Live Like an 18th-Century Aristocrat in This Wildly Decorated Parisian Apartment - Kanebridge News
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Live Like an 18th-Century Aristocrat in This Wildly Decorated Parisian Apartment

The four-bedroom home is decorated lavishly, complete with chandeliers, mirrored ceilings, Versailles-style parquet flooring and stucco imitation sculptures

Tue, May 7, 2024 8:00amGrey Clock 3 min

Listing of the Day 

Location: Paris

Price: €4.2 million (US$4.49 million)

This Rue de Rivoli home in the heart of Paris’s 1st Arrondissement comes with some serious design cachet: For one, it was one of the first major projects of notable French interior designer Didier Rabes, according to listing agent Paola Feau.

While an apartment, the four-level home is large enough to feel like a detached house, and Rabes decorated it lavishly to evoke an 18th-century chateau, complete with chandeliers, mirrored ceilings, Versailles-style parquet flooring and stucco imitation sculptures.

Most of the building dates to the mid-19th century, though there are some remnants of the older Directoire style with its Neoclassical architectural forms, which were popular in the late 1700s, according to Feau.

This particular residence in the building also has the legacy of being the couture workshop of designer Madeleine Vionnet during the early 20th century, Feau said. It was later transformed into a private home, and with recent renovations, it boasts both a distinctive period atmosphere and modern comforts such as an elevator and a large modern kitchen.


The 3,207-square-foot apartment has four bedrooms with three full bathrooms and two half bathrooms. The apartment is spread over four floors including a lower ground floor, and is entered on the ground floor of the building.


The home boasts a lift that goes between its three main floors, as well as a home office, and a 300-square-foot paved courtyard on the second floor that two of the bedroom suites open onto.

A separate, renovated apartment on the second floor connects to the main house, and can be accessed by both an interior staircase from the main house or through the building’s common areas. With two bedrooms, a bathroom, a living room, and a kitchen, “the apartment could be kept completely separate and rented or used for guests, or it could be used as an extension of the main house,” Feau said. “This little apartment has been fully renovated in a completely modern style, in contrast to the 18th-century-style main house.”

Neighbourhood Notes

Sitting right on the expansive Tuileries Garden, a 17th-century formal garden filled with statues, including 18 bronzes by Aristide Maillol, the location is also within a few minutes’ walk of the Louvre, Place Vendôme and Place de la Concorde, as well as the Jardin des Champs-Élysées.

“It’s one of the best areas in Paris,” Feau said. “It’s very, very central, with all the finest restaurants, fashion and jewellery boutiques and hotels, including Hotel Le Meurice and the Ritz.”

The Place Vendôme has historically been the home of many famous dress designers, with the stores of the couturier Chéruit and the shirtmaker Charvet still in situ.

Agent : Paola Feau, Daniel Feau and Luxury Portfolio International



What a quarter-million dollars gets you in the western capital.

Alexandre de Betak and his wife are focusing on their most personal project yet.

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I.M. Pei was the confident visionary behind such transformative structures as the Bank of China Tower in Hong Kong and the Louvre Pyramid in Paris, but he was also humble, and for years resisted a retrospective of his work.

Pei, a Chinese-American architect who died in 2019 at 102 , would always protest any suggestion of a major exhibition, saying, “why me,” noting, too, that he was still actively at work, recalls his youngest son, Li Chung “Sandi” Pei. A decade ago, when Pei was in his mid-to-late 90s, he relented, finally telling Aric Chen, a curator at the M+ museum in Hong Kong, “all right, if you want to do it, go ahead,” Sandi says.

A sweeping retrospective, “I.M. Pei: Life Is Architecture,” will open June 29 at M+ in the city’s West Kowloon Cultural District. The exhibition of more than 300 objects, including drawings, architectural models, photographs, films, and other archival documents, will feature Pei’s influential structures, but in dialogue with his “social, cultural, and biographical trajectories, showing architecture and life to be inseparable,” the museum said in a news release.

As a Chinese citizen who moved to the U.S. in 1935 to learn architecture, Pei—whose full first name was Ieoh Ming—brought a unique cultural perspective to his work.

“His life is what’s really interesting and separates him from many other architects,” Sandi says. “He brought with him so many sensibilities, cultural connections to China, and yet he was a man of America, the West.”

