A comprehensive culture of general enterprise.
The projects I have led in several countries have given me a comprehensive and concrete understanding of construction, far removed from theoretical approaches.
I know:
• the materials, their limitations, their aging
• safety, compliance, and actual usage standards
• the interactions between electricity, water, ventilation, structure
• classic mistakes… and rare, but irreversible mistakes.
I discuss things as equals with the construction workers to guarantee the absolute consistency of the project. On a building site, I don't need lengthy explanations. I immediately see what's right and what isn't. Why love rooms today? I work on love rooms for reasons of architectural logic and sensitivity. It's by far the most complex room in a home.
It focuses on:
• high technical constraints
• absolute safety requirements
• careful management of humidity, ventilation, and electricity
• intimate practices that tolerate no mistakes
• an emotional dimension that tolerates neither falsehood nor gimmicks
An intimate suite of exceptional experiences,
Love Room and confidential projects,
a shared requirement.
In my profession, the first exchange is already an act of architecture: it reveals the level of requirement, the culture of detail, the ability to understand what cannot always be explained.
Benoit Lahouel, Interior Architect since 1999.
I have never considered this profession as a decorative discipline, but as a profound reading of space, its constraints, its real uses and its invisible tensions.
A place speaks.
But you still have to know how to listen to it.
From a very early age, I worked in environments where approximation had no place. Luxury trained me not in aesthetics, but in rigor, in the hierarchy of decisions, and in this fundamental truth:
"What is poorly conceived can never be redeemed by the decor."
The vision before the drawing. I see a project before I draw it, detecting what won't work, even if everything seems correct on paper.
A single misplaced detail disrupts the balance of a whole, just as a poorly anticipated technical decision undermines an aesthetic intention. For me, there is no such thing as a minor error.
My perspective is precise, analytical, sometimes unsettling for those who prefer compromise. I don't know how to work any other way.
That is why I only collaborate with clients, craftsmen and companies who share the same inner requirement.
Without it, the project loses its meaning.
A poorly designed love room becomes uncomfortable, dangerous, or ridiculous.
A well-designed love room disappears in favor of the experience we will create together.
It is precisely this complexity that interests me. Because it leaves no room for approximation.
Customization as an intellectual discipline
Custom-made is not a matter of aesthetics.
It is a discipline of thought.
I design and manufacture unique elements when the project requires it, in strict compliance with a precise, often invisible, but always decisive set of specifications.
It is these silent details – proportions, materials, finishes, sensations – that distinguish a space that is just right from one that is merely decorated.
I am not looking to multiply projects but to preserve their appropriateness.
I like real comfort, noble materials, consistent decisions, places that do not seek to impress but to last over time.
Before founding Home Addict in 2007, I worked for large, internationally renowned companies on projects where excellence was a prerequisite, never an objective to be achieved.
Today, through Home Addict, I continue this work with a clientele capable of recognizing one simple thing: true luxury is intellectual before it is visual.
You & Me: I work on a deliberately limited number of projects; each request is unique.