Mise en page 1 - 123 Sébastopol

Astotel presents
featuring Jean-Paul Belmondo, Claude Lelouch, Danièle Thompson, Agnès Jaoui, Jean-Pierre Bacri, Elsa Zylberstein and Ennio Morricone.
direction Philippe Maidenberg, Architect.
123 SEBASTOPOL is a new 4-star hotel, recently opened by the Astotel group at 123, Boulevard de Sébastopol
in the 2nd arrondissement of Paris, ideally situated between Montorgueil, the Grands Boulevards and the Marais,
and just across the street from the Gaîté Lyrique theatre.
The number 123 has already brought success to the Astotel group with another of its 4-star hotels, the 123 Élysées,
at 123, rue du Faubourg St Honoré. In harmony with the twentieth-century character of this area of the city, and sited close
to the Grands Boulevards and the Grand Rex cinema, the hotel 123 SEBASTOPOL is a tribute to the cinema,
the films and the artistes that have contributed to according a certain nobility to the ‘seventh art’.
The restoration, interior architecture and design are by Philippe Maidenberg, who enjoyed the collaboration of
Jean-Paul Belmondo, Agnès Jaoui, Jean-Pierre Bacri, Claude Lelouch, Ennio Morricone, Danièle Thompson and Elsa Zylberstein.
Stepping inside, you are immediately immersed in the magic of the cinema and the fantasies that live in our memories,
our dreams and our emotions. To stay at 123 SEBASTOPOL, or simply to spend a few hours there, is a unique experience - a taste
not only of the cinema, but also of Paris, its culture and its lifestyle.
A human adventure
The 123 SEBASTOPOL project has above all
been a human adventure, founded on trust, shared
experiences and admiration between men and
women:
- between the Cachan brothers, owners of the Astotel
group which they founded in 1971, and the architect
Philippe Maidenberg, to whom they have entrusted
the design and execution of their hotel projects for
more than 17 years. Among them figure the 3-star
hotel Joyce, a reference in the 9th arrondissement,
and the 123 Elysées in the 8th arrondissement.
- between Philippe Maidenberg and all the artistes
who agreed to help him, dedicating their time to
give their personal vision of their art. The generosity
of Jean-Paul Belmondo, Claude Lelouch, Danièle
Thompson, Agnès Jaoui, Jean-Pierre Bacri, Elsa
Zylberstein and the maestro Ennio Morricone is
reflected in the decoration of the floors dedicated
to each of them.
Face au théâtre de la Gaîté Lyrique, l’hôtel 123
SEBASTOPOL, avec sa décoration pleine de vie
et son confort adapté à tous types de séjours, entend
contribuer à créer le lien entre les différents
quartiers du centre de Paris. - between the Astotel
group, based in Paris, and its visitors: the hotel 123
SEBASTOPOL is a tribute to Parisian culture and
lifestyle, ideally situated between the Opera, the
page 03
Grands Boulevards and the Sentier, Beaubourg
and Marais districts. This area of Paris has been
linked with the cinema since the 1930s, in particular
with the famous Grand Rex cinema, and the former
Cinéma Sébastopol, whose well-known façade
disappeared from Boulevard Sébastopol when it
closed its doors for the last time in 1986.
The hotel 123 SEBASTOPOL’s position opposite
the Gaité Lyrique theatre makes it a focal point,
with easy links to many different areas in the centre
of Paris. This central location, together with its lively
decoration and comfort make it ideal for all types
of stay, business or pleasure n
Under its glazed canopy the bar
resembles a film set
Bedrooms like
private boxes
Each of the six floors of the
hotel 123 SEBASTOPOL is
dedicated to a great name
of the cinema and designed
The major part of the bar enjoys natural light from
a long glazed canopy, designed by the architect.
The light is reflected by the mirrored tops of tables,
also designed by Philippe Maidenberg, whose bases
are variable-height camera tripods. The decoration
of the bar is completed by furniture and objects
which evoke a film set or the interior of a cinema.
The Director armchair, created by Philippe
Maidenberg in homage to Claude Lelouch, is
manufactured and marketed by Silvera. Its design
incorporates the style of a film director’s folding
chair, with a pocket for holding the script and the
director’s name embroidered on the backrest in
gold thread. The overstitching of the upholstery
resembles that in a car - a Mustang, for example.
Once sitting comfortably, guests can observe the
movement around them, just as if they had called
‘Action!’ Indeed, action is the very thing indicated
on the large illuminated sign opposite the staircase
leading down to the projection rooms, fitness centre
and meeting rooms.
