{You all know what a big fan I am of Joseph Dirand’s work, so his recent renovation of Le Flan

{You all know what a big fan I am of Joseph Dirand’s work, so his recent renovation of Le Flandrin in Paris might be the first space of his I’m not totally blown away by (#noshade). First, those flower arrangements are just all wrong… details make a space, and for me, those just cheapen it. The colour scheme feels dated to me, and all those Knoll chairs in gold velvet don’t help in modernizing the look. I compare this restaurant to his recent Monsieur Bleu, and while the formula is similar (a clever combination of Art Deco and 
Modernist styles realised in materials that evoke classic, understated luxury with just a hint of decadence: rare marbles, dark woods, highly polished metal work, mirrored glass and plush upholstery in khaki, mustard and smoky green tones) this just doesn’t add up to the same levity and freshness in design. Just my two cents though.} Joseph Dirand’s architectural scheme sees the mezzanines disappear and cascades of pink brick and limestone emerge, restoring the historic arcaded hall, whose rhythmic symmetry re-establishes the integrity of the original building. The entry, through one such archway, achieves a sense of monumentality, yet the intimate lighting of suspended glass lampshades softens the lively spirit so peculiar to the Parisian brasserie and its traditionally deep volumes. And Dirand has been careful to balance the multiple facets of the restaurant: bright by day, with evenings of more hushed illumination, the interplay of smoked mirrors mirrors the gradual transformations of the passing hours. The material configuration of Le Flandrin conspires to a quiet, classic luxury with just the gentlest suggestion of decadence. The banquettes buck the brasserie tradition, chocolate hues of wood and mohair velvet upholstery in khakis, mustards and smoked greens, assembling the atmosphere of a private club. The elemental curves of Eero Saarinen chairs share the floor with the architect’s own designs: polished palm wood and brass lipped circular tables evoking the prevailing styles of the 1930s. The lounge is a veritable ode to Czech Cubism with black lacquer-gilt trim wood panelling and a smoked mirror ceiling enframing an imposing bar in yellow-veined white Calcutta Gold marble. The architectural arrangement sees the sober-chic heart of the brasserie – the dining room and lounge – encircled by the updated interior terrace, before endless tables radiate out on bright days into a sunlit cacophony of white cotton, crystal and silver. And happily, the concentric layout permits to each their privileged view of the surroundings, while seeming all the while to remain inconspicuous themselves; to see and to be seen in perfect intimacy. via  -- source link
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