Alisanne Wonderland - The Chateau Issue by Alisanne Wonderland

Alisanne Wonderland

PARIS PROVENCE BORDEAUX NICE CARRARA

THE

Château

ISSUE

A 130-year-old French Château, disassembled 33 years ago and forgotten in a warehouse — has been rediscovered. The four stone facades are ready to sell and ship from France.

Welcome to the Château Issue! Alisanne Frew, CEO

THE BORDEAUX CHÂTEAU

HAND-CARVED STONES DISCOVERED IN DECEMBER 2020 AFTER THE CHATEAU WAS DISASSEMBLED AND HIDDEN AWAY IN A WAREHOUSE

WATCH THE STORY

130 -YEAR- OLD FACADES READY TO SHIP FROM FRANCE

The warehouse filled with palleted stones, documented with CAD, and organized by row.

CLICK HERE for the 3D Tour of the Warehouse See all the Chateau stones organized on new export pallets and ready to ship from France. 5

These were the only photos available of the Château before it was disassembled. Our artist, Yann Terrer, used these two photos to produce the images of the south and north facades on the next four pages.

The Château before it was disassembed in 1989

THE BORDEAUX CHÂTEAU ENVISIONED

SOUTH FACADE The Bordeaux Château stones can be rebuilt as the Château was originally designed or reconfigured into a new design.

AS IT WAS ORIGINALLY BUILT IN 1890

You might choose to use the Château stones and architectural elements to build multiple buildings or follies on an estate, incorporate the stones into a new design, or expand/augment an existing structure with the neoclassical style of 19th-century France. 9

THE BORDEAUX CHÂTEAU ENVISIONED

NORTH FACADE 10

AS IT WAS ORIGINALLY BUILT IN 1890

WATCH THE CHÂTEAU REBUILT STONE-BY-STONE

Yann Terrer, artist and 3D Modeler on the Alisanne Wonderland Team, created this video from the CAD documentation of the 5,389 Bordeaux Château stones in the warehouse. The interior layout is conceptualized by the Design Team to represent how an interior space might be organized.

AREA CHÂTEAU SIMILAR TO THE BORDEAUX CHÂTEAU

Château de La Dauphine—an occupied château in the same region where the Bordeaux Château once stood before it was disassembled.

This pediment on the Château de La Dauphine is similar to the pediment on the South facade of the Bordeaux Château. However, both the North and South pediments of the Bordeaux Château have much more elaborately carved detail. 13

THE BORDEAUX CHÂTEAU

FABULOUS PIECES THAT WE UNCRATED

THE BORDEAUX CHÂTEAU

The Château stones were hand-carved from the quarry and their precision and uniformity is evidence of the level of craftsmanship practiced in the Bordeaux region in the 19th-century.

When the final pallet was being repacked, a small alarm clock was discovered. The clock was placed there by stonemason Claude Lacoste to commemorate the day he completed the disassembly of the Château. 16

THE BORDEAUX CHÂTEAU DIMENSIONS

SOUTH FACADE

NORTH FACADE FACADE NORTH 18

MEASURING EVERY ONE OF THE 5389 STONES A MUST SEE!

• 14,281 SF • 133 ft wide Château

• 37-foot wide South Pediment

• 11 ft doors • 11 ft windows

WHO IS ALISANNE WONDERLAND?

Team meeting at Hôtel Particulier Montmartre, Paris. From left: Cristiano, Paulina, Alisanne, Dominique, Jean Rémy, François

Alisanne Wonderland is a team of wild and wonderful professionals who see no limits to the beauty and extravagance that can be created in the world. Everyone invited to join the team is at the full maturity of their skills, commitment, and intentions. 20

ALISANNE WONDERLAND TEAM MEETING AT PENTHOUSE, CHEVAL BLANC, PARIS

Team meeting at the Penthouse of Cheval Blanc, Paris. From left: Paulina, Julien, Yann, Dominique, Jean-Christophe, Cristiano. Alisanne seated.

Celebrating the work preparing the Bordeaux Château for sale.

MEET ALISANNE FREW, FOUNDER ALISANNE WONDERLAND Alisanne Frew founded Alisanne Wonderland because of her love for 18th century France and her desire to bring the luxury and permanence of French building materials and decor to the rest of the world. She works with the most highly regarded artisans in France, and possibly the most accomplished in the world. Alisanne moved to Paris more than 30 years ago, with 20 years experience discovering and negotiating international purchases for clients, including interior designers, architects, builders, antiques retailers, and homeowners. She works directly with French limestone quarries, marble quarries in Italy, and with 18th century flooring materials suppliers throughout France. Her reputation for palatial architectural elements and French limestone and Carrara marble direct from the quarries has brought her clients worldwide. Alisanne often discovers historically significant reclaimed materials which she secures for her clients — warehousing in France until delivery is desired.

WHY WE WANT TO CONSULT ON BUILDING YOUR CHÂTEAU Your architect and builder will be the leaders in guiding your choices and decisions for rebuilding the château or incorporating the château stones into a new structure.

VIDEO

However, to assist with details possibly known only to French builders of historic properties, we’ve assembled a team of top designers and master craftsmen in Paris who count as their accomplishments the finest châteaux in France and notable buildings like the Louvre and Saint Sulpice.

THREE REASONS TO We are available to consult on structural support START NOW for the stone facades, staircases, terraces, walkways and drives, wine cellars, interiors, pools and fountains, and “follies” on an estate property.

1 2 3

SCARCITY

RESOURCES

PRESERVATION

The opportunity We have the The need to to own the team with create buildings hand-carved expertise in and estates stones from a traditional of privacy, period French building protection, and château - there methods along sustainability is no other one with advanced has never been for sale. construction greater. technologies. 23

“The time is now, because there are no other period French château stones available for sale. It is possible that this opportunity will never appear again.”

INTRODUCING THE

MASTER CRAFTSMEN Cristiano is a master craftsman, restorer, and project manager, working between France and Italy as a site manager for prestigious projects for the State, institutions, and private clients.

François is known for exceptional work around the world. François trained as a carpenter, but reached the highest level of Compagnon du Devoir for stone carving in France.

Dominique became a teacher for the history of furniture at Drouot, specifically 18th century furniture and techniques related to 17th, 18th, and 19th century furnishings. He is expert in the manufacture of woodwork, fittings, and cabinetry furniture.

Paulina does the anastylosis for the Bordeaux Chateau—the archaeological reconstruction by photographing, drawing, measuring, and mapping each stone in a CAD file and spreadsheet. This makes it possible to rebuild the Château as it was originally constructed in the 1890s or to use the existing pieces to incorporate into entirely new structures. 24

Cédric is the owner of a engineering office specializing in structural and technical works proposing flexible and adaptable solutions to technical problems concerning artistic and patrimonial historical buildings.

Jean-Rémy graduated from the Ecole des BeauxArts in Bourges. His mastery and expertise means that he works on prestigious projects both in France and abroad, especially in the United States. Parallel to his work, he continued teaching architecture at the Camondo school for 20 years. After graduating in 2002 from The Camondo School, Julien spent time with various agencies, including Wilmotte & Associés. Julien Boaretto has supervised major international projects in New York, London, Singapore, China, and Moscow mainly centered around the classic French style, which is his favorite.

Yann has been developing luxury projects in architecture and interior design for more than 15 years in collaboration with the largest agencies specializing in Parisian decoration. 25

CRISTIANO and several reliquaries. The quality of this work led him to an assignment at the Cathedral of Notre-Dame-Immaculée de Monaco for the restoration of paintings and furniture and the decoration of several rooms of the cathedral. Cristiano Cerrone is a total master craftsman, working between France and Italy as a site manager for prestigious projects for the State, royalty, institutions, and private clients. He has been involved for many years in creation and restoration projects for Alisanne Wonderland.

Cristiano was Project Manager for the reorganization, repalleting, and documentation of the Château stones. Cristiano also used his master stone skills to restore several components of the architecture. In 2003, Cristiano arrived in France. Almost immediately, he was asked to work on the Church of the Sacred Heart by the Principality of Monaco. Cristiano worked there for many years on the restoration of paintings, the furniture of the church, 26

PROJECT MANAGER - MASTER RESTORER

When the photo enlargement arrived, it was the first time Cristiano was able to see the individual Château stones. Cristiano is no stranger to the volumes of paperwork necessary to manage large restoration and building projects. Here he calculates the dimensions of the Château in preparation for the journey to Bordeaux to begin the reorganization of the warehouse where the Château is stored.

