Materials, patinas, decorative coatings, embossed coatings, aged waxed plaster

Pour l’entrée des salons d’accueil de cet établissement bancaire, il fallait trouver un revêtement solide et résistant aux chocs tout en étant le plus décoratif possible. L’idée d’un enduit sablé était appropriée pour sa résistance et sa longévité. Vu l’épaisseur de sable, un motif en creux façon « sgraffito », comme une incrustation pouvait facilement y être placé afin de personnaliser et rendre identifiable cet établissement financier.

Paris 8ème

Voici un principe de patines peignées, étagées avec des teintes se fonçant vers le bas.
Chaque passage a été fait jusqu’en bas à chaque fois et les superpositions de glacis donnent des teintes plus soutenues en bas comme un dégradé de couleur.
Cette technique permet d’apporter des teintes fortes et colorées sans qu’elles soient présentes sur l’ensemble des murs ce qui donnerait un sentiment d’écrasement.

Favières en Seine et Marne

Voici un principe de patines peignées, étagées avec des teintes se fonçant vers le bas.
Chaque passage a été fait jusqu’en bas à chaque fois et les superpositions de glacis donnent des teintes de plus en plus soutenues en bas comme un dégradé de couleur.
La complexité du lieu avec les poutres et les soupentes donne un caractère impressionnant à la pièce

Favières en Seine et Marne

 

Voici un concept décoratif fait à base de strates d’enduits teintés. Il n’y a aucune peinture ni glacis, seul un vernis de protection a été appliqué en finition.

Favières en Seine et Marne

 

Pour garder ses propriétés acoustiques ce revêtement phonique ne permet pas une quelconque saturation en peinture.
Il est quand même possible avec des techniques bien spécifiques de teinter ce support mais il est impossible de revenir en arrière, de corriger une erreur, d’essuyer la surface. Pour arriver à une finition décorative, beaucoup d’essais en atelier sont nécessaires afin de réussir du premier coup sur place.
Tous les thèmes décoratifs ne sont pas envisageables et nécessitent une étude. Pour ce projet, un effet « liège » a été demandé. Traiter les surfaces avec une teinte aussi foncée a été un vrai défi surtout au plafond.

Hôtel « La Fondation » rue Legendre, Paris

Sollicité pour décorer la porte d’entrée de l’établissement, Gilles Chabrier sculpteur sur verre, m’a demandé de lui fournir des papiers de soie encrés afin de les insérer entre les verres des deux vantaux.
Après avoir été encrés, ces lés ont été définitivement figés à l’UV entre deux plaques de verre.

Megève

Voici l’imitation d’un enduit ton pierre se basant sur les stucs des cages d’escaliers haussmanniennes. Les reliefs sont moins prononcés et ne sont pas applicables sur des volumes tels que des moulures, ornementations et modénatures extérieures.
A noter que ce revêtement est moins poreux et peut-être lessivé.

Paris 8ème

Cette stèle d’époque Napoléon III a eu les dorures ravivées et le dessus réinventé. Tâché, abîmé et refait il y a longtemps dans un esprit ne correspondant pas, j’ai proposé l’imitation d’une laque chinoise craquelée sur fond rouge afin de garder une harmonie avec le pied.
Les dernières photos ont été prises lors du « craquelage » de la patine noire. L’ensemble a été vernis puis ciré.

Sceaux dans les Hauts de Seine (92)

Suite à la rénovation de son appartement, la propriétaire a souhaité faire installer de nouveaux radiateurs. Il existe de nombreux motifs et de rajouts possibles en relief sur les radiateurs CINIER.
Il m’a été demandé de réaliser un décor plus « artistique » que celui proposé en catalogue. A noter que j’ai accepté de travailler uniquement sur le rajout qui chauffe peu.
Voici la réalisation de feuilles dorées posées façon « arrachées » sur poudre d’or. Au préalable, une patine ton brun a été faite pour garder l’harmonie avec l’ensemble du radiateur.

