Benoît Loiseau, Art-break hotel, Wallpaper*, July 2018, pp

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2 JULY ARTIST JORGE PARDO AT THE 15TH-CENTURY FORMER PALACE IN ARLES THAT HE IS CONVERTING INTO A HOTEL AND ARTISTS RESIDENCES. THE CHAIR IS ONE OF THE BESPOKE PIECES HE HAS DESIGNED, SEE PAGE 080 DESIGN DIRECTORY 102 Architects Directory 2018 Young visionaries and hotshot practices from around the world 113 The W* House The most fanciable new furnishings for every room in the home ARCHITECTURE 060 The new brutalism: Brussels Among a wave of savvy renovations, a 1970 concrete classic finds fresh vigour 066 The new brutalism: London A fresh twist for Balfron Tower, Centre Point and the Economist Building 075 A bigger splash Paulo Mendes da Rocha has a hand in a lavish renovation in Lisbon s Lapa ART 080 -break hotel Maja Hoffmann and Jorge Pardo tile with style at a creative retreat in Arles DESIGN 071 Tool order Handcrafted cutlery sees California s Heath Ceramics sharpen up its act 088 Task master Right royal off-roading with Rolls-Royce s debut SUV 015

30 ROOMS AND 11 ARTISTS RESIDENCES -break hotel Maja Hoffmann and Jorge Pardo on

3 MAJA HOFFMANN, PRESIDENT OF THE LUMA FOUNDATION, AND ARTIST JORGE PARDO, IN THE COURTYARD OF L ARLATAN HOTEL IN ARLES, A 15TH-CENTURY FORMER PALACE THAT WILL HOUSE 30 ROOMS AND 11 ARTISTS RESIDENCES -break hotel Maja Hoffmann and Jorge Pardo on creating a remarkable Provençal retreat PHOTOGRAPHY: CHARLES PETIT WRITER: BENOÎT LOISEAU 080

In 1888, Vincent van Gogh, ravaged by the centuries, including a classical façade on three heavy drinking and disillusioned with life in Paris, levels, rebuilt in the 18th century; exquisitely

L Atelier du Sud would, he hoped, become monolithic column from the 5th century, formerly a laboratory to experiment with colours and light, part of the baths.

But the project ended abruptly the same the president of the Luma Foundation, Swiss art year, after a series of violent quarrels with his friend maverick Maja Hoffmann, of the refurbishment Paul

muses breakdown, during which he famously cut off part the softly spoken Pardo, ruminating on the layered of his own ear. history of the site.

4 In 1888, Vincent van Gogh, ravaged by the centuries, including a classical façade on three heavy drinking and disillusioned with life in Paris, levels, rebuilt in the 18th century; exquisitely painted found refuge in Arles, intent on creating an artists wooden ceilings from the 15th century; and a dramatic, commune. L Atelier du Sud would, he hoped, become monolithic column from the 5th century, formerly a laboratory to experiment with colours and light, part of the baths. I thought it d be interesting to bring repositioning the Provençal city as a centre for artistic a new dimension, one of the 21st century, explains production. But the project ended abruptly the same the president of the Luma Foundation, Swiss art year, after a series of violent quarrels with his friend maverick Maja Hoffmann, of the refurbishment Paul Gauguin the only artist who had responded she commissioned. to the invitation drove the Dutchman to a mental How does somebody like me speak to that? muses breakdown, during which he famously cut off part the softly spoken Pardo, ruminating on the layered of his own ear. history of the site. Pardo, whose practice operates Despite its failure, the ideals behind l Atelier du Sud at the intersection of art, architecture and design, left an indelible mark on Arles which, some 130 years rose to prominence in the 1990s as part of the later, may get its artist colony after all. Designed by the relational aesthetics movement led by French critic Cuban-born American artist Jorge Pardo, l Arlatan Nicolas Bourriaud, which considers social context a hotel and artist residence, housed in a 15th-century as the point of departure of an artwork. What Pardo palace once belonging to the Counts of Arlatan de consistently creates is spaces that respond with care Beaumont is set to become a hub for the international to his surroundings, while also skewering convention intelligentsia brought to the city by the newly to make something truly original, says Tim Neuger, established contemporary art centre, Luma Arles. co-founder of Berlin s Neugerriemschneider gallery, Built on an ancient Roman basilica (its remains are who has been working with Pardo since still visible), and a stone s throw from the Unesco-listed One of Pardo s first high-profile projects, 4166 Sea Baths of Constantine, the 5,500 sq m building boasts View Lane (1998), is a house he built in LA as part of an impressive list of historic features added through the city s Museum of Contemporary of s Focus JORGE PARDO S ORIGINAL ARTWORK FOR THIS MONTH S LIMITED-EDITION COVER (AVAILABLE TO SUBSCRIBERS, SEE WALLPAPER.COM) IS A COMPOSITION OF DIGITALLY MANIPULATED IMAGES REPRESENTING THE ARTIST AND FRIENDS ON MEXICO S YUCATÁN PENINSULA ABOVE AND OPPOSITE, SOME OF THE HOTEL S NEW ROOMS AND RESIDENCES, FOR WHICH A MILLION TILES WERE MADE 083

ABOVE, THE TILES, EACH ONE HANDMADE IN A WORKSHOP IN TICUL, YUCATÁN, CONTINUE IN THE BATHROOMS exhibition series. The house was opened to the public for five weeks before Pardo moved in.

