Les Haras de Strasbourg 是一个与众不同的酒店和餐厅项目。Les Haras 由一家四星级酒店和米其林三星级厨师 Marc Haeberlin 的第一家小酒馆组成，为许多省级城市面临的问题提供了独创的解决方案：如何重新开发和利用其建筑遗产的潜力。该项目由消化系统癌症研究所 (IRCAD) 管理，由 Jacques Marescaux 教授主持，将建筑创意和技术创新这两个法国专业知识的特定领域与慈善事业相结合，这是历史性重建项目的前所未有的组合在法国。正如 Agence Jouin Manku 所设想的，酒店和小酒馆的室内设计以其真实性和现代性为特色，一种受马术世界启发的奢华和舒适的特殊理念，内敛而微妙。Patrick Jouin 和 Sanjit Manku 以既优雅又简单的设计表达了他们对这个前种马场和历史遗址的看法。他们故意选择限制使用的材料范围；实木、天然全皮皮革和黑色或拉丝金属将这座具有象征意义的斯特拉斯堡建筑的原始生活转变为坚决现代和简单的东西，其建筑细节证明了工作室的创造力。
历史背景
建于 18 世纪中叶，前斯特拉斯堡国家马场是一组非凡的建筑，其外墙、屋顶、纪念性的大门和古典风格的大马厩都被列为历史古迹。该市的马术学院成立于 1621 年，最初是一所马术学校，面向来自斯特拉斯堡大学的年轻富裕的法国和德国学生。1752 年作为城市骑术学院的总部，Haras Royal，即皇家马匹，应时任国家马匹主管的侯爵 d’Argenson 的要求，于 1756 年迁至该地点。法国大革命期间关闭的马术学院在拿破仑一世时期重新开放，但在 1823 年再次关闭。1830 年暂时重新开放，1845 年最终关闭；只有National Stud继续占据现在的场地。2005 年，种马的马匹终于最后一次离开了这些著名的建筑。2009 年，斯特拉斯堡市根据为期 52 年的全面维修和保险租赁（英国）或净租赁（美国）的条款委托 IRCAD 负责该场地的翻新和管理。
2010 年，IRCAD 开始在法国文化部的主持下修复该遗址，并由 Direct Régionale des Affaires Culturelles、Architecture des Bâtiments de France 和 Conservateur Régional des Monuments Historiques 监督。
Les Haras 的建筑，前国家马场，斯特拉斯堡 Les Haras 在斯特拉斯堡市占有重要地位。其建筑位于城市的小法兰西地区，沿着城市的中世纪城墙线，靠近历史悠久的“Hôpital Civil”。该建筑有三个翼：第一个翼包括 Les Haras 的原始大入口和主人的住所。第二个翼与第一个翼垂直，从 rue des Glacières 向后退，以前是马厩和马场。第三座建筑与 rue des Greniers 一起，最初是皇家马厩的所在地。多年来，这组建筑经历了多次改建，这在建筑中很容易看出。正是在 Les Haras 建造的皇家马厩将庭院北侧封闭起来。一座名副其实的马旅馆，该建筑最多可容纳 32 匹种马。宽敞的单层粉红色砂岩立面的特点是六个全高的模制拱门构成了中央门廊。在这些宏伟的马厩前面是露天骑术学校，是训练骑手必不可少的。1752 年，国家马场的第一座建筑竣工；室内学校、马厩和住宿都是建筑师 Jacques Gallay 的作品。
今天的 Les Haras：一个对比鲜明的地方，展示了法国的专业知识 正是由于它的位置，理想地紧邻斯特拉斯堡大学医院和 IRCAD 的总部，这个不同寻常的项目的想法诞生了。每年有超过 4000 名外科医生从全球各个角落旅行，接受使用 3D 图像的最新非侵入性技术培训，IRCAD 已经成为法国专业知识的展示。Les Haras 是一个理想的地点，不仅可以容纳游客，还可以容纳每年访问 IRCAD 的 4000 名外科医生中的一些。这里曾经是国王的马匹和著名学院的所在地，拥有宏伟的建筑和不寻常的空间，展示了法国历史的迷人形象。卓越的主题是将这个新项目的所有参与者联系起来的主线：Marc Haeberlin，米其林三星级厨师 Agence Jouin Manku 因其为最知名客户、建筑师 Denu et Paradon 和受人尊敬的斯特拉斯堡酒店经营者 Jean-Pascal Scharf 的创意项目而享誉国际，他们的经验确保了这家四星级酒店的成功管理酒店项目。每个参与者都被这个项目的雄心和慈善倾向所吸引：该网站还将容纳一个“生物集群”，一个生物技术初创企业的中心，由 IRCAD 安置和指导。此外，网站上旅游业产生的收入将有助于资助 IRCAD 研究。建筑师 Denu et Paradon 修复了场地，特别注意结构和围护结构。
