The mirror facing the window

A mirror is not simply a decorative object. It is an optical tool that multiplies the available light in a room. Well placed, it can double the sense of brightness without changing a single bulb.

The rule is mechanical. The wall facing a window is the best position for a large mirror. The natural light entering through the window reflects off the mirror, crosses the room again, and gives an impression of a room twice as bright.

This rule is particularly valuable in north-facing rooms, rooms without windows, or small spaces with limited glazing.

Choosing the right mirror.

Size. As large as possible, ideally as tall as the window it faces. For a 1.40 m tall window, a mirror of 140-180 cm works. A small 50 x 50 cm mirror will have virtually no effect.

Shape. Rectangular vertical as a first choice (follows the shape of tall windows). Round or oval possible if the room already has many straight lines. Square less effective, because it "cuts" the reflection.

Frame. Favour slim or frameless options. A thick frame blocks reflected light. Thin black metal frame (contemporary style), light wood (Scandinavian style), patinated gold (classical style).

Positioning.

The mirror must be placed at the same height as the window. The centre of the mirror ideally aligned with the centre of the window. This maximises the reflected light surface.

Height from the floor: base at 60 to 80 cm. Do not place on the floor (the bottom reflects the parquet, of little use), do not hang too high (the top reflects the ceiling, of little use).

Special case: entrance without a window. If the entrance has no window, place a mirror facing the front door itself. When the door opens, the light from the landing (or from outside if the door leads outdoors) reflects in the mirror and illuminates the entrance.

17th and 18th century interior architects (Palace of Versailles, Parisian hôtels particuliers) systematised the use of mirrors facing windows. The Hall of Mirrors at Versailles is 357 mirrors facing 17 windows, to multiply light in an era without electricity.

Pierre Yovanovitch often uses monumental mirrors (2.50 m tall and more), sometimes in several assembled panels, covering almost an entire wall. Spectacular enlargement effect.

Joseph Dirand works with frameless mirrors, leaned on the floor against the wall (a "landscape mirror" effect), often facing large Haussmann windows. Pure contemporary effect.