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The entire space is pulled into a central focus by the “hearth”, a wood fired oven. Set within the open kitchen, it enables the chef to survey his empire and directly interact with his diners. The space is after all a theatre for the chef and his diners.
The entire space is pulled into a central focus by the “hearth”, a wood fired oven. Set within the open kitchen, it enables the chef to survey his empire and directly interact with his diners. The space is after all a theatre for the chef and his diners.
On Wednesday 8th of November, Emma Maxwell scooped the pool at the Asia Pacific Architectural and Design Awards in Hong Kong Maxwell who was in a line up with a formidable “who's who” list of prestigious international designers, including the eponymous North American design firm Yabu Pushelberg for Stellarworks and Neri and Hu for Poltrona Frau and Viabizzuno , to win Best of the Best in Product Design with her Flume Lighting Collection (commercially available from June 2017).
On Wednesday 8th of November, Emma Maxwell scooped the pool at the Asia Pacific Architectural and Design Awards in Hong Kong Maxwell who was in a line up with a formidable “who's who” list of prestigious international designers, including the eponymous North American design firm Yabu Pushelberg for Stellarworks and Neri and Hu for Poltrona Frau and Viabizzuno , to win Best of the Best in Product Design with her Flume Lighting Collection (commercially available from June 2017).
Hand blown glass is used. The other raw materials, called flux or melting agents, allow glass to soften at lower temperatures. The more sodium oxide present in the glass, the slower it solidifies. This is important for hand-working because it allows the glassmaker more time to shape the material. The various raw materials that the artisan added to the glass mixture was sodium (to make the glass surface semi opaque), nitrate and arsenic (to eliminate bubbles) and coloring or opacifying substances.
Hand blown glass is used. The other raw materials, called flux or melting agents, allow glass to soften at lower temperatures. The more sodium oxide present in the glass, the slower it solidifies. This is important for hand-working because it allows the glassmaker more time to shape the material. The various raw materials that the artisan added to the glass mixture was sodium (to make the glass surface semi opaque), nitrate and arsenic (to eliminate bubbles) and coloring or opacifying substances.
The objective to roll out Flume as a mass consumer piece was met through a lengthy process of engineering, both in terms of form and exploring different options of materiality.
The objective to roll out Flume as a mass consumer piece was met through a lengthy process of engineering, both in terms of form and exploring different options of materiality.
The form is kept simple and clean. Its mystique comes from strategic use of a particular colour of glass and metal components. Like all good design, combining a few simple forms and materials results in a product that transports your imagination to another place.
The form is kept simple and clean. Its mystique comes from strategic use of a particular colour of glass and metal components. Like all good design, combining a few simple forms and materials results in a product that transports your imagination to another place.
The materials used are metal, marble and glass and are paramount in further articulating the narrative of alchemical transformation. With a brass body wrapped by mysterious hand blown glass elements, they reveal themselves to be both intriguing and essential. The Flume collection comes in ceiling , table top and wall mounted versions.
The materials used are metal, marble and glass and are paramount in further articulating the narrative of alchemical transformation. With a brass body wrapped by mysterious hand blown glass elements, they reveal themselves to be both intriguing and essential. The Flume collection comes in ceiling , table top and wall mounted versions.
The design intent was to create a collection of luminaires rolled out as direct market consumer pieces, collectively telling a visual narrative . The creative inspiration is derived from atmospheric notions of alchemy - as if a cloud imploded with a chemical reaction and natural fireworks resulted.
The design intent was to create a collection of luminaires rolled out as direct market consumer pieces, collectively telling a visual narrative . The creative inspiration is derived from atmospheric notions of alchemy - as if a cloud imploded with a chemical reaction and natural fireworks resulted.
