Behold the clay canvas at Roland-Garros

It would not be possible without the water. 

At 6am a crew of 185 is already on site, bundled in overcoats and boots and brandishing hoses as they weave through a convoy of delivery trucks that are carrying the day’s delicacies to a myriad of pop-up epiceries around the grounds. 

Every court must be watered according to specifications, and based on the current temperature and humidity. Then calcium chloride pellets are added to help maintain moisture and to make the iconic colour pop. 

On this chilly morning, I stand inside Court Philippe-Chatrier with David Rebuffet, assistant groundsman at Roland-Garros, as his crew tends to the court. 

“Sometimes it’s like a swimming pool in the morning,” he says, explaining that the hotter and balmier the day, the more water they will have to add to ensure that the clay maintains a consistent playing profile. 

“Every day we go into the meteorological office for the tournament, and we talk about the temperature, the weather, the humidity and the wind – the wind is very important too because it is more dry if it’s too windy.” 

The forecast helps the crew understand what the day's challenges might be.

Rebuffet, who was on site until 1am the night before and returned at 6am, is constantly conducting a dialogue with his crew, the tournament supervisor and officials on each court. 

It’s all in the name of creating the truest clay court bounce in the world.

Rebuffet calls his enemies “false rebounds” – he and his crew are steadfastly dedicated to eliminating them. 

'As good as it gets'

The players can feel it as well. 

"Here in Paris it's completely different,” says Casper Ruud, a clay-court aficionado who is into his first Grand Slam semi-final this year in Paris. “It's much more firm, the ground.

"Then you have the thin layer of clay on top, which leaves not too many wrong bounces and feels comfortable to play on.”

Coco Gauff, who reached her first maiden Grand Slam final on Thursday, concurs. 

“It's rare that you get a bad bounce or anything compared to other clay courts,” the 18-year-old said last week.

“I just like the clay here. I don't think there is any better clay in the world, in my opinion.

"I haven't played everywhere, but in the tournaments I have played, I think moving here and playing here, I think this is probably the best it gets.”

Destruction and construction 

The water gives the clay life every spring, but it is death that makes the courts perfect. Each March, a crew of 10 spends six weeks destroying - and rebuilding – every court around the grounds.

The team uses machinery to break up and remove the existing limestone, taking extreme care not to disturb the layers of gravel and coal residue below.

It is this critical ritual that ensures that the 7–10cm limestone slab that rests beneath the 2mm layer of crushed red brick is smooth, firm and matched to the profile of every court on the grounds. 

“It’s tricky, and it’s the most important part of the job,” Rebuffet says, “and we have just six weeks to do this on all the site, working seven days a week.” 

Rebuffet explains the process as a grind, much like a back-and-forth five-set battle. 

“We have the experience to see where are the bumps and where are the holes,” he says, adding: “It’s complicated, especially near the lines. It’s physical, and hard work.” 

When the courts are deemed ready for play the final touch is the addition of hand-painted lines. It takes a steady hand, and attention to detail, but the painted lines ensure the all-important true bounce. 

“Of course the lines are not the plastic lines here. It's the real deal,” Ruud says.

When the courts are finally ready for play, the fun starts in Paris. Then it's time for tennis and art to collide.