项目的创意方法 Patrick Jouin 和 Sanjit Manku 对整个项目的目标是对他们所委托的历史遗址做出完全现代的回应：一个具有适当和简约美学的项目，其每个细节都参考了现代、精致和舒适。这些建筑经过精心修复的雄伟外墙展现了 17 世纪建筑的完美形象，并讲述了曾经稳定在种马场的种马的贵族气质。Jouin Manku 选择在这些建筑的外部和内部之间创造明显的对比，从外墙的古典宏伟和历史转变为具有决定性意义的现代内部。
Marc Haeberlin 的小酒馆，高耸的木结构，非凡的室内空间
Marc Haeberlin 的小酒馆位于前皇家马厩内，这座建筑内外都被列为历史古迹。它拥有 800 平方米的非凡内部空间，高 13.5 米，并拥有异常美丽的原始木屋顶结构。您如何将这样的空间改造成值得 Marc Haeberlin 才华横溢的迷人小酒馆？该项目在场地的限制范围内工作，特别专注于保护现有细节。Jouin Manku 想要暴露建筑物的结构，展示木框架和托梁，保留楼上的原始渲染，重新使用地砖，并在大门上玩耍，以创建一个入口大厅。作为对场地纪念性的直接回应，Jouin Manku 的设计具有规模感和光线感。对参观者来说，重要的是能够评估该遗址特殊的历史维度，而不会感到相形见绌。Patrick Jouin 和 Sanjit Manku 已经将这些比例作为他们项目的一个关键元素。他们采用了一系列创造性和壮观的设备来帮助定义建筑物内的区域。相反，原始和天然材料的调色板被故意限制：发黑的生钢、涂漆的锌、未完成的橡木和全皮是餐厅使用的四种材料。
一楼和大楼梯
在一楼，上升到一楼的楼梯是引起您注意的第一件事。32 个木制台阶，它们的可见结构由未加工的发黑钢制成，高达 6 米，在天花板上切割出一个宽敞的楼梯间，让游客可以直接看到上面的木梁。这个令人惊叹的楼梯体现了一座被剥离的建筑的想法。当人们上下楼梯时，螺旋形的橡木蜗壳会陪伴和隐藏人们。踏板本身经过精心设计：下部台阶上的突出边缘在上部台阶上变形为“V”形，图形表示上下运动的动态和速度。木材采用了简单的饰面：未着色和未处理，简单地打蜡以使其随着时间的推移自然老化。曲线使材料栩栩如生，仿佛它的螺旋形状拥抱并保护了它的使用者，揭示了项目的诗意。在右侧，餐厅厨房通向餐厅。由于空间无法分割，厨房被当作一个独立的元素插入其中。食客们就像是在盛装舞步赛场上看马匹一样，在厨房里可以看到厨师们在工作，营造出欢乐的氛围，同时也是迎接游客的第一要素。在左边的楼梯脚下是一个带家具的休息区，里面有一个椭圆形的钢制酒吧，邀请客户在饭前或饭后喝一杯。酒吧的粗糙表面让人想起马厩中的谷物桶。木质和皮革家具让人联想到马鞍架。吧台后面是一排传统的铜啤酒桶。靠着大窗户与吧台平行地坐着十张左右的桌子。定制的长椅座位的灵感来自马厩的想法，并在一楼提供了一个额外的用餐区。
一楼：皮制蒙古包
楼上，为了给宽敞的空间增添温暖和屏蔽服务区，Jouin Manku 设计了一个用马鞍皮革覆盖的微型建筑：一个 30 平方米的蒙古包，高近 5 米，创造了一个舒适的用餐空间，而不是私人用餐区房间。蒙古包在顶部打开，可以看到木结构的景色，有一个美妙的凸面形状，它的曲线和分层参考了马鞍的各个部分。在它的外面，覆盖着蒙古包的柔软的棕色皮革给它带来温暖。在内部，将它固定在一起的木条结构覆盖着一种纺织品，看起来有点像带有菱形绗缝的马鞍毯。光线充足，吸引眼球，其宽大的比例为里面的桌子提供了各种配置。围绕它设计了桌子、长椅和扶手椅，就像一楼的那些，提醒马的摊位和马厩之一。该项目的照明由 L’Observatoire International 设计，他们为用餐者营造了柔和温暖的氛围。与屋顶上较小且数量相对较少的窗户相辅相成，这是间接和过滤光的巧妙运用。