Sceaux dans les Hauts de Seine (92)

Voici la chambre d’Eve peinte en rose et bleu dont l’intensité est plus forte au milieu des murs. Les teintes s’estompent vers le plafond et le sol.
Sainte Geneviève des Bois

Dans ce chai monumental, Gilles Chabrier avec qui j’ai conçu l’ensemble décoratif, a eu l’idée d’apporter des effets de lumière en utilisant des panneaux ajourés suspendus. Il a été décidé de les traiter dans une imitation Corten afin d’apporter des teintes chaudes au lieu.

Château Clarke

Parti volontairement d’une idée n’ayant rien à voir avec le monde du vin, ce mur « feu » situé dans le Chai Clarke est l’élément exceptionnel. Parti d’un petit échantillon, il a été décidé de le faire en grand ou plutôt en immense ! Vu l’ampleur du lieu, les volumes des textures ont été exagérées et amplifiées pour les voir de loin comme de près.

Château Clarke

Récolte de petite production au sein du Château Clarke, son chai se devait intimiste. La propriétaire souhaitait un effet « boîte » foncé. Le Merle Blanc comme son nom l’indique est un blanc. C’est la raison pour laquelle les bas de murs ont été conservés en blanc. Les balayages noirs offrent un fondu et un contraste saisissant sur le blanc tout en restant intemporel.
Château Clarke

Voici un chevet qui devait respecter un motif imposé sur fond de vraies craquelures. La difficulté était d’obtenir cet effet craquelé surtout sur une surface ronde. C’est après de nombreux essais et de recherches qu’il a été possible de les obtenir. Les dessins sont en bleu Klein.

Voici la chambre d’Ella dont les patines ont été faites en strates avec un fondu entre chacune d’elles.

Sainte Geneviève des Bois

Située au 23 rue François 1er à Paris, cette boutique a été complétement refaite. Du noir et blanc, elle a revêtu les codes couleurs chaleureux de la marque : des patines dégradées rose poudré et la teinte prune. D’autres matières telles que l’imitation d’un terrazzo, des patines blanchies sur argenture ou des imitations de gaufrages prune ont été réalisées. Gilles Chabrier est venu compléter l’ensemble avec les plafonniers sablés, une vitrine en verre sculpté et des fontaines à parfum DAUM revisitées.

23 rue François 1er, Paris

Here are the ideas for this "reception area" of the historic MACÁN cellar. Two themes are grouped together: The first theme, created by me, represents an imitation of black rock to give the illusion of a dug cellar. Breaking patterns were dug and scraped into the thickness of a plasterboard. Successive sand plasters were applied sparsely between the breaches. A metallic anthracite black glaze covers the whole, it has been patinated with grey/matt white highlights. The second theme, directed by Gilles Chabrier, is made of UV bonded glass panels. They were engraved on the facade by sandblasting following an embossed drawing in Cordoue leather. (I am not the originator of this drawing). The choice of lighting at the bottom in the glass and at the top in front of the panels has been considered to highlight all the effects of hand engraving. It should be noted that this reception area welcomes guests for tasting and allows for transitions between the historic cellar and the barrel cellar.

MACÁN Bodega, Samaniego in Spain

Here is a patina that is difficult to achieve when there are "reliefs". Glazes are concentrated in large quantities in the recesses of the mouldings, which generally gives a very dark appearance. To achieve this, a succession of darker and darker and lower glazes must be made on the walls. Four grey and then black glazes had to be applied for this example.

Bank, Paris

This is this restaurant room with very present vaults that considerably lower the ceiling levels. The original support was a bright straw yellow tadelack that gave an impression of unwelcome coldness for a mountain hotel chalet with its feet in the snow. For this renovation, the customer wanted a carpet to remove the effects of sound resonance. I presented him with a carpet design with a range of 4 or 5 tones that allowed us to have it made to measure and that triggered the option of a matt brown degraded patina at the foot of the vaults. To complete this decoration, the basins and niches were decorated with silver plated sheets of metal "ripped off". A glass separation made by Gilles Chabrier, modernizes by the leds this "rustic mountain" atmosphere. It should be noted that the characters painted on the walls by Thierry Bruet have been preserved in their original state.

