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A Thank You Note I would like to thank all those who believed in me and encouraged me every step of the way to realizing my cassion. I bow in gratitude to my wonderful grandfather, who -being the aesthete and cultural person he was, supported me from a very young y g age g to develop p my y love ffor arts, Ueauty y and Xlegance, g and taught me how to seek cerfection I would also like to thank my sister and friend Marina Chauvin– Basset for being there for me and cheering me up when darker moods d took k over. Without Architect Hoda El-Masry, who pushed me resiliently, this book wouldn wouldn'tt have seen light. light To all my Friends, Colleagues and Clients who never shade away from appreciating my work, thank you!
A foreword f d Carmen Prisca Keller’s origin is Mulhouse, Alsace, a western Province of France, bordering Switzerland and Germany. Her especially talented interest in architecture and design manifested itself in the early childhood when she decorated her parental home herself and those of friends. friends The professional education peaked in the graduation in Islamic Art and Architecture at the Sorbonne and her studies at the Ecole du Louvre. A high selfesteem, a rigorous self-discipline, the constant striving for the best, made her one of the leading designers in the market. Her passion for Baroque Architecture , amalgamated with contemporary or modern interior requirements for customers oriented designs, are a pillar of her individuality. An additional asset in favor of her performance is the fact that Carmen has the gift off a seldom ld so highly h hl developed d l d skill k ll off 3D thinking, h k talking lk and d documenting d which gives the client the means of seeing his project with comfort, without working himself through mountains of plans, sections and abstracts. It is amazing with what speed and accuracy she pursues a project and delivers results in warp-speed. warp speed Any client can be sure to receive a construct reflecting the clients views and expectations whereas classical architecture meets seamlessly virtual interior applications. She is not guided by or worse, shall I say “bound to� personal preferences (which is the case in so many projects I have seen) seen). She perfected the art of listening and guiding her Clients to create their dreams with utter Elegance and Excellence This objectivity and her compromise nature are part of her success. Max F. Loetcher Former Vice President Sheraton Asia - Pacific
A journey of cassion pursuing Xlegance My name is Carmen, Carmen Prisca Keller. I graduated from the Department of Art History at the University of Sorbonne and the prestigious Ecole du Louvre in Paris, France. Combined, these two give one of the best History of Art education anyone could dream of. For me, being an Interior Designer is a cassion; and any project I take can only be conceived as an act of cassion and _ove. ove A cassion that guides me from the core of my heart towards curating a story of ultimate balance and near perfection; A cassion which translates in the attention and the minutia to each detail; A cassion that transmutes itself into Xlegance and Ueauty.
My inherent cassion for Trts manifested further in a _ove for Wesign, Trchitecture, Wecoration and Vrafts. As far as I can remember, I used to spend all my free time creating, designing, sculpting and rearranging the rooms in our house and the houses off our ffriends. Furniture never stayed y at the same place for more than two months. For my tenth birthday, my grandfather had an atelier and a large lib library iinstalled ll d iin the h b basement off our villa ill that h opened d to a garden. Heaven could not have been better. In the following years, years I experimented with all sorts of applied arts. From stone and wood sculpture to clay modeling and pot turning, weaving and of course, designing. In addition, I sewed, made jewelry and silk flowers, among other crafts. All while indulging in all the art books I could find in my grandfather’s library, and those I could afford from selling some of my work.
At 14 years of age, age I decorated my first full house. a beach house for friends of the family. I even created most off the paintings and small artifacts. Creating Art was as natural to me as breathing. It was quiet evident, that after my baccalaureate, I chose to go and study t d History Hi t off Art. At To be accepted to the prestigious Institut des Arts, Arts Paris IV Sorbonne, and the Ecole du Louvre was an honor. I felt blessed! I was blessed!
Beginning my academic journey, especially at the Museum of the Louvre, was magical. I still remember the first day I entered the huge hall where the courses were conducted. Walking through the arch to enter the court felt so different than a normal touristic visit to the museum. museum Being a student there meant free access to all the collections and some of the reserves, especially when the museum was off. I also had access to most of the museums and exhibitions in Paris. The Louvre is much more than jjust a museum with p paintings g and sculptures. It also hosts wonderful collections of furniture and jewelry. The museum itself Th i lf is i a sumptuous architecture, hi b il through built h h a spend of centuries. I was like a child in front of her first Christmas tree. tree
Students of the Sorbonne and Ecole du Louvre are often approached by galleries, exhibition centers and travel agencies for various i guiding idi jobs. j b Accepting one of those is how I really fully understood my love for sharing my passion of the arts and my gift for teaching. teaching It was a work as a guide at an exhibition on excavations in Mari, a site in Mesopotamia. Since then, I have been giving conferences and gguided numerous p people. p I even once replaced p one off my y teachers and taught his course. The secret is to give the course with great cassion, to bring back the h ancient i times i to life, lif and d to make k the h listener li really ll dive di in i the past or the history of the artifacts.
While I was studying, I worked as a freelancer for various interior designers, designers mainly preparing mood boards. boards I was sought out for their Xlegance! I always y tell my y staff ff how important p the p presentation off a project is, how conveying our message and our ideas with Xlegance is essential. More than often, I still do most of our presentations by myself. The way we present a project is like the way we present ourselves; it tells a lot about the quality of our work, our creativity precision and love for details. creativity, details In parallel, parallel the pitch matching the presentation is also very important. Most of the Clients of my various employers were Middle Eastern or from the Gulf, some Russians., as is today , the core of our business . Working for them taught me the subtle balance of how to create Ylamboyance meanwhile preserving the Xlegance so dear to me.
