Being Creative is not a Hobby, It’s a Way of Life

Partners of DITOZZI DESIGN

JOHN BARMAN & KELLI GRAHAM

John Barman, New York City, USA

Project: Vanderbilt House

John Barman and Kelly Graham shared this client’s love of strong, bold colors. We never had been quite so adventurous as this Manhattan penthouse apartment. DiTozzi Design has been assisting with the designing and production of wallpapers and rugs. We were not really confident for colors selection till the client joined our team and explained to us that this apartment is just one more family property and she wants to stay at this place in a season when the weather in New York will be in grey color shades…After those words we were excited and much more confident on designing a colorful house.

The project has been published in many interior design magazines in the USA.

---

ZOAY BOGDAR

Zoya Bograd, ASID is a second generation furniture designer devoted to the highest quality of children's interiors. Operating from a showroom in the New York Design Center, her collections offer a wide range in high-end furnishings, accessories for children’s rooms and designer’s rugs.

Zoya Bograd, Miami, USA

Together, three traits make up most of a design “natural”: seeing a design problem (The Eye), creating a solution (The Spark), and working on it until its good (The Flow).

But there’s still one missing piece. The Heart.

I’ve found that great designers, like Zoya, tends to express themselves in emotional terms through creating the most beautiful kid’s room and objects, which I have ever seen.

---

THOMAS PHEASANT

Thomas Pheasant is internationally recognized for his 30 years of creating interiors. His diverse accomplishments have been widely published in the most prestigious architectural and interior design magazines around the world. In 2005, he was honored by Architectural Digest US with the distinction "Dean of American Design".
Based in Washington, D.C. and Paris, France, he continues to work on residential and commercial projects throughout the United States, Europe and Asia.

Thomas Pheasant, Paris, France

There is an ongoing project in Europe. Photographs will be published soon.

---

CAROL FERTIG

Fertig’s keen understanding of integrating product and marketing has led to assignments in the luxury sector for Companies such as Hermés, LVMH, Barneys New York, Mrs. John L. Strong and Michael Kors. Because of her unique ability to translate brands, no matter what the price-point or level of sophistication, she has enjoyed working with broader based companies as well among them Anthropologie, Club Monaco, DiTozzi Design, Crane’s Stationery, and Condé Nast. 

Carol Fertig, New York City, USA

Project: Carol’s new home in NYC

It is always exciting collaboration. Work with Carol is like to be in the Wonderland. Outstanding level of her knowledge in Art, Design, Fashion and professionalism were inspiring for me. Her home-library is my favorite destination.

Fertig’s grandparents were Jeweish immigrants from Russian Empire, after revolution, and she always had a dream to create something in Russian style. Result of Carol’s collaboration with Ditozzi is new Contemporary line of rugs “From Russia with Love“. Collaboration DiTozzi with Carol is a new Fertig’s house in the Financial District of Manhattan, NYC.

---

ANDREA TURRI

Connoisseurs know the best furniture brand Turri as the Creator of fine furniture for residential premises, as well as stylish and original accessories. Turri style does not require any special introduction in Luxury Interior Design industry.

Andrea Turri, Milan, Italy

Projects: Residential Projects in Italy, the Netherlands, the USA and Russia.

We met about 20 years ago in snowing Moscow when Andrea has received his Master’s degree in Harvard University and arrived to conquer Russia, full of ambitions. His incredible sense of beauty, talent in understanding of TURRI’s position on the market, responsibility for family business reputation always impress me and bring much respect.

---

VERSACE HOME COLLECTION

Versace Home is the evolution of the Versace Lifestyle where the heritage of the Versace brand is translated through every product offering a unique living environment that reflects the sophisticated elegance, innovation and supreme detail for which Versace is renowned.

Customization of carpets and rugs for Versace Home projects.

---

Project: Private Residence in NYC, USA

DITOZZI DESIGN architectural projects in collaboration with VERSACE Home Collection.

---

ABC CARPETS & HOME, PAUL CHAPMAN

Ask any in-the-know New Yorker for recommendations for home and decor stores in the city, and ABC Carpet & Home is sure to be top of list. We proud to tell about DiTozzi collaboration with ABC and successfully accomplished exclusive projects.

Paul Chapman & Diana Tozzi, New York, USA

THE TRUMP HOME Collection Launch Party

Project: Residence at Fifth Avenue, Trump Tower

We serve a wide range of clientele, and every client relationship is valued greatly. Each engagement benefits from the depth and breadth of our expertise.

---

PRIVATE CLIETS

Projects: Residential Projects in the USA, and Venezuela.

A designer's job isn't knowing the solution to a problem, their job is to know how to look for a solution. Do you see the difference?

The difference is that instead of instantaneously coming up with the solution, a good designer will ask questions, will research, will think about it, will experiment, will most likely fail and repeat this process again and again until they come up with the right solution.

