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JEAN ROYERE PROGETTO DEL PRODOTO D’ARREDO 2023 / 2024

Gruppo 14 Adriana Jiménez Pablo Caro-Accino

Gruppo 14 Adriana Jiménez - 10990960 Pablo Caro-Accino - 10989689 SCUOLA DI ARCHITETTURA URBANISTICA INGENIERIA DELLA CONSTRUZIONI Laurea in Progettazione della Architettura PROGETTO DEL PRODOTO D’ARREDO 2023/24 POLITECNICO DI MILANO

Profesor: Michele Marelli

Docenti: Massimo Faini, Filippo Amoretti, Andrea Ghisoni

INDEX - JEAN ROYERE - THE LIFE OF JEAN ROYERE

- CARACTERISTICS OF ROYERE’S CREATIONS

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- ANALISIS OF BAHUT TREFLE - ANALISIS

- PRESENTATION BOARD OF THE ORIGINAL DESIGN

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- PROPOSAL FOR THE REDESIGN - ANALISIS OF ROYERE’S BAHUT CREATIONS - “TREFLE” WORK FROM ROYERE

- FOCUS OF THE MODIFICATIONS

- PROPOSALS FOR THE REDESIGN

- PRESENTATION BOARD OF THE NEW DESIGN

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JEAN ROYERE (1902-1981) Jean Royère (1902-1981) was an influential French interior designer and architect who was noted for his distinctive and creative style in the first half of the 20th century. His work has left an enduring mark on the world of interior design and period furniture.

Jean Royère was born in Paris, France, in 1902. He initially studied at the École de Dessin, where he developed skills in drawing and design. His training enabled him to acquire a solid understanding of aesthetics and craftsmanship. Royère began his career as an interior decorator and soon made a name for himself on the Parisian design scene. He founded his own design firm in 1931 and became a renowned designer in the 1940s. Royère was known for his distinctive and creative style. His designs were characterised by curved lines, organic forms and a focus on comfort and functionality. He used a wide variety of materials, from wood and metal to exotic materials and colourful fabrics. Some of his most iconic pieces include armchairs and sofas with curved, organic shapes, original lamps and innovative storage furniture. The “Bahut Trèfle” is a prime example of his work.

Jean Royère had a distinguished clientele, which included celebrities, members of high society and business leaders. His designs were found in prestigious homes and commercial projects around the world. Despite a decline in demand for his designs after the 1950s, Royère’s work has experienced a resurgence in the latter half of the 20th century and into the 21st century. His furniture pieces and lamps are considered valuable and are sold at design and period furniture auctions, and Jean Royère’s legacy in the design world is undeniable. His innovative and timeless designs continue to be a source of inspiration for designers and interior design enthusiasts around the world.

Jean Royère, the prominent interior designer and architect, worked with a variety of clients and collaborators throughout his career. Some of his most notable works and collaborations: Jean Royère worked with numerous private clients, including celebrities, members of high society and business leaders. His interior designs and custom furniture adorned the homes and residences of clients around the world. His ability to create elegant and comfortable environments made him a favourite of many wealthy individuals.

Royère also worked on commercial projects, designing interiors for hotels and restaurants. His ability to create unique and welcoming spaces made him a popular choice for hospitality projects. For example, he designed the interior of the Carlton Hotel in Cannes. Jean Royère often collaborated with other artists and designers, such as Serge Mouille, with whom he worked on lamps and lighting fixtures. This collaboration resulted in some of the most iconic lighting pieces of the mid-20th century.

During his career, Royère designed furniture for renowned brands, such as the French furniture company Maison Gouffé. His creations were in great demand and were considered high-quality design pieces. In terms of his work location, Jean Royère was an interior and furniture designer based in Paris, France. His career was closely associated with the design scene and high society of the French capital. Paris was an epicentre of design and fashion in the 20th century, and Royère benefited from his location to establish his reputation and work on projects throughout the city and the world.

