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It is the only luxury grand hotel on \nthe Left Bank. A four-year renovation project has \nbrought its original charm up to date. \n",5,{"image":34,"text":35,"number":36},"\u002Fmedia\u002Fimages\u002Fed\u002F5c663489aafd1f6faf30ec6930d438-285d706a5d.6.png","6\n7\n",6,{"image":38,"text":39,"number":40},"\u002Fmedia\u002Fimages\u002Fed\u002F5c663489aafd1f6faf30ec6930d438-285d706a5d.7.png","8\n9\n",7,{"image":42,"text":43,"number":44},"\u002Fmedia\u002Fimages\u002Fed\u002F5c663489aafd1f6faf30ec6930d438-285d706a5d.8.png","10\n11\n",8,{"image":46,"text":47,"number":48},"\u002Fmedia\u002Fimages\u002Fed\u002F5c663489aafd1f6faf30ec6930d438-285d706a5d.9.png","12\n13\n",9,{"image":50,"text":51,"number":52},"\u002Fmedia\u002Fimages\u002Fed\u002F5c663489aafd1f6faf30ec6930d438-285d706a5d.10.png","14\n15\n“Our purpose was to recreate \nthe atmosphere of the original \nLutetia for today’s requirements”. \n",10,{"image":54,"text":55,"number":56},"\u002Fmedia\u002Fimages\u002Fed\u002F5c663489aafd1f6faf30ec6930d438-285d706a5d.11.png","16\n17\n",11,{"image":58,"text":59,"number":60},"\u002Fmedia\u002Fimages\u002Fed\u002F5c663489aafd1f6faf30ec6930d438-285d706a5d.12.png","18\n19\n",12,{"image":62,"text":63,"number":64},"\u002Fmedia\u002Fimages\u002Fed\u002F5c663489aafd1f6faf30ec6930d438-285d706a5d.13.png","20\n21\n",13,{"image":66,"text":67,"number":68},"\u002Fmedia\u002Fimages\u002Fed\u002F5c663489aafd1f6faf30ec6930d438-285d706a5d.14.png","22\n23\n",14,{"image":70,"text":71,"number":72},"\u002Fmedia\u002Fimages\u002Fed\u002F5c663489aafd1f6faf30ec6930d438-285d706a5d.15.png","24\n25\n",15,{"image":74,"text":75,"number":76},"\u002Fmedia\u002Fimages\u002Fed\u002F5c663489aafd1f6faf30ec6930d438-285d706a5d.16.png","26\n27\n",16,{"image":78,"text":79,"number":80},"\u002Fmedia\u002Fimages\u002Fed\u002F5c663489aafd1f6faf30ec6930d438-285d706a5d.17.png","28\n29\n“We designed things that were \nvery difficult to produce and \nPoliform Contract always found \nthe right solution”.\n",17,{"image":82,"text":83,"number":84},"\u002Fmedia\u002Fimages\u002Fed\u002F5c663489aafd1f6faf30ec6930d438-285d706a5d.18.png","30\n31\n",18,{"image":86,"text":87,"number":88},"\u002Fmedia\u002Fimages\u002Fed\u002F5c663489aafd1f6faf30ec6930d438-285d706a5d.19.png","32\n33\n",19,{"image":90,"text":91,"number":92},"\u002Fmedia\u002Fimages\u002Fed\u002F5c663489aafd1f6faf30ec6930d438-285d706a5d.20.png","34\n35\n",20,{"image":94,"text":95,"number":96},"\u002Fmedia\u002Fimages\u002Fed\u002F5c663489aafd1f6faf30ec6930d438-285d706a5d.21.png","36\n37\n",21,{"image":98,"text":99,"number":100},"\u002Fmedia\u002Fimages\u002Fed\u002F5c663489aafd1f6faf30ec6930d438-285d706a5d.22.png","38\n39\n",22,{"image":102,"text":103,"number":104},"\u002Fmedia\u002Fimages\u002Fed\u002F5c663489aafd1f6faf30ec6930d438-285d706a5d.23.png","40\n41\n",23,{"image":106,"text":107,"number":108},"\u002Fmedia\u002Fimages\u002Fed\u002F5c663489aafd1f6faf30ec6930d438-285d706a5d.24.png","42\n43\n",24,{"image":110,"text":111,"number":112},"\u002Fmedia\u002Fimages\u002Fed\u002F5c663489aafd1f6faf30ec6930d438-285d706a5d.25.png","44\n45\nJEAN-MICHEL WILMOTTE\nJean-Michel Wilmotte is one of the top 100 architects in the world. \nAfter graduating at the École Camondo in Paris, he created his \nown firm in 1975 and achieved recognition as an influential interior \ndesigner after working for the Louvre, where he designed the  \ntemporary exhibition spaces, bookshop, and restaurants beneath \nthe Ieoh Ming Pei pyramid. \nThough he is fond of designing museums and cultural spaces, as \nwell as refurbishing architectural heritage, throughout his career  \nJean-Michel Wilmotte has branched out from furniture and in-\ndustrial design to large-scale projects like the Greater Moscow.\nLightness and transparency are key concepts of his design, \ntogether with the ability to find a balance between past and  \npresent, the environment and contemporary needs. Among his \nlatest projects are the Allianz Riviera Stadium in Nice, the Rus-\nsian Orthodox Spiritual and Cultural Center in Paris, the Ferrari \nSporting Management Center in Maranello and the refurbish- \nment of the Halle Freyssinet into the Station F start-up campus in \nParis, together with the renovation of Hotel Lutetia – which is the \ntopic of this conversation.  \nFar from a simple makeover, his work on the hotel achieved the \ndelicate task of breathing new life into the building while respec- \nting its roots and identity, which were so precisely narrated in the \nnovel Lutetia by French writer Pierre Assouline. \nWhat is it that you find most fascinating about Hotel Lutetia?\nEverything is fascinating, from the building’s dimensions to its  \nexceptional location, on the rive gauche, or its monumental façade, \nwhich opens up on Rue de Sèvres, Boulevard Raspail and Place \nAlphonse Deville: it’s incredible to have such a building on the Left \nBank.\nIt’s also interesting that this hotel was imagined by the former \nowner of Le Bon Marché, Madame Boucicaut. When she opened \nher department store she said: “I would like the clients to stay \nlonger in Paris to buy in my department store: I should build a \nhotel”. Unfortunately, she never had the chance to see it because \nshe died before it opened.