Re-stacking the export pallets

Cristiano restores the North Pediment. 27

FRANÇOIS

François traveled to Italy and Spain as a trainer in technology and CAD at the Saint Lambert school in Paris. François was a consultant for UNESCO in Lebanon and Syria following the devastating war damage. François Braud’s expertise is unmatched in the world of stone. François is regularly called upon to work on historic buildings in France, such as the Abbey of Clairvaux, the Senate, and the National Assembly in Paris. François is also in demand abroad in Quebec, in Belgium for the Basilica of St Vincent in Liège, in Egypt for the

study of the reconstruction of the interior of the burial chamber of the tomb of Ramses II, in Karnak on the reassembly of the 9th pylon, and in Morocco in Essaouira for the restoration 28

of the ramparts. In 2004 François founded Planète Pierre, his workshop for stone cutting and building complex architectural elements, and for the study of stereotomy and apparatus. - continued

MASTER STONE ARTIST

The Church of Saint Sulpice is only slightly smaller than Nôtre Dame. François Braud was the technical manager and chief engineer for the total restoration for the North Tower. His coworkers said he was the first to arrive and the last to leave every day for four years.

FRANÇOIS Since 2004, François Braud has restored monuments for many prestigious sites, including 1) four years as the technical manager and chief engineer restoration for the north tower of the Church of Saint Sulpice, 2) the six Gothic alabaster Temple of Love in Bordeaux vaults of the chapels of the Verne monastery in the Var, 3) the reconstruction of a vault in the Legion of Honor school in Saint Denis, 4) the survey of the exterior elevations of the monumental staircase by Leonardo da Vinci Antique vaulted buildingrestoration of stone

Construction of the upper Top level staircase for Saint dome in Saint Sulpice, Paris Sulpice, Paris 30

in the Château de Chambord, 5) a study of the methodology for reassembling (by anasthilosis) a 14th century Mamluk porch intended for exhibition in the Department of Islamic Arts at the Louvre, and 6) the restoration of the dome of the pantheon in Paris. In private practice, François Braud worked on the 1) design of an 18th century château for a Russian client in Geneva (freestone and many stone stairs respecting modern constraints), 2) design of the reconstruction of the

MASTER STONE ARTIST Bellevue castle in Yvrac near Bordeaux (a 1600 m3 stone site), 3) creation of a flat vault for a wine cellar in Chicago, Michigan, and 4) construction of the Palace of Dreams in Riyadh (with 600 tons of stone dismantled from various monuments then restored and pre-assembled in workshops in Port Sainte Marie and assembled on site).

Construction of a wine cellar for a French Wine Estate

In addition to his many projects, François Braud shares his passion and knowledge of stone masonry as the founder of an international school project in Aleppo, Syria. Approximately 15 students live and study at the site for one year. François also was tapped by UNESCO to inventory war damage in churches and mosques in Mosul. “Petal Staircase”—a self-supporting staircase invented by François Braud and named by him 31

DOMINIQUE - MASTER RESTORER

The woodworking trades hold no secrets from Dominique. He began his apprenticeship of three years in carpentry in 1974. Following this course, he took up a cabinetmaking apprenticeship in 1977 for two years, then marquetry, and ended with two years of staircase carpentry apprenticeship.

All this knowledge and expertise led him to work for 16 years in the prestigious Association des Grands Ateliers de France, as a workshop manager for the restoration of large collections of antique furniture from French national institutions and châteaux such as Compiègne, Fontainebleau, the Louvre, Maison Lafitte, the National Library, and more. At the same time, having developed a curiosity for the history of art, he began

training for three years at the Ecole du Louvre and won gold as the best worker in France in Cabinet Making and Marquetry in both 1983 and 1986. Because of the experience he accumulated in the field of woodworking throughout his career, Dominique decided to become a teacher for the history of furniture at Drouot, specifically 18th century furniture and techniques related to 17th, 18th,and 19th century furnishings.

During his long career and the many challenges he took on, he distinguished himself in the manufacture of woodwork, fittings, and cabinetry furniture. Dominique spent two years manufacturing stylish seats Gilt boiserie custom made for a villa — hand-sculpted in eastern France. completely in wood. 32

PAULINA - ARCHITECTURAL CONSULTANT In 2010, she formed part of ULLOA KLUG’s studio team, an architectural and construction company and worked for five years mainly focused on the management and construction supervision of more than 180 varied projects of real estate— residential and landscape. In parallel Paulina independently developed private residential projects in Chile and Mexico and renovation projects in the United States.

Since 2020 and presently, Paulina lives in Paris, Paulina’s career started France and works with with puzzles, Legos, and Alisanne Frew’s company, sand castles—the signs Alisanne Wonderland. that architecture was her Here, Paulina has worked passion. In 2008, she on the development graduated as an architect of luxury residential in Chile and started her first In 2017 she moved to projects, and lately with project for the university— Italy to work in Rome on the Bordeaux Château the retail area of the restoration and patrimonial doing the anastylosis— Santiago airport. Paulina architecture. From 2018the archaeological also taught “Spatial Ethics 2020, Paulina worked with reconstruction by and Professional Practice” the master restaurateur photographing, drawing, and “Research Applied Stella Satolli, experienced measuring, and mapping to Architecture” in the in the restoration of each stone in a CAD file Universidad del Desarrollo. Renaissance villas like the and spreadsheet. This Villa Madama, the Galleria makes it possible to rebuild In 2009, she joined the Borghese, and Andrea BAUFORM firm and the Château as it was worked in the development Palladio’s Villa Emo in originally constructed in the Treviso. From Ms. Satolli of a 20,000m2 hospital, 1890s or to use the existing in parallel with other retail Paulina learned ancient pieces to incorporate into Italian techniques. projects for that firm. entirely new structures. 33

CÉDRIC STONE - METAL - WOOD Cédric, engineer for the Bordeaux Château project

Cédric attended the famous fiveyear program at the prestigious Ecole Nationale d’Ingénieurs de Belfort (The highest ranked University in France for scientific and technologic studies). He then continued to the Ateliers Beaux-Arts of Paris and spent 6 years in courses in drawing, painting and sculpture. Then as a further study he wanted to combine “hand’s on experience in stone cutting” and went to the Atelier de La Pierre d’Angle (A School to learn stone cutting) which specializes in heritage restoration. Cédric gained the professional title of Stone Cutter Level 5.

Steel structure to support the stone facades Cédric is accredited in the Eurocodes of Standardization for structural and computation analysis in all phases from feasibility to construction— also dimensioning and verification of structures and reinforcements for masonry, metal, and wood. Not only is his formation in developing 3D design, dimensioning, calculations and producing construction drawings for immense structures, he also has a passion for the theatrical! He creates giant structures for ephemeral events such as the recreation of the Eiffel Tower for an international couture show — pictured on page 35. 34

STRUCTURAL ENGINEER

JEAN-RÉMY In 1973, Jean-Rémy entered Camondo and graduated in 1974, during which he majored in interior architecture. He then joined the prestigious Agence Jansen rue Royale in Paris from 1976 to 1982, under director Stéphane Boudin, with the head of the design office being Jean Poubelle.

Concept Maquettes: The château facades are presented as four individual “follies” or party buildings. JeanRémy proposes a solution that uses all the stone from the four facades of the château, but instead of building one château, he creates four individual buildings—each with their own character. 36

CONCEPT PLANS The château facades designed as a home with grand salons, wine cellar, and pool.

JEAN-RÉMY

Having previously done his National Service Cooperation in Africa, Jean Rémy’s knowledge of the field led to him being sent there again to work on the great palaces of the heads of state at the time. (Zaire, Senegal, and Ivory Coast). Jean-Rémy returned to Paris and opened his own agency in 1982.

Jean Rémy is what we call today an architect of the “old school.” Trained under the “Jansen method” (1:1 scale hand drawings instead of digital files) his drawings are first sketched and refined on tracing paper, and all the details are drawn to size. His studio uses gouache to color, and the perspectives 38

of the projects are also made by hand. Jean Rémy uses the collapsible volume model in order that the customer can better visualize the project, and to easily transport it when traveling. With multidisciplinary interior designer evolving in its style and influence around him, his major

CONCEPT PLANS

asset remains his great knowledge of classic French styles. Trained at a time when detailed classical drawing was still taught in school, his mastery and expertise means that he will work on prestigious projects both in France and abroad, especially in the United States.

Although Jean-Rémy is now retired, he is always delighted to return to service when he is seduced by the projects presented to him, in order to impart his knowledge, his ideas, and his exceptional drafting and design skills..

Concept Plans: In these plans, the Château facades are incorporated into a completely new and extravagant vision for a home—one devoted to elegant and relaxed living, abundant entertaining, and the exhibition and enjoyment of fine art, furnishings, and decor. See the 3D rendering of Jean-Rémy’s plans on pages 64-67.

JULIEN from whom he gained and perfected his knowledge of the classic French style.

It was in 2004 that Julien met Jean-Rémy with whom Julien spent 12 years, and

Former teacher at The Camondo School, Jean-Rémy is part of the traditionalists—the generation of interior designers who work with the drawing board, gouache elevations for coloring, 1:1 scale drawings of details,

and perspectives by hand. It is all this knowledge and way of working that JeanRémy would teach Julien Boaretto and that they would practice together for 12 years. Julien has supervised major international projects in New-York, London, Singapore, China, and Moscow mainly centered around the classic French style, which is his favorite. Julien keeps a vital sense of curiosity and continuously refines his training in order to respond to all possible demands related to style.