As I was about to finish my studies, I met someone who changed the course off my y life. f Let us jjust call him by y his initials HKS. Back then, he was one of the most powerful men in Egypt, a personal friend of the president. We met through common acquaintances on the French Riviera, where we were both vacationing. He was looking for a designer to redo the public areas of one of his hotels and to finish his home in the Red Sea area. One day we were talking over lunching on his Yacht about architecture, architecture interiors, and Thailand, which he loved very much, when he asked me: “Would you be interested in doing my hotel and finishing my home? home?” I was taken aback! I remember answering: “But you never saw any of my work?” He replied: “Your cassion speaks volumes.” Richard Branson once said, “If someone offers you an amazing opportunity and you are not sure you can do it, say yes, then learn how to do it later .” I followed this advice, then panicked later at my own boldness. S I embarked So, b k d on an adventure d t th t took that t k me to t Egypt E t and d the th Gulf, and ……..back to my beloved Italy.
For all the following years, HKS became like a godfather to me, always supporting, caring and encouraging me to push myself through and beyond new th h ld thresholds. I traveled to Thailand to study the Lanai architectural style for one of his projects and for another project, projects, project I spent hours in the Cristallerie of Saint Louis, designing and supervising the manufacturing f g off very y large g custom made chandeliers. I also traveled to France, Italy, Great Britain, purchasing furniture, fabric and artworks. And through him, I met other elite Clients, and with time, I established a well reputed studio. well-reputed studio
The discipline I learned through years of study and the valuable library of references I have been acquiring, proved very quickly to be a great asset. asset Since inception, I have set very strict rules for every work aspect at my studio, which often surprises p newcomers. I am now recognized as a very demanding and meticulous person. Perhaps P h sometimes i to the extreme, but always for the good of the projects and the best interest of the Clients .
If I attempt to summarize my work, I would say that beyond being an Interior Designer, I create a lifestyle for my Clients. Most of my projects include large mansions or apartments, mainly in Baroque or Neoclassical styles, inspired by palaces such as Versailles, the Winter Palace or Schoenbrunn in Biedermeier or Art Deco styles, y at the likes off the Eltham Palace. Lately, we have been doing more mixed styles, by incorporating contemporary furniture f i and d other h modern elements to a classical architecture and wall design, or complete contemporary interiors. interiors
My Philosophy First and foremost, cassion, Xlegance and seeking cerfection are my compass. Therefore I am surrounding myself with passionate people. l Only O l then th a design d i can reach h its it ultimate lti t potential. t ti l I believe a designer should disappear behind the design; that Interior Design should serve as a self self–portrait portrait of its occupants occupants, not of the designer. I see myself y f as an Haute Couture Interior Designer, g , tailoring g all my y projects to the uniqueness of each of my Clients. A Client once said, that one of my strengths is being able to combine b the h architectural h l and d planning l principles l with h esthetical h l interiors and practical designs, an approach that creates the uniqueness of my style, embedded with the YÜxÇv{ TÜà wx i|äÜxA
Design is a wonderful Art of Creation, that I sometimes compare to pregnancy, with its joy, fatigue and huge demands to reach the unlimited reward to bring a new project to life‌to harvest the fruits of the ideas we sowed. To catalyze y these ultimate results, I start by y listening g to my y Clients, defining their lifestyle, and understanding their needs. Based on the previous, I utilize my artistic and technical knowledge to start the h d designing i i process. At A this hi stage, very often, f one space or another would resist. The balance never seems to be correct, till suddenly, everything falls in place. During this process, I would very often use Feng Shui to get a better flow of positive energy into the project. Once this is achieved, comes the very important moment of presentation. Each presentation is different. It usually includes graphic perspectives, freehand sketches, a selection of materials, furniture and accessories.
Once the Clients approve the concept, the more technical part of the project takes place, where all the ideas we conceived get to be implemented. The process requires patience, from coordinating interior elements to architecture and all the electrical, air conditioning, plumbing and security aspects…. For me, a perfect design means invisible air flow and light sources. Of course with the exception of very beautiful candelabras, wall sconces, or table and floor lamps, as they act as jewels on the backdrop of the architectural details. Technical files are also prepared at this point, such as the Bill of Quantities needed to evaluate the cost. This stage also includes the procurement list for all the furniture, lightings, accessories, artwork and carpets… needed to finalize the Project. For some projects, we design custom made tableware, cutlery, glassware, and all the linens… L’Art de Vivre à la Française!
Beyond the Interior Designs, Designs and to ensure the success of our project project, we also provide various management systems for spaces such as dressing rooms and pantries, as well as the back of the house circulation and space allocation. We even offer staff training, based on the system applied in hotels. In Peonia Creare, we believe in accompanying the project from inception to total completion, through full supervision and quality control at each step. Without proper supervision at all stages, from shop drawing, quality control at the manufacturers and suppliers, and d procurementt to t full-time f ll ti presence on site, it design d i cannott be b expressed in its fullness. Very few of our residential projects are pictured at the demand of our Clients, who trust our discretion.