This is how I could describe my projects with designers from Colombo Stile…true high-profile professionals.

Fabulous Faberge Makes Interiors Opulent.

Peter Carl Fabergé, original name Karl Gustavovich Fabergé, (born May 30, 1846, St. Petersburg, Russia, died September 24, 1920, Lausanne, Switzerland), one of the greatest goldsmiths, jewelers, and designers in Western decorative art and jeweler to the Russian imperial court.

Of Huguenot descent and a son of a St. Petersburg jeweler, Fabergé was trained in St. Petersburg, Frankfurt, and Dresden, and he absorbed influences across western Europe with travels to Paris and London. He inherited his father’s business in 1870 and continued to manufacture jewelry and decorative objects while expanding the firm’s concentration to include furniture, functional objects, and, famously, objects of fancy.

Much of his work was inspired by the decorative arts executed under King Louis XVI of France, but the firm also drew from influences that included the traditional arts of Russia and Renaissance Italy as well as from the Rococo style. Some later pieces reflected the emerging Art Nouveau style. Fabergé’s workshop soon became famous for expertly crafted works including flowers, figure groups, bibelots, animals, and, above all, the celebrated imperial Easter eggs. His works were displayed in Moscow’s Pan-Russian Exhibition (1882), where he was awarded a gold medal, that helped to establish his reputation among Russian nobility. In 1885 Fabergé was appointed jeweler and goldsmith to the Russian imperial court. In all, 50 eggs were produced for the imperial family, and each included an element of surprise.

Between 1885 and 1917, Peter Carl Fabergé created a limited number of exclusive jeweled eggs for the Russian Tsars Alexander III and Nicholas II as gifts for their wives and mothers.

In the Christian faith, eggs symbolize the empty tomb and resurrection of Jesus—celebrating new life and new beginnings. The Hen Egg was an extravagant extension of the tradition of exchanging decorated eggs for Russian Orthodox Easter.

Welcome to one of the famous landmark of Saint Petersburg and a must-visit during your trip to Russia - Faberge Museum. Come along and learn the history of the famous eggs and see the inside of the museum.

Today, I would like to tell about my top 10 favorite Faberge Eggs.

1. The Imperial Coronation Fabergé egg

Made in 1897 to commemorate Tsaritsa, Empress Alexandra Fyodorovna, the Imperial Coronation Fabergé egg is made from gold with translucent lime yellow enamel on a guilloché starburst backdrop meant to represent the cloth-of-gold robe worn by the Tsarina at her Coronation.
The main trellis pattern from the Coronation robe of the Empress has bands of greenish gold laurel leaves with a gold Imperial double-headed eagle set with a rose diamond on its chest.

2. The Catherine the Great Fabergé egg

Made by Fabergé's master craftsman Henrik Wigström in 1914 for Nicholas II as an Easter gift for his mother, Maria Fedorovna.
Pink enamel panels feature miniatures of alegorical scenes in te style of French artist François Boucher.
Inside was a miniature of Catherine the Great being carried in a sedan chair which is now lost to history.
The egg itself is four-color engraved gold, encrusted with 937 tiny diamonds and 500 pearls.

3. The Renaissance Imperial Fabergé Egg

The Renaissance Fabergé egg was made for Alexander III in 1894 as a gift for his wife, the Empress Maria Feodorovna.
It was the last egg that Alexander gave to Maria.
In 1937, it was sold at auction to Henry Talbot DeVere Clifton and then in 1949 to the Swingline magnates Jack and Belle Linsky.
The Forbes Collection was sold in 2004 to Viktor Vekselberg for almost $100 million.

4. The Third Imperial Fabergé Egg

Tsaritsa Maria Fedorovna was given the Fabergé egg by her husband Tsar Alexander III.

Given to Empress Marie Feodorovna for Easter 1887 by Emperor Alexander III, the jewelled and ridged yellow gold Egg stands on a tripod pedestal of lions paws encircled by coloured gold garlands suspended from cabochon blue sapphires topped with rose diamond set bows.
Inside is a lady’s watch by Vacheron Constantin, with a white enamel dial and diamond set gold hands.
"One night in 2012", a scrap merchant in a mid-western US state went online to research the gold egg he had kept in his kitchen for years. Purchased in around 2002 for $13,302, you can imagine his excitement when he found an article saying it was worth $28m.

5. The Peter the Great Fabergé egg

The Rococo-styled Peter the Great Egg celebrated the 200th anniversary of St. Petersburg's founding in 1703.
Red, green and yellow gold, platinum, rose-cut diamonds, rubies, enamel, and rock crystal surround miniature watercolor portraits on ivory.
Laurel leaves and bulrushes chased in 14-carat green gold symbolize the source of the "living waters".
The front painting is the Winter Palace and on the back is a painting of the log cabin believed to be built by Peter the Great 200 years prior on the banks of the Neva River in St Petersburg.