ARCHITECTURE D’ INTÉRIEUR & DESIGN Through his apprenticeship with Jean Rémy, he knows a project can, when it is worked as an entirety, offer a better result with the architecture, the gardens, and the interiors because all three are closely linked. In addition, with a family history linked to the art world — parents who are antiquarian specialists, a grandfather who is a surrealist painter, and a great-grandfather who is a poet — Julien takes

an attentive and sensitive attitude to an owner’s art collections, as well as to a collection’s integrity and its enhancement in the decor. All these traits qualify Julien as an “artisan decorator,” manually shaping a project using traditional means, and always mindful of the quality and accuracy of his work.

See more of Julien’s drawings on pages 68-71 where he has created a double Château with a central wing to connect the two buildings. Yes, we can build any additions onto the original, including another entire château from the same quarry.

YANN Yann Terrer has been developing luxury projects in architecture and interior design for more than 15 years in collaboration with the largest agencies specializing in Parisian decoration.

Yann trained in industrial design and then in product, furniture, and interior architecture at The École Boulle. His skills in 3D computer graphics allow him to design spaces for hotels, restaurants, retail, and exceptional properties.

The château, as shown reconstructed in the video on the next page, can accommodate a pool 16 meters long by 4 meters wide. Yann often produces images that reflect the quality and care infused into each project by prestigious agencies such as Jacques Garcia decoration, RDAI for Hermès, Sybille de Margerie, and Stéphanie Coutas.

These diverse collaborations have enriched his aesthetic vocabulary, and his way of understanding space and interior staging. Yann pays particular attention to the rendering of materials, furniture, and a luminous atmosphere. 42

INDUSTRIAL DESIGN

WHY YOU WANT TO WORK WITH ALISANNE FREW

John Wilson of Sweig General Contracting, Inc - San Diego generously took the time to answer questions about Alisanne Wonderland and Alisanne Frew’s involvement in SWEIG building projects. Q. Of all the suppliers available to you for limestone, marble, and oak, why did you choose Alisanne Wonderland? (Alisanne initially provided a proposal to provide limestone flooring competing against two other bidders. After the success of her limestone, Alisanne was chosen to supply the Carrara marble, antique French oak flooring, limestone columns, and terracotta tiles.) A. Alisanne is the only bidder who arranged a meeting with the Owner and Design team to present material/ finish options our entire team could see in person.

Alisanne personally flew to San Diego with the proposed stone along with the Stone Quarry manager (from France) to meet with us in person and answer all of our questions and/or concerns. She has gone above and beyond even our expectations. She put forth a thousand times more effort than any other subcontractor or material supplier. She would continuously fly material down from France or Italy in order for our Client to see in person typically within the same week as the initial inquiry was placed. She is described as a “Go Getter” by our Client. And on top of that, her pricing was unbeatable, the stone fabrication quality was unmatched, and her delivery schedule met our deadlines.

Black terracotta — custom tiles

With Alisanne, we always know we are getting the highest quality materials at a reasonable price with unparalleled customer service/attention. 44

“Alisanne Wonderland is our only supplier where there’s no middleman. Alisanne Frew is personally involved and available every step of the process.” John Wilson SWEIG General Contracting, Inc San Diego, California

French limestone installation on exterior terraces. French limestone columns custom45 carved from the client’s sketches.

WORKING WITH ALISANNE FREW

Limestone columns in rear loggia Q. Why did Sweig choose Alisanne Frew as a supplier and consultant and continue to work with her for the last two years?

Q. What is one quality of working with Alisanne on your building projects that stands out?

A. Our firm had never worked with Alisanne prior to this project; she was recommended by our Landscape Architect, James Hyatt Studio. Alisanne and her team have done everything in their power to be awarded multiple scopes of work. When she first delivered the initial limestone order on schedule, we then explored utilizing her services for other materials – limestone columns/ wall caps, reclaimed French oak flooring, marble slabs, etc. This is when we realized her pricing could not be beat for the highest quality materials we required.

A. She always makes us feel as if we are her only client and top priority. She is one supplier who we can always count on to deliver us the materials which meet our deadlines. She is also the only material supplier who has consistently delivered and never created one excuse even with the complications related to COVID. She can be trusted to deliver. With our clientele, there are no excuses, either you deliver or we find someone who will. When Alisanne is supplying materials for our project, we know we are in good hands and can focus our attention on other issues. 46

Q. What are some of the problems that Alisanne has been able to solve for your project?

Q. Why does Sweig General Contracting, Inc. continue to choose to work with Alisanne Wonderland in preference to other suppliers?

A. We had to deliver immediately for our Client and the fact Alisanne flew the Quarry Manager out to our construction site, we were able to use his expertise to design on the fly and ask questions they both could provide answers and recommendations towards. This was all before she was awarded a Contract. This in turn built and instilled confidence with our Client and allowed us to proceed without any delays.

A. Alisanne can be trusted to deliver the highest quality materials for reasonable prices. She has never let us down and I can’t imagine she will in the future. Her customer service is heads and shoulders above everyone else. Alisanne and her team continue to earn every ounce of business we have given her. The fact we have placed more than 50 orders with her related to our project speaks volumes in her ability to perform and our confidence in her.

Carrara marble in spa

“If every subcontractor or material supplier gave our project the attention Alisanne has given us, my job would be exponentially less complicated.” John Wilson, SWEIG General Contracting, Inc San Diego, California 47

WORKING WITH ALISANNE FREW

Carrara marble slabs custom cut from quarry blocks specifically chosen for the bath. Q. Can you describe some specific construction challenges Alisanne solved? A. Stone Slabs for our Master Bath The Interior Designer had initially selected granite and marble slabs which were absurdly priced coming from Los Angeles. With the proposed selections we were more than $150k over budget. We had a quick phone call with Alisanne and within the week, she had already met with multiple quarries in Italy and sent high quality photos and videos detailing our

options. We needed approximately 80 slabs or two massive blocks, no small feat in the middle of COVID. We were able to coordinate via multiple conversations to narrow down the options. What secured the selection for Alisanne, was the fact she purchased a full slab (on her own dime), and delivered it to our construction trailer within a week. Once our Client saw the stone Alisanne proposed in person, 48

the decision was made literally within seconds. There was no comparison to the other stone samples from LA, Alisanne’s samples were clearly superior. The marble was the whitest white with distinct grey veining at half of the price of what another suppliers wanted to charge us. Alisanne even offered to tour our Clients to the various quarries if they were willing to fly to Italy – again, unmatched customer service.

Carrara marble bath.

Wide plank antique French oak

Antique French oak cut to chevron pattern

200 Year Old Reclaimed French Oak Flooring Our Clients sometimes have difficulty making material selections. Again, our Interior designer had specified a reclaimed flooring from a company in Los Angeles, which our construction team was not sold on. Alisanne immediately

provided samples of all the flooring – naturally aged wide planks, parquet, chevron and herringbone patterns at no cost (we had to pay for samples from the other company). Once again, Alisanne delivered material in widths and lengths suppliers here in the US could not match and at a price which met our budget. 49

CONSTRUCTION CONSIDERATIONS Building a château is not unlike building a church or a fortress. There are all the expected construction elements, but you will want to calculate for the monumental and even some completely unexpected elements and details that will give your château it’s individuality.

WHAT WILL IT COST TO BUILD? Estimates for the cost to build a château are dependent on a number of factors — all of which are primarily in the builder’s, designer’s, and owner’s control. It can be difficult to give a global estimate of the cost of reassembling the Château, as this will depend on the country where it will be reassembled. In addition to the purchase and delivery of the Château stones to an international port, the price of which is set and included, it will be necessary to add transport costs from the port to the Owner’s site and on-site storage costs. Obstacles to be aware of in the construction of a château: 1. A blocking element in the ground where a château would be located and which would make its construction difficult (rock, spring resurgence, etc.) 2. Climate that doesn’t comply with the stone’s resistance.

Site Preparation includes the layout of the site, site studies, soil preparation, utilities, the foundation, and the construction of any underlying structure that will hold the Château stone. Once the Château has been purchased, the Buyer will have their architect obtain planning permission and select a general contractor to organize the Château construction project. Does the slope of a property affect the cost of building a stone château? No, in most cases the slope of the land will not pose a problem or increase the cost of building on the site. However, if the slope is too steep, the land may need to be reinforced to hold the upper part of the hill when it is leveled—this could add extra cost. Labor A professional estimate is that it will take Extra Materials. In addition to the château stone, there will be a range of materials that will be needed. Alisanne Wonderland can supply a selection of outstanding materials such as Carrara marble, antique and new terracotta, 18th-century French oak flooring, and French limestone to the site, for both the interior and exterior fittings. 50

BUILDING A CHÂTEAU SITE AND SOIL

UTILITIES AND SOLAR

The château will of course be enhanced when the site is suitable for classical construction (a vista with a little bit of height, proximity to a water source, the possibility to create a formal garden).

Depending on the wishes of the new owner, it is indeed possible to install solar panels on the roof terrace of the château.