\n",25,{"image":114,"text":115,"number":116},"\u002Fmedia\u002Fimages\u002Fed\u002F5c663489aafd1f6faf30ec6930d438-285d706a5d.26.png","46\n47\nLast but not least, a very fascinating aspect is art. The hotel was \nbuilt in 1910, a period when art and architecture were transitioning \nfrom Art Nouveau to Art Deco. \nThe façade has windows and balusters decorated with impressive \nangels, trellises and grapes, while the walls of the ground floor \nfeature high quality frescoes, friezes and bas-reliefs.  \n \nWhat is the main concept behind the new Hotel Lutetia? \nOur goal was to recreate the atmosphere of the original Lutetia for \ntoday’s requirements. We didn’t want to do a pastiche, nor a copy \nof what the Lutetia was before: it was more about our interpreta-\ntion. Our challenge was to create a dialogue between the existing \nbuilding and the refurbishment we had in mind, balancing contem-\nporary elements with classical ones and cleaning up everything \nthat was out of memory.\nHow did you transform a hotel from the 1910s into a hotel for \n2019?\nWe realized almost immediately that the existing building already \ncontained the vocabulary for the new building. Therefore, we bor-\nrowed some details and developed them. For instance, the over-\nlapping circles that were featured on the tympanum of the main \nbuilding were replicated on the floor of the bathrooms. We also \ncompletely remodelled the layout by creating larger rooms and \nreducing their number: all the bathrooms now have a window and \nare lit by natural light. We took all the partitions out because of \ntheir bad quality, upgrading the hotel’s acoustics, electricity, air \nconditioning, etc. And finally, we added a 17-meters-long swimming \npool and a SPA. \nHow did you redesign the ground floor? \nOne of the most important things we created on the ground \nfloor is the patio. What was previously a windowless salon, with \na low ceiling and heavy curtains, is now an open-air garden that \nbrings daylight everywhere! Further, there is an axis that didn’t \nexist before: now, from the Orangerie you can see the entrance \non Boulevard Raspail. \nThen we completely reorganized the spaces. Salon Saint-Germain \nwas too small to host a bar, so we decided to move the bar on \nthe Boulevard Raspail side, while Café Saint-Germain is now a \nrestaurant with a new skylight by contemporary artist Fabrice \nHyber, that brings happiness in with its colours. The library, Salon \nErnest – which is an engaging room for book lovers – also opens \nonto the garden.\nHow has the past remained visible?\nI must say that when we arrived we couldn’t see any original decor \nor furniture, which had totally disappeared during the successive \nrefurbishments in the 1960s, 1980s and 1990s. We only chose to \nmaintain the sculptures of Cesar and Hiquily. I would rather say that \nwe uncovered the past, that is now visible again. Under layers of \npaint, we came across original frescoes that we brought back to life. \nWhat was Poliform’s contribution to the overall project?\nPoliform Contract was contracted for the public areas. It made \nthe Conciergerie, the lobby, the entire jazz bar – with the counter-\ntop in curved bronzed mirror, the “lustre” and the furnishings, the \nsalon Saint-Germain, the Orangerie, the library, the Brasserie, the \nbathrooms and all the details of the ground floor. \nWe designed things that were very difficult to produce and it always \nfound the appropriate solution. The piece I am most proud of is the \nmasterful “lustre” (19,5 meters long !) of Bar Joséphine, made by \nPoliform. It is particularly interesting as it reflects the space, the \nfrescoes and the light, and constitutes an extraordinary contem-\nporary object on the ceiling.\n \nHow do you imagine life in this new hotel? \nLife at the Lutetia is a unique experience. Let yourself be guided  \nto your room, eat in Saint-Germain, relax on the patio or, if it’s cold \noutside, near the chimneys in the library. \nSmoke a cigar, then go down to relax in the SPA or in the swimming \npool before having dinner and listening to jazz in the bar or joining \na party in Salon Cristal. \nThe Lutetia is really the best place to live the Left Bank way of life.\n",26,{"image":118,"text":119,"number":120},"\u002Fmedia\u002Fimages\u002Fed\u002F5c663489aafd1f6faf30ec6930d438-285d706a5d.27.png","Poliform Spa\nContract Division\nvia Trento 2 - ang. via Magni\nCasella postale n. 1\n22044 Inverigo (CO) Italy\nt +39 031 695601\nf +39 031 695354\ninfo.contract@poliform.it\npoliform.it\nAll the Poliform collections are  \nmanufactured 100% in Italy  \nusing top-class components  \nand materials. \nCreative Direction\nApartamento Studios\nGraphic Design\nApartamento Studios\nText\nLisa Cadamuro\nInteriors Photography\nF2 Fotografia\nAmit Geron \nPortrait Photography\nJean Grisoni \n1st edition November 2019\ncod. 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