
Chef Fre Peneau’s new restaurant, Le Dauphin is an 80 sqm ‘obsession in white’. OMA‘s Rem Koolhaas and associate Clement Blanchet received the Fooding 2010 award for their interior design of the restaurant that opened December 2010.
Architects: Rem Koolhaas and Clement Blanchet
Location: Paris, France
Client: Fred Peneau and Inaki Aizpitarte
Project Leader: Clement Blanchet
BET Structure: Mr Ropretre Office of Study
Lighting Designer: Odile Soudant
Project Year: 2011
Project Area: 80 sqm
Photographs: Ruault, Clément Guillaume

Predominant materials of marble, mirrors and wood enlarge the space through reflection, and blur the boundary between interior and exterior.


Structural Work: Absolubatiment
Ceiling / Dubbing / Wall: Absolubatiment
Locksmith: Eric Almighty
Marble: Dalle Nogare
Laying Marble: EDM Paris
External joinery: Eric Almighty
Millwork: Eric Almighty
Joinery Furniture: JP Laporte
Mirrors / Glazing: Eric Almighty
Kitchen: Electrolux
Acoustics: Renz van Luxemburg
Furniture: Bassam Fellows
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- © Clément Guillaume
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- Courtesy of OMA
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Nicely done, very attractive, and the placement of the stone and reflective surfaces works really well. But this cafe must be hugely reverberant, I can’t even imagine how noisy it would be if you had 25 or 30 people in there.
That’s exactly my first thoughts. They should put a video with people in it, so we can hear :-)
Actually, it’s very reverberant and unconfortable (I’ve tried this restaurant). You can’t have a group discussion.
OMA interior doing fit-outs?! (And a poor one at that) Recession mode, per chance?
God awful.
This is no step down for OMA, as usual REM is much cooler than the rest. Inaki Aizpitarte is a amazingly talented young chef, who is leading cuisine in new and exciting directions, a perfect pairing for REM.
It seems that a previous architect got the permission for the protruding box at the entrance. Still, it looks like an unfair takeover of the sidewalk. I don’t think all the coffee shops there would manage to expand the same way.
Apart from that I like the project. It has some intriguing informality in the spirit of Koolhas’ work.