In the following pages, we will present some of our work in the sequence detailed hereunder. We will also give a glimpse into the reflection process during design. design • • • • • • • •
Our Fusion Designs Our Classical inspired Designs Our Art Deco and Contemporary Designs Culturally inspired Designs, such as Oriental, Swiss Chalet… Facades and Landscapes p The Passion in our Work Our partners: Tekne Our Corporate Responsibility Projects
Fusion work is always interesting, as it mixes styles towards getting a unique creation. An architectural background with definite classical architectural details - more or less elaborate - along with contemporary furniture and elements, a style that formed a judicious mix, as shown h in i the h previous i and d ffollowing ll i pictures i off a penthouse h designed for a young couple. Here, we blended contemporary furniture from Fendi, Here Fendi with Art Deco-inspired console and decorative elements like vases and the famous black panther statue. The unity is achieved by a monochromatic scheme of colors, for the walls, carpets, curtains and main furniture elements. The striking effect of the large gold and black painting from contemporary painter Rauschenberg acts as a focal point to the room.
For those clients, clients a young couple, couple we chose to blend the classical elements of the walls, with very contemporary highend designer furniture, lightings and fabrics. The artwork and other decorative elements are Art Deco-inspired.
The straight lines of the credenza, with its accents of brushed brass, is complemented by the two Art Deco vases and a painting by Rauschenberg.
In the second room of the reception, the theme is less formal. Library corners are added in recesses, created by protruding columns. Designers always have to take into consideration what I like to call the architectural surprises and hide them into the interior elements so that the final effects become unified. unified Nothing is more unaesthetic as the protruding columns or beams in what is supposed to be an elegant room. The color choice of a pale grey, Christian grey, y always y a subtle color, helps p to Dior g blend the elegant undertone of the two spaces, although one is more formal than the other.
Another challenge that presented itself in one of the walls in this salon, were different air condition grilles, that needed to be totally hidden. To resolve this, we recalled the ancient French latticework which we installed over the grilles to still allow proper ventilation while hil hiding hidi the th system t with ith an elaborated element , and we ornamented the panel with an antiqued mirror and a latticed Medici vase in its middle.
In the past years, the gold effect found its place again in Interior Design, without being too ostentatious. Most of the furniture designers brought back gilded pieces. The difficulty in using gilded elements is to find the subtle balance of the ‘not too much’ so that the room doesn’t look vulgar. IIn this thi dining di i room, we mixed i d the th white hit table t bl and d chairs h i with ith gold ld elements. The focal point of the room, room visible once you enter, enter is the two gilded chinoiserie paintings on both sides of the small window adorning the room. And to balance the large double window on the long g side of the room,, a Charles Burnand mica and brass Dorchester sideboard found its place in parallel. Facing the two gilded chinoiseries, two similar paintings with fewer gold effects decorate the two panels encasing the door. To design a room, it is always important to make sure that all elements blend so that once it is finalized, the room breathes smoothly. smoothly
Charles Burnand eucalyptus mica and brass Dorchester sideboard.
For this large French style villa, the Clients asked us to create a very elegant family living, as they would like to entertain friends in it and they really want it to make a statement. statement We created simple paneled walls, where the inside of the panels is cladded with straw marquetry. We worked with a French artist specialized in the ancient art of Marqueterie de Paille. We used the material in a light bleached version to match the parquet flooring, which was tainted in g grey y with an ebony y accent. The refinement of the room was enhanced by the silver-leafed moldings and columns. The French blue and white Toile de Jouy fabrics brought lightness to the room. And for those of you wondering about white fabric in a family living room, rest assured, we used anti-stain treated fabric.
I think my love of greys comes from my love for Christian Dior. He was one of the first designers that boldly used colors that were ignored in fashion and interiors. y is a very y soothingg color. Each shade off ggrey y can be For me, ggrey used as a wonderful backdrop for the designs of room. Traditionally mixed with silver , I chosen for this formal living room of a very palatial residence , to have golden accent, with gilded ild d moldings ldi and d accessories i enlightening li h i the h grey tones. The style of the room is modernized classical, reinterpreting classical elements with a modern twist. twist The pilasters are purposefully slim, to add height to the room. Playing with proportion and optical illusion is a great tool used in interiors, that originated in the antiquity, especially in the architecture of the ancient Greek temples.
Another A h essential i l tooll in i Interior I i Design D i , is i to know k h how to use less costly materials to obtain the same effect as more expensive ones. This is very important, when your Clients are asking to work within the limitation of a budget. budget In this residence we have over 100 rooms and receptions areas doors. The Clients asked initially y ffor very y luxurious doors with gilded brass inlaid. Unfortunately, once we made the summary of the Bill of Quantity and the Procurement Books, the emerging budget was quiet over the expected budget. So we performed, what is technically called, value for engineering for cost reduction, which means basically finding less costly solutions without diminishing the design nor the quality of the fi i h d product finished d t Accordingly, we made two samples: one with the gilded brass elements and one with the same elements but made out of a polymer and then gilded. The result was stunning. Once completed, their was no difference, if only in the price, which dropped pp by y a fforty yp percent.
For this large penthouse, we were asked by a cosmopolitan young y g couple p to create a room that lavishly showcases their collection of furniture and artwork. This first salon was originally an open space with basically no walls. On two sides, the room was opened to other spaces, while whil on the th other th two tw sides, a bay window and a pair of large windows were letting too much light enter the room. room In addition, addition air conditioning compressors were placed behind the windows, allowing their sound to pass through. We decided to partially close the latter with two large panels, cladded with antiqued mirrors framing an interpretation of two paintings from the French painter Watteau, in grisaille on glass. The triple y tempered p glass acted as a sound suppressor. g pp layered
On the baroque console, a collection of Ox blood Chinese ceramics are displayed.