A general study of the site will be carried out, taking into account the access to the land, car paths, car park(s), garage(s), RV pad, dock(s) and special construction services (decks, terraces, stairways, pool, ponds, and fountains). These studies will be carried out in collaboration with engineers and the chief architect.

However, if the option of a mansard roof is chosen to extend the surface of the château, solar on the roof will not be possible.

A soil survey, in order to make recommendations for the type of foundations, will be carried out by the general contractor who will be in charge of the construction. The soil survey determines the type of foundation in relation to the type of construction.

SPECIALTY SERVICES It will be essential to have the services of a master stone builder, with traditional stone working knowledge.

Building codes. All construction in every country is governed by planning codes. It will be necessary to ensure that the Château complies with these codes. How long will preparation for construction take? Before the assembly of the Château can begin, the foundations will have to be built, the earthworks undertaken,and the structure that will hold the four façades studied and built. The time needed to obtain the permits will also have to be taken into account.

RECOMMENDATION *When checking on prices from

suppliers, remember to ask for all shipping and transport fees. Much can be undisclosed, even in seemingly straightforward wholesale or retail purchases.

CONSTRUCTION CONSIDERATIONS Preliminary Study for a steel structure to support the limestone facades.

Feasibility Study available for download - click here (PDF 650KB) Cédric, the structural engineer on the Alisanne Wonderland Team responsible for these drawings and the Feasibility Study, attended the famous five-year program at the prestigious Ecole Nationale d’Ingénieurs de Belfort (The highest ranked University in France for scientific and technologic studies). See pages 34-35 for his bio and an example of a steel structure he designed for an international couture show. 52

STEEL SUPPORT STRUCTURE SECTION OF FACADE WALL The walls are made of an insulation and waterproofing complex and allow the passage of domestic networks and pipes.

DETAIL OF THE CORNICE SUPPORT Peripheral brackets will take the loads at the level of the floors of the second floor and the roof terrace under the cornices.

CONSTRUCTION CONSIDERATIONS Alisanne Frew will supply an additional 15 tons of limestone blocks from the quarry, where the original Château blocks were hand-carved, for the buyer of the Bordeaux Château. What a surprise to find that the quarry that built the Bordeaux Château is actually underground.

The entrance to the underground quarry.

The stone quarry that HAND CUT all the stone for the Bordeaux Château is still a working quarry and two hours from Bordeaux. We offer the buyer the possibility to expand the Château to any size. We can make the additional stones from exactly the same quarry. 54

LIMESTONE FROM THE ORIGINAL QUARRY Alisanne Frew will provide three extra blocks of stone (approximately 15 tons) to accommodate breakage, accidents, or needs for additional stone. It is possible to see the area where the Château was most probably quarried. It was evident because it was extracted by hand. The marks you see on the ceiling are the chiseling out of the stone. Another feature of this quarry is a vineyard above the quarry, which could not be touched or excavated because the grapes were too valuable - the grapes today are used to make cognac! This cave-like quarry has an ancient opening with massive tunneling - quite overwhelming. Even some of the workers get lost and there is no cell service. You have to have boisterous lungs to get someone to look for and find you!

EXAMPLE OF A BLOCK (dimensions + weight) 190cm x 130cm x 105cm (6’3” x 4’3” x 3’5”) - approx. 5 tons

CONSTRUCTION CONSIDERATIONS

Most of the entire city of Bordeaux was made from the stone in this quarry, and today all the stonemasons still go there to get their stone for renovations and to complete new buildings. This stone was so popular for construction that almost all the masons agreed on a standard size building block in the 1800s, so that stones were always ready and in stock at the quarry. Still today, Bordeaux stone masons use 35cm /14” tall blocks for new construction. 56

Cristiano and Alisanne are standing in front of the entrance. Above them is a vineyard that grows grapes for Cognac, which still exists today on top of the underground quarry!

LIMESTONE FROM THE ORIGINAL QUARRY

Alisanne standing next to blocks of stone just quarried. Extra balusters have been made to replace or add to the original balusters if needed. There are massive heights below ground, where, for hundreds years, stone has been removed to build almost all of Bordeaux—one of the loveliest cites in France.

WHEN THE DREAM IS LARGER THAN BUILDING JUST ONE CHÂTEAU

THE CHÂTEAU COMPOUND

A formal estate garden in the French tradition is meant to impress and delight. Christie’s Real Estate “Green and Grand: 7 Homes with Delightful Formal Gardens” www.christiesrealestate.com/blog/homes-with-delightful-formal-gardens/

A TOP CHOICE FOR RETREATS

A Renaissance château on104 private acres in Cognac. The main structure is 19,375 SF with multiple outbuildings and a Neoclassical garden. Christie’s Real Estate “Supersized Homes: 7 Large Family Estates” www.christiesrealestate.com/blog/six-wonders-epic-family-homes/ 60

Estate properties along the Malibu coast in California.

AND MULTIGENERATIONAL ESTATES

Forbes, “Jay Leno Opens Up About Buying A Newport Mansion And Returning To Prime Time” Apr 22, 2021 www.forbes.com/sites/michellehofmann/2021/04/22/comic-jay-leno-opens-up-about-buying-a-newportmansion-and-returning-to-primetime-as-the-host-of-you-bet-your-life/?sh=186a07f346f6 61

MAKE THE CHÂTEAU DREAM

REAL B

Imagine all the times you visited France and all the opportunities you had to buy a château.

1 2 3

ut you haven’t bought that château, and every time you return from Europe, you recreate your experiences with wines, decor, furnishings, and fabrics from France. Well, it’s time to stop re-creating and start creating! We look at seven steps that will elevate your love for the French aesthetic from a dream — to a reality. Collect inspiration. Find château images you love and would absolutely bring you joy to come home to. Collect images that inspire you — become aware of what naturally pleases you.

Make a wish list of special features. Both the interior and exterior can include many surprises — fabulous staircases, elevators, hidden rooms and passageways, terraces and balconies, fountains... What materials do you want to see in your château? What are your “must haves”... French limestone, Carrara marble, terracotta tiles, antique French oak, zinc, glass, metal...

Inside the exterior château facades, the interiors can be anything. 62

WHY BUY ? WHEN YOU CAN BUILD • EXACTLY WHAT YOU WANT • ON A PERFECT PIECE OF LAND • ANYWHERE IN THE WORLD

4 5 6 7

The perfect piece of land. If you don’t already own the acreage to hold your château or compound of châteaux and folies, now is the time to start the serious search. Your architect and designers. Share your ideas and choices with your architects, concept engineers, designers, 3D visualization specialists, and château experts. Legal and professional. You’re making a choice of significance to build a French château or construct a collection of châteaux that reflect the style and power of the finest estates in Europe. Choose family and friends to share your plans with. The love and support of people dear to you, along with their ideas is priceless — you never know where a winning contribution will come from. 63

JEAN RÉMY VISIONS OF A CHÂTEAU ESTATE FROM THE MASTER CRAFTSMEN

CHÂTEAU RECONCEPTUALIZED

Palatial roof garden atop the main structure of the château

JEAN RÉMY VISIONS OF A CHÂTEAU ESTATE FROM A MASTER CRAFTSMAN

CHÂTEAU RECONCEPTUALIZED

Mezzanine level of this fantastically “otherworldly conceptualization” starts below the roof garden. See Jean Rémy’s drawings of the roof garden on pages 37-39. 67

JULIEN VISIONS OF A CHÂTEAU ESTATE FROM A MASTER CRAFTSMAN

The double château project is built to connect the two buildings part of a study to extend the living in symmetry. This creates a space of the original château. large reception room bathed in light which enters through the Seeking to be in perfect harmony numerous windows and the glass with the existing architecture, it roof above. was split and a central wing was 68

CHÂTEAU RECONCEPTUALIZED

The north façade is treated with lightness but not without strength. It is enlivened by a colonnade of Tuscan columns, like the temples of antiquity, topped by a glazed

gallery offering a passage between the two buildings from the first floor.

JULIEN VISIONS OF A CHÂTEAU ESTATE FROM A MASTER CRAFTSMAN

On the south side, there is a large terrace which gives access to the garden and allows the large living room to be extended on sunny days and to enjoy

the view. The architecture is a continuation of the original Château’s facade. 70

CHÂTEAU RECONCEPTUALIZED

FRANÇOIS

CHÂTEAU ELABORATIONS

CHÂTEAU ESTATE ELEMENTS FROM A MASTER CRAFTSMAN

Wine cellar for a wine estate

Assembly of staircase steps Double flight staircase for a private home in Bordeaux

Temple of Love dome

Massive stone construction for orangery in Bordeaux Bench for home in Burgundy

Large staircase for building in Paris

Temple of Love, Bordeaux

Double flight staircase for private home in Bordeaux

Detail of 3-level staircase

Vaults - left: cellar in Paris rue de l’Université. right: Gothic vault for a monastery in St. Tropez

Reconstruction of upper dome, Saint Sulpice, Paris 73

Top level staircase for Saint Sulpice, Paris

YANN

CHÂTEAU RENDERINGS

VISIONS OF A CHÂTEAU ESTATE FROM A MASTER CRAFTSMAN

SOUTH FACADE

NORTH FACADE

CHÂTEAU RECONCEPTUALIZED WATCH THE 5389 STONES COME TOGETHER INTO A COMPLETE CHÂTEAU.