Some of his most iconic pieces include armchairs and sofas with curved, organic shapes, original lamps and innovative storage furniture. The “Bahut Trèfle” is a prime example of his work.

Some of his most recognisable designs such as the “Champignon” lamps, the “Trèfle” chairs and the “Éléphanteau” armchairs would become the classics of his artistic career.

In 1947, Jean Royère (1902-1981) designed a sofa that embodied both his own emerging style and post-war joie de vivre: an elegantly rounded beast in soft white velvet that became known as the Ours polaire (Polar Bear). The sofa and accompanying armchairs have since become collectors’ items: in 2023, a set of Ours Polaire sofas and a pair of armchairs sold for $3,420,000.

Royère was known for his distinctive and creative style. His designs were characterised by curved lines, organic shapes and a focus on comfort and functionality. In his creations we can find different types of materials, such as wood, metal and leather. However, one of the most outstanding characteristics of Jean Royère’s work is the use of velvet. Used in many of his most famous works, it allows the skeleton of the furniture to be hidden, creating a beautiful form while maintaining the simplicity of the shape.

Mobiliario de Jean Royere Researching Royere’s work we have discovered 3 categories of furniture, each one of them diferenciated by its material and use. We have interpreted that Royere differenciated 3 types of designs.

For his work in drawers or tables, we have observed his preference for wood. He experiments with different types of woods and likes to explore various shapes, sometimes following his previous creations, working with curves, and at other times, employing sharper and more pointed edges. This reinforces a more robust and aggressive look compared to his most popular work.

It’s in these wooden furniture pieces where we see Royere create many variations, experimenting and developing his style.

Trapèze desk 1956, Oak and Brass ( 76 x 140.5 x 70 cm )

'Flaque' coffee table

1955-1958, Oak-veneered wood, oak, mirrored glass. ( 34.3 x 128.2 x 65 cm )

Console, CA. 1950, Oak , Okoume, Wicker and Brass ( 91 x 160 x 48 cm )

Dressing Table, CA. 1952, Straw marquetry and brass ( 91 x 160 x 48 cm )

Wardrobe, CA.

1934 Sycamore and gilt brass ( 170 x 180 x 50 cm )

We have observed that for furniture such as lamps and headlights he prefers to use metalic materials , giving each furniture a more elegant and thin profile. finished with paper lampshade. Aswell as creating curved shapes with these metalic strings, mimicking that of a climbing plant or the stem of a flower.

Freeform’ wall light

1950s, Painted tubular metal, paper shades. ( 97.5 x 147.3 x 25 cm )

'Persane' standard lamp

‘Liane’ six-light sconce

Rare ‘Jet d’Eau’ floor lamp

1960, Painted metal, painted wood, paper shades.

(180.5 cm)

1962. Original Rhodoid / painted metal shades. ( 168 x 234 x 18 cm )

1950s, Tubular brass, brass, fabric shades. ( 179.6 cm )

Persane 8-Branched wall lamp, CA 1954, Gold painted metal, paper shades. ( 93 x 62 x 34 cm )

For furniture focused for living rooms chairs, sofas and amenities where you can sit we have noticed that he prefers to use softer materials such as velvet or soft fabrics or leather, abandoning also sharp strait lines and focusing more on softer and curved finishes to his creations. As well as hidding the structure of the actual ornament creating the illusion most of the times of a single unique piece of velvet.

Ondulation corner sofa, CA. 1961, Oak and Mohar Velvet ( 86 x 230 x 160 cm )

‘Œuf ’ chair

1950s, Fabric, oak. (65 x 64 x 72 cm )

“Élephanteau” Armchair

“Ours Polaire” sofa

1950s, Fabric, oak. (76.2 x 238.8 x 118.1 cm)

1939, Fabric, oak, brass. (88 x 68 x 63 cm)

“Ambassador” sofa

1955, Fabric, oak, brass. (107 x 233 x 80 cm)

Royère would break away from functional aesthetics and modern discourse to experiment with decoration and a wide range of materials, from raffia and rattan to horsehide and zebrano wood. Often, as in his 1954 “Flaque” straw marquetry coffee table, it was the materials that provided the decoration.

