial palaces. These hues also subtly reference the diverse Asian cultures represented in the menu and the modern art displayed at MoMA. The restaurant plans to host a rotating selection of fine art in collaboration with the Friedrich Petzel Gallery. The fin installation, glossy black on one side and sepia-toned on the other, creates a lenticular effect as guests move through the restaurant or view it from the sidewalk. Ohayon describes the installation as both a loom and a veil, with its vibrant colors attracting attention from passersby and directing their gaze to the aerial arrangement of tables, banquettes, and chairs set on an ink-wash carpet, which features subtle smokey grays echoing Nouvel’s steel construction. Ohayon highlights the importance of creating a unique piece of the city's landscape, fostering memories for visitors and a sense of place for residents. The sculptural architectural gesture draws inspiration from the Chinese artistic principle of xieyi, emphasizing broad, expressive strokes and representing the chi or energy flow within 53. In contrast, the principle of gongbi, which focuses on realism and fine detail, guided the selection of decor elements. For example, the colors from the fin edges are subtly echoed in the precious stones used as chopstick rests. Lighting, a critical component of the "yummy" atmosphere, was developed in collaboration with Licht, ICrave's in-house studio. The main dining room features cove lighting, slender cylindrical pendant fixtures that adjust with ceiling height variations, and circular sconces softly illuminating the ecru suede-like walls. An ethereal cluster of small LEDs forms a twinkling cloud above the bar. All lighting elements emit 2,600 Kelvins, complemented by rechargeable Japanese table lights, creating a warm, cinematic glow. The material palette emphasizes honesty and natural finishes, including stone bar counters, white oak paneling, leather banquette upholstery, and wool rugs. The deliberate juxtaposition of warm and cool tones reinforces the duality of hard and soft, grand and humble, evident throughout the design. Lionel Ohayon personally led the design of this project, finding it a creatively cathartic and rewarding opportunity to shape New York City's landscape. He aimed for an expression that aligns with its location next to MoMA, showcasing exuberance with mature restraint, moving away from what he perceived as a "Brooklyn-ification" of Manhattan's design aesthetic. ICrave's extensive experience in hospitality design, spanning over 20 years, allowed them to create a restaurant interior that honors its cuisine without resorting to pastiche, understands its contextual importance, and is as delightful as the food it serves. #RestaurantDesign #InteriorDesign #MidtownManhattan #ICrave #FineDining #ArchitecturalSculpture #LightingDesign #AsianFusion #LuxuryHospitality