Le Mont d'Arbois, Megève

Here is a set of patinas that complement each other between walls and doors. Made of lightly sandblasted raw oak, the doors were given a rubbed/scraped glaze to highlight the natural relief of the wood. As for the walls, after the application of a thick acrylic paint, giving a combing and vertical brushing in a "string" way, here is the realization of a degraded patina starting from the white at the top to an ivory black at the bottom. The idea was not to crush the piece with a strong tint since the height is 2m20. Gradient patinas often extend the white of the ceiling on the top of the walls to lighten while daring strong shades on the bottom to give character to the rooms. It should be noted that I am at the origin of the choice of materials and the whole decorative concept of the living room: the central island (bar), the wall patinas, the tables, the niches, the lounge area including the fabrics, the black glasses behind the screen, etc..... except the acoustic ceilings and the glass corridor containing the wine bottles.

Bank, Tel Aviv

Here is a room with tall silvery herbs on highlights of relief plasters loaded with photoluminescent particles (it is not fluorescence). The soft vision of the day is particularly striking at the beginning of the night. The intensity decreases during the first half hour and then fades during the night in a spirit that I would call "moonlight". This photoluminescence phenomenon is naturally recharged with spots and/or daylight. The only disadvantage... it doesn't go out! Note that a piece of furniture called "Tetris" completes this room whose explanations can be found by following this link.

Switzerland

During renovation work in this banking establishment (see sand inclusion), I proposed to keep this post in very poor condition and exposed for the occasion. Its presence reveals the history of the building and brings an atmosphere of authenticity to this space. The surfaces of these stones were very rich in material and allowed me to mix my imitation work with real stones. Thanks to the photos, I let you judge....

Bank, PARIS 8th

For the Muséoseine Museum, the firm of scenographic architect "Le Conte/Noirot" and the designer "Séquoïa" asked me to imitate a textured concrete that reflects the spirit of the banks of the Seine. The idea was to integrate the "skirts" of a footbridge representing a meander of the Seine that separates two levels in the museum. The history of the Seine, in particular the phenomena of the "Mascaret" are very well explained.

Caudebec en Caux, Normandy

For the corridors of this banking institution, it was necessary to find a solid and shock-resistant coating while being as decorative as possible. The idea of a sandblasted coating was appropriate for its strength and durability. Given the thickness of the sand, a hollow "sgraffito" pattern could easily be placed in order to personalize and make this financial institution identifiable.

Bank, PARIS 8th

Overlooking the gardens, this magnificent lounge where all the woodwork is curved and curved, took a long time to restore. Very dark and soiled by the times, these woodworks have been demolished, brushed, pieces of wood changed before our intervention. The idea was to carefully preserve the fibre and rib of the oak while lightening the room. It is neither a glaze nor a bleach but a wiped bleach to give a patinated, clear, almost "powdery" effect in all hollows. It has been a pleasure and an honour to work behind those who created this piece many decades ago.

Boulevard St Germain, Paris

On cupboard doors, creation of grey bleached patinated patinated relief strips. In all the hollows, it would have been possible to apply photoluminescent particles as the sample presented but the option was not retained at the realization.

Villa Poirier, Paris 15th arrondissement

A two-layer sandblasted plaster was applied to the walls to reveal in the hollow ornamental motifs in the "Sgraffito" style, designed by me. In the workshop, a transfer of the drawings to scale and a pre-cutting in thick and hard plastics, shapes was carried out. On site, these templates were maintained using repositionable adhesives for the time needed to re-coat all the walls to give the illusion that the patterns had been dug into the mass of the wall.

Switzerland

This retracted patina technique consists in superimposing a fluid acrylic glaze on a freshly spread solvent in order to retract (or "fuser") the acrylic, thus making the bottoms reappear (plum for this occasion). Very difficult......... According to my drawings, custom-made furniture. The worktop is a three-layer glass that is glued and sculpted by sandblasting underneath. The basin was post-formed upside down in ovens, sanded, turned over and then adapted in the work surface. Exceptional realization realized by Gilles CHABRIER, glass sculptor located in La Bastille.