The bar extends into a terrace, an unexpected
haven of peace surrounded by stone walls and
enlivened by the expanse of yellow façade of the
building opposite, which, to our great surprise, sports
stencilled images of the faces of the artistes we have
just met. This façade was Serge Cachan’s idea: he
wanted to offer the neighbours a little ray of sunshine
to brighten the view over the courtyard n
with that person’s help. Only
he natural light that bathes
each space contrasts with
the ‘private box’ spirit of the
bedrooms. Each floor is a
different universe, reflecting
the personality of the artist
concerned. Contrasting with
this diversity, Philippe
Maidenberg has planned
in some common threads,
such as in the bathrooms,
all of which are fitted with
a black wash-basin unit of
his own design, resembling
a flight case. Following the
same basic design theme,
the dressing table and shelf
units have been built to
harmonise with the decoration
of each room. Philippe
Maidenberg’s vision is that in
each case, the visitor enters a
different, yet almost intimate
world.
page 07
The
Jean-Paul BELMONDO
Floor
The Gaîté Lyrique theatre,
opposite 123 SEBASTOPOL,
witnessed the start of
N THE SAME WAY Jean-Paul Belmondo
once dominated the box office, the decoration
dedicated to him, to be found on the sixth
and top floor of 123 SEBASTOPOL, now
dominates the rooftops of Paris. Unforgettable and
emblematic images from his films cover an entire
wall, transporting the visitor into the world of A
Bout de Souffle, Itinéraire d’un Enfant Gâté and Un
Singe en Hiver, among others. But Jean-Paul
Belmondo also embodies the physical power that
some actors portray on paper or on film, in his case
most often seen in roles that allowed him to express
his passion for sport. The bedrooms dedicated to
him are rich in noble materials, such as unpolished
wood: a framework of parallel bars, from which are
suspended leather-covered cushions, serves as the
bedhead, and the bedside tables are cubes of
unpolished oak topped by a glass box displaying an
etched image of the actor’s hand (all of these are
Philippe Maidenberg creations). Leather is also in
I
evidence, with various items of equipment for
boxing, one of the actor’s passions: the punch ball
suspended over the bed and a large punching bag
remind us of a training gym, as do the boxing
gloves and skipping rope attached to the bedhead
next to the iconic Belmondo flat cap. Philippe
Maidenberg complemented the look with a leathercovered chair and a small footstool in the style of
a pommel horse. In his choice of velvety fabrics
and masculine colours to contrast with the natural
light flooding the room, Philippe Maidenberg
acknowledges more discretely another of JeanPaul Belmondo’s passions, the theatre. The wide
window bays are framed by heavy, dark red velvet
curtains embroidered with palms in gold thread in
honour of the Palme d’Or the actor received at the
Cannes Film Festival in 2011. Bébel (Belmondo’s
nickname) is with us all over the sixth floor… or,
rather, it is we who are in his home, as privileged
guests n
Jean-Paul Belmondo’s theatre
career, notably in 1954 with
the operetta Andalousie by
Albert Willemetz and Raymond
Vincy, and music by Francis
Lopez.
Jean-Paul Belmondo welcomed
Philippe Maidenberg into his
Parisian home to discuss the
things that are dear to him:
the cinema, of course, but
also the theatre and boxing.
The actor’s three passions
form the theme that runs
though the rooms dedicated
to him.
Jean-Paul Belmondo’s
warmth and kindness made
him a valued partner for the
architect and designer, who
was greatly touched by the
simplicity of this great name
of the cinema.
page 09
The
Claude LELOUCH
Floor
“You know my world,” said
Claude Lelouch, “I just want to
say ‘action’.”. And that is how
he gave Philippe Maidenberg
his vision of the project and
CTION, one of the director Claude
Lelouch’s favourite words and a thread
that runs throughout his career,
also forms the thread that inspired
Philippe Maidenberg’s black and white decoration
for this floor of the hotel 123 SEBASTOPOL.
