Historical heritage

Château Louise de La Vallière

Château Louise de La Vallière is located near the picturesque Loire Valley, close to the town of Reugny, France, and represents an elegant example of 17th-century architecture. The château was built by Louis XIV for his celebrated favourite, Louise de La Vallière.
The complex is surrounded by 19 hectares of woodland, with the main approach passing through a grand portal adjoined by a dovecote tower. In addition to the château itself – the oldest and most dominant structure in the ensemble – five lower outbuildings are situated nearby, formerly used as a stable, orangery, kitchen, barn, and storage facility. The estate also features a classic French formal garden (jardin à la française) adjacent to the main building, as well as several more recent additions, including a swimming pool, tennis court, and parking area.

Our team’s task was to transform the ensemble of buildings from a family home into a luxury five-star hotel. The owner had a clear brief for the spaces and set as a guiding principle that all interventions should be carried out with a high degree of authenticity and historical accuracy, immersing guests in the spirit of the era.

Our work began with a detailed architectural survey and a series of meetings with the lead architect and the mayor of Reugny. We were greatly impressed by the well-structured system France has developed for working with cultural heritage monuments. The owner received from the municipality a list of licensed architects and selected one to prepare a condition report for the building.

The report constituted a serious historical study, encompassing detailed survey work and analysis of the materials of all façade ornaments and their condition, along with precise guidance for their restoration. The document also clearly defined the permissible interventions within the building, which greatly facilitated our work on the conversion.

In the main building, the entrance hall and the two ground-floor reception rooms were readily transformed into a hotel reception, a lounge with lobby bar, and a restaurant respectively. The restaurant kitchen was placed in an existing annex connected to the main château. The upper floor and the attic space accommodate some of the hotel’s most luxurious rooms.

The buildings formerly used as an orangery and stable were converted into additional hotel accommodation. The lofty space of the former barn was transformed into a conference hall, while a storage building in the most remote part of the complex was redesigned as a luxury spa centre.

In terms of the structural work, it was necessary to remove existing intermediate floors and add new ones, as well as construct new staircases. A significant challenge was the additional load imposed by the newly built bathrooms, which would have overburdened the centuries-old timber floor structures. Engineer Yonko Kondarev resolved this by suspending the sanitary facilities from the roof structure – itself a remarkable example of the craftsmanship and engineering ingenuity characteristic of the region and the period.

The hotel’s heating and ventilation are provided by a water-to-air heat pump system, with convector units discreetly integrated into the wall panelling, designed by Engineer Alexander Marinov. A particular challenge in developing the HVAC design was selecting a ventilation system for the professional kitchen, which had to be integrated into a confined space due to the relatively low ceiling height of the room.

The plumbing and drainage design was developed by a Bulgarian engineering team led by Engineer Emil Tsanov.

The interiors of the entire complex are the work of the renowned French interior designer Jacques Garcia, who is among the few specialists licensed to work in the Louvre. This is felt in his approach to detail and historical authenticity. The project features natural materials, wall linings, floor coverings, silk wallpapers, furniture, and numerous details characteristic of 17th-century French châteaux. Each room is dedicated to a specific historical figure from the French royal court, and the interior has been designed to reflect their individual character.

The investor’s vision was not simply to furnish beautiful hotel rooms, but to create a complete immersion in the era – an experience unique not only to the region, but to France as a whole. Guests are surrounded by art and antique objects, and even the staff wear costumes from the time of Louis XIV.
The design also features a Bulgarian contribution – VIAarchitects for work in several of the rooms, and architect Gergana Yordanova for the layout of the spa centre.

The complex opened its doors in 2022 and has already earned a place in numerous prestigious rankings in the fields of tourism and hospitality, while the restaurant is confidently preparing for its first Michelin stars.

Svestari' tomb

Svestari in a new light – Reconstruction of the Svestari’ tomb

The reconstruction project included the replacement of all building services within the tomb itself, the protective envelope, and the complete renewal of the exhibition areas.

The Sveshtari Thracian Tomb is one of the most recognizable cultural landmarks in Bulgaria and is inscribed on the UNESCO World Heritage List. Its discovery in 1982 by a team led by Assoc. Prof. Dr. Maria Chichikova, together with the construction of the protective dome by a team headed by architect Teofilov and engineer Totev, became one of the most significant events of its time in the fields of archaeology and engineering. Unfortunately, the most recent construction and restoration works prior to our intervention had been carried out as early as 2001 by a team led by architect Petar Stryaskov. Twenty years later, the tomb had reached a pre-emergency condition.

The original climate control system was no longer operational, and the specific microclimate was maintained solely by a mobile unit provided through a donation. The artistic lighting was worn and partially damaged, forcing tour guides to rely on handheld flashlights during visits. The gallery–labyrinth in the antechamber of the burial chamber was in a severely deteriorated state.

Our team was engaged at a moment that can be described as critical. The tomb was at risk of losing a grant from the Ambassadors Fund for Cultural Preservation (AFCP), administered by the Credo Bonum Foundation, and the project had to be executed under a reduced budget and within very tight time constraints.

We consulted architect Stryaskov and the designer of the original HVAC system, engineer Tsvyatko Kadiyski, both of whom agreed to provide pro bono consultancy in order to align the reconstruction with the concept of the most recent design previously developed for the Sveshtari Tomb.

In allocating the available budget, priority was given to the most urgent issues: replacement of the HVAC system and lighting, and reconstruction of the antechamber gallery.

For the design of the artistic lighting, we engaged Sutton Vane Associates, one of the world’s leading lighting design studios. The firm specializes in lighting for art, museums, and the interiors and exteriors of historic buildings, with notable projects including the Chinese Terracotta Army at the British Museum, Winchester Cathedral, the Roman Baths in Bath, York Minster, and many others.

Following a comprehensive analysis, the lighting designers addressed deficiencies in the existing system and, through the use of specially designed luminaires, restored the sense of three-dimensionality of the caryatids. The general lighting scheme was designed to emphasize the burial chamber, while each significant interior and exterior element can be illuminated independently and controlled by the tour guide.

During the reconstruction of the gallery–labyrinth located in the antechamber of the tomb, we largely adhered to the concept developed in architect Stryaskov’s original project. The layout and grid of the display cases were preserved. The metal display structures were removed and replaced with large-scale glass panels mounted on concealed tracks above the suspended ceiling. Some of the panels are operable via sliding mechanisms, allowing access for maintenance and replacement of installations behind them. The content and graphic design of the panels were developed by specialists from the Archaeological Museum in Isperih.

The renovated tomb reopened to the public on 08 June 2022.