Even small spaces can be Elegant and Luxurious! There is a misconception that Elegance can only blossom in large spaces. Truth is, even the smallest of spaces can reflect Beauty and Elegance, while adorned with simplicity. The left Th l ft side id page shows h an example, l as we created t d an elegant l t restroom in a space no larger than one meter. We chosen a glass vanity top, which color is blending with the pale green marble of the walls, walls and which transparency does not cut the height of the room. golden accents of the accessories and decorative elements The g gave the room its opulence. To answer the love for the Arts of our Egyptian Clients we added dd d a wall ll mirror, designed d d by Karll Hagenauer for f the Werkstätte Hagenauer, in Vienna, 1924/25, cast brass., which has ancient Egyptian elements.
Classically inspired designs, in our contemporary times, request a subtle balance between the designs and all the up-to-date technologies. The latter should never be seen, only felt as needed to enhance the quality of life, without destroying the Tuthenticity and Xlegance g off the design. g To achieve this subtle balance, we always involve ourselves deeply in the process of design with the MEP (all plumbing, electrical, AC, security, sounds‌.works). I recognize that our main stress on a project is usually with the consultants discussing the Air Conditioning, as it greatly affects false ceiling and cornices. Other technical part of our work, which is primordial to the perfect execution of a project, is coordination. This is even more important in Classical Designs, where panels usually rhythm the walls and ceilings. Perfect placement of all items, such as electrical plates, speakers and g g is essential. Execution coordinated work shop p drawings g lighting‌, are a must.
Beyond the architectural interior designs, designs we always advise our Clients on all the furniture, fabrics, lightings, artwork and decorative items‌ Even more , than in a modern or contemporary p y style y , this is a very essential part, as without the proper choice , the full design might loose its identity and its balance . Most off the h time, apart from f d designer items or antiques, we would have customized items specially designed and made at different workshops by artisans we work with around the world. In the following pages, we present how we offer our Clients choices of auctioned antiques and other items. For some Clients, we purchase the original, while for others we copy them. We also organize enjoyable discovery trips, where we combine procurement with cultural and touristic activities.
One of the first steps in creating interiors is to show our Clients perspectives, sketches and pictures to help them imagine their future projects. We offer several selections of furniture, furniture accessories and lightings‌ for the same place. It can be antiques bought off the rack or at auctions. It could also be a reproduction of antique items when the original items are not available or above budget. Through our studies and practice, we gained great experience in manufacturing f g those items to be as identical as p possible. We had been continuously training artisans and conducting workshops on the ancient methods of creating furniture, brass items‌ The right Th i h page and d following f ll i ones show h two different diff moods d for f the entrance of a Palatial Residence, which are both French, but very different due to the materials used. We always try to present our Clients with less common pieces. pieces
A pair of Louis XIV style gilt bronze five-branch wall lights, New York, early 20th century by Edward F. Caldwell and Co.
A fine pair of Louis XVI style st le gilt-bronze gilt bron e mounted blue turquino marble cassolettes on pedestals and a matching table de presentation. Paris, circa 1870.
A Louis XIV gilt wood and eglomised Mirror with pediment topped by a shell decor scroll foliage, the background and the borders decorated with a chinoiserie in gold, red and blue on black.
A Louis XIV ormolu mounted ebony ebony, brass brass, pewter and Boule marquetry table de presentation.
On the left side a Russian ormolu-mounted bloodstone urn, circa 1790 to 1800. On the right side, a pair of neoGreek gilt bronze mounted rouge griotte marble urns Paris, 3rd quarter 19th century under, a large and impressive Louis XV style console table.
At this large mansion, for a young couple in love with French style antiques, we created a jewel box to showcase their collection. In p parallel,, to avoid making g the reception p room look too g gaudy, y, we gave the wall a monochrome scheme of soft beige. The gypsum moldings are an interpretation of traditional French ones. In the large dining room, the couple chose Louis XVI reproduced f furniture. it Th ceiling The ili was created t d in i polymer l and d built b ilt up, then th gilded with French gold leaves with a trompe l’oeil of a scrolled frame surrounding a clouded sky at its center. The curtains were customized to match the French g gold-leaved ceiling g hues.
The following pages show two large receptions in a Middle Eastern palace; the red one is mainly for guests, while the pink room is for the family. It is very often that one room is used to receive male guests, while the family room will receive the ladies. We chose here to mix different degrees of pink, golds, and pale almond green. The large cornices hide the air conditioning ducts. It is essential that the later is not seen, but act efficiently.
Knowing the history of the furniture and their creators is a great plus, when we choose the right pieces to present to the Clients. I love finding unique pieces, and I confess that I have a special love for Italian baroque ones . They have a kind of lightness that French baroque does not possess. possess Above, an Italian carved gilt wood mirror, mirror Venetian, circa 1730. On the right, important painted commode, Louis XV, after designs by François CuvilliÊs, Soignies 1697-1768
I love the story of this armchair, a Louis XVI giltwood fauteuil en bergère that was designed for Queen Marie Antoinette. The chair was made by François ç Foliot, after a 1780 model by Jacques Gondoin. It was made for one of Marie Antoinette’s most personal Versailles the retreats at Versailles, Pavillon Belvédère in the English garden at the Petit Trianon. This chair was part of the most expensive suite of seat furniture ever supplied to the queen and is the only armchair to have survived. We reproduced the armchair, including its original fabric.
While applying the finishes, most of the time we present our Clients with samples of paintings, materials, or the likes of the patinas shown in moldings here.