Switzerland

After the application of a thick acrylic paint, giving a combing and vertical brushing in a "string" way, realization of a degraded patina in oil from the white at the top to an ivory black at the bottom. The frames have been treated with a combed, brushed patina and the ramp bases are made of grey fake stone and their cuts joined.

Switzerland

This technique of retracted patinas consists in superimposing a fluid acrylic glaze on a freshly spread solvent in order to retract (or "fuser") the acrylic, thus making the bottoms reappear (silvered for this occasion). Very difficult.......... Referring to the floor, a fake black marble was made on the top of all the furniture and baseboards.

Switzerland

Installation of brass leaves "torn off" on a grey background rubbed with bronze powder. Glossy flatting varnish in finish

Avenue Hoche, PARIS 8th

Here are oil on oak patinas. The fouling of waxes, the filling of board holes, the removal of boxes, etc.... required a thorough renovation. The idea was to take advantage of this to bring a touch of modernism and clarity. The first difficulty was the waxing, which required passes and passes of paint strippers and numerous rinses with water, otherwise nothing could stick to them. The 2nd difficulty was the reaction of the glazes to the oil on the oak, which reacts differently depending on the panels, mouldings, etc. It is rare that customers let us take the risk of modifying their oak woodwork.

Bank, Paris 8ème

The design of libraries, woodwork, radiator covers, videoconferencing, etc... was created by me. In the workshop, I treated the vertical steel plates on each side of the videoconference with several acids projected simultaneously in order to oxidize the steel violently in a few seconds and minutes. Once dry, the plates were scraped, sanded and varnished to reduce the power of the colours and to keep only a moderate alteration of the surfaces. In view of the dangerousness, this technique is reserved for very experienced professionals and requires appropriate protection.

Bank, Switzerland

This salon needed a little "makeover". The lightening of the woodwork was essential and the tinting of the walls made it possible to smooth the transition with the beams. I had to keep the white plaster bottoms swept and rough, hence the bossing on the walls of this region.

Megève in Haute Savoie

Specialists in monumental rosettes will not be mistaken: it is a trompe l'oeil. I do not know of any rosette to date whose structure would be made of riveted steel, but the effect seems normal and integrates perfectly with the other materials in this Protestant temple. Despite a design dating back to the Eiffel period, this stone rosette on the exterior façade had been smoothed with plaster on the inside, resulting in large, poorly proportioned painted bands around these beautiful stained glass windows. The imitation of superimposition of riveted steel angles furnishes these spaces and makes them more balanced.

58 rue de Lille, Paris 7ème

As soon as I saw it, this place inspired me. I advised on all the decorative elements: Fake stone on the pillars, friezes and ogives (made of staff because at the time "Eiffel", the structures were metallic then dressed with plaster ornamentation) * Fake rusty steel on the souls on the ceilings, the columns and the rosette (idea of trompe l'oeil never made to date elsewhere) * Raising of glazed vermeil (nor gold, no money but in between) in the balustrade windows, window surrounds and all the back gallery walls (effects of large pearly flat areas) * Choice of the different plain beiges transmitted to the painters in buildings. With the help of my colleagues by trade, we were able to imitate traditional materials such as stone and metal to ensure and complete the soul of the place without fantasy or overloads. This atmosphere seems natural thanks to the play of tones on tones between stone and beige. In view of the importance and impact of such a renovation within the Protestant brotherhood, I would like to thank the leaders for trusting me from beginning to end.

58 rue de Lille, Paris 7ème

These pieces of furniture, previously made of dark mahogany with a glossy varnish and gold fittings, have been given a new look as a metal craft furniture. Products based on real metal particles of nanometric granulometry, mixed with vinyl resins, allow adhesion to all surfaces. Only a tedious sanding can reveal the particles in order to give the metallic reflections. For this service, tin particles (Metalis) from the Laverdure Ets were used.

