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  4. France
  5. Edouard François
  6. 2006
  7. Hotel Fouquet Barrière / Edouard François

Hotel Fouquet Barrière / Edouard François

  • 01:00 - 13 June, 2009
Hotel Fouquet Barrière / Edouard François
Hotel Fouquet Barrière / Edouard François

Hotel Fouquet Barrière / Edouard François Hotel Fouquet Barrière / Edouard François Hotel Fouquet Barrière / Edouard François Hotel Fouquet Barrière / Edouard François +15

  • Architects

  • Location

    Paris, France
  • Architect

    Edouard François
  • Structural Engineers

    COTEBA Ingénierie
  • Decorations

    Jacques Garcia
  • Gardens

    Pré Carré, Marc Vatinel
  • Lights and illumination

    Light CIBLES, Louis Claire
  • Client

    Groupe Lucien Barrière, Groupe ACCOR
  • Year Of Enchargement

    2003
  • Area

    18000.0 sqm
  • Project Year

    2006

From the architect. French architect and landscape designer Edouard François was encharged of the renovation and façade design of the Fouquet's Barrière Hotel in Paris, which is located in one block facing Avenue des Champs Elysées. The architect mission was the general plan of the whole hotel, including courtyards, administration offices and a spa service, spread on different plots of the "golden triangle", and the design of new facades for extensions.

The surrounding area is the most elegant and expensive of the whole metropolis, and very significant in terms of architecture and relation with the context.

The project key-word and practical operation is "COPY - EDIT". Through this operation, the building declares its belonging to the 21st century keeping strong connection with the Haussmann epoque, as a bridge between two centuries. The new façade stands on the corner of the back street, and it is showing off also in different points of the block.

The decision to reproduce the typical Haussmann façade which stands on Champs Elysées, with his characteristic windows, basement, roof and decorations, in grey concrete panels, is more significant than a simple imitation: it's a re-interpretation of the "old" through nowadays industrial technology. The dimensions of the concrete panels are not the same as the typical stone blocks of Paris, but the composition of tones of grey remind them clearly. Beside the accuracy of the reproducing work, at first sight the façade seems to belong to that Hausmann époque: here is the "COPY" work.

At the same time, the opening of clean windows, rectangular, horizontally orientated and sharply framed, together with the closure of the "old" windows, makes clear that the façade has been softly and firmly modified by a new force. As the interior distribution does not correspond anymore to the façade levels, the new window boxes are just shown off on their proper position.

The new windows, sticking out randomly on the elevations, can be considered as the aggression of the "old" façade by the contemporary intervention, as transition from the renovated interior towards the outside.

This is the "EDIT" work.

Furthermore, new relevance is given to the old Haussmann façade, by the moment it has been re-built: new architecture seems to need a basis coming from the past as a support to propose its presence, even though that one is clearly fake. The value of this project consists in the originality of the basic operation, which opens to multiple interpretations about the relation of contemporary architecture with the past heritage.

Location to be used only as a reference. It could indicate city/country but not exact address. Cite: "Hotel Fouquet Barrière / Edouard François" 13 Jun 2009. ArchDaily. Accessed . <http://www.archdaily.com/24801/hotel-fouquet-barrier-eduard-fanchanc/>
Read comments

46 Comments

mamalyga · March 07, 2014

Dear all,
does any of you know examples of similar "reconstructions"? I mean these when the new building respects what is old and historical, but leaves no doubt that it's 20th century achievement.

I would be truly grateful for your help!

florian boy · February 20, 2014

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I had to do something about it.

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Herr Tee · June 20, 2013

L O V E !

SOFIA ZEA · March 02, 2012

Hotel Fouquet Barrière / Edouard François http://t.co/Kk8nZCQ0 via @archdaily

Liam Jin · November 13, 2011

This is what I call guts. 50 million euros for a &#39copy-edit&#39 piece of architecture. love it. http://t.co/0UCLEW6j

Bárbara Dundes · September 28, 2010

Hotel Fouquet Barrière. Edifício existente x anexo http://t.co/H2dNWcj

jeux de gestion · June 15, 2010

Thank you Frederick for your support!