Renderings of Jean Royère’s interior designs .

Renderings of Jean Royère’s interior designs .

Royere was famous for using illustrations of the designs for the rooms he had in mind to show his work. In these illustrations we can really see Royere’s aim with each of the pieces he created and get an insight into his vision as a designer.

Renderings of Jean Royère’s interior designs .

Jean Royère, photo of the showroom and a drawing for “Salon pour le ministère de l’education nationale au Pèrou”(peruvian ministry of education), 1950s

Jean Royère, Bahut trefle, 1942.

Dim.: W.204 x D.42 x H.80 cm.

The “Bahut Trèfle” is a piece of furniture designed by the renowned French furniture designer Jean Royère. Jean Royère (1902-1981) was a leading furniture designer and interior designer who achieved recognition in the 1940s and 1950s for his unique approach and innovative style. The “Bahut Trèfle” is one of his most iconic and emblematic designs, characterised by its distinctive trefoil shape, which is the inspiration behind its name. The design resembles three intertwined clover leaves, which gives it an organic and unique look.this piece of furniture combines form and function effectively. It offers ample storage space with drawers and compartments, making it a functional piece for storing crockery, linen or any other object you desire.The “Trèfle” Bahut by Jean Royère is an excellent example of mid-century style. This style is characterised by clean lines, organic designs and a combination of functionality and aesthetics.Due to its iconic design and Jean Royère’s reputation as one of the most influential furniture designers of the 20th century, original “Bahut Trèfle” pieces are highly valued by collectors and furniture design enthusiasts.The design of the Bahut “Trèfle” makes it versatile and suitable for a variety of spaces, whether in living rooms, dining rooms or even commercial settings and art galleries. Since the Bahut “Trèfle” is an iconic piece of design, original pieces can be difficult to find and can have a high value on the antique and furniture design market.In short, the Bahut “Trèfle” by Jean Royère is an iconic piece of furniture that exemplifies the creative talent and distinctive style of this prominent French furniture designer. Its unique design, high quality materials and its place in the history of design make it a highly prized piece in the world of furniture design and on the antiques market.

CARACTERISTICS OF THE DRAWER

One of the most interesting details of the piece of furniture is the union between the side panels and the top lid. Here Royere decided to use a simple and beautiful design that does not disturb the wooden slats.

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The most significant detail of the piece of furniture is the trefoil piece. A characteristic figure of Royere’s works.

The piece breaks with the simplicity of the piece of furniture by extruding itself from the surface and giving a relief to the block. Its red colour makes it stand out enormously against the neutral tones of the wood. The trefoil gives personality to the piece of furniture without taking away the presence of the original shape of the piece that the artist uses so much in other creations.

Last but not least, the hinge, an element that is often imperceptible to us, is what Royere is trying to do with this design. It uses small hinges in order not to interfere with the main design. He tries to make them unnoticeable. A very beautiful solution to an element that in most furniture is a real obstacle.

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Corso di PROGETTO DEL PRODOTTO D'ARREDO

BAHUT TREFLE PROGETTO DI JEAN ROYÈRE ANNO 1942

The element of the table on which the cabinet rests is a feature much used by Royere. This element can be taken as a kind of counter on which the real piece of art, the wardrobe, is displayed. He achieves this while preserving its relationship with the piece of furniture and understanding it as the same object, the same use of materials and a form that does not stand out too much from the original. It manages to keep the whole together. In addition to suopner a very practical element elevating the furniture for better access and a better view of the decoration of the same.