6. The Bouquet of Lilies Clock Fabergé egg

One of the larger Fabergé eggs, decorated with translucent enamel on a guilloché background.
The clock has twelve parts bordered by diamond-studded stripes. Around the perimeter of the egg is a belt of enameled white with twelve Roman numerals encrusted with diamonds. The diamond clock hour-hand is shaped like the head of an arrow in a drawn bow.
Decorated with rosettes and the date of its manufacture in 1899, the gold base itself is set in diamonds.
The gold key used to wind the mechanism is shown lying at the base.

7. The Rose Trellis Fabergé egg

April 22, 1907.
Tsar Nicholas II gave this egg to his wife, Alexandra Fedorovna, to commemorate the birth of the tsarevich, Alexei Nicholaievich, three years earlier.
Inside the egg was a surprise diamond necklace and an ivory miniature portrait of the tsarevich framed in diamonds.

8. The Diamond Trellis Fabergé egg

The jewelled enameled Diamond Trellis Easter egg was made for Alexander III of Russia as a gift for his wife, the Empress Maria Feodorovna.
The egg contained an automaton of an ivory elephant covered with precious stones.
Made of jadeite, gold, rose-cut diamonds, and lined with white satin, the egg is carved from pale green jadeite and enclosed in a rose-cut diamond lattice with gold mounts.
Originally supported on a jadeite base with three silver putti representing Alexander and Maria's three sons—the Grand Dukes Nicholas, George and Michael—a large diamond sits at the base of the hinged egg.

9. The Gatchina Palace Fabergé egg

Tsar Nicholas II gave this egg to his mother, the dowager empress Marie Fedorovna, on Easter 1901.
Translucent enamel is layered over "guilloché," with engraved gold.
Inside is a miniature replica of the Gatchina Palace, the Dowager Empress's main residence outside St. Petersburg, Russia.
Fabergé master craftsman Mikhail Perkhin's meticulous work shows details such as cannons, a flag, a statue of Paul I (1754-1801), and the flower beds and trees in the landscaped grounds.

10. The Rothschild Faberge Clock-Egg 

In addition to the Imperial eggs, Fabergé also crafted an estimated 12 eggs for wealthy clients. The Rothschild (1902)—an engagement gift for Edouard de Rothschild’s fiancée, Germaine Halphen—was a pink egg that featured a clock face and an automaton bird. Also from 1902 was the Duchess of Marlborough.

Russian government bought the Rothschild clock for $18,5m and the president Vladimir Putin has presented St. Petersburg's Hermitage Museum with a gift for 250th anniversary.

Of the 50 Imperial eggs, only 43 are known to have survived. Five are believed to have been destroyed, while the whereabouts of the remaining two is unknown. In 2014 the existence of the long-lost Third Imperial Egg was publicly announced.

Inspiration. Faberge and influence of Russian Decorative Arts.

The House of Fabergé has its global impact on the decorative arts. Many designers and creative people in world’s artistic industry inspired by Faberge timeless and collectable pieces.

I was lucky to be born and grew up in one of the most fabulous and beautiful cities in the world, St. Petersburg, Russia. My family deep heritage and every weekend of my childhood spent in the palaces-museums gave me unforgettable impression and education. Many favorite designs and patterns were in my mind for a long time till I found the way how to emphasize them.

In DiTozzi Collection, there is one of the most recognizable around the world artistic work “Lilies of the Valley”. This design is inspired by the Russian Empress, Catherine the Great. The Lily of the Valley was her favorite flower, a motif of her most prized possessions. This rug is drawn from the fan, which is an historic artifact in the safekeeping of the Hermitage and Faberge Egg “ of the Faberge Museum in St. Petersburg, Russia. This meticulously crafted rug was displayed in the most prestigious exhibitions in Italy, the United States, France, Germany, the United Arab Emirates and of course Russia.

“Lilies of the Valley” fan, Hermitage Museum, St. Petersburg, Russia.

Newly tested “Lilies of the Valley” arrived for being displayed at Maison Objet, Paris and has been successfully sold during first 30 min of the exhibition.

“Imperial Lilies of the Valley Basket”, Metropolitan Museum of Art, New York, USA.

Christopher Guy Harrison is visiting “Luxury Home by Diana Tozzi” in New York City.

Egg "Lilies" is another gift of Nicholas II dear wife, and produced in the Art Nouveau or Art Nouveau style which the Empress adored.
In addition, lily of the valley - a symbol of feminine purity. The imperial couple gave birth to two daughters by April 1898, shortly before the egg was constructed. Their portraits, along with a portrait of the emperor, form a shamrock, which rotataes upward when the egg is opened.

Faberge Museum, St. Petersburg, Russia.

