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When you think of Parisian apartments, more often than not, it’s the 19th-century Haussmannian version that comes to mind. Blessed with high ceilings, ornate plaster mouldings, uniform floor-length windows and polished marble fireplaces, these apartments are the epitome of Parisian elegance, especially when they have been renovated to reflect a contemporary sense of subdued sophistication, as we have frequently featured at Yatzer like here and here.With that being said, it’s always refreshing to come across a Parisian residence likeMaison Sémonville that defies both the perfection of the Haussmannian typology and the interior design sensibility of less is more. Such is the case with Maison Sémonville, a 17th century “hôtel particulier” built at the beginning of the reign of Louis XIV, eclectically refurbished by interior design practice CM Studio Paris in celebration of the building’s architectural heritage and the life of its original occupant, Charles Louis Huguet, the marquis de Sémonville. 当您想到巴黎公寓时,通常会想到19世纪的奥斯曼版本。这些公寓拥有高高的天花板,华丽的石膏造型,统一的落地窗和抛光大理石壁炉,是巴黎优雅的缩影,尤其是经过翻新以反映当代的柔和精致感,我们经常在Yatzer展出就像这里和这里说的那样,遇到像巴黎塞梅维尔这样的巴黎住宅总是令人耳目一新,这种住宅无视奥斯曼类型的完美和内部设计的敏感度更低。 MaisonSémonville就是这种情况,这是一个17世纪的“酒店特色”,建于路易十四统治时期,由室内设计实践CM Studio Paris进行翻新翻新,以庆祝建筑的建筑遗产和原始居住者的生活, Sémonville侯爵Charles Louis Huguet。
Photo by Francis Amiand.
Photo by Francis Amiand.
Photo by Francis Amiand.
Photo by Francis Amiand.
Photo by Francis Amiand.
Founded by John Coury and Florent Maillard who share a passion for architecture, history and antiques, CM Studio Paris is drawn to projects involving historic buildings, creating interior designs in perfect harmony with their architectural heritage. In the case of this project, more than anything, the duo were inspired by the life of the eponymous marquis de Sémonville, Charles-Louis Huguet de Montaran, specifically his tenure as France’s ambassador to the Ottoman Empire. Also drawing from the baroque heritage of the centuries-old mansion, they have completely redesigned and restructured the building’s interior and yet ingeniously the rooms appear as if they have always been like this. Suspended in time, the antique-filled, richly layered interiors espouse an eclectic aesthetic that not so much rejects modernity but seems unaware of its existence.CM Studio
Paris由John Coury和Florent Maillard共同创立,他们对建筑,历史和古董充满热情,吸引了涉及历史建筑的项目,创造了与其建筑遗产完美和谐的室内设计。 就这个项目来说,最重要的是,这两人的灵感来自同名的塞蒙维尔侯爵,Charles-Louis Huguet de Montaran,特别是他作为法国驻奥斯曼帝国大使的任期。 从这座拥有百年历史的豪宅的巴洛克式遗产中汲取灵感,他们对建筑的内部进行了彻底的重新设计和改造,但巧妙的是房间看起来就像是一直如此。 时间紧迫,古色古香,层次丰富的内饰支持折衷主义美学,不仅拒绝现代性,而且似乎没有意识到它的存在。
Photo by Francis Amiand.
Photo by Francis Amiand.
Photo by Francis Amiand.
Photo by Francis Amiand.
Photo by Francis Amiand.
Photo by Francis Amiand.
Photo by Francis Amiand.
Located on rue Quincampoix, a narrow, ancient street in the centre of Paris, one of the oldest in the city, what the mansion lacks in exterior views of Haussmannian, tree-lined boulevards, it has gained in a richly curated interior décor that combines a trove of precious antiques and ancient objects dating from the 16th, 17th and 18th centuries with an eclectic selection of contemporary artworks. Every piece of furniture, artwork and all decorative objects have been thoughtfully selected and positioned in relation to each room’s historical character with heritage features such as Versailles style parquet flooring, decorative screens and panelled doors setting the tone.
Undoubtedly, the most impressive space is the double-height drawing room which features massive, timber roof beams with hand-carved ornamentations, a monumental stone fireplace inscribed with Old French words, and a beautifully shaped, wooden balustrade on the mezzanine level. Rather than being humbled by the imposing architecture, the designers have approached the interior design of the space with the same kind of maximalist sensibility by introducing, among other things, two large, imposing paintings by Italian Renaissance painter Andrea Vicentino. The paintings not only enliven the room with vibrant colours, echoed by the sumptuously upholstered sofas, armchairs and ottomans, but they also subtly conjure the presence of the marquis de Sémonville by depicting the meeting of Ottoman and Venetian ambassadors.
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