最后，Patrick Jouin 和 Sanjit Manku 想恭敬地庆祝这座建筑非凡的木结构；在一楼，原来的结构地板已经暴露在墙壁的边缘。承认这段历史，上层似乎漂浮在底层之上，仿佛这种当代干预可以从建筑物中取出，而不会标记其建筑遗产。该项目的照明由 L’Observatoire International 设计，他们为用餐者营造了柔和温暖的氛围。与屋顶上较小且数量相对较少的窗户相辅相成，这是间接和过滤光的巧妙运用。最后，Patrick Jouin 和 Sanjit Manku 想恭敬地庆祝这座建筑非凡的木结构；在一楼，原来的结构地板已经暴露在墙壁的边缘。承认这段历史，上层似乎漂浮在底层之上，仿佛这种当代干预可以从建筑物中取出，而不会标记其建筑遗产。该项目的照明由 L’Observatoire International 设计，他们为用餐者营造了柔和、温暖的氛围。与屋顶上较小且数量相对较少的窗户相辅相成，这是间接和过滤光的巧妙运用。最后，Patrick Jouin 和 Sanjit Manku 想恭敬地庆祝这座建筑非凡的木结构；在一楼，原来的结构地板已经暴露在墙壁的边缘。承认这段历史，上层似乎漂浮在底层之上，仿佛这种当代干预可以从建筑物中取出，而不会标记其建筑遗产。与屋顶上较小且数量相对较少的窗户相辅相成，这是间接和过滤光的巧妙运用。最后，Patrick Jouin 和 Sanjit Manku 想恭敬地庆祝这座建筑非凡的木结构；在一楼，原来的结构地板已经暴露在墙壁的边缘。承认这段历史，上层似乎漂浮在底层之上，仿佛这种当代干预可以从建筑物中取出，而不会标记其建筑遗产。与屋顶上较小且数量相对较少的窗户相辅相成，这是间接和过滤光的巧妙运用。最后，Patrick Jouin 和 Sanjit Manku 想恭敬地庆祝这座建筑非凡的木结构；在一楼，原来的结构地板已经暴露在墙壁的边缘。承认这段历史，上层似乎漂浮在底层之上，仿佛这种当代干预可以从建筑物中取出，而不会标记其建筑遗产。
一个有故事的大厅
访客一到达，他们就会被邀请去发现这个网站的非凡历史。图形艺术家菲利普·大卫（也是 Les Haras 视觉形象的创造者）的一幅巨大的壁画以令人回味和幽默的方式讲述了该项目的故事。这匹马以史诗般的英雄、皇室形象出现，与引用科学和医学的图像相关联。作为骑手或科学家，Man 还可以在该网站上留下自己的印记。最后，阿尔萨斯在一个从金属板上剪下来的场景中被唤起：一群鹳和仍然生长在 Les Haras 庭院中的受保护的树，一棵槐树，该市最古老的树之一。这幅壁画是一种超现实主义的拼贴画，是项目的“精致尸体”，由一块激光切割的发黑钢和一块喷砂和丝网印刷的玻璃制成，立在原砖和石墙前。图像分阶段展示自己，并根据观看者的位置播放阴影。这些材料营造出乳白色的透明感，将游客带入一个梦幻般的世界。这幅壁画在欢迎客人的同时为酒店定下了基调。大堂办公桌是量身定做的，由木头切割而成，并覆盖着一张皮革。对面是休息区，配有大沙发、座椅和桌子，家具与酒店卧室和小酒馆中的家具相同。早餐室直接从大堂打开，白天和晚上都用作酒吧。这里的核心元素是马槽状的石头柜台，根据一天中的时间用于各种目的。地板、墙壁和天花板都用木头覆盖，给空间带来简单的温暖。
卧室：结合了舒适和优雅的豪华定制内饰
酒店的 55 间客房根据其位置有不同的配置。由 Denu et Paradon 设计的现代扩建部分增加了酒店的容量。这个用红砖建造的新翼与场地的其他部分形成鲜明对比，让客人可以选择现代空间，或者在屋檐下的房间里，重新发现与小酒馆相同的古老木梁。在卧室中，Jouin Manku 非常巧妙地发展了马术参考，以创造简单、宁静的空间，并配备四星级酒店应有的所有设施。但是，您不会发现桌子上装满了连接或凸出的插座。现代技术和连通性的所有便利都被仔细地隐藏在与该网站历史保持一致的装修中。在酒店卧室和项目的其他地方一样，Jouin Manku 一直一丝不苟地使用相同的材料，以加强整体设计理念。Patrick Jouin 和 Sanjit Manku 设计了一个用马鞍皮革制成的超大床头板，包裹在床的两侧，覆盖了大部分的墙壁，与小酒馆蒙古包的墙壁没有什么不同。在任一侧，某些皮革层会抬起，以显示手机或平板电脑等电子设备的开关和连接。在枕头后面，皮革被亚麻布取代，亚麻布是一种简单的天然纺织品，也用于窗帘。