THE BORDEAUX CHÂTEAU

DOCUMENTATION PROCESS 1. When the stone mason disassembled the Château, he first palleted the balustrade. Then he started on the upper left corner of the facade and palleted

the stones according to the Row they were from. He continued sequentially all the way around the building.

Every pallet that has an A on it, is from Row A in the Château, and so on.

2. As an example of the documentation of the pallets from the Château, we show the process with one pallet - Pallet B 3 (from Row B). Photographic record of Pallet B 3 from Row B. Return Piece, Top Piece of Dentil, Pediment

3. After each pallet was transposed onto a new export pallet, it was handdrawn and added to the master spreadsheet.

Example of hand-drawn notes for Pallet B 3 (from Row B).

THE BORDEAUX CHÂTEAU DOCUMENTATION PROCESS

Pallet B3

4. Every pallet is documented on the master spreadsheet. Example: Pallet B3 is outlined in red.

5. Original numbers or notes from the stonemason, who disassembled the Château 35 years ago, are photographed, added to the notes, and recorded on the master spreadsheet.

Pallet B 3 shows the original #30 written on the stone by the stonemason - indicating Stone 30 in Pallet B 78

6. All stones on every pallet are recorded on the master spreadsheet. E

The image above shows a section of the master spreadsheet for Row B, Pallet B3 with stone F30 (the Return piece) outlined in red. H

7 1/2

FCS

FS0

1 FS

5/8" 1'-9

1'-1

0 1/2

FCS

5/8"

FS 1

11 1'-4

1'-9

FCS

1/8"

FS 2 1'-3 1/8"

2'-9 1/2"

1'-9

FS 3

1'-1 1/4"

5/8"

FCS

1 5/8

1'-6

2'-11"

1'-8

1'-3"

1'-1

FCS

FS 5

1'-9

2'-9 1/2"

1'-9

2'-10 1/4"

1'-1

FCS

1 1/4

FS 7

2'-9 1/2" 2'-9 1/8"

5/8"

FCS

1/2"

FS 6

1'-1 5/8"

2'-10 1/4"

1'-1

1'-11 5/8"

2'-8 1/8"

7/8"

FCS

1/2"

FS 4

1'-1 5/8"

7'-1 1/4"

1'-3 1/2"

1'-0 1/4"

1/2"

1'-1

5 7/8"

1'-0

5/8"

2'-8 1/4"

2'-9 1/4"

1'-9

2'-9 1/8"

17 2'-6

7/8"

FS 8

1'-1 5/8"

38'-4 5/8"

1'-11 5/8"

1'-0

1/2"

FCS

1'-1

0 1/2

FS 9

1'-7 1/4"

1'-7 7/8"

2'-5 3/4"

2'-5 1/8"

1'-8 1/2"

1'-7 5/8"

2 3/8"

2'-1

1 3/8

9 7/8"

2'-11"

1'-0 5/8" 6 3/4" 9 7/8"

5/8"

1/8"

FCS 0

5 7/8

1'-7

" 1'-2

1/4"

5 7/8

1'-9

FCS

FS 10

2'-8 5/8"

1'-11 5/8"

A XIII

A XII

2'-8 1/4"

2'-9 1/8"

A XV

A XIV

1'-7 5/8"

A XVI

3'-5"

2'-0 3/4"

1'-11 5/8"

A XVII

A XVIII

A XX

A XIX

4 3/8"

B20

1'-9 5/8"

1'-5 3/4"

1'-9 5/8"

B21

B22

2'-0 3/4"

1'-7 5/8"

B23

B22 bis

1'-6 1/8"

B24

1'-5 7/8"

B25

7 7/8"

B27

B26

1'-9 1/8"

2'-0 3/8"

2'-8 5/8"

B30

B29

B30 bis

B31

B31 bis 1'-10"

1'-1 1/4" 2'-5 7/8"

2'-1 1/4"

2'-2 1/8"

2'-0 3/4"

2'-1 3/8"

B32

B33

1'-9 1/4"

1'-7 5/8"

B35

B36

2'-6 3/8"

3'-0 5/8"

1'-9 1/8"

1'-9 1/4"

B37

1'-8 7/8"

B38

2'-7 7/8"

1'-0 1/4"

B39

B40

2'-10"

1'-8 1/2"

2'-7 1/4"

B41

1'-8 7/8"

1'-2"

1'-10 1/2"

C 24

C 25

C 26

C 27

C 28

C 30

C 29

C 31

C 32

C 33

C 34

7 7/8"

E 26

D 28

1'-11"

D 29

1'-11 5/8"

D 30

1'-0 1/4"

1'-1 3/4"

E 26 bis

1'-1 5/8"

1'-1 3/4"

E 28

E 27 2'-1 5/8"

1'-2 5/8"

9 7/8"

E 29

F 33

F 34

F 35

F 36

1'-6 1/8"

11 1/4"

F 37 F 38

F 39

F 40

F 41

F 42

F 44

F 43

11 1/4"

3'-4"

1'-11 5/8"

1'-6 3/4"

2'-10 1/4"

D 33

D 34

3'-3 3/8"

E 30

11"

2'-11 3/8"

1'-7 1/4"

D 35

3'-1"

D 37

D 36

3'-1 3/8"

2'-7 1/4"

1'-4 1/2"

E 31

E 32

1'-10 5/8"

1'-0 5/8"

1'-1"

1'-0 5/8"

1'-1 3/8"

1'-1 1/4"

E 35

E 34

E 33

1'-1 1/4"

11 3/4"

1'-3 3/8"

F 45

F 46

F 47 F 48

F 49

F 50

F 51

F 52

F 53

F 55 F 55 Bis F 56

F 57

G 24

G 25 8 5/8"

8 5/8"

H 24

H 25

H 26

F 58

F 59

1'-3 1/2"

F 62

F 61

F 60

1'-11 5/8"

1'-3 1/2"

F 54

1'-3 3/4"

1'-9 7/8" 6 1/4"

11"

F 32

1'-11 1/4"

D 32

1'-3"

E 24 bis

1'-0 5/8"

1'-3"

F 31

2'-4 3/4"

3'-1 3/8"

1'-7 1/8"

D 31

3'-1 3/8" 1'-10 7/8"

1'-1 3/4"

E 24

1'-1 1/4"

1'-4 7/8"

D 27 2'-5 1/2"

1'-4 1/8"

3 7/8"

3'-2 1/4"

1'-3"

3'-2 1/4"

2'-2 3/8"

11 3/4"

3'-6 1/8"

D 26 E 25

2'-7 7/8"

2'-8 7/8"

E 21

1'-1 3/4"

1'-5 3/4"

D 25 E 23 bis

1'-3"

2'-3 1/8"

D 24

E 23

11"

1'-1 3/8"

1'-1"

1'-5 3/4"

D 23 E 22

1'-2 5/8"

3 7/8"

1'-1 3/8"

1'-9 1/8"

3'-5 1/8"

1'-1 3/4"

E 21 bis

1' 8 1/8"

E 19 bis

1 3/8"

D 22 1'-9 7/8"

E 20 3 7/8"

2'-5 7/8" 3'-2 1/4"

6 7/8"

1'-9 7/8"

D 21 10 7/8"

11 5/8" 3'-2 1/4"

6 7/8"

D 20 6 7/8"

6 7/8"

6 7/8" 2'-4"

E 19

7 5/8"

1'-10 1/4"

D 19 E 18

11 5/8"

1'-9 5/8"

1'-10 1/2"

D 18

Row A Row B Row C Row D Row E

1'-5 3/4"

1'-5 3/8"

2'-7 1/2"

1'-4"

2'-6 1/8"

4'-11 1/4"

3 7/8"

1'-3 3/4" 11 3/4"

X 16

1'-6 7/8"

2'-6 3/4"

5'-2 5/8" X 17

1'-3 3/4" 11 3/4"

X 18

1'-3 3/4" 11 3/4"

11 3/4"

1'-3"

1'-1 3/4"

1'-3"

1'-1 3/4"

1'-3"

1'-1 3/4"

1'-3"

1'-1 3/4"

11'-6 5/8"

8'-9 1/8"

1'-3" 1'-3" 1'-3"

2'-0 3/4"

2'-6 3/8"

S 45

S 46

Q 32

1'-3"

2'-3 1/2"

10 1/4"

T 21 9 7/8"

T 22

10 1/4"

1'-1"

S 50

S 51

1'-5 3/4"

S 52

S 53

11 5/8"

v 21 9 7/8"

10 1/4"

1'-5 7/8" 8 5/8"

1'-8 1/8"

2'-11" 2'-5 1/2"

W 23

W 21 W 22

4'-3 1/8"

X 20

2'-6 1/8"

Q 37

1'-2 3/4"