Grzegorz Woronowicz · October 16, 2009

wow... it took my breath away. It's beautiful and also funny

Em · September 04, 2009

For those interested, here's a small gallery of pictures of the Hôtel Fouquet’s Barrière extension taken last August.

cold · July 23, 2009

dudes, don't get me wrong, but it IS postmodern.. Piazza d’Italia was mistake.... this is masterpiece of postmodern

Koós Miklós · July 12, 2009

Még ablak is van a szállodán ! - Hotel Fouquet Barrière | ArchDaily http://bit.ly/1mZorc

peter · June 25, 2009

How dare somebody compare this project with the extremely vulgar post modern architectural exercise called the Piazza d’Italia . This is for me one of the more brilliant buildings of the last decade.

Carlo Enrico · June 23, 2009

falando em Paris, flagra esse hotel boutique que absurdo! http://bit.ly/40qXH1

Arman · June 17, 2009

Setting appart from matters of pertinence, or even personal taste, for the building at hand, I would have to say that, given the debate it provides, I'm glad it exists. It may show either the glorification of a contemporary Dolce&Gabannesque way of relating to all expresions of arts and design (perhaps more the latter), or it's total condenation under the light of the ever-judging academiae and all disciplinary conventions. In the heat of these kind of conflicts the actual strengh and weakness of each party becomes evident, and that is always something positive.

M Guerric · June 17, 2009

To Frederick: Happy you've enjoyed the links! Unfortunately, I'm stranded elsewhere and wont be able to see the exhibition until I get home this summer...And, yes, these reflections on the future of Paris, and of the implications to other cities, would merit a wider media coverage ! So far, I'm only aware of Nicolai Ouroussof's article in the New York Times. It is a pity...Real issues--sustainability, social responsibility, among many others--are tackled with well-grounded perspectives.
Ditto excuses for taking up the space...

simon legen · June 17, 2009

Reading: "Hotel Fouquet Barrière / Edouard François | ArchDaily" (http://twitthis.com/5rojyi)

evap · June 17, 2009

It's the perfect setting for this infill!

Frederick · June 17, 2009

Thanks very much for those links!
I is a little sad that this big scale research on the long term future of Paris has had so little media attention outside France, because (for once!) it was a fascinating process and looked at real long term solutions with more than just a collection of architectural(/pornographic) renderings. So to all of you out there: CHECK IT OUT.
(Of course, beeing France, the website is in French, but If I have seen some videos with english subtitles.)

M Guerric, what did you think of the exhibition at Chaillot? I was over in Paris soon after the opening in May, and was amazed to see the public interest (two or three hundred people waiting to get in...) but was bitterly disappointed by the actual exhibition. For those who haven't (yet!) seen it, the curator decided to place the work of each team in a strangely proportioned white box and display them all in the "gallerie des moulage" amongst plaster moldings of Gothic cathedrals... As a result, it was impossible to actually get anywhere near the work, and like so many others, I just went home and watched the videos on the internet !!!

Jamel Klouche was very interesting, I also very much liked the themes developed by Y. Lion and the Groupe Descartes (Stabilo sketches by David Mangin, perfect!), especially the proposal for tackling the sprawling suburbs by softening the regulations and allowing existing houses to be extended and developed, thus raising the density.

I am sorry for all of you who are just interested in Fancy-concrete-molded-bullshit by Edouard Francois, for occupying the space of this thread to talk for a second about the wide picture. In fact maybe ArchDaily could publish some of the work of the "Grand Pari(s)", I'm sure SOME of you might be interested. ;-)

M Guerric · June 17, 2009

Thank you Frederick for your support! I was despairing of all this dithyrambic if laconic praise! Since you seem to be afflicted by the state of contemporary architecture in Paris, here are two sites that may boost your spirits: http://www.citechaillot.fr/exp..., and http://www.legrandparis.cultur...
On this last site, 9, or 10, short videos recap the different teams' visions involved in Sarkozy's project Le Grand Pari(s). I especially enjoyed listening to Djamel Klouche. His dicourse is a welcomed bowl of fresh air, definitely more exciting than what parades as being radical but in the end is only "du réchauffé"!