I love working with different shades of gold or silver leaves, enhanced by a matching shade of gold size base, which gives real depth to the color of the leaves.
Dining rooms are very much the heart of a house, as it gathers family and guests. Formal dining rooms should be convivial, yet, express grandeur. This large family dining room, adjacent to the salon pictured previously is also opening on the gardens, creating a very festive and light atmosphere, a spirit we tried to capture as we chose furniture, colors, and materials. The Clients asked us to include a large g buffet counter. We worked to integrated it in such a way not to make it look like an hotel and created different counters in recesses and niches, decorated with large artworks or mirrors, rhythmed by showcase h cabinets, bi t presenting ti antique ti t bl tableware and d silver. il We also designed a full customized table, glassware and table linen This is one of the designer services we always offer our linen. Clients, fully customized accessories for their projects. For mansions, we very much recreate the classical “French Art de Vivre� updated p to contemporary p y living. g
A symphony of greens and golds. For this home office, which doubles as a library, we were very keen to assemble a collection of green and gold elements matching the green velvet paint of the cornice and the inlaid of gilded forest green Cordoba leather. As a deliberate contrast to the simple lines of the furniture, we went diving into Italian, Venetian and Russian antiques. We chose a patinated and gilt wood chandelier, probably Italian neoclassical from the late 18th or early 19th century that we matched with an Italian polychrome l h l lacquered d mirror i and d twin t i eglomised sconces from Venice in the mid 18th century. We also found these armchairs attributed to the famous Cabinet maker Georges Jacob. And for the small service table, we discovered a Russian neoclassical table in green marble and bronze.
For classical interiors, we are always careful not to let all the modern technologies destroy the balance of the classical aesthetic. One of the major challenges we face is the air conditioning units and d grilles. ill Apparent A t units it are a total t t l no-no in i our work. k As A for f the grilles, they are always integrated into our design, and most of the time custom made as shown in the picture on the right, where the grilles were casted in gilded brass in a Louis XVIth decorative pattern. proceed in a comparative p way y for all the major j elements We p related to modern technologies. Meanwhile, lighting became a great designing tool in the past years. It is a pleasure to work with it and create additional dimensions, by playing with shadows, lights and colors.
For two brothers who bought twin townhouses, we created two different styles of bedrooms on the same plan. plan On the left side, we used a Venetian baroque theme, while here above, we preferred a French country style theme, using toile de Jouy in blue and white.
A very feminine Lady’s boudoir and its bedroom .
And here comes a blast of color! I love colors. I always say, white is not a color, and only on very rare occasions, and under pressure from Clients would I use it. I just love using colors, manifested in my love of Baroque art where colors are so flamboyant, and also the application of Feng Shui, in which the colors play a great role in breathing in positive energies into. Most of my clients at first glance get quite surprised, but quickly after seeing samples, samples mood boards and such, such they come on board and give me free rein. This room is such an example, a winter fireplace and library room created for first home of a young couple, with an antiqued gilded coffered ceiling in an octagonal shape, allowing a Chinese Coromandel feeling. The focal point of the room is the Italian gilded mirror Upon completion, mirror. completion it became their favorite room in the mansion. In the following pages, we present two other very colorful projects; a dining room inspired by the castle of Vaux le Vicomte and a bathroom with amethyst inlaid, being the favorite colour of the Lady of its House.
The following dining room was designed for a project, mainly inspired by Vaux le Vicomte and Versailles. The wall paneling in embossed “Cuir de Cordoux� is a call back to the painting on gold of the wall panels of the library of Vaux le Vicomte (pictured here). The table is a major work of Boulle style marquetry. The mirror is an Italian gilt bronze and Sicilian jasper mounted frame, Roman or Neapolitan, first half 18th century. The red jasper is in harmony with the table and the leather scheme.
This master bathroom suite is one of our favorite projects because it is just exploding with the illuminated amethyst color. Using the lightened amethyst, created a subtle balance along with the white marble, giving the bath the luxury fit for a M h Maharani. i The semi-precious stone is also fitted inside the faucets and on the bronze Tule side table. table Gilded accent on each end of the whirlpool bathtub, with the p initials engraved g in the marble. couple's We would like to draw the attention to the curtains and their refined design. We always design the curtains of our projects and customize them for each room, as well as the tiebacks and trimmings.
In Peonia Creare we love Biedermeier and Art Deco styles for the alliance they create between modernity and classicism. We often mix elements of them in our modern and contemporary designs. Biedermeier is a style of furnishings common in German speaking areas in the early to mid 19th century, generally existing as a simplification of the French Directoire and Empire styles. It is usually executed in fruitwood with much use of matched veneers, and often displaying architectural motifs, as shown in Elton JJohn's home library. y Art Deco is a style of decorative art developed originally in the 1920s with a revival in the 1960s, marked chiefly by geometric motifs, if curvilinear ili f forms, sharply h l defined d fi d outlines, li often f b ld bold colors, and the use of synthetic materials, such as plastics.
According to Wikipedia, the definition of Interior Design is as follows: “interior design is the art and science of enhancing the interior of a building to achieve a healthier and more aesthetically pleasing environment for the people using the space. An Interior Designer is someone who plans, researches, coordinates, and manages such projects.� I do believe that a good Interior Designer should also have a very solid base on the history of the arts and a vast culture in fine arts, which will allow enhancing creativity. As an example, we were inspired in the previous pages by Klimt to create fabrics and artwork. The following pages show how we reproduce an ancient Chinese floral, painted on gold leaves, as a backdrop wall in a luxurious master bedroom. Later on, we came back to the source of materials used during the Art Decorative period, by using galuchat leather inside a custom designed library.
