Palaces, mythical addresses

Begun in 1910, the construction of the Normandy hotel, the plans for which were drawn by the architect Théo Petit, was completed for the summer season of 1912. In 1925, the acquisition of land allowed its extension to the north.
The Normandy hotel is established according to an H plan allowing the development of interior courtyards. The facades display a Norman style (checkerboard composition and wood panel). The picturesque nature of the building is reinforced by a main courtyard, called the "Norman courtyard", made up of pieces of grass planted with apple trees. It is closed by a barrier on rue Gontaut-Biron by shops, including the one occupied by Gabrielle "Coco" Chanel from 1913.

The rustic exterior is opposed to the modernity, refinement and comfort of the interior fittings. The vast entrance hall, crowned by an elliptical ceiling supported by twin columns (of the same diameter and grouped in pairs), is extended by a second hall of more modest size, adorned with Louis XVI style woodwork. It serves the bar, the main staircase and the "La Belle Epoque" restaurant, opening onto the Norman courtyard. The rooms are spread over five levels, served on each floor by a central corridor. All have an anteroom and a toilet with bathroom, thus responding to the hygienic concerns of the early twentieth century.

The success of the 1912 summer season prompted the Société des Hôtels et Casino de Deauville to provide the resort with a second palace. Eugène Cornuché acquired from the Baroness d'Erlanger the Villa La Louisiane, built in 1861 for the Duke of Morny, founder of Deauville, to build the Hôtel Royal instead. The building, built according to the plans of the architects Théo Petit and Georges Wybo, was inaugurated in July 1913.
Established according to a U-shaped plan, the reinforced concrete hotel comprises seven levels and draws up its monumental facade, animated by an axial front section and two lateral front sections, facing the sea. The rigor of the elevation is mitigated by the variety of facings (checkerboard and wood panel), protruding elements (columns, balconies, loggias) and openings (rectangular, arches supporting a semi-circular or lowered vault, etc.).
The crossing entrance hall connects the entrance courtyard to the sea side. It is animated by arched arcades, accentuated by twin pilasters (of the same diameter and grouped in pairs) and piers (partitions between two bays) adorned with foliage wrapped around a stick. It distributes the bar and the dining room decorated in Empire style and open to the sea. The entrance on the courtyard side, punctuated by columns, gives access to the main staircase and two side galleries, inspired by the Galerie des ice cream at Versailles. The bedrooms, all with bathrooms, are distributed by a large central corridor. All the rooms have Directoire style furniture.

When François André died in 1962, his nephew Lucien Barrière took over as head of the Group. He launched a major modernization and restoration project for the hotel and extended the golf course. A second 9-hole course is developed by the former British golf champion Henri Cotton in 1964. The establishment was again profoundly changed in 1997, then in 2013. Its last dressing is by Chantal Peyrat. The interior designer was inspired by the history of the building and its Norman roots, with giant sculptures of apples and horses, combined with Chesterfield furniture and Scottish tartans. Murals and portraits of illustrious guests recall the history of the place.