Frederick · June 16, 2009

M Guerric, you have my full support!

I think this projects exemplifies very clearly how we no longer can see the difference between conservation and Disney-like-invention. If we were talking about an existing structure, in which the transformation of use calls for a new expression of the facade (like for instance the windows of the - excellent - Tate Modern in London) then I see no problem in introducing new shapes, "editing" the old with the tools of our time. But this has nothing to do with it. In this case, it is a totally new building, where the whole question of its expression, and relation to a very powerful surrounding, up to its own identity is denied, simply by coating the building with a pastiche of what we like to think of as "historical", just like the "Main street" of Disneyland. There is no attempt to synthesize the essence of this element, or offer an abstract, or contemporary expression of it. No justification either of this model, its origins and how it was developed: Edouard Francois is simply asking us to believe him, when he says that this is the "old" and "now I shall bring you the New".

Paris is a very difficult city for architects to work on, because of the homogeneous aspect that has led it to be recognized worldwide for its beauty and, more importantly, for its strong identity. Furthermore, architects in France, like many other countries have put themselves (or let themselves be put) in a position of serious distrust. This situation has got so bad, that a majority of people (including those with a responsibility in town planning) seem to think that a bad copy of an old(ish) building, is anyway better than "letting one of these crazy architects destroy our beautiful city".

How are we ever going to reverse this tendency, and develop an architectural expression of our time, capable of relating with the classical city, without copying it or mocking it, capable of maintaining the beauty and the essence of Paris, without covering it in a thick coat of varnish and labeling it like a antic in a museum ? I think this facade, far from answering the complexity of its situation and relation to the city, just ignores the question, and in doing so Edouard Francois misses an fantastic occasion to show us what architecture is really about!

Oh, just one more thing, for those of you inspired by this technique, Edouard Francois actually patented this principle, together with a few other similar ones... So watch out for the royalties !!! I tell you, Disney ... ?o?

Avenger · June 16, 2009

"I love the glass box window!"

Want the same? 20.000€ each.

M Guerric · June 15, 2009

I beg to disagree…ALL intervention in the extant built urban fabric has to do with conservation! And as such, the interaction boils down to two choices: one either attempts to establish a relationship between old and new or follow Koolhaas’s inducement of f…. the context! Given that choice, I would have preferred M. François had followed the latter advice…XIX Century architects…indeed! But whereas one exhorted the “obligation” of the new to reflect its own time—in this case XXI C—the other prompted the re-interpretative policy that has resulted in that most atrocious of “styles”—pomo! Despite the contemporaneous discourse—copy / edit, merci Microsoft—I see no difference between this particular exercise and Moore’s Piazza d’Italia (1975!) And as for Duchamp, far from being his “detractor”, I would only hope some of today’s art were as mind-boggling as his was (and is) in his time—even if it was 100 years ago!

MC · June 15, 2009

Brilliant, as usual, Eduard François' work is stunning

Opium · June 15, 2009

I dont dislike it...but it's a bit scary to think that this can open way to all kinds refurbishment projects like this...this is the opening of the pandora box ...where do we stop? imagine that all these haussman building in paris and there thousands start to be refurbished like this one...in a certain way he just leaves the "impression" of the old building...nothing more...can you imagine what would be if will took this has an example of how to reconstruct our constructed heritage? In my mind this servs too much the ego of the architect as well as the fetishe desires of the bourgois clientele who want something new and cosy but looks old and with history.

John Avlakiotis · June 15, 2009

I love this! It is so theatrical!