另一个关于 Les Haras 历史的小典故；窗帘拉绳用编织马毛或草刷完成。延续天然材料的主题，Jouin Manku 选择了橡木地板，床边有一块简单的羊毛地毯，而不是大多数酒店常见的地毯。浴室门同样采用天然木材制成，配有大号皮革把手，可滑动打开。Jouin Manku 还设计了所有卧室家具；桌子靠在墙上，一块弯曲的金属和一段木材，与浴室门所用的一样。一个带有两个元素嵌套在一起的小木头和皮革凳子，暗示着跳马或马鞍架的形状。整个整体奢华而不张扬，简单的形状和材料营造出非常现代的休闲氛围。桌子靠在墙上，一块弯曲的金属和一段木材，与浴室门所用的一样。一个带有两个元素嵌套在一起的小木头和皮革凳子，暗示着跳马或马鞍架的形状。整个整体奢华而不张扬，简单的形状和材料营造出非常现代的休闲氛围。桌子靠在墙上，一块弯曲的金属和一段木材，与浴室门所用的一样。一个带有两个元素嵌套在一起的小木头和皮革凳子，暗示着跳马或马鞍架的形状。整个整体奢华而不张扬，简单的形状和材料营造出非常现代的休闲氛围。
Les Haras de Strasbourg is a hotel and restaurant project unlike any other. Composed of a the four-star hotel and Michelin 3-starred chef Marc Haeberlin’s first brasserie, Les Haras presents an original solution to the question many provincial cities are facing : how to redevelop and harness the potential of their architectural heritage. Managed by the Institute for Research into Cancer of the Digestive System (IRCAD), presided over by Professor Jacques Marescaux, the project allies architectural creativity and technological innovation, two particular areas of French expertise, with philanthropy, an unprecedented mix for a historic redevelopment project in France. As conceived by Agence Jouin Manku, the interior design for the hotel and brasserie is characterised by its authenticity and modernity, a particular idea of luxury and comfort inspired by the equestrian world, restrained and subtle. Patrick Jouin and Sanjit Manku have expressed their vision of this former stud farm and historic site, in a design that is both elegant and simple. They have deliberately chosen to limit the range of materials used; solid wood, natural full hide leather and blackened or brushed metal to transpose the original life of this emblematic Strasbourg building into something resolutely contemporary and simple, whose architectural details attest to the studio’s creativity.
