It seems to be the days when extravagantly eclectic interiors were considered bohemian eccentricities. The modern view tends to find in this seeming confusion both logic and harmony. Decorator Sandra de Keller (Sandra de Keller) designed the interior apartment 180 sq. M. meters in one of the central districts of Barcelona. In these quarters, the buildings of the late XIX - early XX century dominate, conveying a particular style of this city. Sandra has retained and made part of her project the initial decoration of the room: stucco ceilings, arches, and niches in the walls. She used these traditional decorative elements as a background, muffled and monochrome, turned them into a replica of the architectural past. Such a rethinking of the classics, its translation into a slightly blurred perspective is the current design trend. The interior is designed like a multi-layered cake, each layer of which is a quote from a specific time and style. From the present, bold mixing of traditional architecture, designer furniture from different decades of the 20th century, art objects and just strange objects is here. If you begin to study this “cake” from the floor, it turns out that the interior is based on harsh minimalism. Non-retouched cement floor - a quote from the factory aesthetics of lofts, and fur carpets - a tribute to the glamorous interiors of movie stars of the 70s. Retrofuturistic plastic and metal chairs come from the 1960s, and literally: these are not today's reissues, but originals from that decade. The author has built the interior as a relevant context in which the combination of metal mesh chairs and baroque objects does not look wild, but looks organic. A very relevant, by the way, combination. Such a mix has turned out to be slow, in particular due to proper color management. All risky style and color joints are softened and veiled by the general whiteness of the interior, rhymes of color, free arrangement of objects. By the way, a special conceptual urgency to the project is given to paintings and photographs on the walls, continuing through the themes of the interior. One could call the work of Sandra de Keller postmodern, but this term is no longer very relevant. He is associated today with copyright arbitrariness and artificiality, and Sandra’s project came out easy and unconstrained. In fact, the emphasis here is not on citation and eclecticism, but on the bohemian chic of the interior.
Passing the gallery 
