The sensory challenges of Tristan Auer and Philippe Starck
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Two acclaimed designers, Tristan Auer and the legendary Philippe Starck, design two Parisian hotels (Sinner and Brach) exploring old morals and new latitudes.
Far beyond the banal concept of a boutique hotel, Tristan Auer’s Sinner (the sinner) represents a sensorial and conceptual challenge. We are in rue du Temple, the hub of the already enigmatic Marais district.
Provocative and elegant design for a hotel where heavy curtains chase away the light (so precious in Paris) making you lose the measure of time immediately and above all playing with values, overturning them.
From exterior to interior. And in fact, time, as in the cloister, becomes an intimate dimension that Auer is once again able to externalize, finally arriving at a functional but also shadowy luxury. And the darkness, a miracle, thus begins to heat up.
Marquis de Sade
The hours at the Sinner get longer, also because the library (the Literary Director is Anatole Desachy) flourishes in unexpected small crypts, and now returns the human fresco by Balzac in a precious edition, now the sensual shots by Collier Schorr. They are not stratagems, those of Auer, but formal coordinates. This is confirmed by the glazed windows – islands of light in the darkness of the Templar-style corridors – which replace the profane triumph of concupiscence for the sacred of the episodes of the Scriptures.
The invitation to eroticism is provocatively monastic (or monastically provocative), in this created world where real symmetry is respected and ideal symmetry is not. A reinterpretation of the cultured and intriguing forms that from the Marquis de Sade (his works welcome you in a confessional next to the conciergerie) reaches Pascal. Perhaps because sin and holiness often coincide. The detail at Sinner is everything, and must be unearthed as the eyes get used to the darkness, as in the audacious crypt where Auer imagines those who have passed on to a better life devoting themselves or dedicating an epigraph to the ravings of the alcove. Or in the suites where he welcomes you with a holy water stoup set in the wall, while in the living rooms Mondrian’s plastic lesson suggests alchemy and poetics of color.
The black that dominates
In any case, black dominates here, the same one that Odilon Redon wanted to protect: “il faut respecter le noir, un rien le prostitue”. Black intersected everywhere by a vertical red line.
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