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They went on to become leaders in the industry, accumulating a host of international awards, including the Vancouver and Toronto Prize in 1898 and the Gand Prize in 1913. In 1919, Messrs Auberlet and Laurent founded a company through which to pursue their flourishing and ambitious opus.
SAS Auberlet & Laurent now boasts a collection of over 5,000 designs, growing to this day with the regular addition of new features. Proud of its unique heritage, each and every member of the company is united in assuring its lasting future.
Notably, it was acclaimed for its reproduction of the Cambodian temple of Angkor Wat under the direction of architect Mr Blanche. The temple was to be erected for the national colonial exhibition of Marseilles in 1922, the Arts Décoratifs of Paris in 1925 and the international colonial exhibition of Paris in 1931.

After the Second World War, business diminished owing to the inherent nature of the conflict and the fact that fibrous plaster, as crafted by Auberlet & Laurent, was no longer the order of the day. Nonetheless, the company’s international reputation endured.

The trade was to be further expanded at the initiative of three sculptors, P. Larue, A. Auberlet and G. Laurent, who decided to unite in their efforts to produce and sell decorative ornaments throughout the entire world.
150 Years of History and Achievement in Fibrous Plastercraft
Through the talents of sculptor-decorators and plaster craftsmen – working with fibrous plaster and stucco – blossomed capitals, leaves, pearls, modillions, caryatids, cornices, rosettes and more. These ornaments together culminated in unprecedented spaces of spectacular aesthetic style. With the use of plasterwork decoration at its pinnacle, the future of the profession was assured.
In 1961, Jean Lebufnoir, a close relation to the then director of Auberlet & Laurent, M. Fabbricotti, took over the company to form SA ANC Etablissements Auberlet & Laurent. With the support of his wife, he breathed new life into the company, successfully restoring its former lustre.
Auberlet & Laurent emerged as one of the world leaders in fibrous plaster craftsmanship in terms of precision, consulting and execution.
presentation & historic
These innovations are not here to replace the company’s manual craftsmanship – of which the quality and precision remain irreplaceable – but to optimise it.
Auberlet & Laurent
Tradition and Innovation

In accordance with artisanal techniques, all those trained to the stringent requirements of the company strive to uphold its traditions and the artistic principles of the discipline, thereby guaranteeing craftsmanship of incomparable quality. Taking the utmost care to preserve its singular expertise, the company has always advocated a marriage of tradition and innovation.
More broadly, the company was quick to adopt new processes, such as GRG, which enabled the creation of contemporary forms that were thin yet highly resistant.

Its director also conducted a wealth of research, in tandem with engineers, in order to discover solutions to certain existing challenges. For instance, the company spent several years researching methods of thermal and acoustic insulation. Owing to its mastery of the art form, it successfully overcame all technical constraints without compromising its aesthetic and architectural values.
Today, the company places considerable importance on investing in the latest 3D technology.

1850
AUBERLET & LAURENT THROUGH THE AGES
During the 1970s, this ethos inspired the company’s development, together with industrial manufacturers, of resins specially tailored to its purposes. Having to a certain extent disappeared following the war, this newly developed process was to revitalise ornamental craftsmanship.
The many advantages of 3D scanning systems will support the efforts of staff at the design office, worksites and workshops. In particular, this technology will allow spaces to be mapped more quickly and accurately in preparation for works, such that the work of all contributors can be undertaken with greater efficiency and any potential challenges foreseen.

Furthermore, 3D printing will enable the production of models and samples in order to meet the latest needs of architects and decorators (BIM), to afford clients the benefit of a more concrete visual representation and, above all, to endow the company’s associates with new skills that combine their expertise with the latest technology.
During the period of the Second Empire, the city of Paris began its metamorphosis at the behest of the emperor, Napoleon III. Architects and decorators set their imaginations to designing spaces, creating both an architecture and style replete with fibrous plaster and stucco ornamentation.

Business grew and new techniques were put into practice (for example, using silicone and synthetic resin). The collection was enriched with numerous designs, which gave birth to a catalogue and resulted in prestigious commissions both in France and abroad, in particular the Middle East.
 
Thierry Lebufnoir, the current chairman of Auberlet & Laurent, arrived at the company in 1982, helping to run operations before acquiring it in 1998. Under his impetus, the company focused on developing its installation service. Private individuals, decorators and architects turned to the company’s design office for its valued expert advice. The company’s intricately detailed craftsmanship and unmatched aesthetic flare were universally celebrated, inspiring clients to entrust it with extraordinary commissions such as Hôtel Lambert, Hôtel Kinsky, the Elysée Palace, the Palace of the Sultan of Brunei and Hôtel Soyencourt, among others.