Wallpaper

City sanctum

Tea salon, boutique, restaurant, art gallery and more, Ogata honours all things Japanese in Paris

- PHOTOGRAPH­Y: MARVIN LEUVREY WRITER: MINAKO NORIMATSU

A contempora­ry shrine to Japanese dining and design in Paris’ Marais

Behind a sober wooden door, on a quiet back street in the north Marais, lies an exquisite slice of Japan, a contempora­ry shrine to its design and food traditions. Occupying a 17th-century hôtel particulie­r, Ogata brings together the art of tea, fine cuisine and craftsmans­hip, as well as culture and hospitalit­y, edited and reinterpre­ted by founder Shinichiro Ogata. A product and interior designer as well as restaurate­ur, Mr Ogata is as discreet as his establishm­ent’s door, though you might already be familiar with Wasara, his celebrated collection of compostabl­e tableware. For more than 20 years, his design studio Simplicity has created one perfectly formed culinary destinatio­n after another in Tokyo, such as confection­er Higashiya and restaurant Yakumo Saryo, and his interior design portfolio ranges from Andaz Tokyo Toranomon Hills to stores for Aesop Japan. Ogata, a multi-level, 800 sq m platform for his vision and aesthetic, is his first project outside Japan.

‘The foundation of Japanese cultural heritage is harmony with nature. This is reflected in the design of Ogata,’ he says. At the project’s heart is a desire to relate Japanese culture to daily life. Beyond the entrance hall, where a monolithic stone basin is intended to purify visitors’ spirits, are three small boutiques. The most important showcases teas and tea accessorie­s, and acknowledg­es the tea ceremony’s influence on the Japanese aesthetic. The adjacent space is dedicated to wagashi (Japanese sweets), and nods to the four seasons. The third space, the Atelier, carries tableware and utensils, mostly from Simplicity’s S(es) line, along with a small selection from Kimura Glass. Throughout, each item has been selected, conceived or designed by Mr Ogata. Downstairs, the sabō (tea salon) offers an opportunit­y to sample and admire the products in a fitting environmen­t. ‘One day, I had two female customers who were chatting loudly. But when the tea master started to prepare their tea, they fell silent. We never tell customers what to do, or how to behave. But I feel very gratified when they respond naturally with the appropriat­e attitude,’ says Mr Ogata. This relates to what he calls sahō (the art of being). ‘It’s not about rules, but rather respectful manners.’

Compared to the intimate sabō and compact retail spaces, the reception, at the end of the entrance hall, is spacious and bright, with walls of shikkui (a plaster of limestone and eggshell powder), and daylight breaking through the glass ceiling.

The upper floor affords a view of the atrium. At one end of the balcony is a restaurant, with lunch and dinner menus conceived by Mr Ogata based on the idea of ‘anti-kaiseki’. Holding that the rules of kaiseki (Japanese haute cuisine) are no longer relevant, he has instead brought together the best regional specialiti­es and elevated versions of everyday dishes. The space is understate­d yet pristine; wooden tables contrast with custom-made chairs in braided oak and paper.

At the other end of the balcony stands a corner bar. Its half-wall has an unusual form, like a cropped curtain, suspended rigidly from the ceiling and cut off at chair level, to minimise eye contact between seated guests and passers-by. ‘It’s an open but private space. The wall is an example of kakiotoshi – textured mortar – realised by the best plasterer from Japan.’

Natural materials prevail at Ogata – stone, wood, paper, ceramic tile, bronze and copper, all in the warm tones for which the founder is known. The design resonates with the original building, embodying the Japanese concept of shakkei (borrowed landscape). An original stone wall has been left visible, for instance, becoming a backdrop for the new concept.

A space on the mezzanine level has been set aside for an art gallery, due to open later this year. A small collection of furniture is also in the works. Meanwhile, Mr Ogata is already dreaming up plans for internatio­nal expansion: ‘I want to enrich the life and spirit of people around the world.’ *

Ogata, 16 rue Debelleyme, Paris 3e, ogata.com

‘We never tell customers how to behave. It’s not about rules, but rather manners’

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 ??  ?? CLOCKWISE FROM OPPOSITE, DESIGNER AND RESTAURATE­UR SHINICHIRO OGATA IN HIS NEW PARIS SPACE; THE UPPER FLOOR BALCONY; LACQUERED PAPER COFFEE CUPS, BY WASARA, OF WHICH MR OGATA IS CREATIVE DIRECTOR; THE HALF-WALLED BAR; WASARA PAPER TABLEWARE
CLOCKWISE FROM OPPOSITE, DESIGNER AND RESTAURATE­UR SHINICHIRO OGATA IN HIS NEW PARIS SPACE; THE UPPER FLOOR BALCONY; LACQUERED PAPER COFFEE CUPS, BY WASARA, OF WHICH MR OGATA IS CREATIVE DIRECTOR; THE HALF-WALLED BAR; WASARA PAPER TABLEWARE
 ??  ?? THE SABŌ, OR TEA SALON, WHERE A TEA MASTER REVISITS THE JAPANESE TEA CEREMONY IN OGATA STYLE
THE SABŌ, OR TEA SALON, WHERE A TEA MASTER REVISITS THE JAPANESE TEA CEREMONY IN OGATA STYLE

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