Historic London bistro a feast for the eyes
Chef offers secrets to subtle, impactful design
In late 2014, when celebrated Australian chef Skye Gyngell’s Spring restaurant opened in the New Wing of Somerset House to worldwide acclaim, it was the first time the historic London space had been open to the public for more than 150 years.
Already known for her ingredient-led dishes at Petersham Nurseries Café (in nearby Richmond; it earned a Michelin star), the former British Vogue food editor and author of four books (including A Year in My Kitchen, and Spring) explains the secret to subtle yet impactful restaurant design.
Q Somerset House, where Spring is based, is laden with history. It was the former grand abode of the Duke of Somerset, the home of the public records for births and deaths, and the tax office. Today, it feels like the restored rooms in the New Wing dating to 1858 — with its high ceilings, expansive columns, and cavernous bay windows — are a modern restaurateur’s dream. Do you remember your feelings when you first saw it?
A When we first visited the site, the most honest thing I can say is that I was confused. It was beautifully proportioned, certainly, but dark, damp and depressing. The windows were covered with blinds, the floors were covered with a 1970s orange swirly carpet, the walls were an aged version of what was probably once beige. My immediate reaction was probably to dismiss it — but it stayed with me, so we went back for a second viewing and I sort of fell in love.
Q Spring is your vision, along with your interior-designer sister Briony Fitzgerald, to showcase your food (lamb with camomile, asparagus and lovage salsa verde, or chocolate pave with bourbon, and marmalade ice cream, anyone?). While the room has statement pieces such as the Arabescato Corchia marble bar, the overarching flavour seems to be of neutrality and Spring was designed to suit the season — with soft pinks, white and blossom decorations on the wall (by Valeria Nascimento). What were your guiding principals?
A We were both sure that we wanted a clean, feminine space. I wanted it to be just as beautiful as Petersham but different. I really wanted a modern space with clean lines, great attention to detail — uplifting but also relaxing. For me, it has to be a place where people feel comfortable and are happy to linger. It shouldn’t be intimidating or exclusive — rather inclusive. It also has to work ergonomically — the restaurant must function in a way that is practical as well as pleasant for the guest.
Q From the Salon’s Custom Branching Bubble installation to the Neoclassical riverside restaurant’s Vico Magistretti for Oluce Atollo 233 table lamps and clustered pendants (Appa-
ratus’ The Cloud), just how crucial is lighting?
A Really important. It’s important that everyone feels good about themselves, that the lighting feels flattering.
Q What drew you to Mario Bellini for Cassina ‘412 Cab’ chairs and the ‘Mayor’ sofa by Arne Jacobsen and Flemming Lassen?
A I’ve always loved the Cab chair. Esthetically, I think they are very beautiful, restrained and elegant. They are also incredibly comfortable, as is the sofa, especially if you curl up into the ends; the curve is lovely on your back.
Q What’s the best advice for chefs and restaurateurs thinking about their own design?
A I think it’s important to be practical — function has to come first. It’s very difficult to deliver great service in a space that simply isn’t well thought out. Things
I really wanted a modern space with clean lines, great attention to detail — uplifting but also relaxing.
such as waiters’ stations — as well as matching your business plan to the number of covers, etc. I feel strongly that we eat with our eyes as well as our stomachs and a space should be beautiful — whatever your personal definition of what beautiful is.