Historical background
Built in the mid 18th century, the former National Stud in Strasbourg constitutes a remarkable group of buildings of which the facades, the roofs, the monumental entrance gate and the grand stables built in the classical style, are all classified historic monuments. Founded in 1621, the city’s Equestrian Academy was initially a riding school for young well-to-do French and Germans students from the University of Strasbourg. Headquarters of the City’s Riding Academy from 1752, the Haras Royal, the Royal Stud, moved onto the site in 1756, at the request of the Marquis d’Argenson, then director of the national studs. Closed during the French Revolution, the Riding Academy reopened under Napoleon I, only to close again in 1823. Temporarily reopened in 1830, it closed definitively in 1845; only the National Stud continued to occupy the current site. In 2005, the stud’s horses finally left these prestigious buildings for the last time. In 2009, the City of Strasbourg entrusted the renovation and management of this site to IRCAD under the terms of a 52-year full repairing and insuring lease (UK) or net lease (US).
In 2010, IRCAD began restoring the site under the auspices of the French Ministry of Culture, overseen by the Direction Régionale des Affaires Culturelles, the Architecte des Bâtiments de France, and the Conservateur Régional des Monuments Historiques.
The architecture of Les Haras, the former National Stud, Strasbourg Les Haras occupies an important position in the city of Strasbourg. Located in the Petite France area of the city, its buildings follow the line of the city’s medieval walls, close to the historic ‘Hôpital civil’. The building has three wings : the first includes the original grand entrance to Les Haras and lodgings for the master equerry. the second wing, perpendicular to the first and set back from rue des Glacières, formerly housed the stables and manege. the third building, alongside rue des Greniers, originally housed the Royal Stables. The group of buildings has been subject to a number of alterations over the years, which can easily be seen in the architecture. It was the construction of the Royal Stables at Les Haras that enclosed the courtyard on its north side. A veritable horse hotel, the building accommodated up to 32 stallions. The generous single-storey pink sandstone façade is characterised by six full-height moulded arches that frame a central portico. In front of these grand stables stretched the open air riding school, essential for training the riders. In 1752, the first buildings for the National Stud were completed; the indoor school, the stables and the lodgings were all the work of architect Jacques Gallay.
Les Haras today : a place of contrasts, showcasing French expertise It was due to its location, ideally situated right next to Strasbourg University Hospital and IRCAD’s headquarters, that the idea for this unusual project came about. With more than 4000 surgeons travelling annually from all corners of the globe to receive training in the latest non-invasive techniques using 3D imagery, IRCAD was already a showcase for French expertise. Les Haras represented an ideal location to accommodate not only tourists but also some of the 4000 surgeons that visit IRCAD annually. Once home to the king’s horses and a renowned Academy, with its grandiose architecture and unusual spaces, the site presents an attractive image of the history of France. The theme of excellence is the thread that links all the participants in this new project : Marc Haeberlin, Michelin three-starred chef, Agence Jouin Manku, internationally renowned for their creative projects for the most high-profile clients, the architects Denu et Paradon and Jean-Pascal Scharf, the respected Strasbourg hotelier whose experience ensures the successful management of this four-star hotel project. Each participant was won over by the ambition and the philanthropic slant to this project : the site will also house a ‘bio-cluster’, a hub for biotech start-ups, housed and mentored by IRCAD. In addition, the revenue generated by tourism on the site will help to finance IRCAD research. Architects Denu et Paradon have restored the site paying particular attention to the structure and envelope. The challenge for Jouin Manku was to make this site modern and sophisticated while respecting its important architectural heritage and avoiding pastiche..