Diana Tozzi at work. Making of new design of furniture, rugs or accessories always requires inspiration and very many sketches for finding a right and only one design for being developed up to its finality…

Mosaic Faberge Egg was one of my invitations for various DiTozzi Designs.

The egg was the Tsar’s Easter gift to his wife in 1914, but the original invoice was destroyed and the cost is therefore unknown. The Tsarina’s monogram and the date 1914 are set beneath a moonstone at the apex of the egg. It comprises a platinum mesh into which tiny diamonds, rubies, topaz, sapphires, demantoid garnets, pearls and emeralds are fitted – perfectly cut, polished and calibrated to fill the spaces.This extraordinary technical feat is all the more impressive because the platinum is not welded but cut.The five oval panels around the centre of the egg feature a stylised floral motif, replicating the technique of petit-point.

Even during production, some details of the pattern might be changed…perfection, perfection and perfection.

Glory History of Amsterdam and its link to the Singel 282-286

The Amsterdam canals, a UNESCO World Heritage Site since 2010, and always fascinated to the imagination.

Map of Amsterdam with design for the expanded city by Daniel Stalpaert. A. Besnard after Daniel Stalpaert, 1657.

Walther Schoonenberg, an architecture historian, researcher and writer provided with some information regarding the houses at Singel 282-286, national monuments of the city of Amsterdam. He does an exploratory study of our building, of the former residents, of the architectural historical values.
Three houses built in 1590 and were rebuilt with one united façade in 1639, included empire doors and window fences. Interior development: house #284 has 17th-century ceiling paintings, figurative and decorative, from 1630-ish on wooden boards (discovered in 2001), timber frame, beams with key pieces from 1590; house #286: grand corridor with 18th-century stucco in Rococo style, the balustraded staircase included a mahogany, carved dragon with Javanese motifs.

Singel Canal in the snow

Source: Walter Schoonenberg
Carrier: Digital
Year: unknown

Anthonie Oetgens van Waveren (1585-1658), Lord van Waveren

A seven times appointed mayor of the city of Amsterdam.

Anthonie Oetgens van Waveren after the painting by Thomas de Keyser

Source: Amsterdam City Archives

Carrier: Copper engraving after the painting by Thomas de Keyser

Year: Unknown

Anthonie Oetgens van Waveren (1585-1658), Lord van Waveren, Botshol and Ruige Wilnis, was appointed mayor several times in 1626, 1627, 1629, 1631, 1638, 1649 and 1650. He was also a member of the States General (in 1637 and 1655) and Council of the Amsterdam Admiralty in 1652. In 1652 and 1653 he represented the Republic at the court of Christiaan IV, the king of Denmark and Norway. In 1653 he mediated between Sweden and Poland and contributed to the peace treaty between Queen Christina of Sweden and King Johan II Casimir of Poland. He could easily enter these aristocratic circles because he himself had become an aristocrat: in 1624 he had the glories of Waveren, Botshol and Ruige Wilnis van't Chapter of St. Marie purchased in Utrecht and was even elevated to the Holy Roman knighthood in 1635 by Emperor Ferdinand II. In 1631 and 1646 his capital was estimated at fl. 130,000.

Anthonie Oetgens van Waveren: detail of a militia force portrait painted by Nicolaes Lastman and Adriaen van Nieulandt.

Source: Amsterdam Museum
Carrier: Painting
Year: 1623

He is depicted in a special group portrait, one of the few portrayals of the college of four mayors. The portrait shows the moment when the news of the arrival of Maria de Medici in Amsterdam in 1638 is communicated to the mayors. These are Abraham Pietersz Boom, Albert Coenraetsz Burgh, Pieter Pietersz Hasselaer and Anthonie Oetgens van Waveren.
His father Frans Hendricksz (1558-1625) has been mayor ten times since 1610 and is known as one of the initiators of the Amsterdam canals, to which he and his brother-in-law Barthold Cromhout had enriched himself through land speculation. The issue led to a discussion about whether Oetgens had abused his position to enrich himself at the expense of others. The unbreakable Cornelis Pietersz Hooft (1546-1626) in particular has seriously criticized Oetgens' actions. In 1615 the case was brought up to the Supreme Court, but was eventually settled amicably. Frans Hendricksz first lived on the Damrak, later on the Oude Schans. Son Anthonie still lived in 1611 on the OZ Voorburgwal and in 1637 on the Rokin. Like his father, Anthonie speculated with land, this time on the east side of the city, where the city would be explained (the Fourth Explanation). The council then decided to expropriate all its land. After that he was no longer appointed mayor. His opponents, Cornelis de Graeff and Andries and Cornelis Bicker, prevented that.

The four mayors of Amsterdam painted by Thomas de Keyser.

Source: Amsterdam Museum
Carrier: Painting
Year: 1638

Detail of the map of Pieter Bast from 1599 with the houses bought by Oetgens.