Bank, Paris 8ème

Here are wood panelling with anthracite combed patinas that contrast strongly with the walls. This set gives a desired masculine side from the beginning. On the walls, oil patinas on water-based glue were vertically brushed and then soaked with a wet jex pad.

Rue du Château, Marolles en Hurepoix in Essonne.

The walls received crumpled silk papers inlaid in fresh plaster for tawny tones and crumpled silk papers glued on dry, hard plaster for plum tones. All the furniture and paintings were already present before the work, except for the neon lights invented by me, especially for the place.

EdR Rue de Hesse, Geneva, Switzerland

Combed patinas and squares of plaster stick your wood together to create a warm, simple and sober atmosphere, but one that is sufficiently present to give patients a sense of well-being.

Saint Michel sur Orge in Essonne

These posts are part of a decorative ensemble that includes moulded concrete in a wooden plank style, imitations of striated slate, painted patinas with gradient shades on the top of the walls. This high-altitude restaurant, which can accommodate between 800 and 1200 people every day during the high ski season, is heavily used and had to be treated with solid materials. The combination of concrete and resin glue plaster imitating slate was the most appropriate. On the top of these posts, a composition of plaster and gravel was cast and patinated with slate on a bed of fibreglass (in the workshop and glued on site).

The Club House of Mont D'Arbois, Megève in Haute Savoie

Realization of a plum patina next to an Egyptian decoration made 14 years ago. I used the existing relief of the wall which was very poached and peeling. It is an oiled patina made on an old parma pink undercoat and then varnished. This oil patina is a brushed poached patina

Villa Poirier Paris 15th arrondissement

Realization of patinas combed on the doors and brushed with spit on the walls. The doors were not dug as it seems, but an additional thickness of smoothed plaster on the surrounding area and striated plaster in the centre was added. This project is intended for a small corridor.

Villa Poirier Paris 15th arrondissement

Making a fake wallpaper! I copied the existing wallpaper that was installed many years ago and is no longer being used. To avoid you looking for or playing the game of the 7 errors, these are the two doors and the back of the new toilet. Good comparison!

Seals in the Hauts de Seine (92)

Decoration of a living room, a dining room and a kitchen side with smooth walls in beige degraded patinas, including three walls with a strong vertical plaster structure. This material was made with mason's tools. Why not?! Apart from the shades, the structural effects between daytime and evening backlighting are amazing.

Château Clarke in the Médoc

Just born, I think this little lenient will have a room already well decorated. The freshness of the greens and yellows gives this room a soft and pleasant atmosphere.

St John the Two Twins in the 77

Here is for this small entrance, a patina of your stone and its whitewashed panels on waxed plasters. To carry out this technique in a "worn-out fresco" way, it was necessary to decorate the backgrounds with vermilion red and some black fades. The plaster plasters were then applied. The ceiling, on the other hand, received an oiled patina of shade earth on a red background and then simply varnished. The switches already in place have been treated like fake wood.

Marolles in Hurepoix, in Essonne (91)

Gold leaf on the top of the walls of this alcove. Namely, no varnish protection is to be considered. The shine must remain natural and authentic.

Avenue Marceau, Paris

Here are two metal posts recently installed in this renovation, which was finished with a minimum rustproof orange finish. I was simply asked to give them a worn, rubbed, bumped, etc... squat style on Talleyrand Street!

Rue Talleyrand Paris

Here is the decoration of a spa including: a corridor/entrance made with a smooth plum patina; a grey gradient patina in relief on the rest of the walls of the indoor pool, corridor, and 4 massage rooms. Note that I intervened for the implantation of the mosaics in a "square bubbles" way! and the illuminated reserve on the top of the reception bench. For more information, see in the "other and curiosities" section the "SPA: 4 massage rooms".

Chalet du Mont d'Arbois, Megève

This bathroom had been painted in a plain blue that was not suitable. The idea was to whiten the top and create a base in a different and more intense blue. The whole treated in cold shade required to be enhanced by a warm shade, hence the idea of yellow squares as a frieze.