Facade of the Bank of China Tower in Hong Kong in a photograph commissioned by M+ in 2021.
© South Ho Siu Nam

Pei’s architectural work was significant particularly because of its emphasis on cultural institutions—from the East Building of the National Gallery of Art in Washington, D.C., to the Museum of Islamic Art in Doha, Qatar—“buildings that have a major impact in their communities,” Sandi says. But he also did several urban redevelopment projects, including Kips Bay Towers in Manhattan and Society Hill in Philadelphia.

“These are all places for people,” Sandi says. “He believed in the importance of architecture as a way to bring and celebrate life. Whether it was a housing development or museum or a tall building or whatever—he really felt a responsibility to try to bring something to wherever he was working that would uplift people.”

A critical juncture in Pei’s career was 1948, when he was recruited from the Harvard Graduate School of Design (where he received a master’s degree in architecture) by New York real estate developer William Zeckendorf.

With Zeckendorf, Pei traveled across the country, meeting politicians and other “movers and shakers” from Denver and Los Angeles, to Philadelphia, Washington D.C., Boston, and New York. “He became very adept at working in that environment, where you had to know how to persuade people,” Sandi says.

During the seven-year period Pei worked with Zeckendorf, the developer fostered the growth of his architecture practice, supporting an office that included urban, industrial, graphic, and interior designers, in addition to architects and other specialists, Sandi says.

When Pei started his own practice in 1955, “he had this wealth of a firm that could do anything almost anywhere,” Sandi says. “It was an incredible springboard for what became his own practice, which had no parallel in the profession.”

According to Sandi, Chinese culture, traditions, and art were inherent to his father’s life as he grew up, and “he brought that sensibility when he came into America and it always influenced his work.” This largely showed up in the way he thought of architecture as a “play of solids and voids,” or buildings and landscape.

“He always felt that they worked together in tandem—you can’t separate one from the other—and both of them are influenced by the play of light,” Sandi says.

View of the National Center for Atmospheric Research, on the mesa, in a photograph commissioned by M+ in 2021.
© Naho Kubota

Pei also often said that “architecture follows art,” and was particularly influenced by cubism, an artistic movement exploring time and space that was practiced in the early 20th century by Pablo Picasso, Georges Braque, and the sculptor Jacques Lipchitz, among others. This influence is apparent in the laboratory at the National Center for Atmospheric Research in Boulder, Colo., and at the Everson Museum of Art in Syracuse, N.Y. “Those two buildings, if you look at them, have a play of solid and void, which are very cubistic,” Sandi says.

Yet Sandi argues that his father didn’t have a specific architectural style. Geometry may have been a consistent feature to his work, but his projects always were designed in response to their intended site. The resulting structure emerged as almost inevitable, he says. “It just was the right solution.”

Pei also intended his buildings “not only to be themselves a magnet for life,” but also to influence the area where they existed. “He never felt that a building stood alone,” Sandi says. “Urban design, urban planning, was a very important part of his approach to architecture, always.”

After he closed his own firm to supposedly “retire” in the early 1990s, Pei worked alongside Sandi and his older brother, Chien Chung (Didi) Pei, who died late last year, at PEI Architects, formerly Pei Partnership Architects. Pei would work on his own projects, with their assistance, and would guide his sons, too. The firm had substantial involvement in the Museum of Islamic Art, among other initiatives, for instance, Sandi says.

Working with his father was fun, he says. In starting a project, Pei was often deliberately vague about his intentions. The structure would coalesce “through a process of dialogue and sketches and sometimes just having lunch over a bottle of wine,” Sandi says. “He was able to draw from each of us who was working on the project our best efforts to help to guide [it] to some kind of form.”

The M+ retrospective, which will run through Jan. 5, is divided into six areas of focus, from Pei’s upbringing and education through to his work in real estate and urban redevelopment, art and civic projects, to how he reinterpreted history through design.

Sandi, who will participate in a free public discussion moderated by exhibition co-curator Shirley Surya on the day it opens, is interested “in the opportunity to look at my father anew and to see his work in a different light now that it’s over, his last buildings are complete. You can take a full assessment of his career.”

And, he says, “I’m excited for other people to become familiar with his life.”