Adriana JIMÉNEZ 10990960 Pablo CARO-ACCINO 10989689

Prof. MICHELE MARELLI

Coll. Massimo Faini, Filippo Amoretti, Andrea Ghisoni

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Corso di PROGETTO DEL PRODOTTO D'ARREDO

BAHUT TREFLE PROGETTO DI JEAN ROYÈRE ANNO 1942

Adriana JIMÉNEZ 10990960 Pablo CARO-ACCINO 10989689

Prof. MICHELE MARELLI

Coll. Massimo Faini, Filippo Amoretti, Andrea Ghisoni

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Jean Royère was known for using a variety of materials in his designs. The Bahut “Trèfle” is often constructed in wood, with finishes including oak or walnut. It is also common to find versions with details in metal and other materials.

SIMILAR FURNITURE In these different designs we can observe the similarity in the characteristics between Royere’s creations, we can deduce that the author was always looking to reinvent himself and evolve in his own works, creating new modifications and new characteristics that could culminate in a final design. We can observe the insitence of the shape of the trefoil in the furniture, which is sometimes modified and new designs appear, or how Jean Royere always keeps the furniture elevated by means of a support.

We can see how most of the changes are found in the trefoil figure, the general composition remains very similar throughout all its variations.

Mobiliario “TREFLE” The stylised and refined motif inspired by vegetal life became an emblematic element in the decorator’s work. Their curved tops, link the pieces into a single unified form, revealing a undulating line, particularly prominent in Jean Royère’s design. Royere created various types of furniture following this design, from chairs to tables to drawers.

Trefle Armchair 1939, Oak, Velvet ( 50 x 82 x 54 cm )

Trefle coffee table 1955, Oak ( 37 × 140 × 70 cm )

Pair of “trefle” armchairs, ca.

1948, Oak and velvet ( 79 × 66 × 80 cm )

Wall-mounted “Trèfle” dressing table, ca.

1950, Ash-veneered wood, fabric, mirrored glass, brass ( 73 × 180.3 × 38.1 cm )

Trefle Armchair 1939, Sycamore, Velvet ( 82 x 60 x 57 cm )

Black & White 2 Door Bar Cabinet Model Trefle 1920-1949 , Lacquered wood, Fold bronze ( 80 cm x 164 cm x 35 cm )

EXPLANATION OF REDESIGN

With this new idea what we are trying to realise is a new way of looking at furniture. At the moment the piece of furniture is intended to be placed against a wall and serve as a cabinet. Our intention with this new modification is to create a kind of central piece of furniture that can be placed in the middle of a living room and is accessible from both main sides.

This modification can also allow the piece of furniture to act as a kind of lounge or tea table. We want it to become a central element of the room and not something that has to be placed at one end of the room.

For this we open the opposite side of the piece of furniture repeating the same design. To enable double access. We keep the current designs but we create a glass face with a trefoil shape in order to provide transparency to the inside of the cabinet. To see what is inside, to serve as a display cabinet and not something as closed and private as it currently is.

Another of the modifications we made is to make a new handle to open the doors of the cupboard, following the shape of the trefoil we made a handle that fits the shape and allows a better opening without spoiling the appearance.

CROQUIS OF FINAL IDEA

DIFFERENT

PROPOSALS

FOR

MODIFICATIONS

ORIGINAL DESIGN OF THE BAHUT

PROGETTO DEL PRODOTO D’ARREDO 2023 / 2024

NEW DESIGN OF THE BAHUT WITH THE MODIFICATION

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RIPROGETTO DI UN DETTAGLIO DEL MOBILE ANALIZZATO

BAHUT TREFLE

Adriana JIMÉNEZ 10990960 Pablo CARO-ACCINO 10989689

PROGETTO DI JEAN ROYÈRE ANNO 1942

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Corso di PROGETTO DEL PRODOTTO D'ARREDO

Prof. MICHELE MARELLI

Coll. Massimo Faini, Filippo Amoretti, Andrea Ghisoni

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