Source: Amsterdam City Archives
Carrier: Drawing
Year: 1599

Anthonie bought four houses on the Singel and three behind them (on the Singel, now no. 282-286, including the Moriaenshoofd, in 1624, and on the Herengracht, now no. 247, 249, 251, 253 in 1626). Three these houses on Singel were rebuilt in 1639 and provided with a common façade, designed by the Amsterdam architect Philips Vingboons in the common style of Dutch Classicism (as the City Hall / Royal Palace on the Dam square). The middle part was given a middle portal, crowned by a large triangular pediment (for example the City Hall / Royal Palace) with the family Coat of Arms in the fronton. In this way, Anthonie gave the impression of a much larger house. The middle house, where he went to live, was merged of two buildings, and was not only larger at the front, but also walked past the neighboring buildings. Moreover, the house had a large garden behind of the entire complex, also behind Singel 286-288, which extended to the Herengracht, this situation continued until 1648. The facade is shown in drawings from Philips Vingboons (part I, 1648). According to this source, the house had a great simpleness and modern elegance, since its size broke down, there were three residences in it. The middle house was inhabited by Oetgens himself, he used other two houses as guest’s houses for European aristocratic families and wealthy merchants while when stayed in Amsterdam. Because of the common façade was under a large triangular pediment with his family Coat and Arms, Oetgens lived in one of the widest houses of the city of Amsterdam.

The book of original technical drawings and sketches made by the architect Philips Vingboons, and published by his brother in 1665.

Source: The National Archives of the Netherlands

Carrier: Drawing, digital photo by Diana Tozzi

Year: original 1665, book digital photo 2018

Presentation drawing front facade from Figures I, 1638.

Source: Philips Vingboons
Carrier: Drawing
Year: 1638

One of the famous architects in Dutch heritage, Philips Vingboons (1607-1678), redesigned the façade of Singel 282-286 (1639) in Dutch Classicism style. It was built in front of older houses with a late 16th century plan (1590) and became the biggest residential complex in Amsterdam of 16th century.

The 16th century beams with decoratively carved corner pieces and the center element of the wooden ceiling painted with gold and contains Oetgens’s Family Coat and Arms.

The interior of the house of Oetgens has been preserved. The timber gold frame and key pieces adorned with acanthus leaves on the first floor ceiling are still present, as well as original beams from 1590. This creates an exceptionally representative oak ceiling of which no other examples are known in the Netherlands. Also it is worth mentioning, the beautiful floor consists of ten meter long wide pine parts. The ceiling painting was discovered in 2001 when removing a stucco ceiling. The painting consists of three sections with tendrils, flower garlands and putti whose hold up the Coat of Arms. A painted family Coat of Arms displays the Waveren’s glory in Dutch history. This example shows that, in addition to flowers and tendrils, figurative ceiling paintings were made with angels and animal figures in this period. The tendrils and garlands are strongly reminiscent of the ceiling paintings in the City Hall / Royal Palace on Dam Square. It is not known when these paintings were made, but they were probably only applied after the death of Anthonie Oetgens van Waveren in 1658, commissioned by his sons Johan (1613-1670) and Nicolaes (1622-1684) who divided the house among themselves.

Johannes Hudde (1628-1704)

A nineteen times appointed mayor of the city of Amsterdam.

Johannes Hudde (1628-1704)

Source: Rijksmuseum
Carrier: Painting
Year: 1686

The house has had even more famous residents. After Johan's death, his wife, Debora Blaeuw, remarried in 1673 to Johannes Hudde (1628-1704), her neighbor, who moved in with her. Hudde was first appointed mayor in 1672 and was reappointed 18 more times. He is best known for the construction of the Amstel locks and the establishment of the Amsterdam Peil (see Eenhoornsluis).

Daniel de Dieu (1696-1765)

A six times appointed mayor of the city of Amsterdam.

Oval portrait with caption: "Mr. Daniel de Dieu, Mayor and Council of the City of Amsterdam. Former Ambassador of the State to the Russian Court."

Source: Amsterdam City Archives
Carrier: Copper engraving by Jacobus Houbraken (1698-1780) after a portrait of Hendrik Pothoven (1725? -1807) published by Isaac Tirion
Year: 1757

In the 18th century a new mayor owned the houses Singel 282-286, Daniel de Dieu (1696-1765). Former Ambassador of the Netherlands to the Russian Court (since 1730), Council of the Amsterdam Admiralty. After his first appointment in 1753 as a mayor, he was reappointed five more times.
The complex has been radically changed by various renovations according to new fashion with French influence. Not only the large pediment disappeared, the lower fronts have also changed beyond recognition. Only part of the 17th-century rustica base of the middle house, the house of Oetgens, has been preserved. In 19th century, the right-hand house no.286 received a new modern base wider than the original. Many original details were discovered in 2018 by new owners Tozzi, during restoration work. The wooden wall panels, entrance door, gyp’s decors, arched ceiling and 4m marble fireplace were preserved by National Monuments Department of Amsterdam. On records of the National database, there are only 6 fireplaces in similar style (floor-to-ceiling stone).

