Hospitality Design - August 2013 - 104

2

One of the neighborhood’s most popular
restaurants for more than two decades,
Christopher’s had retained its steady
business, but in the words of José Esteves
De Matos, a partner in the locally based
design firm De Matos Ryan, “the spaces had
essentially remained untouched for the past
decade; they were distinctly tired and worn.”
Under De Matos’ creative hand, “tired
and worn” has become sumptuous and
glittering. The mission was to honor the
restaurant’s existing building, which dates
from 1860, as well as its history as London’s
first casino, and then to set that classicism
against the modernism of American Art
Deco and Mid-Century. Translation: “rich
materials, bold geometric shapes, and lavish
ornamentation.”
Rethinking the space was also part of the
plan. The popular Martini Bar, originally
running along a wall and under a low
ceiling, with barmen “very much tucked
away,” was given center stage. The bar is now
a long onyx sharing table, with bartenders as
“performers.” De Matos is especially pleased
with the bar’s gold-beveled mirrored wall,
with its repeat abstract motif of a martini

104

August 2013 hospitalitydesign.com

glass. He says, “It reflects and refracts the
social activity of the bar as if caught in a cut
crystal tumbler or decanter.”
Linking the ground floor with a first-floor
dining room is a dramatic stone spiraling
staircase, both of which have been markedly
brightened. Large windows allow for
abundant natural light (and terrific views),
while paneled two-tone walls, a silver-gilded
ceiling cornice, upholstery of gray leather
and gold velvet, and custom ceiling lights
by Serge Mouille create an atmosphere of
intimacy, warmth, and theatricality.
In the basement, the Club Room echoes
the design choices of the other rooms.
Meant for private parties, the room features
mirrors, a brass-clad bar, charcoal gray
walls, marbled floors, and a domed ceiling.
The coherence of these three spaces is a
matter of pride for De Matos. “I particularly
enjoy the continuity of character, mood, and
feel of the various spaces,” he says, “in spite
of their clear and individual identities.”
But what of the decision to revive
an era of über-luxury, even decadence,
despite the cloud of austerity that has
dampened European financial spirits for

some time now? De Matos offers reasons
for the owner’s decision to return to the
luxurious past, which include increased
new competition from high-end restaurants
in the vicinity, as well as the inevitable
pendulum swing common to most economic
downturns. “Social behavior changes,” he
says. “People dust themselves off and start
to react against austerity in favor of joie de
vivre. They want to revel in glamour and
opulence.” hd
de matosryan. co .uk ; c hri s to p h ers g ri l l .co m

2. The dining room,
where a gray and gold
palette dominates, with
custom lighting fixtures
by Serge Mouille.

4. A freestanding booth
in the dining room
allows for both intimacy
and full views of the
nearby theater district.

3. The private Club
Room in the basement
echoes the design
choices of the upstairs
rooms.

5. The grand spiraling
stone staircase links the
ground floor to the first.
http://dematosryan.co.uk http://www.christophersgrill.com http://www.hospitalitydesign.com
Table of Contents for the Digital Edition of Hospitality Design - August 2013