The menu, created by chef Conor Beach, who used to head up the kitchen in the eponymous Hong Kong restaurant Bibo and TRI, boasts elements of both traditional and contemporary preservation methods, including smoking, salting and curing, using the finest ingredients sourced from the four corners of the world. Beach is best known for his attention to detail and his insistence on creating each dish from scratch. At 12,000 FRANCS he will produce everything from sourdough and terrines, through to pastrami in house Celebrating the art of preservation, the menu is divided into relevant sections, including Picked + Potted, Smoke + Salted, Vacuum + Fire, and Sugar + Sweet. It is managed and owned by Chris Woodyard and Bronwyn Cheung, the creative duo behind acclaimed Wan Chai restaurant Madam Sixty Ate and Elements’ Madam S’ate.
The menu, created by chef Conor Beach, who used to head up the kitchen in the eponymous Hong Kong restaurant Bibo and TRI, boasts elements of both traditional and contemporary preservation methods, including smoking, salting and curing, using the finest ingredients sourced from the four corners of the world. Beach is best known for his attention to detail and his insistence on creating each dish from scratch. At 12,000 FRANCS he will produce everything from sourdough and terrines, through to pastrami in house Celebrating the art of preservation, the menu is divided into relevant sections, including Picked + Potted, Smoke + Salted, Vacuum + Fire, and Sugar + Sweet. It is managed and owned by Chris Woodyard and Bronwyn Cheung, the creative duo behind acclaimed Wan Chai restaurant Madam Sixty Ate and Elements’ Madam S’ate.
As the guests venture through the space, dense clusters of hand blown, honey coloured glass Bee Hive pendant lighting float evocatively above them. The ceiling, treated with hand pressed brass metal in a bee wing pattern, and ensures the space is blanketed a soft, comforting amber coloured glow. The rich narrative of the space is further articulated with Kerrie Brown, “Broken Green” wallpaper. The pattern resonates with the memory of a 300 year old French Chateaus when the Napoleonic empire saturated Europes psyche. Brown, who designed for motion pictures, drew on her inspiration from designing films such as Don’t be Afraid of the Dark (Guillermo del Toro), Mao’s Last Dancer (Bruce Beresford), Babe for which she was nominated for an Academy Award (George Miller), The Chronicles of Narnia – The Lion the Witch & the Wardrobe & Prince Caspian (Andrew Adamson). The wallpaper appears to sit like delicate layers of a patterned midian on the wall, as if one just opened the door to a long ago abandoned building. The heavy, rich maximalist pattern of the wallpaper is accentuated by the sharp narrative of monochromatic contemporary honey comb tiles.
As the guests venture through the space, dense clusters of hand blown, honey coloured glass Bee Hive pendant lighting float evocatively above them. The ceiling, treated with hand pressed brass metal in a bee wing pattern, and ensures the space is blanketed a soft, comforting amber coloured glow. The rich narrative of the space is further articulated with Kerrie Brown, “Broken Green” wallpaper. The pattern resonates with the memory of a 300 year old French Chateaus when the Napoleonic empire saturated Europes psyche. Brown, who designed for motion pictures, drew on her inspiration from designing films such as Don’t be Afraid of the Dark (Guillermo del Toro), Mao’s Last Dancer (Bruce Beresford), Babe for which she was nominated for an Academy Award (George Miller), The Chronicles of Narnia – The Lion the Witch & the Wardrobe & Prince Caspian (Andrew Adamson). The wallpaper appears to sit like delicate layers of a patterned midian on the wall, as if one just opened the door to a long ago abandoned building. The heavy, rich maximalist pattern of the wallpaper is accentuated by the sharp narrative of monochromatic contemporary honey comb tiles.
The rich narrative of the space is further articulated with Kerrie Brown, “Broken Green” wallpaper. The pattern resonates with the memory of a 300 year old French Chateaus when the Napoleonic empire saturated Europes psyche. Brown, who designed for motion pictures, drew on her inspiration from designing films such as Don’t be Afraid of the Dark (Guillermo del Toro), Mao’s Last Dancer (Bruce Beresford), Babe for which she was nominated for an Academy Award (George Miller), The Chronicles of Narnia – The Lion the Witch & the Wardrobe & Prince Caspian (Andrew Adamson). The wallpaper appears to sit like delicate layers of a patterned midian on the wall, as if one just opened the door to a long ago abandoned building. The heavy, rich maximalist pattern of the wallpaper is accentuated by the sharp narrative of monochromatic contemporary honey comb tiles. The entire space is pulled into a central focus by the “hearth”, a wood fired oven. Set within the open kitchen, it enables the chef to survey his empire and directly interact with his diners. The space is after all a theatre for the chef and his diners.