Nowadays, the largest house: part of the house of Anthonie Oetgens van Waveren, Singel 284, has been moved to Singel 282. Fortunately, most of the facade has been preserved, including the window frames with volutes and the triangular pediment above the windows. The heavy cornice is probably still original. Note that the middle riser has been extended to the cornice. The façade has no pilasters. 

Later on, the entire plan of Singel 286 has been altered. The front door went more to the left, making the entrance narrower, and the front room wider so two windows could be placed, according to new fashions. Since 19th century (Napoleon’s period of time), the Bel-Erage floor has been converted into the Fabrics salon with two large floor-to-ceiling product-display windows, the basement used as a storage. Also, on the land of back-garden was built a new back-house with oversized windows for the Atelier, clothes tailoring facility, serving needs of new residents of the Royal Palace. The top floor rooms were divided to two apartments.

Daniel de Dieu was related to Carel de Dieu (sibling), who lived in Alkmaar in Huize Egmont, http://huizeegmont.nl/, which has some great similarities with the foyer and the hallway of Singel 286.

Canal House at Singel 286, Restoration Project

Source: Diana Tozzi, Architect
Carrier: Digital, Rendering
Year: 2018

Grand Corridor of Singel 286, Restoration Work Process

Ceiling Gyp’s Decor and stucco in Rococo style, mid of the 18th century.

Source: Diana Tozzi
Carrier: Digital
Year: 2018

Emporio Stone Marble fireplace, mid of the 18th century,

Restored and preserved in 2018. One of six fireplaces on the National database.

Wall wooden panels are restored and preserved in 2018.

Mahogany, hand-carved dragon with Javanese motifs on the oak staircase, 17th century.

Source: Diana Tozzi
Carrier: Digital, Rendering
Year: 2018

This was an emotional moment and very personal attachment when you hold in your hands 400 years old drawings collected in the one-of-a-kind book-artifact, which brings you into the world of the architect Philips Vingboons who designed and built your house in 1638 and created brand new architectural fashion “Dutch Classicism” in European history and made outstanding look of many Canal Houses.

History of Urbane Planning. Paris, The Metropolis of Tomorrow and its Planning.

I would like to introduce the area of urban planning and problems it brings. These problems are quite self-evident nowadays, and in the recent history we have a good knowledge of. This applies mainly to the second half of the 20th century. You might ask, what was the origin of an urban and land planning. I will focus on it today.

Planning of settlements is even older than the mankind. People began to build real organized settlements in the Neolithic era and were very common in the Bronze Age. Throughout these periods, settlements were built clearly to protect people from wild animals. So that is no urban planning either. Some urban planning begins to appear in Mesopotamia or Egypt, but that still is not it. First organized settlements were Greek and Roman orthogonal towns, again, mostly planned to suit military purposes. Medieval era was mainly a total decline in the planning of towns. Today, we see medieval spontaneously organized towns as mostly good places to live.

Urban planning of Paris could be a great example. The Renaissance was a completely new era, bridging Middle Ages and modern history. People began to study everything. Man itself began to be important. And because people thought it was possible to describe anything by science, they started describing “ideal towns”. What was the output, you can see on Palma Nuova in Italy – not a good settlement at all. Then came the Baroque, in which towns were nothing more than well-organized military fortresses. Not many sustained till today, but see Neuf Brisach in France.

Even through the Classicism, nothing really changed and even in the mid-19th century, cities were mostly planned to suit military purposes, not people. That is Paris for example. The real new approach began in the 19th century, with new industrial and technical era. Yes, nobody until the 19th century even thought about the people. In this era, most of “Utopias” are designed. We can see very advanced approach towards the planning. Underground railways, underground garbage disposal, and streets clear for people and local traffic. Actually, these cities were too much advanced for this era and besides “Utopias”, real cities were mostly grid-planned, with large new residential areas established.

Brand new approach to urban areas was brought by the Functionalism. Architects and planners now described what are the functions of cities and tried to organize it. Main functions were residential, industrial and leisure (including services.) In functionalist cities, all areas are single-functional and are separated by transport infrastructure. Functionalist approach spread all over the Europe. This was caused by residential crisis after World War II and enormous need for new housing.

A new era of socialism brought huge governmental involvement in urban development. And it remains until today. Unfortunately, this is not only eastern European case, this applies to all Europe. And the governmental involvement is so efficient, that we consider it absolutely self-evident. Good government protecting us from bad developers.

