LES ROCHES NOIRES
For the choice of the hotel location, we opted for an existing hotel where Marguerite Duras used to spend her holidays. It is the Hotel " Les Roches Noires", a former mythical hotel on the beach of Trouville. The charm and melancholy discretion of the seafront become sources of inspiration for the writer. She will choose this decor for several of her films. She will also write Le Ravissement de Lol V Stein, a novel with the colors of this place. Trouville was truly her source of inspiration, her favorite territory where she wanted only to contemplate the sky, the sea and take the pen...
WELCOME
For the reception, we wanted to give the customer the feeling of being outside. So we chose textures on the floors that we could find outside, but also other elements such as the suspended fan, which would diffuse a light breeze. Additionally, we added a sound track that will re-broadcast in real-time the outside nights in our hotel to keep this continuity.
ELEVATIONS
FRONT VIEW
LEFT VIEW
READING ROOM
In order to emphasize our concept related to the fusion between interior and exterior, we wanted to integrate a cabin in the lobby for a moment of reading. The customer is then immersed in an indoor space while the rest of the hotel evokes the outside. This micro space allows to find oneself for a moment of reading. We wanted to echo Indochina, as this country is particularly important for Marguerite Duras. Making this space intimate and isolated is therefore a way to completely immerse oneself in her books.
ROOM
In this room, we wanted to stage the cries and silences in order to spatially transcribe Duras' way of speaking. Through its moving veils, and its lines that punctuate the space, a play is created between sensuality, movement, and silence. And thus creating a constant dialogue between the interior and the exterior.
BATHROOM
In reference to her book "Barrage contre le Pacifique" (The Sea Wall) we have in this bathroom attempted to transcribe her childhood in Indochina, both intimate and dynamic. Specifically through this undulating glass that forms a barrier between the sink and the shower.
As we know, Marguerite Duras preferred to cast a gaze on the love stories of others rather than her own in order to tell them. This gaze towards the outside that we wanted to transcribe is reflected in this opening towards the windows and thus the sea... Furthermore, this wide framing also echoes the films that Duras shot on the beach.
THE FACADE
We have then chosen to provide an entrance, which will serve as a link between exterior and interior so as to be indistinguishable. The "passage" then serves the purpose of accentuating this sensation and serves as a link between the real exterior and the imagined and felt interior.
