6 Sèvres: Restoring Its Lost Glory

We got involved very early in the process of this redevelopment. We knew that Société Générale was going to sell the building—a small vertical structure, yet highly visible given its exceptional location. A damaged gem that had remained untouched in its original state for several decades.

We launched a feasibility study, bringing in the firm Grahal (Groupe de Recherche Art Histoire Architecture Littérature) to try and understand its past. We discovered an architecture far ahead of its time, where Haussmannian ornamentation gives way to a metal structure, glass floors, and a soaring glass roof. The bank had made its branch a display of power, as it was open to the public. However, after major modifications—particularly in the 1960s and 70s—the building had lost its architectural clarity. This study helped unlock new value and made it easier to find investors for the next phase of the project.

Part of the heritage elements had disappeared, such as some of the railings and, above all, the small bell tower (clocheton), which had been replaced by air handlers installed on the historic roof. Although the building is not listed, we committed to the ABF (Architectes des Bâtiments de France) to restore them. We proposed an infill rehabilitation under a large white glass roof to recreate the historic connection between the two buildings, along with wooden floors supported by the metal frame and open-air voids to recreate a flow around walkways. It is a project that aligns well with the building’s future commercial use while honoring its original spirit.

More than an architectural competition, it was a financial project.

The goal was to unlock new value for what was set to become a major flagship store in the heart of Paris.

Back when it was a bank, the first basement level was entirely taken up by technical equipment, even though it is a level with high rental value. To free up these spaces, we decided to dig a second basement level. The first basement is now available and grand enough to accommodate retail. As for the junction between the two buildings, local urban planning regulations (PLU) restricted us in terms of square footage. We therefore designed the staircase and double-height spaces to gain volume while opening up the floor plate. The loss of net floor area made the remaining surface area more profitable.

The voids enhance the value of the solids.

It was my experience in the UK that enabled me to understand financial dynamics and dare to turn them into architecture. Many great figures built their reputations on their ability to talk about money, like Norman Foster and Renzo Piano. When architects know how to talk about money, they help create value that goes far beyond their fees. I fully embrace this Anglo-Saxon approach because it is the key to the system. It was this value creation that allowed our proposal to win despite a high bid.

This approach also benefits our heritage. At 54 Avenue Montaigne, without the investors, the porcelain studs would have been made in China. Instead, they were crafted in Limoges. Creating Limoges porcelain means contributing to a heritage; otherwise, it’s just making a fake. On Rue de Sèvres, finance made it possible to inject significant funds into preserving the walls and restoring the original roof and period ironwork. The money invested to convince brands and clients flows directly down into crafts and expertise.

As I draw, I tell myself a story. I design in section rather than plan so I can step inside the project, project myself into the experience, and look up. I imagine the future customers’ journey through the various spaces. Each brand has its own identity. To go to Dior, for example, you would take a majestic elevator, not an escalator. I picture the scenography, the hanging objects that could inhabit the upper heights, and the facade that will host dynamic installations. It’s only afterward that I switch back to plan view to work out the circulation flows.

On the street side, the ashlar stone facade is imposing. It supports historic floor plates and brick walls, but opens up to another face of the building—lighter, crafted from metal and glass. Fresh decided to embrace this duality and open up upper-floor walkways all the way to the terrace. Crowned by the glass roof, this layout creates an ascending journey toward the light.

Up above, an entirely different dimension unfolds. The plot is narrow—a small triangle tucked between two party walls—yet it features an accessible rooftop that is peaceful and planted with trees. In the heart of the 6th arrondissement, it feels magical. But being in central Paris, you need to feel that location. Party walls are a signature element of the urban landscape, so we rebuilt and revealed them on both sides of the building to integrate them into the experience. The brands can then decide whether to leave them exposed or cover them up.

For Fresh, the priority is to design a versatile and agile building. Its structural coherence is assured because the tenant won’t need to add a single technical component. It is fully adapted for its future occupation right out of the box.