Page 272 - Livre Beau Rivage Palace

Fig. 6 Fig. 7

board would like to create smaller areas for couples to sit in. We will try to in taste and spirit to the original furniture, which was specifically designed for relationship. It is a question of money. Should I conclude from this that you 9. Antoine Baudin, ‘Désarrois et certitudes de la jeune peinture romande’, in Collectif, 19-39:
la Suisse romande entre les deux guerres, pp. 16-22, Lausanne, Payot, 1986, p. 21.
find a compromise.’ The year-end report for 1954 indicates that this my project, that they have completely destroyed the integrity of the bar, robbed are more familiar with financial matters than with the intellectual rights of 10. Idem, p. 22. Periodicals such as La Voile Latine, Vie-Art-Cité and Œuvres were largely
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responsible for diffusing the concept of ’Genevan’ identity.
was part of an extensive series of renovations instigated by the new it of its originality and deprived it of the cachet of elegance and distinction artists, or simple courtesy? Unfortunately I cannot send you the invoice that 11. During his long career, J. Cornaz constructed and renovated a number of buildings for the
general manager, M. Schärer, upon his arrival: ‘The decision was taken appropriate for a luxury hotel. For the moment I shall put aside the question you have asked me for […]. You will therefore have to resign yourselves to sons of Edouard-Constant Sandoz. In the early 1930s he restructured a house in the
Denantou park, and in 1941 built a studio for the sculptor Edouard-Marcel (1881-1971).
speedily, and on 15 October all of the rooms were evacuated, our winter of rights and artistic ownership of my work, although I reserve the right to being my debtors.’ This letter enraged the board. The minutes of In 1930, Maurice Sandoz (1892-1958), author of La Salière de Cristal and La Maison sans
33
fenêtres, commissioned Cornaz (most probably aided by his brother Fred-Roger) to renovate
guests transferred into the west building, and just a few days later the old return to the issue […]. In similar cases, usage (or failing that, simple good their meeting of 27 July 1955 read, ‘Should we file away the insolent the interior of the first Vigna Pepoli, Sandoz’s Roman villa located above the Baths of
Caracalla. In 1933, the architect designed a Neoclassical villa for Maurice Sandoz, and
hotel building was at the mercy of 33 contractors, whose task it was to finish manners), dictates that before undertaking any changes, the project manager response of the architect M. Cornaz or return his letter without replying? in 1955, he took down the pavillon de bains at Bellerive and rebuilt it in Chardonne, where
it became Maurice Sandoz’s mausoleum.
it before Easter. […] In addition to redecorating the facades […], we created should inform the architect of his intentions and at the very least ask him We shall file it away and treat it with contempt.’ A number of internal 12. The archives de la construction moderne (ACM) has a dossier of studies comprising a number
34
of different plans and facades, ACM, shelf mark 24.04.082.
11 new rooms […] and installed 26 bathrooms. The old, faulty lift was for his opinion. The decision to ignore the architect completely, all the while notes and asides suggest that both the architect’s character and his 13. He first used this combination of terracotta bricks and black marble in the bathroom for
replaced […]. We renovated the bar, which now incorporates the gallery.’ 28 retaining his design, is even more incomprehensible, I could say even more work were held in very low esteem. The following comments from Auguste Brandenbourg (1924), and again in Petit-Ouchy for Béatrice and Walter Mermod-
Stoffel (1927), in the villa he built for Gilbert Brustlein (1929), and in the Denantou
When applied to historical research, the truism that ‘things shocking, because the manager and the architect have always had an excellent a member of the board say it all: ‘The pride and vanity of the architect park house, to cite only the most important examples.
14. ABR, Copies of letters, shelf mark 001, letter from [Roger de Crousaz] to architect
only get noticed if they go wrong’ is disconcertingly relevant. It is relationship, and the manager has often expressed his satisfaction with the J. Cornaz are really the last straw, and I must admit that I find it pitiful. J. Cornaz, 25 May 1939.
15. ABR, Société immobilière d’Ouchy. Hôtel Beau-Rivage S.A. Minutes of the board meetings from
the squabbles, hitches and differences in opinion that often provide architect’s work, and has subsequently proved this by entrusting him with new He has done a few pretty things in Lausanne, like the Mermod villa here, 2 June 1924 to 12 December 1949, 11 June 1939, p. 217.
researchers with the golden nuggets of written evidence, without commissions (one of which, the winter garden, was extremely complicated), next to the Beau-Rivage. But the old bar of the Beau-Rivage was never 16. ABR, board of directors’ report to the 83rd general assembly of shareholders,
Monday 11 March 1940, p. 2.