The rich narrative of the space is further articulated with Kerrie Brown, “Broken Green” wallpaper. The pattern resonates with the memory of a 300 year old French Chateaus when the Napoleonic empire saturated Europes psyche. Brown, who designed for motion pictures, drew on her inspiration from designing films such as Don’t be Afraid of the Dark (Guillermo del Toro), Mao’s Last Dancer (Bruce Beresford), Babe for which she was nominated for an Academy Award (George Miller), The Chronicles of Narnia – The Lion the Witch & the Wardrobe & Prince Caspian (Andrew Adamson). The wallpaper appears to sit like delicate layers of a patterned midian on the wall, as if one just opened the door to a long ago abandoned building. The heavy, rich maximalist pattern of the wallpaper is accentuated by the sharp narrative of monochromatic contemporary honey comb tiles. The entire space is pulled into a central focus by the “hearth”, a wood fired oven. Set within the open kitchen, it enables the chef to survey his empire and directly interact with his diners. The space is after all a theatre for the chef and his diners.
12,000 Francs was the cash prize offered by Napoleon Bonaparte for the creation of a durable food preservation method for his army in 1795. Designed by Emma Maxwell in her signature layered, worldly and eclectic style, 12,000 Francs is a contemporary French restaurant, specialising in, in-house preserved dishes in Elgin Street, Hong Kong.
12,000 Francs was the cash prize offered by Napoleon Bonaparte for the creation of a durable food preservation method for his army in 1795. Designed by Emma Maxwell in her signature layered, worldly and eclectic style, 12,000 Francs is a contemporary French restaurant, specialising in, in-house preserved dishes in Elgin Street, Hong Kong.
Wine in Swine
Wine in Swine
The interior is a playful blend of Napoleonic period references and sharp contemporary context. As guests walk through the threshold, they are wept from the chaotic and bustling neon lit streets of Hong Kong, and submerged into a seductive and evocative “other” world. The space is woven with Napoleonic narrative including the iconic Napoleonic bee, which was synonymous with his reign. Chosen by Napoleon himself, the bees virtues of collective organisation and industry were values that he hoped would by people though-out the French empire . The bee became one of the most prominent icon of of the French Revolution and they are strongly associated with the inspiration for the design of the the pre-eminent Fleur de Lis. At the entrance, a long communal sommelier table greets the guest as they arrive. A large bronze cast bespoke designed Pig sits prominently at the centre of the table. He holds 6 bottles of chilled “wine in swine”. Its a playful nudge to the character Napoleon the pig from George Orwell’s Animal farm. Maxwell also designed the stools around the sommelier table.
The interior is a playful blend of Napoleonic period references and sharp contemporary context. As guests walk through the threshold, they are wept from the chaotic and bustling neon lit streets of Hong Kong, and submerged into a seductive and evocative “other” world. The space is woven with Napoleonic narrative including the iconic Napoleonic bee, which was synonymous with his reign. Chosen by Napoleon himself, the bees virtues of collective organisation and industry were values that he hoped would by people though-out the French empire . The bee became one of the most prominent icon of of the French Revolution and they are strongly associated with the inspiration for the design of the the pre-eminent Fleur de Lis. At the entrance, a long communal sommelier table greets the guest as they arrive. A large bronze cast bespoke designed Pig sits prominently at the centre of the table. He holds 6 bottles of chilled “wine in swine”. Its a playful nudge to the character Napoleon the pig from George Orwell’s Animal farm. Maxwell also designed the stools around the sommelier table.