Modern Architecture Masterpiece: Villa Cavrois in Croix by Robert Mallet-Stevens.

When Paris-based photographer Juan Jerez visited Villa Cavrois, it fulfilled his long-time interest. “I had been interested in the project not only because of its architectural quality, and belonging to a period and style I particularly appreciate, but also because of the history of the place and the fantastic restoration carried out by the Centre des Monuments Nationau.” says Juan.

Designed by French Architect, Robert Mallet-Stevens, Villa Cavrois is one that’s armed with quite a story. Located in Croix, France, the building has taken many forms, including abandonment, an army barracks, a wedding venue, an exhibition space and of course, a residence. Following Jerez’ recent visit, he captured Villa Cavoir in its’ present-day glory, standing a long, but triumphant test of time.

Originally built as a large modernist mansion for Paul Cavrois in 1932, it was the first time the experienced architect Mallet-Stevens was given free rein on a project of his own. With the archives of Mallet-Stevens being lost over the years, it’s difficult to trace examples of his architectural process or find detailed design documents of the villa. One thing that is known, however, is that the building that stands today is a jubilant monument of imposing proportions.

Completely devoid of tacked-on ornamentation typical of the time, Villa Cavrois adorns its facade through turning to the humble brick. Utilising a range of brick types and configurations, it is an exhibition of what can be achieved through the singular material; its absolute brick-101! Adding only minimalistic balustrade details and bold and deliberate fenestrations, Villa Cavoir’s facade is truly a celebration of Mallet-Stevens’ simplistic, yet technical principles.

Embracing the concept of the ‘total work’, Mallet-Stevens not only curated a notable monument of brickwork, but also drew his focus into the smallest internal elements. Furniture selections, doorknobs, lighting — it all, according to Mallet-Stevens, had to “reflect the psychology of those who evolve [in a domestic living environment], here, a bourgeois family”. Quite obviously, and perhaps even subconsciously, drawing on his experience as a film director, the interiors of Villa Cavrois tend to bear a close resemblance to the work Mallet-Stevens produced for Marcel L’Herbier’s film a few years prior to the villa’s construction. It stands today as a cream brick castle, embodying a breadth of Mallet-Stevens’ experience.

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With the building being steeped in history, where did it all start? On the outskirts of Roubaix, Croix was the site of many middle-class families during the early 20th century. It was a town close enough to booming factories where many worked, yet, was far enough to foster what was referred to at the time as a ‘healthier environment for better living’. A series of small and in-vogue neo-regionalist castles emerged across Croix. Among these, was Villa Cavrois.

It was a residence commissioned by the owner of a high-end textiles company, Paul Cavrois and his wife Lucie, to house their family of nine. It was a place where the family celebrated the marriage of one of their daughters, Genevieve. Over its 60-meter-long facade, the house unravelled across two symmetrical wings of rather grandiose proportions. The whole building, while conceived as a dwelling, has a rather civic presence. Domestic spaces are nestled amongst more public-facing areas, where the family would have entertained, or conducted their more ‘formal’ business. There is no obvious front door. There are no defined sash windows. The large industrial glazing strips the building of any typical residential fenestration, and veers towards a more public presentation instead.

Outside, a large spine of water further contributes towards the civic presentation of the building within its landscape, stretching across the expanse of lawn and establishing a key sense of entry. From its inception, the residence presented qualities that we, today, associate with public spaces such as galleries or museums.

With the Second World War, the Villa Cavoir saw a transformation into the German army’s barracks. While little is known about what extent of changes were made to the residence during this time, its next occupation saw a sensitive re-work. Upon liberation, architect Pierre Barbe was commissioned by the family to adjust the home’s internal layout into two separate apartments for the sons of the Cavrois family.

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In 1985, the death of Lucie Cavrois brought not only sorrow to the family, but a certain end-of-life to the villa. Sold off to a property developer, the home lay stagnant for many years while its new owners attempted to subdivide the estate, most likely for profit. Despite its classification as a historical monument in 1990, it lay abandoned for fifteen years, becoming subject to vandalism, neglect and deterioration.

The Villa Cavrois we see today was a rescue mission by the National Monuments Center (NMC). In 2001, the state acquired a large part of the property, including the villa itself. Significant restoration works to the value of 23 million euros were injected into the building by the regional director of cultural affairs, who worked closely with chief architect Michel Goutal. It has stood not only the test of time, but of several historic events—the ones that, had the building not had its robust bones, may have just seen the deterioration of the Villa altogether. Instead, today, the public are free to wander the halls of the building engrained with Mallet-Stevens’ legacy.

Embracing the quietness that came with the recent Covid-19 restrictions in France, photographer Juan Jerez says: “The Centre des Monuments Nationaux, with whom I had collaborated before, kindly allowed me to access the place for an entire day”. Devoid of the public, the villa stood vacant similar to how stood upon its conception as a private family home. “This gave me the freedom to move around freely and photograph the different spaces that make up the villa,” he says, of what would have to be a dream situation for any photographer. “It was a wonderful experience I cherish in my memory”.

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[Images courtesy of Juan Jerez.]