Rick · June 14, 2009

M Guerric: you fall into all kinds of misconceptions when addressing this as a conservation project. It isn't. Camillo Boito, Viollet-le-Duc? Bringing up references to the work of these XIX century architects, regarding this building, reveals that, in spite of your seemingly academic background, you seem too keen on drawing unfounded deliberations. The work of Edouard François doesn't relate to any of the considerations you've done, as it addresses the problem in a provocative fashion, the contemporaneity of which goes beyond your hundred years' old Duchamp. In fact, in another hundred years, your critic may be regarded in the same way the academic detractions of Duchamp are regarded now...

Fran · June 14, 2009

Please CHANGE THE NAME OF THE ARTICAL

Barrière, Edouard François

thank you andéa ganulti of arkdély

Alexander · June 14, 2009

Guerric your students dont do that cause are no capable of mix so well the old and the new in a simple and complex way whe can comprehend like this well developed proyect... If people like it, lets do it.

M Guerric · June 14, 2009

This is ghastly! Mimesis, or copy(cat), is a no-no in conservation, I’d tell my students (confer Camillo Boito.) To “edit” needs to be qualified: unthinkable if it entails an original work (confer Viollet-le-Duc’s atrocities!), tolerable if applied on a reproduction but risking to be misconstrued as a pastiche or a provocation (confer Duchamp’s L.H.O.O.Q.) In architecture, this “editing” needs a far greater purpose than the perpetuation of “appearances” (how terribly bourgeois!). A fine, and correct, example of “editing” is Lord Foster’s intervention on the Reichstadt. Though excessively chauvinistic when it comes to things (and architects) French, I regret the owners did not consult the one architect most indicated for this: Renzo Piano! Preuves à l’appui: the Morgan Library, NYC, entre autres…

JuanLuisBurke · June 14, 2009

This is a very interesting project in terms of conservation/restoration of historical buildings and sites. The architect seems to have cleverly interpreted what is allowed when intervening an historical complex, and successfully created a piece of architecture which is not a pastiche; a blatant reproduction of a historical element, and instead created an architecture, art statement, on a historical building, with historical interpretation, BUT in a contemporary way, and did so in a very ingenious form.
Great work!

sunsheng · June 14, 2009

maybe a bit fewer windows would fit better?

Pierre · June 14, 2009

Title got a mistake, as val bollaert said it, his name's Édouard François, also the name of the hotel is 'Barrière' instead of 'Barrier'.
It appears to be like a big shape of the precedent building. A little like Rachel Whiteheads' work.

val bollaert · June 14, 2009

his name is Edouard Francois,not Franchanc. It's a very good reflexion on history. He only design the facades and a little part of the building, finaly it's look like an addition of historical coat. very nice

_panza · June 14, 2009

post-modern should have look like this. A very delicate "remix architecture"

Rotterdam · June 14, 2009

It's like having flatscreen tv's on the facade. Every window has its own story. Impressive!

Ladzono · June 14, 2009

Nice...

Alex Han Li · June 14, 2009

I love the glass box window!
It's like a digital window to show the history complex.

dan · June 14, 2009

it give us a way to balance the old and new. very nice

Doruk Özdemir · June 14, 2009

Hotel Fouquet Barrier / Eduard Fanchanc:
Architect: Edouard François Location: Paris, France Client: Groupe Luc.. http://bit.ly/a0b1Y

tijuana · June 14, 2009

mixing old with new looks so sweeet!

Design Metafeed · June 14, 2009

#architecture Hotel Fouquet Barrier / Eduard Fanchanc:
Architect: Edouard François Location: Paris.. http://bit.ly/a0b1Y

amb · June 14, 2009

very nice. i think paris needs this type of architectural gesture. herzog&demeuron's housing complex in rue des suisses is a good exemple too.

Moreno · June 14, 2009

Date a Cesare quello che è di Cesare e a Dio quello che è di Dio.

Bravo Eduard.

mrfidalgo · June 14, 2009

Hotel Fouquet Barrier / Eduard Fanchanc - http://shar.es/p2SV

_panza · June 14, 2009

love it

···

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