Baron Georges-Eugène Haussmann was the Parisian who ripped up his home city; one of the most famous and controversial urban planners in history. Even now, 125 years after his death, France remains divided over whether the man who transformed Paris into the City of Light was truly a master planner – or an imperialist megalomaniac.

Inspiration: Parisian Style, Evolution of a French Chair

THE JACOBEAN PERIOD

The Jacobean Period covers almost a century (1603–1690). In its earlier stages, therefore, it is still Elizabethan in spirit, and in its old age it is largely influenced by the taste of the dominant French court. Flemish and Dutch art and manufactures, therefore, were extremely influential in forming what is known as the Jacobean style.

This period covers, of course, a portion of the reigns of Louis XIII. and Louis XIV.; and much of the furniture fashionable in France at this period was imported into England; but with the exception of the wealthiest homes sumptuous articles are not common.

Oak and walnut are the woods chiefly used at this period, but we also find lime, cherry, and cypress (the latter especially for chests).

LOUIS XIV. PERIOD

The culminating period of the long reign of Louis XIV. (1643–1715) was reached at the Treaty of Nimeguen in 1678. From this time forward, France not only dominated Europe by force of arms, but also by her taste and achievements in art. Paris set the fashions for the whole Continent and for the Court of Charles II. across the Channel.

The “Roi magnifique,” now able to indulge every fancy and whim, makes the Palace of Versailles the symbol of the time. Although the architect Mansart began the improvements there in 1661, it was not until 1682 that the residence of the Court was fixed at Versailles. Then it became the expression of pomp, pleasure and magnificence. Magnificent Versailles, with its water-works, its statues, its groves, its gardens, its galleries, its pictures and its furnishings, cost the King a fortune.

Doubtless the richness and beauty of these rare articles developed the taste for carved and gilded wood. It is probably owing to this dazzling and glittering effect of gilded wood that has caused critics to refer to the preceding style of Louis XIII. as “sombre.”

THE LOUIS XV. PERIOD

The gloom and solemnity of the last years of Louis XV., ruled by a morose monarch and his bigoted, unacknowledged wife, gave place to the license of the Regency, and the exuberant vitality of a young king, the influence of which is fully reflected in decorative art.

The Orient was exercising a powerful influence on French as on Dutch and English taste. We have seen that a liking for the contrast of richly coloured exotic 161 woods was noticeable toward the end of the reign of Louis XIV. The Siamese embassy with its rich offerings of porcelain and lacquer had concentrated the eyes of the Court for a moment on the art of the East. French artists catered to the novelty, and from then till the middle of the Eighteenth Century the lacquers of China and Japan were actively though freely imitated.

The frames of the chairs and arm-chairs of this period were not only carved and gilt, but were painted or lacquered as well. Sometimes one colour only was used, which was brightened by threads of gold, or white, or some gay hue harmonizing, or contrasting, with the upholstery. Sometimes the wood was painted in several colours, and often, too, another kind of painting, known as camaïeux, was used. Simpler arm-chairs, and chairs that were met with in the drawing-room were of natural oak, or beech, polished with an encaustic.

The elbows too were more wavy and were always of a most 205graceful sweep. At the beginning of this period, the back was of the form of a violin, but later the medallion form became more popular.

THE EMPIRE PERIOD

The geometrical panels of the new drawing-rooms were coloured that deep brown, mingled with several other colours, which received the name genre étrusque. Listen to these discords: “On the ceiling is a reddish-brown rosette in the form of a parasol; a sky-blue frieze is sprinkled with white cornucopiæ. On the sides of the mirror, sky-blue pilasters are bordered with violet and white grape-leaves for ornament. Large and small light brown panels with violet borders are ornamented with little green parasols, and cameos with blue background with white figures and brown and red ornaments. And in that loud chocolate colour where some reds and greens try to recall to your mind the forsaken hues of the past are mingled three shades of rose, amaranth, blue, lilac, grey, emerald-green, moss-green, aventurine, citron, straw and sulphur. That gentle scale that sang so sweetly on the furniture and walls of by-gone days! that gentle scale that miserable taste has forsaken for the tri-colour, and for wall-paper printed with the distinctive signs of equality and liberty, from Dugoure’s Republican Manufactory, place du Carrousel at the so-called Hôtel de Longueville. Then the taste of the Revolution runs after the factory of the rue Saint Nicaise, place de la Réunion, to find some pictures with the civic inscription ready for each citizen to place above his door bearing these words: ‘Unity, Indivisibility of the Républic, Liberty, Fraternity or Death.’”

The Parisian hôtels that were remodeled and newly furnished for the newly rich could not suggest the slightest reminiscence of the aristocratic life that they had witnessed. The artists, therefore, were forced to go to Greece and Rome for their models and motives. After Napoleon’s campaign in Egypt, the sphinx is frequent as a decoration, although it had long been familiar. These show that the so-called Empire style was in process of formation before Napoleon attained power, period 1793 and 1796.