5 ABOVE, THE TILES, EACH ONE HANDMADE IN A WORKSHOP IN TICUL, YUCATÁN, CONTINUE IN THE BATHROOMS exhibition series. The house was opened to the public for five weeks before Pardo moved in. The Arles project takes that idea of art as domestic/ public space to a new level. Pardo produced more than 1,300 pieces of furniture, ranging from rocking chairs, wooden tables and woven-cane wardrobes to some 400 laser-cut lamps and chandeliers. They were handmade and painted by a 24-strong team at his studio in Mérida, Mexico (which grew to accommodate the ambition of the project), and now populate 30 rooms and 11 residences as well as communal spaces. The aesthetic is not necessarily responding to the antiquity, explains Pardo, whose concept is more concerned with light and colours, while introducing a dialogue between the Camargue region and his adopted home of Yucatán. They re both places where you look at the sky all the time, he continues dreamily. But it s the kaleidoscopic surfaces that really set l Arlatan apart. More than a million handmade, glazed ceramic tiles, in 11 different shapes and 18 colours (ranging from light yellows and tangerine to lavender and sky blue), are assembled into geometrical mosaics (evoking the Moorish art of zellige tiles), covering entire floors and parts of the walls. Every tile that you see has a place, affirms Pardo. It s like a painting. A 5,200 sq m, luminous, oddly fragmented painting which hints at the post-impressionists response to the local light and landscape. There s a deep parallel between our use of colour, admits Pardo, pointing to van Gogh s later paintings. A lot of it has to do with the quality of the light that exists here. In a region burdened by unemployment, could the ten containers worth of tiles at l Arlatan have been sourced locally to support the economy, instead of being shipped from Mexico? Hoffmann explains that it was impossible to find a ceramic workshop, willing and able to do the job, in the area. But a number of other features including wooden door frames, concrete work and handrails were produced and assembled locally. For me, it was important to have a production dialogue between both places, says Pardo, who worked closely with the Arles-based architecture studio of Max Romanet. While catering to the seasonal waves of tourists visiting Arles (its summer photography festival, Les Rencontres d Arles, brings more than 100,000 visitors), l Arlatan will also become an essential component of the Luma Arles art centre. Launched by Hoffmann in 2014, Luma Arles operates primarily in and around the Parc des Ateliers, out of 084

LEFT, A SERIES OF PAINTED DOOR PANELS BY PARDO, SOME OF THE THOUSANDS OF BESPOKE PIECES DESIGNED BY THE ARTIST FOR THE PROJECT BELOW, A ROCKING CHAIR WAITING TO BE INSTALLED IN THE NEW ROOMS.

colours a former rail depot converted by US firm Selldorf Architects, soon to be flanked by a glistening, 56m-high Frank Gehry tower, due in 2020. ( We re waiting for it like the Messiah!

6 LEFT, A SERIES OF PAINTED DOOR PANELS BY PARDO, SOME OF THE THOUSANDS OF BESPOKE PIECES DESIGNED BY THE ARTIST FOR THE PROJECT BELOW, A ROCKING CHAIR WAITING TO BE INSTALLED IN THE NEW ROOMS. MOST OF THE FURNITURE IS MADE USING PAROTA, A GOLDEN- BROWN WOOD SOURCED FROM CHIAPAS, MEXICO The aesthetic is not necessarily responding to the antiquity, says Pardo, but is more about light and colours a former rail depot converted by US firm Selldorf Architects, soon to be flanked by a glistening, 56m-high Frank Gehry tower, due in ( We re waiting for it like the Messiah! exclaimed our taxi driver as we made our way from the train station.) Together with her Core Group a troop of art-world superstars acting as advisors, including Hans Ulrich Obrist, Liam Gillick and Beatrix Ruf Hoffmann has imagined Luma Arles as an urban archipelago, where buildings are in conversation with one another as well as with their environment (the central drum of Gehry s tower, for instance, echoes Arles iconic Roman amphitheatre). It becomes a more transversal way of thinking, argues the art collector and patron, whose programme at Luma Arles features large-scale art and architecture exhibitions, talks, institutional collaborations and a social-design workshop focusing on Arles surroundings. With its artists residences, l Arlatan is certainly set to become a vital resource for the centre. Since its inception, Luma has organised a number of tailored, invitation-based residencies with the likes of Turkish artist Ahmet Öğüt, French critic and curator Anna Colin and, currently, Spanish philosopher and transgender activist Paul B Preciado. A communal space will change the dynamic of the residencies, explains Julie Boukobza, who runs the programme. It will enhance the conversation between residents. From a Roman basilica to a Renaissance palace and now a contemporary, art-friendly hotel, l Arlatan s many lives share a distinct legacy of enlightened, artistic conversations. History repeats itself, affirms the conservation expert Renzo Wieder, pointing to the heritage of art and architecture that has shaped the aesthetics of the site throughout the centuries. As for van Gogh s artist colony, time will tell whether it was just a doomed fantasy or a reality now in the making. In the meantime, Pardo s intervention at l Arlatan offers an uncanny response to the Dutchman s prediction that, the painter of the future will be a colourist the like of which has never yet been seen. L Arlatan, by Jorge Pardo, opens late summer 2018; enquiries via luma-arles.org. Pardo has an exhibition of new work at Neugerriemschneider, Berlin, 14 September 20 October, neugerriemschneider.com 086

ARCH 384. Architectural Research. Essay VIRGINIE REUSSNER ( ) Exchange Student from EPFL, Switzerland

ARCH 384. Architectural Research. Essay VIRGINIE REUSSNER ( ) Exchange Student from EPFL, Switzerland ARCH 384 Architectural Research Essay VIRGINIE REUSSNER (20255571) Exchange Student from EPFL, Switzerland April 25 th, 2007 1 The works of the past always influence us, whether or not we care to admit