Q 39

P 42

P 41

P 40 2'-10 5/8"

2'-3 9/16"

2'-1"

1'-7 5/8"

10 1/4"

Q 40

Q 41

3'-10 1/2"

X 22

R 41

1'-3"

1'-1 3/4"

R 40

Q 42 2'-5 1/8"

3'-3 3/8"

R 44

R 45

8 1/2"

v 23 1'-5 7/8"

v 24 1'-8 7/8"

8 1/2"

W 24

1'-5 3/4"

2'-11 3/8"

4'-8 3/4" X 23

X 24

T 27

T 28

6 1/4"

8 1/4"

2'-10 5/8"

2'-11"

S 63

S 64

S 65

3'-10 7/8"

3'-3 3/8"

T 32

T 31

1'-3 3/4"

2'-4 1/8"

2'-5 1/8"

T 33

2'-11 13/16"

2'-11"

1'-3 3/8"

U 28 1'-3 3/8"

U 29

U 31

U 32

U 33

2'-7 1/8" 3'-10 7/8"

8 1/2"

v 28

v 27

1'-9 5/8"

1'-7 5/8" 6 1/4"

8 1/2"

W 27 10 1/4" 8 1/2"

X 26

3'-2 5/8"

2'-5 1/8"

1 3/4"

v 26

4'-9 1/4" X 25

2'-3 3/4"

S 61

1'-9 5/8"

10 1/4"

v 25

W 26

2'-7 1/2"

U 27

8 1/2"

W 25

S 60

1'-2 5/8"

1'-7 1/2"

10 3/8" 2"

1'-3 3/4"

6 1/2"

S 59

8 5/8"

U 26

2'-11"

S 58

T 26

8 1/2"

U 25

1'-10"

1'-7 5/8"

S 57

R 45 bis

1'-3"

1'-1 3/8"

10 5/8"

1'-5 3/4"

8 1/4"

4'-9 1/4"

2'-4" X 21

R 39

11"

8 5/8"

10 3/8"

11"

T 25

1'-8 7/8"

U 24

v 22

S 55 S 56

10 5/8"

T 24

1'-5 3/4"

10 7/8"

S 54 11"

2'-11 7/8"

T 23

2 1/8"

v 20

1'-1 3/8"

5 7/8"

1'-9 1/8"

1'-5 1/2"

S 49

8 1/4"

1'-7 1/4"

Q 36

P 39

1'-3"

1'-4 7/8"

The red-outlined area in the CAD above points out stone #30 from Pallet B 3 - Row B.

S 47 S 48

U 23

1'-10 7/8"

2'-5 3/8"

R 38

R 37

R 36

1'-1 3/8"

1'-0 3/4"

1'-1"

1'-0 3/4"

1'-5 3/4"

U 21 U 24 bis

2'-10 5/8"

W 20

Q 35 2'-1 5/8"

2'-1 1/4"

P 36 2'-5 1/8"

1'-0 1/4"

2'-6 1/8"

1'-10 5/8" 2'-1 5/8"

P 35 3'-1"

Q 34 2'-1 3/8"

2'-11 7/8"

R 35

8 1/4"

U 20

P 34 2'-9 1/8"

Q 33

2'-1 3/8"

10 1/4"

2'-5 1/2"

5 3/8"

P 33 2'-9 1/8"

1'-3"

1'-5 3/4"

1'-7 1/4"

5 1/2"

1'-1 3/4"

O 49

1'-1 3/4"

9 7/8"

S 44

1'-5 1/2"

X 19

1'-1 3/4"

2'-7 1/8"

O 48

1 1/8"

9 7/8"

S 43

T 20

W 19 3 7/8"

P 32

2'-2 3/4"

Q 31

8 5/8"

4'-11 1/4"

2'-5 1/2"

1'-3 3/4" 3"

8 5/8"

O 47

11 3/4"

1'-1 3/8"

1'-8 1/8" 5 7/8"

1'-3 3/4" 3 7/8"

O 46 Bis

2'-7 1/2"

1/2"

3 7/8"

2'-3 3/8"

2'-6 3/8"

P 31

R 34

11"

1'-9 1/2" 3 7/8"

O 44 O 45 Bis

2'-6 3/8"

2'-1 5/8"

R 33 6 1/8"

v 19

W 18

O 46

O 45

2'-2 3/8"

Q 30 2'-1 5/8"

3 7/8"

1'-9 5/8" 1'-5 3/4"

W 17

N 41

1'-3 3/4"

2'-4"

W 29

1 1/2"

W 31

2'-7 1/2"

4'-10 1/4" X 27

v 32

v 31

v 33

2'-11 3/8"

2'-11 7/16"

W 32

W 33

1'-3 3/8"

W 28 1'-2 3/4"

1'-3"

5/8

3 7/8"

v 18

1'-5 3/4"

W 16

Q 29

2'-11 3/8"

U 19

1'-3 3/4" 11 3/4"

11'-9"

1'-9 5/8" 3 7/8"

v 17

U 18

N 40

1'-10 1/2"

R 32 1'-7 5/8"

v 16

2'-6 1/2"

Q 28 2'-5 3/8"

S 42

T 19

3/8

3 7/8"

U 16

Q 27

3/8

U 17

1'-3 3/4" 1'-3 3/8"

11 5/8"

2'-8 5/8"

8 5/8"

O 43

P 30

2'-0 3/4"

1'-3"

1'-7 1/4"

1'-3 3/4" 11 3/4"

1'-10"

N 39

4'-1"

P 29 2'-3 1/2"

8" 3/

1'-4

N 38

11 5/8" 3"

3 1/8"

2'-6 3/8"

2'-5 1/8"

P 28

1'-1"

S 41

8" 3/

2'-10 5/8"

N 37

1'-1 3/4"

1'-3

8 5/8"

O 42

M 34

3 1/8" 9"

X 28

3'-3 3/8"

3'-11 1/4"

1'-3"

1'-

N 36

M 33

1'-5 3/4" 8 5/8"

10 5/8"

4 7/8

1'-

3 7/8 "

O 41 Bis

L 31

2'-7 1/2"

1'-9 5/8"

8'-10 1/4"

1'-1 3/4"

2'-4 3/4" 2'-1"

3/ 8"

1/2"

M 31

1'-9 5/8"

5/8

1'-4

T 18

T 17

1/2"

M 32 4'-6 3/4"

N 35

1'-4 7/8"

8 5/8"

1'-5 3/4"

N 34

L 30

10 3/8"

M 30

1'-11"

11 3/4"

1'-9 5/8"

O 41 2'-3 1/8"

2'-3 1/8"

1'-11 3/8"

11"

R 31

1'-4

S 40

8 7/8"

L 29

9 7/8"

M 29

1'-5 3/4"

1'-3 3/4"

1'-9 1/4"

8 5/8"

L 26

2'-8 7/8"

2'-8 5/8"

T 16

11"

3/8

2'-7 1/2"

8" 3/

1'-3"

3 7/8

S 39

11"

L 24 3'-1 3/8"

8 5/8"

N 33

8 7/8"

O 39

2'-11"

R 30

10"

1'-3

3 7/8

1'-3

11"

3 7/8

S 38 10 5/8"

11"

3 7/8

8" 3/

2'-2 3/8"

5 3/4"

3 7/8

4 1/8

S 36

3 7/8"

4 7/8

1'-

S 35

1'-

S 37

2'-0 3/4"

1'-1 3/4"

2'-0 3/4"

S 34

P 27 2'-5 1/8" 1'-8 7/8"

1'-7 1/4"

R 29

2'-7 1/2"

K 28

1'-9 1/8"

8 1/4"

1'-2 1/8"

1'-2 5/8"

8 7/8"

S 33

1'-

3 7/8

7/8

1'-1 3/4"

1'-3" 1'-2 5/8"

4 7/8

3 7/8"

1'-7 7/8" 1'-6 1/2"

R 28

N 31

O 38

P 26

Q 26 1'-3" 1'-2 5/8"

R 27

1'-

/8"

4 7/8

11"

R 26

2'-1"

1'-

10" 7/8

R 25

1'-4 1/8"

K 27

K 26

1'-5 7/8"

2'-6 7/8"

O 40

7. CAD identifies and locates all the stones from the Château facades. S 32

10 5/8"

R 24

M 27 N 32

11 3/4"

O 37

3'-4 3/8"

Q 25 1'-6 7/8"

2'-7 1/2"

1'-6 7/8"

R 23

S 31

11"

Q 24

1'-3 3/8" 1'-2 5/8"

2'-1"

S 30

Q 22

1'-8 7/8" 1'-7 5/8"

R 22

2'-1"

2'-4 3/4"

1'-2 5/8"

1'-1 3/4"

Q 21 1'-3 3/8"

R 21

3 7/8 "

N 30 1'-11 1/4"

1'-8 5/8"

3'-5 3/8"

10 5/8"

K 25

1'-10 7/8"

8 5/8"

O 40 Bis

P 25

P 24

P 23 3'-3 3/8"

10 5/8"

