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Sloft Édition 05

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There's nothing more dated than the word "future". And yet, when you look at the present, you have to believe in it again.

In this fifth bilingual issue :

  • From New York to Bristol, via Marseilles, Pantin and Paris, we explore several visions of the future of living by inviting us into eight flats that are as different as they are complementary. A future made of ultra-technical but durable materials, corresponding to the utopian images conveyed by works of science fiction. A retro-future with organic shapes reminiscent of the psychedelic comic strips of the 70s. A future of juxtaposition, of grafting, where contemporary objects such as a 'bento box' inspire the creation of modules that invite themselves into antique interiors. Or a future that is, in the final analysis, very much in the present, where the conservation and enhancement of the traces and materials of the past are at stake.

  • We take an interest in the future of our cities through the place we give to the new generation of residents in our dossier "Kids in the city". Because a city that is hospitable to children is a city that is hospitable in every sense of the word. So we explore the changing role of children, the experimental solutions that have been devised to turn cities back into playgrounds that are conducive to their development, and we hear from families who tell us about the constraints or, on the contrary, the opportunities they see in bringing up their children in the city. One thing is certain: since they are there, they must be taken into account.

  • We also invite you to visit two personalities who combine their art with the future and whose work is helping to renew the emotional machines that are our cities. Social networking star chef Julien Sebbag reveals his new flat, designed with his architect friend Julien Sebban, founder of the Uchronia agency, an interior full of tasty shapes, materials and colours, just like his recipes. The prima ballerina Germain Louvet poses in his interior, as our "ballet and domesticity" (SIC) teams brief him. He tells us about his career, talks about dance as a precipitate of urban life and shares his questions about this art form shaped by a long tradition.

Eclecticism, poetry, art, escapism, beauty and good ideas are definitely not a function of square metres!

« Village life », Embracing charm and challenges with Kay and Jonathan, 51 m² in Greenwich Village, New York

When an apartment on the fifth floor of West 11th Street was listed for sale in 2021, Kay Lee and Jonathan Chong were captivated by its charm. The former property of an artist couple who had lived there since the 1960s, it had slid into a state of dilapidation – a quality that Kay and Jonathan nonetheless found irresistibly appealing.
“We just loved the mystery of it all!” states Kay. “We wanted it to stay just as it was!” With a general refresh and the addition of a mysterious "bento box"...

« Concretely weightless », Clarisse and Valentin’s perch, 90 m² à Marseille

`First of all, there’s a hulking trio of towers in the heart of the city: the 18-storey Labourdette Towers by Jacques-Henri Labourdette and Robert Boileau, built between 1958 and 1962 in Marseille’s Belsunce district. A superb example of post-war architecture, the reinforced concrete post-slab structures, which were once threatened with demolition but eventually awarded heritage status, offer generous, double-exposure apartments with immense openings.
On one side, Notre-Dame de la Garde, Marseille’s iconic basilica on the hill; turn around for a view of the city’s distinctive pink-tiled roofs; now turn your head, and you get the Old Port, the sea and even the Frioul archipelago in the distance.

« Curated Modernity », Alexis’ 80s dream in the 10th arrondissement, 75 m² in Paris 10e

Alexis deplores that “curateur” doesn’t have the same potency as its English counterpart: “There is such a thing as ‘curateur de musée’, but that’s a bit reductive.” Be that as it may, the term perfectly defines the hunt that the fifty-something went on to furnish his apartment-cum-gallery with rare pieces by designers or architects. 
The former advertising creative director – who could tackle subjects ranging from fashion to the more industrial applications – has always had a passion for 1980s furniture: “In the 1970s, everything looked the same, and from the 1990s onwards, globalization led to a downward shift in quality.”
During his business trips, he always paid attention to the smallest details in hotels, contemplating at length a light switch here or a particular assembly of materials there. “It was also fascinating to find almost museum-like pieces you’d otherwise only come across in galleries.”

Quelques retours de lectrices et lecteurs 😊