Nogent sur seine (10)

This room and its adjoining bathroom have received a degraded ochre patina on thickened paint. On the top of the walls there are two friezes, one in relief representing lotus flowers in three layers of stencils and the other in crumpled brown chiffon on a bronzine background. Bugatti" furniture will complete the harmony of this room.

Paris 8th

In the reception hall of Château Clarke, a four-walled combed patina degraded to any height (8 metres). False wood in connection on the white hubcaps of the 16 ceiling spots.

Listrac (33)

Removal of this old corridor in dark panelling, for a bleached and sanded wood. More sustained bases and a frieze invented on the spot to finally brighten up this corridor.

Varennes Jarcy (91)

Realization of a patina taloche in this staircase then of three brown stripes just under the implantation of the three spots.

Varennes Jarcy (91)

A straw yellow patina for this mezzanine, with different colours for each of the doorways it serves.

Villiers sur orge in Essonne (91)

Creation of a yellow buttercup patina on a thickened paint background swept over all the walls, including the old feeders. Surrounding the doors in ivory-coloured patina and then imitating a fake stone and its joint cuts on the old raw cement column.

St Georges de Montaigu in the Vendée

For this bottom of the showcase, gold leaves "torn off" on a thickened red ochre paint background.
Mont d'Arbois, Megève

The walls are talched, sanded and then patinated in a "whitewash" style, then raised by large, more sustained frames. For finishing dark nets and bleached selvedges around the frames. It should be noted that the radiators have received thickened paints instead of the effect given by the plaster.
Mont d'Arbois, Megève

This is a room where they wanted to contradict the walls between them. On one side the ash woodwork and on the other side a brown chequered wall (plaster) combed alternately. The ceiling with its raised panels has striped separating strips reminiscent of the brown wall.

Mont d'Arbois, Megève

Bathroom, with a density of pebbles that intensifies downward until it reaches the floor laid by the tilesetters. Real sand was glued between the rollers on all the walls including the radiator. A piece of ferrugem slate (from the shower cubicle) was attached to the centre of the radiator. The shell on the mirror was designed by me.

Mont d'Arbois, Megève

Children's room with bunk beds and alternating dark woods and shaded orange-yellow patinas on the walls. On the top of the walls we will find silhouettes of trees, mountains, etc.... The cupboard doors are painted with slate, a painting imitating slate that allows to draw with chalk and then wipe.

Mont d'Arbois, Megève

On a crumpled patina background, here is a poem on the theme of friendship written around the circumference and halfway up the room. To complete the spirit, a feather painted in trompe l'oeil is placed on each of the two doors.

Rue Parmentier in Neuilly (92)

Corridors are places of passage that are often not given enough importance. This is precisely why we wanted to highlight it and give it presence and cheerfulness. A patina graded from orange to yellow to green was made before the hand painted flowers were made.

Rue Parmentier in Neuilly sur Seine

Here is a set of plum/light grey colour contrasts for this entrance, living room and dining room set. A brushed effect with a blade imprint for the plum colour and a relief combing effect for the light grey, all enhanced by the installation of gilded leaves in pieces on the doors, wall and library.

Rue Parmentier in Neuilly sur Seine

Realization, in this very beautiful volume, of a degraded patina in fire colour in opposition to the stone walls preserved in their original state.

Marolles in Hurepoix in Essonne

In this wave bathroom (real marble), realization of a patina combed in relief then degraded in the blues/water green. Glued sand patterns were applied using stencils created by me. These come out of the wall of about 3mm, are very hard and despite the glue have kept the real color of the sand.

Paris 8th

Creation in a dining room of a degraded patina in green tones over the entire height of the walls. Cutting and collage of old Spanish theatre sets painted in gouache on kraft paper from the 1920s. Old window: realization on canvas of a trellis and a gradient background, all glued to the back of the window FACE painting.

Rue du Cirque, Paris 8e

Realization in a living room, of a white combed patina unbleached on all the walls and friezes in relief. Replacement of gilded mirror frames, respecting their ageing.

Rue Molière, Paris 1er

Realization of various Pompeian patinas, with two masks representing joy and sadness.