![]() Initially, he was perturbed by the fact that the front door was not aligned with the center of the entrance hall. Here, he chose a more orderly, rectilinear look. In the past, he has created dramatic spiral staircases and ceilings that recall clouds. “For me, the layout, volumes, and proportions are much more important than the decoration,” he says. We had to reinvent everything more or less from scratch.” About the only thing he kept was the parquet in the living room, with its graphic square pattern, because, he says, “it still looks so contemporary.”Īs with all his projects, Yovanovitch took an architectural approach here, and his rooms feature strong geometry. When asked what it used to look like, the owner lets out a very French “ooh là là!” Yovanovitch is more direct: “It was ugly, with terrible acoustic ceilings. Incredible is not a term that could be applied to the 3,500-square-foot space before he set to work on it. ![]() “For her, it’s perfectly normal to live with incredible things,” says Yovanovitch. Her parents have lived in the unit above since she was four, and she grew up there surrounded by great design (her parents were early collectors of furniture by Jean Prouvé, Charlotte Perriand, and Mathieu Matégot). Her three-bedroom apartment, which was formerly the offices of a law firm, is located in a typical Haussmannian-style building-one she is extremely familiar with. “What I love about Pierre’s work is the clarity and simplicity,” she says. He is also working on projects for her mother and brother in both the French capital and Tel Aviv, Israel. ![]() Yovanovitch knows the owner-a perfumer with two young boys-and her family well. A photograph by Elger Esser and ceramic benches by Hun-Chung Lee in the entry the vintage floor lamp is by Paavo Tynell, the chest is by George Nakashima, the sconces are by Pierre Chareau, and the hemp rug is by Holland & Sherry.
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