which there would be no record of certain events. The quarrel and by continuing to ask him for designs and advice over a period of twelve considered a work of art, in spite of the two mandolins intertwined in the 17. ABR, Société immobilière d’Ouchy. Hôtel Beau-Rivage S.A. Minutes of the board meetings from
2 June 1924 to 12 December 1949, 11 September 1939, p. 221.

which arose between J. Cornaz and the board of directors shortly years.’ The tone of the correspondence reached such a pitch that the alcove, and a very average pouf.’ 18. ABR, Société immobilière d’Ouchy. Hôtel Beau-Rivage S.A. Minutes of the board meetings from
29
35
2 June 1924 to 12 December 1949, 19 December 1944, p. 295. See also 4 January 1946,
after the renovation work on the bar throws light on the complex board considered asking Jean Tschumi (a friend of E.-M. Sandoz) It was time to turn the page. J. Cornaz’s bar belonged to p. 313; 12 December 1945, p. 312; 16 April 1946, p. 318.
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19. Idem, 17 May 1946, p. 321.
and sometimes inscrutable relationship between architects and their to advise or arbitrate on the matter, or else seek representation from another era, the interwar period, with some elements even recalling 20. An architectural drawing of the existing awning and a Neoclassical proposal for the new one
dated September 1949 are held in the architect’s dossier in the ACM, shelf mark 24-04-146.
clients. In little more than a month, tempers had reached boiling a lawyer: ‘The architect M. Cornaz has sent us a long letter regarding the nineteenth-century design. The 1950s heralded an economic boom, 21. ABR, Société immobilière d’Ouchy. Hôtel Beau-Rivage S.A. Minutes of the board meetings from
point, the gloves were off, and relations between the architect and bar he designed. He says that we have made alterations to his work and that and the bar of the Beau-Rivage Palace needed another revamp: it 1950 to 1959, 14 March 1950, p. 13. The jazz song reference is a pun on the word marquise,
which in French means both ‘awning’ and ‘Marchioness’. The title of the song translates as All
the hotel had broken down. Faced with what he considered to be it has lost its character, although we have retained the essence of his decorative had to be more modern, more American; in short, it needed a ‘new is very well, Madame Marchioness. The writer of the minutes opens with the comment ‘All is not
well…’ (my italics).
a ‘mutilation of his work’, Cornaz soon made his feelings known. It scheme. He threatens us and the entire tone of his letter is unacceptable. It is look’ in response to the iconic ‘New Look’ collection launched by 22. ABR, Société immobilière d’Ouchy. Hôtel Beau-Rivage S.A. Minutes of the board meetings from
1950 to 1959, 10 September 1951, p. 61.
is worth citing a number of lengthy extracts from the stormy not practical for the owners to have to gain prior consent from the architect fashion couturier Christian Dior in 1947, epitomised by the full 23. Idem, 17 December 1953, p. 158.
24. Idem, 20 February 1950, p. 10.
correspondence between the architect and the project manager every time they wish to make changes to his work. We are proposing to return pleated black skirt and a fitted jacket nipped in at the waist, which 25. Idem, 31 January 1952, p. 77.
26. Idem, 21 December 1954, p. 209.
which, besides revealing hurt feelings on both sides, raises a more this letter, to consult M. Tschumi, the professor of architecture at the E.P.U.L. he called the ‘bar’ suit. 27. Idem, 11 March 1955, 215.
important question: who was in charge? In a letter dated 21 June [the Polytechnic of the University of Lausanne] or M. Ed Sandoz, or else ask 28. Board of directors’ report to the ordinary assembly of shareholders, Monday 25 April 1955, p. 2.
29. ABR, shelf mark 001, copies of letters, letter from J. Cornaz to the president of the board of
directors of the Beau-Rivage Palace, 21 June 1955.
1955, Cornaz wrote: ‘Given that bars, more than any other form for a consultation with M. Turin, a lawyer and professor of intellectual rights 1. Archives du Beau-Rivage (ABR), Société immobilière d’Ouchy. Hôtel Beau-Rivage S.A. Minutes 30. ‘M. Tschumi visited our hotels after returning from America. He had been to see several grand
of the board meetings from 2 June 1924 to 12 December 1949, 13 June 1938, p. 202.
of interior architecture, are subject to changing fashions, and given at the university.’ The board of directors eventually opted for a short, 2. Idem, 10 October 1938, p. 205. hotels in the United States. His task is to reconsider the Beau-Rivage, which was built 92 years
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ago, and the Palace, which was built almost half a century ago. He has agreed to work with M.
that the clumsy attempts to do up the Beau-Rivage bar ‘on the sharp reply: ‘[The project manager] asks me to inform you that he was at 3. ABR, copies of letters, shelf mark 001, letter from [Roger de Crousaz] to architect Pierre Bonnard. In particular, he will review the security problems on the ground floor of the

