It all started with two bathrooms, added by the owners to give a bit of modern comfort to their chateau in Burgundy. On this momentum, why not also tackle the bedrooms? And then the staircase, other bedrooms… we might as well redo the reception rooms on the ground floor. In three years, Paul du Pré de Saint Maur has given a new face to these pieces which had fallen asleep over the centuries. This old 16th century mansione century had already experienced a first transformation in the 19thegaining in the process a tower to house a monumental staircase and a beautiful mosaic in the entrance. Two elements which attracted the attention of the young architect from the start, allowing him to lay the foundations of his restoration and to infuse a little touch of Italy, reminiscent of his years of study in Rome.
In the monumental staircase, where the charm of the Italian Renaissance lightens the somewhat staid 19th century building, a suspension by Paavo Tynell.
Jukka Ovaskainen — Realization Sarah de Beaumont
The estate bears witness to the various influences which governed its foundations, such as this tower, a vestige of the time of its construction, in the 16th century.
Jukka Ovaskainen — Realization Sarah de Beaumont
In the dining room, around a table by Lars Löfmark, Louis XIII chairs. Sèvres service and Saint-Louis crystal. On the fireplace framed with grass juice tapestries, a vase by Roger Herman (Carpenters Workshop Gallery).
Jukka Ovaskainen — Realization Sarah de Beaumont
In the living room, two Khmer Buddhas from the 12th century highlight the perspective towards the dining room. Above the door, the transom was painted by Pierre du Pré de Saint Maur.
Jukka Ovaskainen — Realization Sarah de Beaumont
Or how to soften the somewhat frozen heaviness of the 19th centurye French thanks to the charm of the Renaissance: “After all, it still inspired all French architecture, underlines Paul du Pré de Saint Maur, including the 19the which is partly inspired by the classic. That said, I am absolutely not doing history. Inspiration amuses me but copying doesn’t interest me, because redoing the same interiors as in the palazzi doesn’t make any sense. No transcription. » Thus, we proceed by reminders, distilling touches of color here and there: the sienna, red and black tones of the mosaic cross the spaces to rest on the woodwork of the rooms next door, where we sometimes allow ourselves a few motives from elsewhere.
In the living room, on a neoclassical table by Giovanni Banci for Hermès, Bohemian crystal decanters. On the left, a pair of Art Deco armchairs by René Drouet, on the right, a 20th century Italian pouf and a sofa by Paul du Pré de Saint Maur. On the fireplace, the sculpture Suneaterby Stefan Rinck (Semiose gallery), dialogues with a floor lamp by Ignazio Gardella and an Italian table lamp from the 1930s. On the right wall, above the console, a work by Nam Tchun-Mo (IBU Gallery ). Transoms made by Pierre du Pré de Saint Maur. Carpet All Hands (Nordic Knots).
Jukka Ovaskainen — Realization Sarah de Beaumont
On the fireplace, a series of sculptures Broacsby Victor Guedy, and the drawing Dreamby Pierre du Pré de Saint Maur. The lamp is by Lisa Johansson Pape. On the left, the sculpture Ugolin by Jean-Baptiste Carpeaux.
Jukka Ovaskainen — Realization Sarah de Beaumont
In a room, sculpture The Treeby Sergio Storel. Tapis Loops (Nordic Knots).
Jukka Ovaskainen — Realization Sarah de Beaumont
As if to disturb the imposed order, the moldings of the living room are enriched with small black macaroons while the doors cover their frescoed frames – signed Pierre du Pré de Saint Maur, brother of. Everywhere, the idea is to discreetly relax a too-classic setting, without distorting it, as the architect confirms: “This allows you to change the final character of the room without changing its architecture. I don’t want to compare myself to him, but I aspire to the same thing as Emilio Terry for example: to do things that are quite historical and amusing, but to maintain a sobriety, a contemporary radicalism. This or that detail would not have been done in the Renaissance, but at the same time it is consistent. We can’t really date it. »
In the bedroom, above a bed by Ignazio Gardella, sconces by Sciolari Roma from the 1950s accompany a series of 19th century cherubs. The bedside tables were designed by Paul du Pré de Saint Maur and the paintings are by Pierre du Pré de Saint Maur.
Jukka Ovaskainen — Realization Sarah de Beaumont
In a water feature, the stool Huntstool Goldby Rick Owens (Carpenters Workshop Gallery) dialogues with sculptures by Victor Guedy. Above the custom-made sink, a mirror also designed by the architect in which a painting by Pierre du Pré de Saint Maur is reflected. On the ceiling, a spotlight by Hans Verstuyft.
Jukka Ovaskainen — Realization Sarah de Beaumont
There is no question of imposing major architectural gestures when the framework already has everything it needs. We just limit ourselves to designing a beautiful kitchen by refining the details of the hidden doors or by imagining a sofa with rigorous lines for the living room, between a floor lamp by Ignazio Gardella and a contemporary sculpture by Stefan Rinck. Balance yes, total look, no. And Paul du Pré de Saint Maur explains: “I didn’t want a statement, the goal being that the house seemed to have evolved over time and its owners. » A subtle balancing act that the architect knows how to handle, all the more valuable when it comes to working on ancient stones. We will not be surprised to learn that he is already working on another castle intended to become a place of artistic and cultural reception, while waiting to deliver a project in New York, carried out jointly with Marie-Anne Derville. From Burgundy to the East Coast, still a matter of balance.
In a bedroom, on each side of the custom-designed bed, pendant lights by Paul du Pré de Saint Maur. On the wall, the work Stormy sky by Pierre du Pré de Saint Maur. On the side table, a 19th century Fô dog.
Jukka Ovaskainen — Realization Sarah de Beaumont
Interior designer Paul du Pré de Saint Maur has revived this mansion by using reminders, distilling touches of color and more contemporary works.
Jukka Ovaskainen — Realization Sarah de Beaumont
The monumental staircase as well as the mosaic on the floor were added in the 19th century, inspiring Paul du Pré de Saint Maur with influences from the Italian Renaissance.
Jukka Ovaskainen — Realization Sarah de Beaumont
In Burgundy, this 16th century mansion had undergone transformations in the 19th century.
Jukka Ovaskainen — Realization Sarah de Beaumont
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