K 24

M 28

1'-6 1/8"

2'-5 1/2"

3 1/8"

O 36

1'-3 3/4"

J 28

J 27

1'-3"

11 3/4" 8 5/8"

O 35

2'-3 1/8"

2'-8 1/4"

P 22

P 21 3'-4 1/8"

N 29

N 28

P 20

1'-8 1/8"

8 5/8"

M 26

10 5/8"

O 34 6 1/4"

6 1/4"

1'-1 1/4"

O 33 4'-6 7/8"

3'-1 3/4"

i 28

1'-9 5/8"

J 26

6 1/4"

1'-10 5/8"

2'-0 3/4"

9 1/2"

9 1/2" 2'-5 7/8"

O 31 O 34 Bis

1'-7 5/8"

P 19

9 1/2"

5 7/8"

11 3/8"

6 1/4"

N 27

9 1/2"

11 5/8"

O 32 O 30

9 1/2"

11 3/4"

9 1/2"

1'-6 7/8"

O 29

11 3/4"

J 25

4'-11 1/4" 1'-3 3/8"

9 1/2"

1'-7 5/8" 3"

O 28

M 25 2'-1 5/8" 1'-7 1/4"

9 1/2"

11 3/4" 8 7/8"

O 27

4'-6 7/8"

O 27 Bis

1 5/8"

2'-5 1/8"

M 24

9 1/2"

1'-0 5/8"

O 26

N 24

10 3/8"

N 26

2'-7 1/2"

i 27

1'-9 1/4"

9 1/2"

2'-5 1/2"

O 25

N 23

L 23

10 1/4"

2'-3 3/8"

N 25

J 24

9 1/2"

N 22

1'-5 3/4"

L 22

9 1/2"

2'-3 1/2"

8 5/8"

i 26

6 3/4"

M 21

8 5/8"

N 25 Bis

11"

6 3/4"

9 1/2"

J 23

1'-5 3/4"

9 1/2"

N 21 1'-0 5/8"

8 7/8"

2'-3 3/8"

10 1/4"

4'-7 3/8"

1'-5 3/4"

1'-11 1/4"

K 23

4'-6 3/8"

6 3/4"

M 18 bis 2'-3 3/8"

9 5/8"

1'-10 1/2"

M 23

1'-8 1/2" 8 5/8"

1'-5 3/4"

K 22

L 20 L 21

1 5/8"

M 22 4'-6 3/4"

4'-10 7/8"

1'-7 1/4"

L 19 1'-4 1/8"

8 5/8"

1'-6 1/8"

1'-4 1/2"

H 28

8 5/8"

2'-1 5/8" 6 1/4"

10 1/4"

1'-3 3/4" 1'-3 1/2"

H 27

10 5/8"

10 1/4"

i 24

i 24 bis

8 7/8"

10 3/8"

K 21 bis

1'-8 1/8"

M 20

2'-2 3/4"

J 22

1 1/8"

1 5/8"

M 19

1'-5 3/4"

J 21

2'-5 1/2"

K 21

K 20

L 18

10 1/4"

8 5/8"

M 18 4'-6 3/4"

1'-5 3/4"

11"

1'-10"

1'-4 1/8"

8 5/8"

K 19

L 17 3'-5"

J 20

J 19

8 5/8"

L 16

10 5/8"

9 7/8"

i 23

4'-7 3/8"

8 5/8"

10 1/4"

8 5/8"

1'-10"

8 5/8"

2'-1 5/8"

J 18

1'-5 3/4" 9"

L 15

1'-8 1/2"

K 18

2'-2 3/4"

3'-1 3/4"

10 1/4"

i 22

2'-4 3/4"

4'-8 3/4"

8 5/8"

10 5/8" 2"

K 18 bis

1'-5 3/4"

10 1/4"

i 21

i 20

11 3/4"

3'-5 3/8" 1 5/8"

8 5/8"

K 17

G 28

G 27

1'-9 1/4"

11'-9 3/4"

J 17

i 19

10 5/8"

10 1/4"

1'-5 3/4"

1'-11"

H 23

8'-9 1/8"

8 5/8"

J 16

H 22

8'-9 3/4"

J 15

G 26

2'-5 7/8"

1'-5 3/4" 9"

1'-5 3/4"

8 5/8"

H 21 1'-10 1/2"

1'-4 1/8"

i 18

4'-7 3/8"

1'-3"

8'-9 1/8"

2'-2 3/4"

8 1/4"

H 20

8 5/8"

i 17

8 5/8"

10 1/4"

1'-4 7/8"

11"

10"

H 19

1'-1 3/4"

1 5/8"

1'-5 3/4"

G 23

G 22

1'-1 3/4"

10 1/4"

3'-5 3/8"

i 16

5'-3"

G 21

1'-7 1/4"

1'-0 1/4"

H 18

H 17

8'-9 1/8"

10 3/8"

2'-2"

8 5/8"

8 1/2"

i 15

4'-7 3/8"

1'-8 7/8"

1'-5 3/4"

H 16

1'-3"

2'-2 3/4" 8 5/8"

G 20

1'-1 3/4"

1'-5 3/8"

H 15

G 19

8 5/8"

1'-3"

4 3/4"

2" 2 1/2"

8 5/8"

G 18

2 1/8"

1'-1 3/4"

G 16

1'-1 3/4"

2'-5 1/2"

G 17 G 15

X 31

X 32

2'-4 3/4"

X 33

THE BORDEAUX CHÂTEAU DOCUMENTATION PROCESS

DIAGRAM OF PALLETS LOCATED IN THE WAREHOUSE UPPER FLOOR

GROUND FLOOR SECTION 1

ADDITIONAL

BASEMENT

THE BORDEAUX CHÂTEAU DOCUMENTATION PROCESS DIAGRAM OF PALLETS LOCATED IN THE WAREHOUSE

SECTION 2

UPPER FLOOR

ROWS AND PALLETS - TOTAL PALLETS 432 THE BORDEAUX CHÂTEAU DOCUMENTATION PROCESS

THE BORDEAUX CHÂTEAU DOCUMENTATION PROCESS

BUILD WITH EXCEPTIONAL MATERIALS DIRECT FROM THE SOURCE

LIMESTONE CARRARA MARBLE FRENCH OAK TERRACOTTA ANTIQUE PAVERS NEW PAVERS ZINC 85

LIMESTONE THE BUILDING BLOCKS OF FRANCE

MATERIALS

Reliable It’s hard to measure the influence limestone has on our innate sense of what’s grand, permanent, and regal. From its ancient beginnings, French limestone ennobles the most glorious homes in the world.

At left is a historical photo of the French Quarry that Alisanne has been working with for 30 years. The photo shows the very first block that was extracted. The blocks were hand cut out of the quarry. Alisanne has moved hundreds of containers of material to America. The work of the world’s quarries is part of Alisanne Frew’s heritage. In the photo at right, her grandfather, Lowell Franklin Barney [1898-1962], is pictured selecting blocks for his company in the Ogelsby Quarry, Elberton, Georgia.

Alisanne selects limestone blocks from her quarry in France for her clients in America. 87

Limestone as a building material is ancient and limestone structures can last for thousands of years. The megalithic prehistoric temples of Malta were built during three periods between 3600 BCE and 2500 BCE. They were known as the oldest free-standing structures on Earth until the discovery of Göbekli Tepe in Turkey. They are built entirely of limestone.

MATERIALS

LIMESTONE

The limestone is split from the cliffs and moved with tractors and prepared for cutting.

The blocks are cut into slabs of uniform thicknesses.

Alisanne at the quarry with the saws that cut limestone into blocks.

The slabs are scored and craftsmen split the rough edges off the tiles. 88

MATERIALS

LIMESTONE

Each tile is inspected, and craftsmen apply some finishes by hand.

Alisanne checks tiles after they’re stacked for shipping. 89

Client CAD drawings can also be produced on special machines.

MATERIALS

LIMESTONE CLASSIC LIMESTONE WINDOWS AND SPECTACULAR FLOORS

Limestone bulls-eye windows

One of Alisanne’s all time favorite patterns

Range of colors in French limestone available from Alisanne Wonderland 90

MATERIALS

LIMESTONE

Manager of the special cutting workshop where blocks are prepared for stone cutters to hand-carve all the special decorative elements of a project 91

MARBLE CARRARA

MATERIALS

Flashy & Deep

Sometimes the most popular choice— the choice on everyone’s mind when they’re considering flooring, walls, and surfaces — has more depth and complexity than many realize.

MATERIALS

Alisanne doesn’t move slabs for inspection — she moves blocks. “I move them into the sun and look at the top, bottom, and both sides.”

MARBLE

Buying blocks is advantageous for price, but more of a gamble—and a trusted consultant to inspect and buy the blocks is essential.