Through subtle touches we see all that constitutes
the universe of a film director. A large backlit
panel above the bed displays a tableau of pieces of
real film shot by the director, intended to encourage
dreams in full Technicolor®. Images of unforgettable
scenes from Claude Lelouch’s films cover an entire
wall: from Un Homme et Une Femme, L’Aventure
C’est L’Aventure and La Bonne Année with Lino
Ventura and Françoise Fabian. To complete the
atmosphere of a film set, sets of traffic lights enliven
the otherwise predominantly black and white
space, symbols of the director’s career conducted
on a razor’s edge, the guns he has jumped and the
A
limits he has gone beyond. The curtains are a tribute
to Films 13, Claude Lelouch’s production company,
which bear witness to his endless enthusiasm for
his art and to his personal ability to recover from
setbacks and to renew his ideas. The cushions
decorated with a camera lens blend with the
black and white chequerboard motif of the
bedspread, rug and curtain hems. Quite naturally
in this room dedicated to the universe of film
direction, there is a director’s chair embroidered
with the name of Claude Lelouch, designed by
Philippe Maidenberg and manufactured by Silvera.
It harmonises perfectly with other creations by
the architect designer, such as the worktable style
desk, and the bedside tables made from piles of
metal film cans topped by a glass box protecting
a clipping of film donated by the director himself
and a few handwritten words about it-a little
surprise in store for the visitor! n
page 11
launched the design of the
floor dedicated to him.
Claude Lelouch gives his
vision of the project to Philippe
Maidenberg who then begins
the designing phase.
The
Danièle
THOMPSON
Floor
During one of their meetings
at her home, the scriptwriter
and director Danièle Thompson
showed her archives to
Philippe Maidenberg. The
architect was able to touch
and read the scripts of
La Boum, La Bûche, Fauteuil
G
ENEROSITY is a word that marks
out the career and films of the
scriptwriter and director Danièle
Thompson, and was also key to her
work with Philippe Maidenberg in bringing to life
the décor of the floor dedicated to her.
With lively splashes of colour and pale wood
finishes, the floor dedicated to Danièle Thompson
is a light and warm environment. The various
rooms are decorated with patchworks of stills
from films or greatly enlarged images of scenes
from her greatest film works. Also on display are
her many notes, in which she shared her thoughts
with her father, Gérard Oury, her friend Sidney
Pollack and other legends in the world of the
seventh art. Soft, noble materials emphasise an
overall feminine elegance, such as the herringbone
parquet flooring in bleached ash and the fine velvet
cushions and bedspreads.
The furniture has been designed to be fun and
colourful, the centrepiece being a writing table with
a work surface in fuchsia pink, in homage to Klein
(a Philippe Maidenberg creation). The chairs are
taken from the sets used in Danièle Thompson’s
last film, a kind gesture from this wonderful
personality of the cinema. In all the bedrooms,
copies of personal documents and manuscript
notes illustrate Danièle Thompson’s work as both
scriptwriter and director, notably in the piles of
scripts and scenarios contained in the glass cubes
that form the bedside tables-a further demonstration
of the great generosity of this artiste n
d’Orchestre and Rabbi Jacob
that she had annotated and
cut together with her father,
Gérard Oury.
Danièle Thompson also lent
Philippe Maidenberg
numerous personal
photographs and shots
of films in the making.
She wrote some twenty
pages of notes, commenting
on these records, giving him
carte blanche to choose
and copy, if he wished, parts
of the texts. It was an act
of touching humility from this
great personality of French
cinema.
page 13
The
Agnès
JAOUI
&
Jean-Pierre BACRI
Floor
Agnès Jaoui hands over her
last film’s personal notebook
to Philippe Maidenberg.
Inside, he also finds the
storyboard and the score of
the original soundtrack.
All these items made
possible the design of the
HIS THEATRICAL duo is known for
their artistic interpretation of things
we all see in everyday life. Agnès Jaoui
and Jean-Pierre Bacri’s work with clever
scripts and talented writing forms the background
to the subtle link between reality and its
transformation into something artistic that is
extended into the decoration of their floor at 123
Sébastopol. To achieve this, Philippe Maidenberg
worked with numerous documents, and had
many conversations with Agnès Jaoui. The wall
behind the bed is bursting with images-photographs,
sketches, manuscript notes and story lines-that
transport the visitor into the creative world of the
duo. Theatrical curtains in red and gold velvet, a
predominance of wood, Kilim rugs and warm
T
colours give each bedroom dedicated to Agnès
Jaoui and Jean-Pierre Bacri the atmosphere of a
stage set. Philippe Maidenberg has drawn on iconic
elements from the duo’s films to create decorative
touches. For example, he has picture-framed the
outrageous ties and the moustache of the lead
character played by Jean-Pierre Bacri in Le Goût
des Autres.