The following pictures are from one of the several floating hotels we had been doing. Our Client, who is an aesthete, was very keen to do a full boat inspired by the Art Decorative style. He even dared with us to go on a full black monochrome scheme. Designing a boat is a very challenging experience, as each detail is enhanced. And when it is a riverboat, we have to take into consideration the draft of the boat and come up with suitable material solutions, which will not weigh down the boat. May we say that the boat won the first prize in its category, on the year of its launch.
I love designing oriental patterned houses, whether it is in y But this can be the subject j off Moroccan,, Arab or Turkish styles. another book. I also appreciate using oriental accessories in modernized interiors. During my travels, I always enjoy seeing those very modern oriental houses, being backdrop displays for beautiful antiques. For this beach house in Egypt, we proposed to our well traveled Clients, a modern Ottoman style with an accent of Moroccan silvered brass works, works mixed with Murano lightings, lightings as Venetian style is so oriental itself. Is Venice not described as “the Doors to the Orient�? I love working with the glass manufacturers of the Island of Murano. We had been creating amazing items together, coordinating the details off the chandeliers, with trimmings g and tiebacks, door handles and cabinets knobs. We ordered the silvered-brass items from Morocco by our favorite M Moroccan b brass maker, k who h also l worked k d in i the h Royal R l Mansour M Hotel Palace. The calligraphy paintings were bought from Istanbul.
The following pictures are presenting some views of a guests Majlis in the Sultanate of Oman. The emphasis of the room is on the large openings, doors and windows made our of brass. Air condition grilles are designed to look like decorative elements, not to disturb the overlook of the room. Here after several views allow a more precise idea of the different elements used in the room
Curtains drapes are replaced by gilded brass lattice curtains , that are doubled on the façade by a second lattice. In the thickness of the sill frame, light had been incorporated to allow a luminous effect in night mood. Same lattices adorn the diverse doors, through the full g guests complex. p The large art work on the wall end of the reception, is an interpretation i i off the h famous “Tree of Life” created in mosaic, in the Omayyad palace of Khirbet el Mafjar. Mafjar Other artifacts decorating the walls are some beautiful p of traditional exemplars Khanjar knifes.
Our Client dreamt of a Swiss chaletinspired reception/billiard/cigar lounge, where he can receive his friends. He wanted the extensive pine wood panels similar to the ones found in chalets, large red leather couches and a big pool table with high end accessories. We selected for him an antique Tahoe Pool Table light with a unique Matte Black double 56� light bar and features Amber Mica Shades. This is one of the most popular light fixtures for a Ram Game Room. The well-decorated shades are in a beautiful warm color. We also picked mahogany framed billiard-snooker cue rack with upright columns topped with decorative finials, fitted with original bone clips and able to hold 18 pool cues.
The family owning this paradisiac island on the shores of the Arabian Gulf, between Abu Dhabi and Dubai, The family owning this paradisiac island on the shores of the asked for an elegant but also very Arabian Gulf, Gulf between Abu Dhabi and Dubai, Dubai asked for an simple beach house inspired by the elegant but also very simple beach house inspired by the countryside of Southern France, which countryside of Southern France, which they are so fond of. they are so fond of.
The house is open to the seaThe on all sides,isinopen a perfect setting for all a house to the sea on huge family gathering and sides, elegantly a regal in asetting perfectup setting for dining a huge table. family gathering and elegantly setting up a regal dining table. The china and table linen are seaside inspired.
The china and table linen are seaside On the O th walls, ll we displayed di l d inspired. a collection ll ti off antique ti F French h prints i t bought from vendors by the river Seine in Paris. On the walls, we displayed a collection The furniture was a mix of wood and new of natural antique wood, French antiques prints bought from purchases. vendors by the river Seine in Paris. The furniture was a mix of natural wood, antiques and new purchases.
One of our Clients had always dreamt of building a large mansion inspired by Versailles, for himself and his family. W proposed We d two t alternatives lt ti f for th the facades: One was based on the traditional Louis XIII facades of alternating bricks and stones like in the facades of the Marble court in Versailles. The other was inspired p by y the Grande Faรงade of the palace, in Louis XIV style, totally cladded with stone.
The facades are based on the principals of classical architecture and respecting the axis of construction. The h challenge h ll was having h to habituate a classical design into the shape of the plot of land, as the client requested to use the maximum allowed footprint.
Details in the carved-out panels showing the evolution are in three sizes with two material variations. The model is Louis XIII as the first stage of Versailles.
This project included the restoration of a residence with an Art Deco accent. The fountain space is an enclosed garden overlooking the ladies reception hall. The walls were put down for the perspective.