The creative approach to the project Patrick Jouin and Sanjit Manku’s aim for the overall project was to come up with a wholly contemporary response to the historic site with which they had been entrusted : a project with an appropriate and pared back aesthetic, whose every detail referenced modernity, sophistication and comfort. The buildings’ beautifully restored majestic facades project a perfect image of 17th century architecture and speak of the nobility of the stallions once stabled in the stud. Jouin Manku chose to create a marked contrast between the exterior and interior of these buildings switching from the classical grandeur and history of the facades to a decisively contemporary interior. They have also employed many subtle references to the world of horses and stables conveying elegance and comfort in an understated way – without succumbing to an overly literal reference to the equestrian world, it is nonetheless omnipresent.
Marc Haeberlin’s brasserie, a soaring timber frame, exceptional interior spaces
Marc Haeberlin’s brasserie occupies the former Royal Stables, a building classified as an historic monument both inside and out. It boasts 800 sq m of exceptional interior space, 13.5m high and crowned with an unusually beautiful original timber roof structure. How do you transform a space like this into an inviting brasserie worthy of the talent of Marc Haeberlin? Working within the restrictions of the site, the project concentrates specifically on conserving existing details. Jouin Manku wanted to expose the fabric of the building, to show off the timber frame and joists, to retain the original render upstairs, reuse the floor tiles and play around with the grand doors to create an entrance lobby. As a direct response to the monumentality of the site, Jouin Manku’s design plays with a sense of scale and light. It is important for the visitor to be able to take stock of the exceptional historic dimension of the site without feeling dwarfed by it. Patrick Jouin and Sanjit Manku have embraced these proportions as a key element of their project. They have employed a series of creative and spectacular devices to help define areas within the building. Conversely, the palette of raw and natural materials is deliberately limited : blackened raw steel, patinated zinc, unfinished oak, and full hide leather are the four materials used in the restaurant.
The ground floor and grand staircase
On the ground floor, the flight of stairs rising up to the first floor is the first thing that catches your attention. The 32 wooden steps, their visible structure made of raw blackened steel, wind up over six metres high, cutting a generous stairwell into the ceiling allowing visitors immediate views through to the timber beams above. This stunning staircase embodies the idea of a building that has been stripped back. The spiralling oak volutes accompany and conceal people as they go up or down the stairs. The treads themselves are carefully detailed : a projecting edge on the lower steps morphs into a ‘V’ shape on the upper steps, a graphic representation of the dynamics and speed of movement up and down. A simple finish has been used for the wood : uncoloured and untreated, it is simply waxed to allow it to age naturally over time. The curves bring the material alive, as if its spiralling shape hugs and protects its users, revealing the poetry of the project. To the right, the restaurant kitchen is open to the dining room. Because the space could not be partitioned, the kitchen has been treated as an independent element inserted into it. Like spectators watching horses in a dressage arena, the diners can watch the chefs at work in the kitchen, creating a convivial atmosphere while being the first element that greets the visitors. At the foot of the stairs to the left is a furnished lounge area housing an ellipse shaped bar in patinated steel where clients are invited to have a drink before or after their meal. The rough finish of the bar harks back to the buckets of grain in the stables. The wood and leather furniture evokes saddle stands. Behind the bar is a line of traditional copper beer casks. Sitting parallel to the bar against the large windows lie ten or so tables. The bespoke banquette seating is inspired by the idea of horse stalls and provides an additional eating area on the ground floor.
