Laura Gonzalez: Maison et Objet 2019 Designer of the Year
The award-winning French architect and interior designer tells Houzz about her style, process and projects
Nothing is stopping architect and interior designer Laura Gonzalez from putting her mark all over Paris: from the iconic Lapérouse restaurant and the Relais Christine hotel, to the 86Champs concept store and Noto restaurant in the Salle Pleyel concert hall.
Trained at École Nationale Supérieure d’Architecture (ENSA) Paris-Malaquais, Gonzalez creates rich, sophisticated and timeless worlds that honour art and craft, and twist the codes of classicism by using surprising mixes of fabrics, patterns, materials and colours. Since her 2010 renovation of renowned Parisian rock club Bus Palladium, which put her on the map, the founder of Pravda Arkitect continues to imprint her inimitable style on a long series of illustrious locales.
And adding to the feathers in her cap this year, French design fair Maison et Objet appointed Gonzalez the 2019 Designer of the Year.
Trained at École Nationale Supérieure d’Architecture (ENSA) Paris-Malaquais, Gonzalez creates rich, sophisticated and timeless worlds that honour art and craft, and twist the codes of classicism by using surprising mixes of fabrics, patterns, materials and colours. Since her 2010 renovation of renowned Parisian rock club Bus Palladium, which put her on the map, the founder of Pravda Arkitect continues to imprint her inimitable style on a long series of illustrious locales.
And adding to the feathers in her cap this year, French design fair Maison et Objet appointed Gonzalez the 2019 Designer of the Year.
Concept store 86Champs. Photo by Mattieu Salvaing
How did your work evolve after you founded your own agency?
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.
The agency has also changed a lot, developing over time. So we have learned to structure ourselves.
Find a local interior designer on Houzz to create a statement design for your home
How did your work evolve after you founded your own agency?
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.
The agency has also changed a lot, developing over time. So we have learned to structure ourselves.
Find a local interior designer on Houzz to create a statement design for your home
Dinner Theater Café de La Gare. Photo by Jérôme Galland
What is your design process?
I surround myself with teams for each project. We have inspirational meetings and then develop the concept together.
For example, the former Passy-La-Muette station in the 16th arrondissement of Paris, which was refurbished as a restaurant in the ’90s, was revamped a few months ago. The revisited, about 1,000-square-metre space is inspired by the colonial style, with its welcoming brass mirrors, painted decorations and Calacatta marble; upstairs, the Café de la Gare was designed like a winter garden.
What is your design process?
I surround myself with teams for each project. We have inspirational meetings and then develop the concept together.
For example, the former Passy-La-Muette station in the 16th arrondissement of Paris, which was refurbished as a restaurant in the ’90s, was revamped a few months ago. The revisited, about 1,000-square-metre space is inspired by the 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
How do you approach projects as different as the legendary Lapérouse restaurant or the Cartier boutiques?
Cartier projects require a specific process because they are exercises in style that aim, above all, to highlight the brand and its products.
Reflecting Cartier’s DNA, the stores were designed as luxurious, elegant and timeless boxes, exaltations of the artistry and know-how of the fine craftsmen.
How do you approach projects as different as the legendary Lapérouse restaurant or the Cartier boutiques?
Cartier projects require a specific process because they are exercises in style that aim, above all, to highlight the brand and its products.
Reflecting Cartier’s DNA, the stores were designed as luxurious, elegant and timeless boxes, exaltations of the artistry and know-how of the fine craftsmen.
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.
For all our projects, we collaborate with craftsmen who are passionate about their work: marble-workers, cabinet-makers, glass-blowers, lacquerers, and so on. This brings another dimension to my work.
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.
For all our projects, we collaborate with craftsmen who are passionate about their work: marble-workers, cabinet-makers, glass-blowers, lacquerers, and so on. This brings another dimension to my work.
Furniture by Laura Gonzalez. Photo by Romain Laprade.
In your own furniture collection, what types of objects have you made and which materials have you put in the spotlight?
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.
In your own furniture collection, what types of objects have you made and which materials have you put in the spotlight?
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
Some objects and pieces of furniture are signature pieces, the fruits of encounters with craftsmen. Other pieces are fully customisable, so you can choose things like the size, fabric, and colours.
Ninety percent of the furniture is made in France, near Paris. We have designed sofas, chairs, armchairs, light fixtures, candles, coffee tables, and more.
Some objects and pieces of furniture are signature pieces, the fruits of encounters with craftsmen. Other pieces are fully customisable, so you can choose things like the size, fabric, and colours.
Ninety percent of the furniture is made in France, near Paris. We have designed sofas, chairs, armchairs, light fixtures, candles, coffee tables, and more.
Furniture by Laura Gonzalez. Photo by Romain Laprade
How did you come up with the ideas for your showroom in Vexin, France?
I wanted to build a 19th-century mansion in the Vexin area to showcase my lifestyle. The idea was to create a place 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.
How did you come up with the ideas for your showroom in Vexin, France?
I wanted to build a 19th-century mansion in the Vexin area to showcase my lifestyle. The idea was to create a place 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.
2018 AD Interiors event in Paris, France; image by Matthieu Salvaing
Tell us about your future projects.
As the Maison et Objet Designer of the Year, I’m designing a display for the September 6-10 show to exhibit my collection of furniture and our collaboration with Pierre Frey. We will also stage a signature cafe with Pierre Hermé.
In addition, we were once again selected to do the decor at the AD Interiors event [in Paris]. For this 10th edition, we have come up with a dreamlike setting around a summer patio.
Tell us about your future projects.
As the Maison et Objet Designer of the Year, I’m designing a display for the September 6-10 show to exhibit my collection of furniture and our collaboration with Pierre Frey. We will also stage a signature cafe with Pierre Hermé.
In addition, we were once again selected to do the decor at the AD Interiors event [in Paris]. For this 10th edition, we have come up with a dreamlike setting around a summer patio.
How would you define your style?
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 [it] when there is life and spirit in a place.