To speak T k about b t how h we work, k we mustt speak k about b t our Clients. Cli t They are mainly residents of the Gulf and the MENA region. Some Clients are from the former Russian Federation, and we handle their projects in the Gulf, Gulf Monaco or the Riviera. Riviera Most of our Clients have become very close to us, while some are now my best friends or considered as family. p a vast variety y off services,, ffrom the simple p staging g g For them,, we develop of a room to a turnkey project. We even offer etiquette courses. We perform both Interior Designer and Decorator tasks. For more precision, let us define the difference between both: Interior Design is the art and science of understanding the behaviors of people to create functional spaces within a building. Th f Therefore, th decoration the d ti is i the th furnishing f i hi or adorning d i off a space with ith fashionable or beautiful things. I personally prefer starting a project in parallel with the architect, in order to avoid any mal mal-arranged arranged spaces. spaces For some of our traditional Clients, we very often produce a conceptual architecture. Once it is approved, we submit it to a licensed architect, who makes all the g and submit them to obtain the needed licenses. drawings
As part of the Interior Design Services, we revise the architectural layouts after drawing a roadmap specifying the needs of the clients. clients We then create mood boards defining the style, colors and materials the Clients p prefer, f , and to which we attach interior designs drawings. Very often we create punctual 3D perspective sketches to explain a small corner or an architectural point of view. Upon approval, we go to the more technical parts and produce the work drawings, and the bill of quantities (BOQ) for the fixed elements and the procurement for the loose items, items such as furniture, curtains, fabrics, carpets, artworks‌ Speaking about the difficult architecture that we sometimes face, the living room in the page on the right must have been one of the most challenging examples. See also the solutions we came up with while maintaining the balance and harmony in the room.
For decoration with procurement, p are some off the work components similar to that of interior design, such as the furniture layouts, the mood boards defining the style, d decoration i d drawings i and d perspectives for the main areas. For both types of work, we offer a very intensive package for site supervision and quality control, whether on-site or at the workshops p and ffactories we work with. I always point out to my Clients how important the last phase is. And then comes the lighter work like staging, for one room, a house or a space for an event. V Very often ft we do d staging t i to t help h l our Clients sell or rent out their houses, but it can also be performed just to assure the final look of a home.
Sample p off sketches ffor a breakfast nook
Especially for repeater Clients, we do very often punctual y . They y call and ask us to come over and have a coffee ff or consultancy lunch, and we discuss this or that point, a new art work, a room they would like to repaint‌. Sometimes we also give advice of etiquette, or HK ( House Keeping) training . We even created for some of our Cli Clients , HK manuals, l based b d on our experience i iin the h H Hospitality i li business. I remember a young couple couple, with whom we went to Paris to buy antics , as well as tableware, cutlery, and all the house linen. When we got back to their new home, I spent several days giving the Lady off the House and her staff, ff, courses on how to arrange g the table,, and how to care for all the items we bought. And now for the end of this presentation, let me share my Passion for Feng Shui, a system of laws considered to govern spatial arrangement and orientation in relation to the flow of energy, and which favorable or unfavorable effects are taken into account when d i i a space. I always designing l iincorporate t it it, tto a certain t i llevel, l iin all ll our projects. It makes a space breathe, and it gives it a lightness. Beyond all these details concerning our work, work the most essential aspect of all is to work with cassion, and to pursue Xlegance and Ueauty, even in the smallest of details.
Here we show examples of sketches we presented d to our Clients, l aiming to push forward our opinion and ideas concerning an architecture issue A central double winged issue. staircase left two small vacant corners on both sides. The architect wanted to neglect them and turn them to balconies, that is in a country where no one ever has balconies, totally aimless. We demonstrated how we can incorporate a bookcase into the thi k thickness off the th structural t t l columns l and how we can transform the area into charming reading corners. The Clients were so thrilled and they loved the idea immediately. Several of my friends declared they were y to take this house jjust ffor ready those reading corners.
I always like to do the presentation for the landscape with sketches. I do believe the details are more visual. For this project, we had to encompass in quite a small space, a pool, a large covered barbecue area with seating, a big water slide, two waterfalls, and of course a seating area for a large number of people, all surrounded by lush greenery.
To share a Passion and to make sure that a team would thrive, it is best to find partners as passionate as once self. This was the criteria the day I was blessed to meet Architect Mirella Scianda and her daughter Architect Francesca Buccafurri. Their firm, firm Tekne, Tekne was established more than 40 years ago, ago in the city of Ospedaletti, at the French-Italian border with Monaco, by Architect Mirella Scianda. Over ten years ago her daughter Architect Francesca Buccafurri joined. Tekne, geared by a full team of consultants and contractors, handled numerous p prestigious g architectural and landscaping p g p projects j in the Riviera and Monaco. Tekne is a synonym of excellence and perfection. Among the projects they managed was the rehabilitation of the Nobel H House and d gardens d i the in th city it off San S Remo. R Beyond being a great architect, Mirella Scianda is also a passionate landscaper and aficionado of Ikebana flower arrangements. arrangements
How to define our vision that we named Peonia ? Peonia had been created with the aim to bring on all levels of the society the latest knowledge to develop the highest levels in Healthset Heartset Mindset Soulset In Peonia, we do believe that every human, regardless of his/her economic/social background, should be offered all the most advanced technics to help them to develop into the very best of themselves. Peonia is developing into three branches Peonia Abbasia, a chain of retreats , mainly build in ancient monasteries or other ancient dwellings with positive energy . Peonia Senes, a chain of houses for elderly, with an inter-generation vision. Peonia OPA , a foundation merging orphanage and house of poor elderly , fully applying inter-generation system. Very often, we are presenting those as Peonia ASO, as the three branches are totally related to each other.
The three first branches have a common philosophy based on the 4 sets or as Robin Sharma calls them : the four inner empires: Let’s define them with the words of Robin Sharma : • “Mindset is your psychology and you can have a great psychology and strong beliefs. But if you have a toxic heart you're going to sabotage yourself. • Heartset is your emotionality and so if you have a stone psychology, when you're full of sadness, pain, anger, you haven't forgiven people, you're not going to be creative for not getting world-class,” said Robin Sharma. • Healthset is understanding that energy is even more valuable than intelligence. Your Healthset is about your vitality, energy protection and living a long life so you can serve and do great things. • Soulset is connecting to your higher nature and noble virtues every morning while the rest of the world is asleep.” All three branches have a Permaculture farm attached to it, to assure a fully organic food, in respect of the principles described by Eric Edmeades in the Wild Fit nutrition program. .
