What is it that you find particularly interesting about conversion projects, like the Molitor?
Even though it might sound paradoxical, I think that today these are the projects that allow me the most creativity. Yes, there are constraints, but they are also sources of inspiration, and even opportunities. These projects are more interesting from an architectural point of view, particularly in terms of spatial design, because there are fewer regulations than for a new build. It’s only in these types of projects that you can find high atriums or extra-high ceilings, without it becoming a subject of scandal! Aside from architectural style and history, these buildings, by their very definition, will have high quality spaces. At Molitor, instead of having guest rooms placed on each side of the corridor, like every other hotel, the rooms are all on one side. This creates walkways in the air with one side overlooking Roland-Garros and the other the Jean-Bouin stadium. I also like to imagine projects that resemble us as people, that resonate with who we are. Conversion projects allow this because we are very attached to our history and heritage. It’s in our genes. We must strike a balance between preserving our built heritage and living in the modern world. This requires a subtle approach to design. My parents loved contemporary art but always lived in old houses: I soaked all this up; it must be written in my own genetic code somewhere.
How does a building’s history nourish and shape your design project?
I do a lot of research about the site, its history and the architect. But it can also be something very natural, like going for a walk around the city or the neighbourhood. You have to learn about every detail of a place, gain an ‘encyclopaedic’ knowledge of it, but also experience it through your senses. For the Molitor project, I asked many Parisians who knew the pool building well to tell me their stories about it. Then by connecting all of these stories together, they form a backdrop.
What was the guiding theme for the project?
Throughout most of the 20th century, the Molitor pool was one of the most popular spots in Paris. While the project is designed to feel like a walk through time, it’s also a walk through a real building with an abundance of diverse and interesting spaces: the pools, the passageways, the spa, the gym, the private rooms and the fine-dining restaurant – all of these spaces are unconventional and give the Molitor its unique character.
How did you come up with the design for the entrance?
Right at the centre there’s the famous Rolls Royce, tagged by John Wayne, which is a reference to the building’s Street Art period. Similarly, we’ve intentionally left technical equipment visible on the ceiling. The iconic car is a way of bringing the urban environment inside the building, creating a strong link to the city. The progressive elements contrast with the more precious elements: the desks recall those small pillboxes from the 1930s, the netting divides up the space and adds a delicate touch, the partial false ceilings with a mirror finish play with the technical elements and reflect multiple images of the Rolls Royce. In the lounge areas, made-to-measure rugs add touches of the same ochre colours found on the exterior. The furniture is a mix of contemporary pieces and vintage items.
What was your guiding theme for the restaurant’s interior?
The restaurant, with its fully restored 1930s-style ceiling, has been designed as a space of transformation: a historic site that is now an art gallery and pop-up restaurant, where giant photographic prints by Thomas Jorion show close-up details of the tagged walls from before the demolition. These extreme close-ups look like contemporary abstract paintings – have a similar graphic approach – and create an interplay with the cut-glass windows. Different types of furniture are arranged casually around the space, creating a Bohemian feel.
In your opinion, what are the conditions needed for a successful conversion project?
First of all, success requires strong teamwork. The architect from the historic monuments service Alain-Charles Perrot had done a lot of historical research on the Molitor building, including elements of the interior, even though these weren’t protected. For me it was a very useful resource. Also, during the planning stages everyone believed that the pool had originally been painted white. But tests revealed that the façades were originally quite a dark shade of ochre. This created quite a stir in the neighbourhood! Luckily, the people from the historic monuments service didn’t settle for just scratching off a few layers of paint - they managed to track down an old Michelin tourist guide from 1930, where it was written: ‘If you walk alongside the Molitor, painted in dark ochre...’ So, I used this information when I was creating my project, but otherwise I never would have thought to use this colour palette. Managing a project, means encouraging everyone to give the very best of themselves. In this job, we weren’t in charge of project management, so we weren’t in daily contact with the tradespeople while they worked. Still, for the interior decoration we did a lot of groundwork – with samples, prototypes and building plans, all of which had to be approved. Each of the phases required us to work closely and communicate with each other and there was a two-way flow of ideas, which strengthened and enriched the concept. A project is successful when it shows an understanding of the building, not only in terms of architecture, but also the finer details. It’s important to look beyond the style of the outer envelope, to try to understand the building’s founding principles.
Interview by Jordi Patillon.
Learn more about the Molitor
© Jean-François Jaussaud