J. Cornaz, 12 October 1938.
cheap’ only served to highlight its age and the inevitable wear and tear, its complete liberty to make decisions regarding the renovation and modernisation 4. ABR, Société immobilière d’Ouchy. Hôtel Beau-Rivage S.A. Minutes of the board meetings from Palace. Before undertaking an extensive study he will present us with a report.’ (ABR, Société
immobilière d’Ouchy. Hôtel Beau-Rivage S.A. Minutes of the board meetings from 1950 to 1959,
2 June 1924 to 12 December 1949, 20 December 1938, p. 211.
21 November 1952, p. 110.)
complete refurbishment was not only desirable, but necessary. So imagine my work carried out at the Beau-Rivage during the winter of 1954-55 and that 5. ACM shelf mark 24.0.4.1.46 The sketch is dated 6 January 1938 but this is probably an error. 31. ABR, Société immobilière d’Ouchy. Hôtel Beau-Rivage S.A. Minutes of the board meetings from
6. Oral information. There is no evidence giving the technical specifications or execution 1950 to 1959, 29 June 1955, p. 228.
astonishment when I learned that all the main elements of my design had he does not believe that this work, as completed, represents an infringement of methods of the design, of which only an alcove remains. 32. ABR, shelf mark 001, copies of letters, letter from [Roger de Crousaz] to J. Cornaz,
7. ACM, shelf mark 24.0.4.146, Hôtel Beau-Rivage. Boiserie du bar, scale 1:20, J. Cornaz,
been retained, and that apart from one change, a good one no doubt, to the your rights, nor does the hotel bear any responsibility towards you.’ 32 21 January 1939. 33. ABR, shelf mark 001, copies of letters, letter from J. Cornaz to the president of the board
29 June 1955.
entrance, the subsequent alterations were limited to a few additional pieces of The argument moved on to financial matters. In July, Cornaz 8. ‘The fraidieu and the môlaine are two winds specific to Lake Geneva. Fraidieu means “fresh”; 34. ABR, Société immobilière d’Ouchy. Hôtel Beau-Rivage S.A. Minutes of the board meetings
of directors of the Beau-Rivage Palace, 18 July 1955.
it is a fair-weather breeze, very light, which blows across the Petit Lac, starting in

furniture of the type to be found in hotels and pensions of German-speaking wrote: ‘You have seen fit to address just one single and inconsequential the morning at around 7.30 a.m. It is countered by the séchard wind, which being stronger, from 1950 to 1959, 27 July 1955, p. 231.
suffocates it.’ (Badoux and Onde, EIPVD 2, 1971, p. 95.) In Marins d’eau douce, on the other
Switzerland. […] Unfortunately, these few additional pieces are so different point of mine, which I only mentioned to explain the ‘nature’ of our old hand, Guy de Pourtalès writes, ‘And now the soft nocturnal breeze begins to blow, whose name 35. ABR, shelf mark 001, copies of letters, letter from H. Bergier to the president of the board
of directors of the Beau-Rivage Palace, 3 August 1955.

is “frais-dieu”.’ (1941, p. 106.)
J. Cornaz architect, The Plaza bar, J. Cornaz architect, Bar Hôtel Beau-Rivage, Indian ink on tracing paper,
black lead pencil sketch, c.1938-39. 29 February 1939.
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