There was a tendency for patterns to become smaller; damask was ornamented with little figures, or stripes; Gobelin tapestries were supplanted by designs in grisaille on a red, blue, or green background. These many printed stuffs had pictures derived from Greek, Egyptian, or Roman subjects, or mythology, and appeared as if printed on paper.

ART DECO

Art Deco, an art and design style popular in the 1920s and 1930s, began in Paris as a result of a large decorative arts exhibition in 1925. It quickly spread all over the world where it found use in fine art, architecture, fashion design and decorative arts. Art Deco celebrated modern life and emphasized luxury and sophistication. Art Deco works featured new materials like chrome, Bakelite (a type of plastic), chrome and plate glass, as well as costly materials like ivory, mahogany and dark lacquered surfaces. Lacquering was a process that coated materials like wood with many layers of resins to create hard shiny surfaces.

When you look at an Art Deco building or object, you see common elements like geometric shapes, often in the form of zigzags or chevrons (upside down V forms). Art Deco emphasized vertical lines and smooth streamlined surfaces and often used bold colors and high contrasts.

Furniture created during Art Deco's early years tended to be an expensive luxury. In the 1920s, the major Paris department stores established decorating departments to provide consumers with everything nesseccery for style.

Some furniture used rich hard woods like ebony or macassar, and also featured veneers, or very thin layers of wood used as a surface covering, of exotic woods like zebrawood and mahogany.

Above is an an example of a cabinet by Jacques-Emile Rhulmann (1879-1933), a prominent early French Art Deco furniture designer. Rhulmann used exotic wood to great effect, allowing natural wood grains to emphasize the light linear quality of his designs. Inlays, designs made by setting pieces of substances like ivory, brass or mother-of-pearl flush within a large surface.

The Left interior designed by another Art Deco famous designer Henri Rapin (1873-1939). in 1924 he became a principal at the Manufacture Nationale de Sevres and artistic director of Ecole du Comite des Dames de l’Union Centrale des Arts Decoratifs.

Inspired by the era of escapism, the late 1920’s and 30’s brought us Hollywood sirens and Art Deco style. Christopher Guy’s timeless designs hark back to this golden age of glamour.
Largely influenced by French modernist designers of the 1930s, Christopher’s designs capture a sense of history. Dark, mahogany wood, high-quality metallic detailing, sumptuous fabrics and leathers signify Christopher Guy’s opulent furniture and accessories.

CLASSIC MEETS CONTEMPORARY

In Parisian apartments that are already flooded with charm and history, it doesn't take much to make these interiors the envy of all. But beyond the French doors, intricate cornices, and herringbone floors, there is something else the French do better than anyone: mixing classic French furniture with modern features and personal pieces.

Dating back to the 1970s, this style is unique because it borrows elements from many other aesthetics. In it, you can see nods to modern, traditional, art deco and even futuristic design. Form is one of the foundational elements of contemporary design. Contemporary design takes things a step further. These spaces often feature a mixture of both straight and elegantly curved lines, which can be seen as a slight nod to this style’s art deco roots.

Neutral shades are the cornerstone of contemporary design. 

The final key to creating a contemporary design is layering plenty of lighting throughout the room, paying special attention to natural light. In this case, contemporary style borrows a detail from mid-century modern design.

Unlike other styles, contemporary design is defined by the fact that it’s essentially a hodgepodge of other aesthetics from the later part of the last century. 

Christian Lacroix Maison for Roche Bobois

The Ligne Roset brand is synonymous with luxury and has come to symbolise an elegant way of life. The collection offers a complete lifestyle choice, from furniture to decorative accessories, such as lighting, rugs, and textiles. Each product is approached with creativity as the key value.

Diana Tozzi's Picks. Flea Market Les Puces de Saint-Ouen in Paris, France.

TO BE CONTINUED NEXT BLOGS, Inspiration: Italian Style, Russian Style, English Style.

Project: An Architectural Miracle

Construction management is the process of planning, coordinating and providing monitoring and controlling of a construction project. This style of project management is designed for the, as the name implies, construction industry. The stages are design, pre-construction, procurement, build, and owner occupancy.

On time and on budget are the norm, for even the most complex projects. Everyone performs at a higher level when they can review, communicate, and cooperate in a digital and interactive visual environment.

Now you can validate and optimize your project plan years before you start on-site.

A Technical sketch is turning into a 3D rendering of a Luxurious Villa

4D planning on many of projects, enabling more efficient and effective execution through cross-functional problem solving.

The process of developing interface for virtual glasses. Flat design template for mobile app and website design development with included UI UX elements.

Office building with open interior on top of blueprints, documents, expenses calculations and construction project planning concept.

Using Ceramics

Blog post is under construction.