Page 247 - Livre Beau Rivage Palace

Fig. 1 Fig. 2 Fig. 3

THE INTERIORS OF THE PALACE IN 1908: the Montreux hotels, comprise neo-Baroque elements with a was the work of the marble company Rusconi. The tiling (some
In general terms the interiors of the Palace, like those of 1901. The marble facing for the steps of the staircase, meanwhile,
A HYMN TO ABUNDANCE sprinkling of Art Nouveau. The decorations in the dining room of which has now been lost) was installed by Pedroli, a specialist
are conceived as a hymn to the abundance of earthly delights, to tiling and mosaic craftsman based in Tour-de-Peilz, Lausanne and
life’s pleasures, perfectly capturing the essence of Baudelaire’s lines: Montreux. A vast and beautiful floor mosaic, which survives in the
‘Là, tout n’est qu’ordre et beauté / Luxe, calme et volupté’. (‘There, all is shopping precinct of the Beau-Rivage Palace, below the external
order and beauty / Luxury, calm and pleasure’.) colonnade, was definitely the work of this craftsman (fig. 3). The
stained glass was produced by Pierre Chiara of Lausanne. Just next
THE PASSAGE BETWEEN THE TWO HOTELS to the stairwell, the first lift – made by Schindler – with its cabin of
In 1906 a passageway was built ‘through the old dining room to inlaid wood was installed for the sum of 21,552 fr. In 1965 it was
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create a direct connection between the two buildings’. Wide, spacious replaced by a large lift placed in the central space of the staircase
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and designed with meticulous care, it connects the formal rooms – making the area a great deal darker as a result. Fortunately, this
Catherine SCHMUTZ
which passers-by can admire from outside (through arcades or lift was removed during the recent restoration work, returning to
In its edition of 20 June 1908, the Lausanne newspaper Feuille served at small tables, for 250 diners. The five upper storeys – accessed either glazed doors) and from which they, in turn, can be observed (figs the stairwell its original spacious, airy luminosity. The panelling
d’Avis de Lausanne gave a report on the opening of the hotel that by lifts or by a monumental staircase with white marble steps – are reserved 1 and 2). With its theatrical quality, this passageway functions as a and the doors were produced by carpentry company Held of
is both laudatory and informative: ‘In this magnificent palace, which for the private apartments […]. The brickwork of this superb edifice is prelude or overture to the opulence of the building as a whole. Montreux, which specialised in fitting out hotels, rental properties,
is admirably situated, everything works together, everything is integrated. It entirely of white stone and granite and is the work of L. Chessex-Krieg villas and shops. This company was responsible for the joinery in
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is perfectly comfortable; the setting is luxurious; the layout of the interior et fils, builders of Lausanne; the plasterwork and paintwork were carried THE PALACE’S STAIRWELL the basement, the ground floor and the first floor, while the upper
spaces is admirably well judged. Everything combines to make this an out by Mr Henri Abrezol; Mr Louis Zwahlen, metalworker, supplied Located on the north facade, the stairwell brings together storeys were allocated to other companies.
enchanting place to stay […]. On the ground floor are the public areas. the ornamental ironwork. There are magnificent balustrades and grilles of various elements of the original decor which are still well preserved
These comprise firstly, the grand central hall [the current Rotonde], which wrought iron. The electrical installations were carried out by the workshops today, such as the stone facing on the walls, the columns of stucco THE SANDOZ ROOM
connects the two sections of the hotel, the old and the new. The Louis xvi- of Oerlikon’s Lausanne office; the glazing, mirrors and stained glass were marble (also called artificial marble) on the landings, the wrought- The dining room is divided into three sections: the central
style decor is magnificent. The sculptures and the paintings on the ceiling produced by two companies – P. Chiara and Dieckmann [sic]; the joinery iron banisters and the stained-glass panels illuminating this beautiful section has three openings, with semicircular arches, while the
and the medallions, by Mr Luigi Uberti of Lausanne, are remarkable and was the work of Mr Held of Montreux and of Messrs Ch. Thévenaz and communal area. side sections have only one opening each with barrel vaulting
do the greatest honour to this young artist. The fireplace of Italian red marble, Ballenegger, and Mr Golay, cabinetmakers of Lausanne.’ 1 The wrought-iron banister is attributed to the Lausanne and lunettes. Work on the interiors of the dining room and the
embellished with bronze decorations and statues, also by Uberti, is a work La Gazette de Lausanne goes even further: ‘The hotel industry metalworker and producer of wrought iron Louis Zwahlen hall probably started at the end of the summer of 1907, following
of art in the very finest taste. The furnishings, the carpets, the chandeliers has produced nothing at once more beautiful and more practical either on (1857-1919), who was phenomenally active in the late nineteenth designs by the architects Jost and Schnell. Indeed, a watercolour
by Thibaut of Paris; everything matches, everything is harmonious. Next the banks of the Leman, or even in Switzerland or beyond. The public areas, and early twentieth centuries – his work is to be found in Lausanne, design by Jost dating from around 1906 survives in the archives
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door is a charming Louis xv lounge in shades of white, grey, lilac and the hall, the dining room and the lounges are truly marvellous – in their Berne, Montreux, Evian, Divonne-les-Bains, Paris, Nice, Marseille de la construction moderne (acm) at epfl (École Polytechnique
yellow, with elegant grey and lilac furniture. The grand dining room [the dimensions, decor and furnishing.’ 2 and even Cape Town. In 1894, he had a workforce of eighty to a Fédérale de Lausanne), showing interior designs very similar to
current Sandoz Room] is located opposite the central hall, opening onto There is just one tiny note of discord in this concert of praise: hundred people, according to the catalogue of the Yverdon Cantonal those that were carried out (figs 4 and 5).
it through three large arches. This room is absolutely wonderful, with its the two articles disagree on the style of the grand central hall – one Exhibition. The Beau-Rivage archives note that the ‘covering of Alongside the stained glass, what makes this room distinctive
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blue-grey and pink colonnades, its highly tasteful paintings by the artist says it is Louis xiv, the other Louis xvi. A typographical error? The stucco, imitation stone and artificial marble for the stairwell’ was designed is the ornamental stucco and staff work. Staff – plaster reinforced
Haberer of Zurich – a specialist in the field who has already produced reporters’ ignorance? Ultimately, the style is not very important; by the company Taponnier & Matringe. This company, which with fibres – is most frequently encountered as the material used
many decorations in the hotel – its three enormous chandeliers and its wall what counts here is the effect produced by the whole ensemble – specialised in artificial materials, was based in Geneva and Lausanne to make cornices designed to conceal the unsightly joins between
lamps. Banquets for 400 guests can be held here. Meals will generally be one that is palatial, luxurious. and won a silver medal for its work at the Vaud Exhibition in Vevey, walls and ceiling. In the Sandoz Room, staff is used lavishly and

The rotunda, formerly the main foyer, seen from the corridor connecting Ouchy-Lausanne. Beau-Rivage Palace. Foyer. Postcard, after 1909. Mosaic in front of former shopping arcade under the arches,
the Beau-Rivage with the Palace. Undated postcard. The lounge with fireplace surmounted by a medallion has since been now the restaurant’s covered terrace.
removed to make way for a pantry.

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