GOLD STAN­DARD

In­te­rior de­signer Char­lotte Bilt­gen takes on a mod­ern pied-à-terre in Paris and adds a throw­back to the Art Deco era

Home Journal - - CONTETNS - 一個住所進行翻新,重現裝飾藝術時代的優美風格BY IAN PHILLIPS PHO­TOG­RA­PHY STEPHAN JUL­LIARD

室內設計師Char­lotte Bilt­gen為巴黎一個住所進行翻新,重現裝飾藝術時代的優美風格

There are two items that are es­sen­tial to French in­te­rior de­signer Char­lotte Bilt­gen’s aes­thetic: colour and con­trast. “They’re part of my DNA,” she says. “I couldn’t imag­ine an in­te­rior with­out colour and even though I can cre­ate softer schemes, there’s al­ways some­thing to shake them up.”

For this three-bed­room apart­ment in Paris, Char­lotte ini­tially imag­ined much brighter hues, propos­ing vivid green cur­tains and bright le­mon-coloured arm­chairs in the mas­ter bed­room, and a bold carmine red for the kitchen. How­ever, her clients (a Le­banese in­dus­tri­al­ist and his wife) pre­ferred a calmer, more sub­dued space. Though the own­ers shunned the use of vi­brant colours, they weren’t averse to the in­te­gra­tion of pat­terns, from the rhyth­mic mar­ble floor in the en­try hall to the geo­met­ric fab­ric on the din­ing chairs. “It can be in­ter­est­ing to work with more sub­tle tones, too,” notes Char­lotte. “I ended up opt­ing for a lighter palette in the re­cep­tion rooms and darker shades in the corridors to cre­ate some diver­sity.”

One thing Char­lotte and the own­ers agreed upon was the de­sire to main­tain a quintessen­tially French char­ac­ter for the 2,600sqft space, which acts as the cou­ple’s Parisian pied-à-terre. Housed in a typ­i­cal Hauss­man­nian build­ing just a stone’s throw from the Arc de Tri­om­phe, it pre­vi­ously be­longed to an art dealer and was stylis­ti­cally all over the place. “There was ab­so­lutely no co­her­ence,” she re­calls. In­tent on up­dat­ing the Hauss­man­nian look, she chose to com­pletely gut the space, keep­ing only the two fire­places.

法國室內設計師Char­lotte Bilt­gen的設計美學有兩大重點:色彩和對比。「它們有如我DNA的一部分。」她強調:「我沒法接受一個沒有色彩的室內環境,即使我可以打造較柔和的色彩主題,但始終需要一些元素來提升美感。」

Char­lot­te最初為這間位於巴黎的3房住所構思了明亮的色彩組合:主人房用上鮮綠色窗簾和檸檬黃扶手椅,廚房則以奪目的深紅色為主。不過,她的客戶(來自黎巴嫩的工業家及其妻)想要一個較平和低調的空間。雖然屋主們婉拒了亮麗的用色建議,但他們並不抗拒使用各種圖案來豐富環境,例如,在玄關位置鋪上帶有韻律感的大理石地板和餐椅的幾何圖案襯墊。「就算以柔和色彩為主題,也能營造出有趣效果。」Char­lot­te指出:「我最後決定在前廳用上淡雅的色調,而走廊位置則以深色為主,打造出多樣化的空間。」

“I asked my­self, ‘What is a chic Parisian apart­ment to­day? How do you move a time­less style for­ward?’” Char­lotte’s re­sponse came in her ap­proach to the ar­chi­tec­tural de­tail­ing, most no­tably in the way the skirt­ing boards flow with­out in­ter­rup­tion into the door frames. “It’s some­thing that’s not done very of­ten be­cause it leaves no room for er­ror,” she says. Char­lotte also in­stalled min­i­mal­is­tic wall mould­ings in many of the rooms, giv­ing their re­liefs a more fem­i­nine, rounded form.

Char­lotte’s in­tro­duc­tion to the dec­o­ra­tive arts came at an early age. Her sis­ter’s god­mother was the daugh­ter of Ar­mand-Al­bert Rateau, the Art Deco de­signer best known as the mas­ter­mind be­hind fash­ion icon Jeanne Lan­vin’s famed Paris man­sion. “I spent plenty of time at her home on week­ends,” she re­mem­bers. “Her fa­ther’s sculpted-bronze fur­ni­ture was ab­so­lutely ev­ery­where.” By the age of 15, Char­lotte was cut­ting out pages from shel­ter mag­a­zines to cre­ate her own trend books. “I wish I’d kept them,” she says, laugh­ing. “They must have been very funny.” She went on to study at the École Ca­mondo be­fore be­ing hired by In­dia Mah­davi in the year 2000. “Back then, In­dia re­ally stood out through her use of colour,” she says. “Her style was very fresh and she was also

設計師和屋主們雙方的共識就是在這個用作度假屋的2,600呎住所中保留原來的法國氣息。住所位於一棟典型的奧斯曼式建築內,跟凱旋門只是咫尺之隔,前業主是一位藝術商人,整個空間都帶有藝術風格。「但各空間之間毫無連貫性。」設計師回憶說。為了讓這種奧斯曼風格能追上現今潮流,她決定拆掉所有間隔,只保留兩個壁爐。

「我問自己:『現今的時尚巴黎住所是什麼模樣?如何把一種經典的風格帶到今天潮流?』」Char­lot­te的回應就是取決於建築細節,而當中最突出的設計細節便是把地腳線完美伸延至門框上。「這種設計並非常見,因過程中不許有任何失誤。」她解釋道。Char­lot­te亦在多個房間內裝上簡約的嵌牆飾板,以柔美渾圓的款式為主。

one of the few women on the French de­sign scene.” Since set­ting up her own prac­tice in 2014, Char­lotte’s most sig­nif­i­cant projects have in­cluded the Clover restau­rant in Paris for renowned chef Jean-François Piège, as well as a villa on the French Riviera.