The desk (a Philippe Maidenberg creation) and
its matching folding chair, like those of Parisian
bistros, form a reminder of where the duo wrote
a major part of their work. The bedside tables are
small tailors’ stools, copied from those on which
were heaped their books and notes. Within this
universe, the cinema and the theatre are clearly
members of the same family n
page 15
floor’s style.
The
Elsa ZYLBERSTEIN
Floor
Elsa’s idea of her style was
quite specific. When she met
Philippe Maidenberg, she
E
LSA ZYLBERSTEIN created her
identity as an actress, sometimes serious,
sometimes sparkling, after having worked
in dance. For 123 SEBASTOPOL,
Philippe Maidenberg visualised with her a tribute
to the femininity of actresses, punctuated by
references to her own work as an artiste. Each
room is a cosy cocoon, bathed in tones of powdery
grey and pink, evoking the make-up and world
of dance, further enhanced by the parallel bar
fixed to the wall.
The bedroom is dominated by a huge, classically
sculpted bedhead, a Baroque-inspired hanging
light on each side, and a bedspread in faux fur,
each an element of that glamour of the cinema
that lives in our dreams. A Venetian mirror above
the desk and dressing table reflects natural light
into the room under the watchful eyes of Gena
Rowlands and John Cassavetes, whose portraits
were chosen by Elsa Zylberstein, a great admirer
of their work n
mentioned: John Singer
sargent, Murano chandeliers,
dance, Marilyn Monroe’s
photographs by Ed Feingersh,
Posta Vecchia hotel in Rome
Lee Strasberg’s Actors Studio,
“Children of Paradise”,
Marcel Carné, Arletty, …
page 17
The
Ennio MORRICONE
Floor
NE OF THE GREATEST and most
influential personalities in world cinema,
the maestro Ennio Morricone trusted
Philippe Maidenberg to translate his
artistic world into 123 Sébastopol. A meeting, then
discussions between the two men gradually led to
the creation of a décor that brings together music
and the cinema.
The masterpiece of this collaboration is the giant
reproduction, covering an entire wall, of an original,
handwritten musical score that was faxed as a
contribution to the design of the hotel.
Above the bed, a moulding of the maestro’s hands
surrounds a screen showing one of his concerts,
which can be listened to with the headset provided
to relive for a moment the greatest classics of the
cinema. On each side of the bed, transparent drums
beneath hanging desk lights serve as bedside tables.
The colour palette is based on black, the colour of
musical notes, concert pianos and concert dress.
The clean lines of the design have as their
centrepiece a desk designed by Philippe Maidenberg
to represent a lacquered upright piano, complemented
by a concert piano stool. The velvet fabrics, the
wooden flooring and the rug reproducing a musical
score in negative, all help create a cosy atmosphere
ideal for listening to music n
O
In a hotel in Antwerp, just
before going on stage for a
concert with a hundred
musicians, Ennio Morricone
met Philippe Maidenberg
to discuss the décor that
was to be his tribute at 123
SEBASTOPOL.
Later in the evening, the
architect and designer joined
the standing ovation of an
audience of 15,000 people
for the 83-year-old maestro,
whose talent and vivacity
have not withered one iota.
page 19
A basement designed for film projection,
seminars and fitness.
The basement has two levels, the lower of which
has been entirely recreated on the initiative of
Serge Cachan. Philippe Maidenberg developed
the existing stone construction and vaulted roof of
the basement to make it one of the focuses of life
at 123 SEBASTOPOL.
The first level offers a projection room named after
Gérard Oury, by kind permission of Danièle
Thompson. This room, intended for private
showings, can accommodate around 20 people and
is a humorous interpretation of a larger public
cinema. Its splendid carpet is covered with
representations of things left behind in such
theatres-keys, drinks cans, a scarf, popcorn and
coins are dotted all over it. In front of the screen,
the row of armchairs inspired by Claude Lelouch
is entirely in keeping with the theatre ambiance.
The Gérard Oury room is equipped with multimedia
equipment adapted to all types of private events.
The second level is dedicated to fun and relaxation,
with its table-tennis table, table football, and billiard
table, and also a room for fencing, which
complements the Sport & Fitness facilities at 123
SEBASTOPOL.
A large meeting room with natural night.
The large meeting room, with its walls of stone and
white concrete, and its floor in bleached ash, is
illuminated in part by the natural light from the
glass roof of the bar terrace.
Sport at 123 SEBASTOPOL.
