Q&A With Laura Gonzalez, Maison & Objet Designer of the Year 2019
The inventive architect and interior designer tells Houzz about her style, process and projects
“I like to multiply the details, to make sure that wherever the eye falls, something is happening. I need places to have a soul.” Laura Gonzalez
Parisian architect and interior designer Laura Gonzalez never stops taking on projects: she’s created designs for the iconic Lapérouse restaurant, the Relais Christine hotel, the 86Champs concept store, Noto restaurant in the Salle Pleyel, and the Cartier boutiques in Paris, Stockholm and Zurich. This year she was named Maison & Objet Designer of the Year, September 2019.
Trained at École Nationale Supérieure d’Architecture (ENSA) Paris-Malaquais, one of France’s national architecture universities, she founded her agency, Pravda Arkitect, in 2008. It was her 2010 renovation of renowned Parisian rock club Bus Palladium that put her on the map, and since then she’s continued to imprint her inimitable style on a long series of illustrious locales. The talented young architect likes to play with surprising mixes of fabrics, patterns, materials and colours to create rich, sophisticated and timeless worlds that honour art and craft and twist the codes of classicism.
Parisian architect and interior designer Laura Gonzalez never stops taking on projects: she’s created designs for the iconic Lapérouse restaurant, the Relais Christine hotel, the 86Champs concept store, Noto restaurant in the Salle Pleyel, and the Cartier boutiques in Paris, Stockholm and Zurich. This year she was named Maison & Objet Designer of the Year, September 2019.
Trained at École Nationale Supérieure d’Architecture (ENSA) Paris-Malaquais, one of France’s national architecture universities, she founded her agency, Pravda Arkitect, in 2008. It was her 2010 renovation of renowned Parisian rock club Bus Palladium that put her on the map, and since then she’s continued to imprint her inimitable style on a long series of illustrious locales. The talented young architect likes to play with surprising mixes of fabrics, patterns, materials and colours to create rich, sophisticated and timeless worlds that honour art and craft and twist the codes of classicism.
Concept store 86Champs. Photo by Mattieu Salvaing
Q How did your work evolve after you founded your own agency?
A My work has constantly evolved according to my various projects. From the beginning, this encouraged me to constantly discover new things, to move towards new horizons. That’s what fascinates me about this job. You learn constantly by being in contact with materials, colours, patterns.
Q How did your work evolve after you founded your own agency?
A My work has constantly evolved according to my various projects. From the beginning, this encouraged me to constantly discover new things, to move towards new horizons. That’s what fascinates me about this job. You learn constantly by being in contact with materials, colours, patterns.
Dinner theatre Café de La Gare. Photo by Jérôme Galland
For example, the former Passy-La-Muette station in the 16th arrondissement of Paris, which was refurbished as a restaurant in the 1990s, was revamped a few months ago. The revisited, about 1,000 sq m space is inspired by colonial style, with its welcoming brass mirrors, painted decorations and Calacatta marble; upstairs, the Café de la Gare was designed like a winter garden.
For example, the former Passy-La-Muette station in the 16th arrondissement of Paris, which was refurbished as a restaurant in the 1990s, was revamped a few months ago. The revisited, about 1,000 sq m space is inspired by colonial style, with its welcoming brass mirrors, painted decorations and Calacatta marble; upstairs, the Café de la Gare was designed like a winter garden.
Cartier boutique at the Place Vendôme. Photo by Romain Laprade
Q How do you approach projects as different as the legendary Lapérouse restaurant (established in 1766, it has welcomed a long roster of illustrious guests, including Victor Hugo and Orson Welles) or the Cartier boutiques?
A Cartier projects require a specific process, because they’re exercises in style that aim, above all, to highlight the brand and its products.
Q How do you approach projects as different as the legendary Lapérouse restaurant (established in 1766, it has welcomed a long roster of illustrious guests, including Victor Hugo and Orson Welles) or the Cartier boutiques?
A Cartier projects require a specific process, because they’re exercises in style that aim, above all, to highlight the brand and its products.
Four Seasons Room at the Lapérouse. Photo by Matthieu Salvaing
The Lapérouse project was a different matter. First, it was necessary to rediscover the soul of this place steeped in history and return its sense of nobility. Then, I made my own mark on it in a subtle way with mixes of classical motifs as well as through the lighting, furniture and painted decorations.
The Lapérouse project was a different matter. First, it was necessary to rediscover the soul of this place steeped in history and return its sense of nobility. Then, I made my own mark on it in a subtle way with mixes of classical motifs as well as through the lighting, furniture and painted decorations.
Furniture by Laura Gonzalez. Photo by Romain Laprade
Q You have created your own furniture collection. What types of objects have you made? Which materials have you put in the spotlight?
A I started developing this collection two years ago. We produce the furniture we design, which gives us full freedom, and that’s very important to me.
In reality, the idea of the collection is not singular. It is heterogeneous, as it takes shape based on our desires, inspirations, and collaborations with craftsmen. I have never liked showrooms where everything goes together. The main idea is to be able to mix everything.
Q You have created your own furniture collection. What types of objects have you made? Which materials have you put in the spotlight?
A I started developing this collection two years ago. We produce the furniture we design, which gives us full freedom, and that’s very important to me.
In reality, the idea of the collection is not singular. It is heterogeneous, as it takes shape based on our desires, inspirations, and collaborations with craftsmen. I have never liked showrooms where everything goes together. The main idea is to be able to mix everything.
Furniture by Laura Gonzalez. Photo by Romain Laprade
Q How did you come up with the ideas for your showroom in Vexin?
A I wanted to build a 19th century mansion in the Vexin area to showcase my lifestyle. The idea was to create a place apart where we could work, where clients could come for lunch or stay for a weekend, where artists could have the opportunity to express themselves, and where our collection could be exhibited.
Q How did you come up with the ideas for your showroom in Vexin?
A I wanted to build a 19th century mansion in the Vexin area to showcase my lifestyle. The idea was to create a place apart where we could work, where clients could come for lunch or stay for a weekend, where artists could have the opportunity to express themselves, and where our collection could be exhibited.
AD Interiors 2018. Photo by Matthew Salvaing
Q Tell us about your future projects.
A Voted best designer of the year by Maison & Objet, I’m going to make a display for the event in September to exhibit my collection of furniture and our collaboration with Pierre Frey. We will also stage a signature café with Pierre Hermé.
In addition, we were once again selected to do the décor at the AD Interiors event [in Paris]. For this 10th edition, we’ve come up with a dreamlike setting around a summer patio.
Q Tell us about your future projects.
A Voted best designer of the year by Maison & Objet, I’m going to make a display for the event in September to exhibit my collection of furniture and our collaboration with Pierre Frey. We will also stage a signature café with Pierre Hermé.
In addition, we were once again selected to do the décor at the AD Interiors event [in Paris]. For this 10th edition, we’ve come up with a dreamlike setting around a summer patio.
Laura Gonzalez. Photo: LG Stéphane de Bourgies
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Q How would you define your style?
A I take inspiration from classical style and decorative arts. I would call it a revisited classical style. I love mixing materials, eras, styles … I work on intuition a lot.
The motif is also an essential element for me. I love when there is life and spirit in a place.