DIRECT FROM THE MOUNTAIN QUARRY Very few people really understand the value of being in Carrara to buy marble, because it is a very involved process. Let’s say you need 10 slabs - if you do it right you have the company lift out all 10 slabs. Of course they all are labeled and identified as coming from the same block. But what if the last three slabs have a deep veining straight through the middle? There goes the job—not acceptable. It takes days and sometimes a week for Alisanne to find what she needs for a client, at the price they want to pay. This is completely different from ‘showroom shopping,’ where you don’t see actual slabs but only small samples from similar slabs.

MATERIALS

MARBLE VISITING CARRARA, ITALY TO BUY MARBLE

“Before I go shopping for marble, I always arrive the night before to have dinner in my favorite restaurant in Carrara.” “Each time I think of going to Carrara to shop for marble, it reminds me of shopping for jewelry.” There is only one section of the mountain that is truly flawless. That is where Michaelangelo went to take his blocks for his masterpieces. Yes, there are all different colors throughout the mountains - but to find the most white with very

little veining and then to find two entire blocks that were cut out of the mountain side by side - that can produce 60 to 80 slabs—that is exciting. A picture will never tell you the color, you have to be standing in front of it. 94

MATERIALS

MARBLE CARRARA — THE BILLION DOLLAR MOUNTAIN

Stakes used to wedge What it took once upon a time to The blocks were then pulled by the blocks out by hand pull one marble block from Carrara cart through the town to the dock.

Historically, quarrying Carrara marble was physical and dangerous work—but even today with modern equipment quarrying is a difficult and exacting labor. Plus, it has one of the most dangerous roads in the world! Watch the video...

FRENCH OAK ANTIQUE

MATERIALS

Devoted

Every inch of an antique oak floor will soak up your tension and release back into your life (and the lives of everyone lucky enough to be in a room with one of these floors) the warmth from a history of loving service.

When the Alisanne Wonderland Team is on the hunt for the best building materials, nothing will stop them.

Hundreds of feet underground, they discover a cache of French oak and a story that goes back millions of years.

MATERIALS

ANTIQUE FRENCH OAK

This is an example of a pattern which was created with 122 individual pieces connected together to form one board! 98

MATERIALS

ANTIQUE FRENCH OAK Antique French oak is the most prized flooring in France. Every monument of France and palace residence of France has French oak herringbone floors and patterned flooring such as Parquet de Versailles.

Kings of every nation tried to make their own patterns—but nothing surpassed Versailles. 99

MATERIALS

ANTIQUE FRENCH OAK

Book of historic diagrams that document the parquet floor patterns in châteaux.

The completely blackened strips of oak on the floor are what reclaimed 18th-century French oak looks like before it’s planed and sanded. After being planed and sanded, the oak comes right back to the gorgeous appearance of the floor when it was first put down.

100

MATERIALS

FRENCH OAK PAVERS

Reclaimed French oak planks

Wood pavers bring out the tree ring patterns and create dynamic flooring for both small and expansive spaces. Interior and exterior.

101

TERRACOTTA HEXAGON - SQUARE - RECTANGLE - OBLONG - STRIPS - COLORS!

MATERIALS

Talkative

We all know about walls with ears, but if floors could talk,terracotta would be the one you couldn’t keep quiet. With its colors and textures, shapes and sizes, both antique and new terracotta tiles have so many stories to tell.

102

Shapes and sizes are unique to the buildings and rooms where the tiles are discovered. When buying antique terracotta tiles, you will need to know your square footage and act fast if you find a beautiful set of tiles.

ANTIQUE OR NEWLY FORMED AND FIRED

Hand-formed - The quality of the earth where the clay is gathered is critical to the strength and durability of the tiles.

Black terracotta 103

MATERIALS

TERRACOTTA

On the wall, forms for new terracotta

SHAPES 104

COLOR T E R R A C O T TA

105

ZINC SCULPTURAL METALS

MATERIALS

Risk Taker Anywhere that you find an artisan building, you will find zinc. It decorates the tallest rooftops with filigree and flair. It forms into any shape, retains its incredible strength, and stays light and fancy free. Zinc will be whatever you want.

106

Royal rooftops We’re willing to bet that no matter what kind of materials you’ve experimented with, you’ve probably never seen what’s truly possible with zinc. We were completely astounded to find the variety of shapes and organic forms that can be reproduced in zinc.

107

CHÂTEAU ELABORATIONS

108

STAIRCASES WINE CELLARS DRIVES WALKWAYS

109

STAIRCASES FROM HERE TO THERE IN THE MOST SPECTACULAR WAY

ELABORATIONS & EMBELLISHMENTS

Out of This World

It’s possible to create staircases so scrumptious that the simple acts of climb and descent are a joy.

110

Effortless climbs can be the result of optimum ratios in the design of risers and tread, sensitive choices of materials, and ergonomic rails and grip supports. However, think about this... the truly effortless climb is a staircase where the very act of placing one foot ahead of the other is rewarded with a sensuous rush of visual and textural beauty. Modern or historic replica, the sensual staircase, designed and constructed by a master, rewards everyone. You know the staircases I am speaking about. You’ve climbed them, you remember them. Maybe you’ve seen one in a film, but you know what I’m talking about, and there is every reason to have at least one of these life-altering staircases in or outside your own The magic of the staircase and the opportunity to delight, château. impress, and add value to your home and life.

STONE, WOOD, METAL, CONCRETE, TILE 111

WINE CELLARS A JOYFUL UNDERWORLD

ELABORATIONS & EMBELLISHMENTS

These Take an Expert

And not only an expert in wine. The expertise to design and create the rooms that will hold and protect your collection of wines, your family, friends, and business associates, and maybe part of your art collection, is an expertise gathered over many many years.

112

Who would think the ceiling and walls of a wine cellar would be so critical to the success of an entire château?

VAULTED BEAUTY

113

DRIVES & WALKWAYS FOUNDATIONS OF CHÂTEAU AMBIANCE

ELABORATIONS & EMBELLISHMENTS

World-Building

World-building isn’t just for game designers and writers of epics and fantasy. It’s for home designers and builders too — and especially for the land owners who envision their property as a complete experience, filled with châteaux, party buildings, drives, walkways, bridges, gazebos, ponds, and pools. Pavers are for the vision-maker.

114

At left: Driveway where the carriages would have entered from the street and then be taken back to the horse stable. These pavers are 18th-century and come from Bordeaux.

At right: Reclaimed pavers are collected in stone yards prior to shipping to construction sites. When sold, they are loaded into big bags that are then loaded into containers on individual pallets for easy retrieval and ready to deliver to the customer’s job site 115

ELABORATIONS & EMBELLISHMENTS

DRIVES & WALKWAYS

These are the largest of all antique limestone pavers in France - they adorn Versailles.

Close-up of the Versailles pavers. 116

ELABORATIONS & EMBELLISHMENTS

DRIVES & WALKWAYS

Patterns can bring variety and flair to the usual rectangular geometry of courtyards.

There are many traditional drive and walkway patterns you can use for your designs. 117

ELABORATIONS & EMBELLISHMENTS

DRIVES & WALKWAYS

Example of antique limestone (top) and reclaimed pavers (bottom).

Reclaimed pavers constructed with raised area sloping to drain (upper right).

Reclaimed pavers with raised metal insets to alert visually impaired pedestrians to the path. 118

Mix of new pavers (top, black) and reclaimed pavers (bottom).

ELABORATIONS & EMBELLISHMENTS

DRIVES & WALKWAYS

New wood pavers show the individual crosscut patterns.

New stone pavers with LED lights inset. Your drives and walkways enhance the impression of your estate when they are constructed with the traditional driveway and courtyard material of France—pavers. Pavers can be reclaimed and offer a variety of colors and textures from years of use.

Combination of new wood pavers (top) with limestone (bottom).

Pavers can also be new and made of stone or wood. New pavers can be combined with antique or reclaimed pavers for a distinct look, and both new and reclaimed pavers can be enhanced with new technologies. 119

Celebrating the completion of organizing the Bordeaux Château stones in the warehouse.

The Château Issue ALISANNEWONDERLAND.COM | PARIS PROVENCE BORDEAUX NICE CARRARA

Alisanne Frew

Margaret Jean Campbell

Yann Terrer

Paulina Herrera

Cédric Tursin

Julien Boaretto

Jean-Rémy

François Braud

Diana Ivanova

Genevieve Rosewood

CEO, Publisher +1 (512) 734-7711 Designer 3D Artist & Videographer Steel Engineering Drawings Concept Plans & Château Maquettes Research & Operations

Design Director & Editor

Charts & Diagrams Architectural Documentation Interior Designer & Contributor Stone Artist & Staircase Photography Research & Database

THE CHÂTEAU ISSUE is updated and published two times a year by Alisanne Wonderland, 49 rue de Seine, Paris, France 75006 with Source Francaise, Inc., 1618 W State Hwy 71 Unit 335, La Grange, Texas 78945. ©2022 Source Francaise, Inc. All rights reserved. Bordeaux Château Illustrations and Video of 3D Reconstruction ©2021-2022 Yann Terrer. Periodicals postage paid Nevada City, CA and additional mailing offices. For information call:

Alisanne Frew +1 (512) 734-7711 or email120 AlisanneFrew@me.com