Built in France from the late fifteenth century to the early seventeenth century, the Château was the manor house or residence of the Lord, or royal, and a nineteenth century country home.
A Château is the personal, and usually hereditary, badge of a family that holds some official rank within the royal authority; thus, the word château often refers to the dwelling of a member of either the French royalty or the nobility. The Château was not considered a Castle but a Palace, where people of the surrounding country took refuge during times of war. The walls of the buildings were typically made of stone with heavy timbered roofs, a huge amount of detailing, masonry construction, and complex design techniques. The interiors were quite grand with high ceilings, large windows, heavy doorways, towering fireplaces, stone floors, plaster mouldings and carved stone.
A Siheyuan is a historical type of residence that was commonly found throughout China. Throughout Chinese history, the Siheyuan composition was the basic layout used for residences, palaces, temples, monasteries, family businesses, and government offices. Although today they are being torn down to make space for high rise residences, In ancient times, a spacious Siheyuan would be occupied by a single, usually large and extended family, signifying wealth and prosperity. They used to represent the same kind of housing as a Château in that sense and exhibit outstanding and fundamental characteristics of Chinese architecture.
Zhenjiang Province has been the birth place for many of Chinas Intriguing and beautiful traditional artforms including the Cloud Brocade which reintroduces romance back into the surrounding areas, and tells these tales of the past year after year.
For centuries now, China has gained the repute of producing one of the world’s finest quality silk fabrics. Chinese brocade, as it is known today, has takers from all across the globe. It is rich in colour and texture with patterns usually taken from Chinese folklore.
European Folklore was also inspired by the far away lands of the East and these stories are also told within their fabrics. French Artist Jean-Baptiste Pillement’s interest in chinoiserie is very evident in the number of his ‘Toile’ patterns inspired by Oriental imagery.
We will be inspired by the patterns of Chinoiserie from the ancient Siheyuan and the patterns of the Toile from the Château and the stories they tell, and also the techniques of Toile and Brocade. These elements will come to life within the textures, colours and details of the Carmel Hotel Lobby.
Our concept speaks deeply to the meshing of the globe – of East, meets West. We aim to provide the opulence of a grand arrival, whilst paying homage to the site, its Architectural styling and its natural beauty.