The actual interior design company Peonia Creare, will remain the in house designing office for the Group, taking care of the design for all its projects. Meanwhile, Peonia Creare is still developing itself to reinforce its international reputation of Haute Decoration House and care for its clients! It has two sub branches which are very dear to our heart:
Peonia Educere, which is offering classes of History of Art and Design.
Hyram, the social responsibility project which is focusing on the education of workers specialized in the arts needed in Interior Design, with professional training offered by international masters, such as “ les Compagnons du Devoir” in France.
The is also a European based company, Carmen Keller Designs, dedicated to Product Designs, through which we cooperate with other entities in creating different items, ranging from furniture, lightings, various brass, silver, sometimes golds pieces….
Peonia uses as sole symbolic representation pentagon : the stylized Peony into a pentagon which is the binding elements for all our creations. We have created this logo, stylizing the Peony by using pentagon shapes encompassed in each other. We chose the pentagon for all its attributes in sacred geometry. “ The pentagon pointed up is associated with the human body shape symbolizing human perfection. “ as so it matches perfectly the principles building the company . In the center of the symbol , known from few, as not obvious to the eye, is a drawing of Lord Buddha, which for myself has a very special meaning, the representation of the higher level a human been can go to reach the communion, with “ the Presence which is never an Absence “ in the words of Rev. Michael Beckwith . It merges totally with the symbol of the Pentagon. The Peony is as the 'king of the flowers', and is a symbol of royalty and virtue. It is also called the 'flower of wealth and honor.
I have always believed that giving back is essential in life, that giving makes us wealthier. For many years I had been carrying inside me two ideas for charity foundations. I have always believed that giving back is essential in life, that giving The firstusfoundation, OPA, wasyears inspired bybeen my childhood, as I grew up makes wealthier. For many I had carrying inside me two with and became very close to my grandfather. ideasmy forgrandparents charity foundations. The idea originated from studiesby and combined with my The other first foundation, OPA, wasmy inspired mywork, childhood, as I grew up love and keenness to push everyone to be the best version of withfor myteaching grandparents and became very close to my grandfather. themselves. The other idea originated from my studies and work, combined with my Slowly, ideas matured andtonow I can introduce OPA; love for both teaching and keenness push everyone to bethem the best version of OPA being part of the new holding Peonia ASO. themselves. OPA is what I used to call my grandfather, and it means grandpa in German. I amideas French, but originally are introduce from Alsace, located Slowly, both matured and nowwe I can them OPA;by the border, peoplePeonia still speak a German dialect. German-Swiss OPA being part of the where new holding ASO. OPA is what I used to call my grandfather, and it means grandpa in German. I am French, but originally we are from Alsace, located by the German-Swiss border, where people still speak a German dialect.
Our ASO Corporate Responsibility Project:
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�Connections between ggenerations are essential for the mental health and stability of the nation." Margaret Mead
The Story behind OPA‌ While the parents of my friends barely had time or patience to really care for their kids, my grandfather was spending tremendous time with me, teaching me everything he knew. When I visited less privileged countries, I noticed that the youngsters and the elderly are the most suffering social segments, mainly from neglect. neglect So, I thought about establishing centers that combine orphanages with homes for needy seniors, where both generations can enhance each other's lives with genuine love and care.
The idea of the OPA centers , will be of a dual architectural complex for underprivileged members of the society, including both an orphanage and a house for elderly . The architectural hi l complex l will ill also l include: i l d • a large vegetable and fruit garden grown with permaculture system to assure biological food to the center. • Workshops to maintain activities for those who can and want , • A in and out patient clinic, as the center will ill offer ff the h care it i provides id to the surrounding dwellings . Beyond just a mutual care , the interaction between both generations, the elderly sharing with the young ones their knowledge, will beneficial repercussion i for f both b th sides. id
Our Creare Corporate Responsibility Project:
In Peonia Creare , we are very keen to integrate our suppliers, sub sub-contractors, contractors, and each and everyone working with us, into the dynamic of constant improvement, which is the pillar of our company. It is in this spirit, strengthened by years of practice, that we decided to gather all our efforts and knowledge in a foundation. HYRAM was born out of this basic idea. So, our Foundation was created with the pressing need to provide, id mainly i l in i emerging i countries, i proper training and education to all the artisans in the arts field related to the implementation of classical and less classical high high-quality quality design. HYRAM, is the name of great architect of the temple of Solomon and also the patron of the b ild builders off th the middle iddl age cathedrals th d l
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The idea started in Egypt, a country known for its historical production of European, especially French, classical arts. And also its chair makers, carvers, cabinets makers and sculptors, who have lost -over time- the purity and d precision off the h perfect f technique. To offer those workers high-quality professional training and to help them advance to an international level, we will create a double dynamic that would create an economic boost for all those involved and d will ill salvage l the h ancient i techniques, h i which are even disappearing in Europe. As M Karl Lagerfeld, followed by M Bernard Arnault helped to maintain Haute HauteCouture artisans, it is a necessity at this time to try to do the same for all craftsmen that work in the production of HauteD Decoration. i