The first floor : a leather yurt
Upstairs, to add warmth to the immense space and to screen service areas, Jouin Manku have designed a micro-architecture covered in saddle leather : a 30 sq m yurt, almost five metres in height, creates a cosy dining space without being a private dining room. The yurt, open at the top to reveal views of the timber structure, has a wonderful convex shape, its curves and layering referencing various pieces of a saddle. On its outside, the soft brown leather covering the yurt gives it warmth. Inside, the structure of wooden bars that hold it together are covered with a textile that looks a little like a saddle-blanket with its lozenge shaped quilting. Full of light, it draws the eye, its generous proportions allowing all sorts of configurations for the tables inside. Around it, tables, banquettes and armchairs are designed, like those on the ground floor, to remind one of the horses’ stalls and the stables. Lighting for the project has been designed by L’Observatoire International who have created a soft, warm ambiance for the diners. Complementary to the small and relatively low number of windows in the roof, it is a clever play of indirect and filtered light. Finally, Patrick Jouin and Sanjit Manku wanted to respectfully celebrate the building’s exceptional timber structure; on the first floor, original structural floorboards have been exposed around the edge of the walls. In acknowledgement of this history, the upper level appears to float above the ground floor level, as if this contemporary intervention could be lifted out of the building without marking its architectural heritage.
A lobby with a story to tell
As soon as the visitor arrive, they are invited to discover the extraordinary history of this site. A giant mural by graphic artist Philippe David (also creator of the visual identity for Les Haras) evocatively and with humour, tells the story of the project. The horse, presented as an epic hero, a royal figure, is associated with images referencing science and medicine. Man also features, as rider or scientist, making his mark on the site. Finally Alsace is evoked in a scene cut from sheet metal : a flight of storks and the protected tree that still grows in the Les Haras courtyard, a Sophora Japonica, one of the oldest trees in the city. This mural is a sort of surrealist collage, the ‘exquisite cadaver’ of the project, made from a piece of laser-cut blackened steel and sheets of sandblasted and screen printed glass that stand in front of raw brick and stone walls. The image reveals itself by stages and with a play of shadows depending on the viewer’s position. The materials create an opalescent transparency, plunging the visitor into a fantastical world. The mural sets the tone for the hotel while welcoming guests. The lobby desk is made to measure, cut from wood and covered with a sheet of leather. Opposite is a lounge area with a large sofa, seats and tables, the same furniture that features in the hotel bedrooms and the brasserie. Opening directly from the lobby is the breakfast room that serves as a bar during the day and in the evening. The central element here is the manger-like stone counter that is used for a variety of purposes depending on the time of day. The floor, the walls and the ceiling are all covered in wood, giving simple warmth to the space.
The bedrooms : luxurious bespoke interiors combining comfort and elegance
The hotel’s 55 rooms have different configurations depending on their location. A contemporary extension designed by Denu et Paradon adds capacity to the hotel. This new wing, built in red brick, contrasts well with the rest of the site and gives guests the choice between a contemporary space, or alternatively, in those rooms under the eaves, to rediscover the same ancient timber beams that feature in the brasserie. In the bedrooms, Jouin Manku very subtly develop the equestrian references to create simple, restful spaces with all the facilities expected in a four-star hotel. However, you won’t find desks laden with connections or bulging sockets. All the convenience of modern technology and connectivity is carefully concealed in a fitout in keeping with the history of the site. Here in the hotel bedrooms as elsewhere in the project, Jouin Manku has been meticulous in its consistent use of the same materials, in order to reinforce the overall design concept. Patrick Jouin and Sanjit Manku have designed an oversized headboard finished in saddle leather that wraps around both sides of the bed, covering much of the wall, not dissimilar to the walls of the yurt in the brasserie. To either side, certain layers of leather lift up to reveal switches and connections for electronic devices such as mobiles or tablets. Behind the pillows, leather is replaced with linen, a simple natural textile, which is also used for the curtains. Another little allusion to the history of Les Haras; the curtain drawpulls are finished with plaited horsehair or straw brushes. Continuing the theme of natural materials, Jouin Manku has chosen oak floorboards with a simple wool rug beside the bed rather than the usual carpet found in most hotels. The bathroom door, also in natural wood, slides open thanks to its large leather handle. Jouin Manku also designed all the bedroom furniture; the desk rests against the wall, a curved piece of metal and a length of timber, the same as that used for the bathroom door. A small wood and leather stool with two elements that nest together, alludes to the shape of a vaulting-horse or a saddle stand. The whole ensemble is luxurious without being ostentatious, a simplicity of shapes and materials that create a very modern retreat.
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