The hotel affords a considerable place to sport,
an activity often sought after by travellers in
order to recover after long periods spent in transport,
or after an exhausting day spent exploring the
capital.
With advice from the coach Lionel Médioni, the
carefully selected equipment includes:
- A rowing machine, the Waterrower by Lepape
- A Tunturi Platinum exercise bike
- An elliptical cycle by Octane Fitness
- A weight-training bench and free weights
Clients have free access to the fitness centre,
where they may also use the changing rooms,
showers and towels provided for them.
Each morning from 7 to 9 am, each evening from
7 to 10 pm, and at weekends, the large fitness
room is also available for yoga or Pilates courses or
for pre-arranged coaching or training sessions n
THE ASTOTEL GROUP
The Astotel group was created in 1971 (as le groupe
Astotel) through the association of three brothers,
Georges, Serge and Jean-Pierre Cachan, who had the
common will to ensure the continuity and development
of the work begun by their father at the hotel Astra rue
Caumartin in Paris.
From left to right: Georges Cachan, Serge Cachan et Jean-Pierre Cachan.
Astotel today owns over 1,000 bedrooms in Paris, across
their 18 three and four-star hotels, all of which are
located in the centre of this capital city. A key element
of the group’s strategy is the regular renovation of its
hotels in order to maintain and constantly improve the
quality of its services.
Astotel also pays particular attention to design and
decoration, to meet the expectations of clients who are
ever more demanding and who seek the latest in novelty.
Some of the group’s hotels are today references for
Parisian boutique hotels, for example, the Joyce, the
123 Elysées and the Palm in the 9th arrondissement.
The opening of 123 SEBASTOPOL is a new step in
Astotel’s development: rest assured that their existing
and future establishments are, and will continue to be,
full of wonderful surprises n
www.astotel.com
PHILIPPE MAIDENBERG
Architect - Designer
Philippe Maidenberg’s work draws its inspiration
principally from music, the stage and fashion, and is
notable for its light, elegant style without ostentation.
Philippe Maidenberg was awarded his State Architectural
Diploma in 1991 and had his first experience as an
architect on the site of the Grand Louvre rebuilding
project, when he was working for three years for IM
Pei & Partners. After that, he left for Chicago, where
he worked for Helmut Jahn: his first work in the hotel
field was on the design of the bedrooms of the hotel
Park Hyatt at Roissy, near Paris.
In 1995, Philippe Maidenberg won his first hotel
contract, the first of a long series with the Astotel group,
owned by the Cachan family. Hotel design
additionally allows him to express his creativity
in furniture design. In 2011, he created the Wonderful
Archie range of stools, made and distributed by Pleyel,
and in 2013, he designed the Director armchair, inspired
by Claude Lelouch and made and distributed by Silvera
for the hotel 123 SEBASTOPOL.
Philipppe Maidenberg.
Following some twenty major hotel projects,
including the hotels:
- 123 Elysées**** (Paris 8th),
- Le Six**** (Paris 6th)
- Joyce**** (Paris 9th)
- Hotel du Triangle d’Or (Paris 9th)
Philippe Maidenberg has recently completed
the hotel 123 SEBASTOPOL**** and is currently
working on a number of other Parisian hotel
design projects n
www.maidenbergarchitecture.com
page 23
Practical informations
Hôtel 123 Sébastopol****
123 boulevard de Sébastopol Paris 2e, France
T. + 33 (0)1 40 39 61 23
Fax. + 33 (0)1 42 36 48 61
On-ligne reservations: www.astotel.com
Director: Hugues Godard
63 bedrooms, of which 10 are communicating
and one is convertible into an apartment.
Equipement :
air conditioning, free WiFi, safe, mini bar, bathrobe,
hairdryer; plus espresso machine in superior
and deluxe rooms.
Services: room service and laundry
Projection room
Meeting room
Fitness centre reserved for hotel clients;
open to non-residents accompanied by a coach from
7 to 9 am and from 7 to 10 pm on weekdays, and also on
Saturday and Sunday mornings, by prior arrangement for
groups of up to 15 people.
Arrangements can be made for private use of
communicating rooms for smaller events and
confidential meetings.
Press contact
VHT CONSEIL - Valérie-Hélène Toutain
T. +33 (0)1 47 30 32 30
[email protected]
[email protected]
Photos: “all rights reserved”
Tariff:
- Premium: from 280 to 470 euros
- Superior: from 340 to 530 euros
- Deluxe: from 420 to 610 euros
- Apartment: from 800 to 1 000 euros