To­day, it’s not only Char­lotte’s dis­tinc­tive style that makes her so sought af­ter, but also her space-man­age­ment skills. Here, the most im­por­tant change she made to the lay­out was to re­lo­cate the kitchen to the back of the apart­ment, where there had pre­vi­ously only been bed­rooms. “You don’t shut the door of a kitchen all the time, as you would with a bed­room,” she ex­plains. “That al­lows for nat­u­ral light to flood into the apart­ment from both sides.” An­other ma­jor mod­i­fi­ca­tion she in­stilled was to cre­ate an im­mense mas­ter suite out of the for­mer din­ing room, whose bed­head comes in the form of a vel­vet-clad par­ti­tion, be­hind which is a spa­cious walk-in dress­ing room.

Char­lot­te對裝飾藝術的熱愛始於幼年。姊姊的教母是裝飾藝術設計師Ar­mand-Al­bert Rateau的女兒,這位設計師最著名的室內設計作品就是時裝界巨匠Jeanne Lan­vin位於巴黎的迷人居所。「我常於周末到她家作客。」Char­lot­te回憶說:「家中到處可見她父親的古銅雕刻傢具。」自15歲開始,Char­lot­te便會從家居設計雜誌中剪下不同篇幅來製作自己的潮流目錄。「我多希望自己當日保留下那些剪貼簿。」她笑說:「重看一定很有趣。」後來她到É­cole Ca­mon­do修讀,於2000年獲In­dia Mah­davi賞識聘用。「那時候的In­di­a在色彩運用方面已經與眾不同。她的風格極為新穎,是當時法國設計界中少數的女設計師之一。」Char­lot­te在2014年成立自家公司,知名的工程項目包括在巴黎為星級大廚Jean-François Piège打造的Clover餐廳,以及一個位於法國蔚藍海岸的別墅。

“WHAT IS A CHIC PARISIAN APART­MENT TO­DAY? HOW DO YOU MOVE A TIME­LESS STYLE FOR­WARD?”

“I COULDN’T IMAG­INE AN IN­TE­RIOR WITH­OUT COLOUR – IT CAN BE IN­TER­EST­ING TO WORK WITH MORE SUB­TLE TONES, TOO”

Gold and brass tones act as a com­mon thread through­out the apart­ment. For her, the flut­ing on the cus­tom kitchen cabinets is a throw­back to the Art Deco era. “It’s the type of mo­tif you see of­ten on build­ings from the ’30s,” she says. “It also re­flects the light per­fectly.” For each of the beds, mean­while, Char­lotte cre­ated bold throws us­ing the same sun­burst fab­ric from Jim Thomp­son. “I hardly ever use silk, but I love this one,” she says. “It cen­tres the at­ten­tion on the bed and re­ally brings a touch of sparkle to a room.” //

來到今天,Char­lot­te不但以獨特非凡的風格聞名國際,她在空間管理方面的超卓實力同樣贏盡讚譽。在這個住所內,她所作出最關鍵的改動是把廚房移往後方,也就是睡房原來的位置。「你會常常關上睡房門,但廚房門卻很少關上。太陽光便能從住所兩邊灑進室內。」另一改動就是把飯廳改建成寬敞的主人套房,床頭是絲絨隔牆,後方就是大型衣帽間。

一如Char­lot­te大部分工程,金色與黃銅色元素可見於屋內多個地方。為女戶主設計的廚櫃面飾有凹槽,靈感來自裝飾藝術時代。「這是30年代建築物常見的裝飾圖案,可營造優美的光線反射效果。」此外,Char­lot­te利用Jim Thomp­son的圖案布料為每張床訂製款式奪目的被子。「我以往絕少採用絲質布料,但我很喜歡這款設計,令人把注意力放在睡床上,為房間帶來閃爍耀目的效果。」//

IN­TE­RIOR STORYCom­mon aes­thetic threads tie to­gether dis­parate el­e­ments of each space, cre­at­ing a co­her­ent nar­ra­tive – from the gold chairs, han­dles and ceiling light, to the mar­ble of the back­splash and kitchen counter.設計故事各個空間均有著共通的美學元素:金椅、手柄和吊燈,以工作檯和背板的大理石。

THRONE ROOMThe bath­room is an al­to­gether more fo­cused space that es­chews colour for lux­u­ri­ous black mar­ble fit­tings.亮眼空間浴室以豪華的黑色大理石配件和裝飾成就舒適天地。

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