作为豪瑟沃斯（Hauser - Wirth）等顶尖艺术机构的御用建筑师，Luis Laplace的设计版图从马略卡岛延伸至墨西哥，作品享誉全球。尽管私人委任邀约不断，他与事业及生活伙伴Christophe Comoy仍耗时十五年，才完成了位于巴黎第九区私宅的全面改造。这对伴侣于 2007 年迁入这座坐落于优雅圣乔治广场（Place Saint-Georges）、面积约 185 平方米的公寓。起初，这里兼具居住与办公双重功能，直至后来公司迁入相邻的孪生建筑中。

As the in-demand architect for art institutions such as Hauser - Wirth and an ever-constant slew of private commissions stretching from Majorca to Mexico, it took Luis Laplace and his partner in life and business, Christophe Comoy, 15 years to find the time to fully renovate their own home, in Paris’s 9th arrondissement. The couple moved into the 2,000-square-foot apartment on the elegant Place Saint-Georges in 2007 and worked from here.

公寓主创Luis Laplace 、

Christophe Comoy

这座两居室寓所严格遵循豪斯曼（Haussmannian）风格构筑，其内部空间在很大程度上保留了最初的华丽气象。在一系列宏伟的接待厅内，经典的人字拼木地板、考究的护墙板，以及高度逾 3.3 米并饰以精美石膏线条的吊顶，共同营造出极具戏剧感的空间氛围。该建筑的底蕴与这片历史广场的邻里气息深度共鸣：相邻的是一座融合了新哥特与新文艺复兴风格的瑰丽宅邸，曾是名噪一时的 La Païva 侯爵夫人的故居；正对面则是 1873 年为法兰西第三共和国首任总统阿道夫·梯也尔（Adolphe Thiers）重建的私人府邸（Hôtel Particulier），现已变身为法国历史研究图书馆——多斯内-梯也尔基金会（Fondation Dosne-Thiers）。

Constructed in the Haussmannian style, much of their two-bedroom home retains its original flamboyance with a series of bombastic reception rooms decked out with herringbone floors, wainscoting, and soaring 11-foot ceilings with elaborate moldings. It’s in step with its neighbors on the historic square: Next door is an ornate neo-Gothic meets neo-Renaissance mansion that was once home to the infamous French courtesan known as La Païva, and opposite is a grand hôtel particulier rebuilt in 1873 for the first president of the Third Republic, Adolphe Thiers, and now housing the Dosne-Thiers Foundation, a resource library on French history.

“这套寓所拥有极其鲜明的个性。接待厅的装饰过于考究，甚至带有一种近乎‘粗俗’的繁复——但如果仅仅为了彰显自我而强行引入当代冷峻感，那将是一种莫大的遗憾。”谈及现有的建筑基底，Laplace 表现出一种建筑师的克制。他与伙伴 Comoy 以其标志性的优雅与亲和力，将古董珍玩、Laplace 设计的当代家具，以及 Cindy Sherman、Keith Tyson、Martin Creed 和 Rashid Johnson 等艺术家友人的杰作有机缝合，完成了一场跨越时代的审美互文。

“The apartment has a lot of personality. The reception rooms are very ornamental, almost vulgar—but it would have been a shame to impose ourselves or create something contemporary,” Laplace says of the existing trappings, which the couple have juxtaposed in their typical elegant and engaging style, mixing antiques and contemporary furniture by Laplace with artworks by friends like Cindy Sherman, Keith Tyson, Martin Creed, and Rashid Johnson.

为了营造更具私密感的氛围，并强化从长廊延伸而出的四个独立起居与社交区域，Laplace 和 Comoy 决定打破原始的“串连式（Enfilade）”布局，封堵了房间之间的侧门。这种干预使最大的空间演变为一处叙事性极强的会客厅（Salon），精准呈现了两人作为收藏家的敏锐嗅觉。其中陈列的古董珍品，正是那些资深藏家甘愿苦等数十年、且令全球客户慕名而来的“孤品”。（为客户寻觅具有历史厚度的顶级古董，正成为他们室内设计版图中日益增长的核心业务）。

To create more intimacy and highlight the four distinct living and entertaining areas that flow off the hallway, Laplace and Comoy chose to forgo the original enfilade layout between the rooms and block the doors. The largest of these rooms now serves as a welcoming salon that highlights their collector sensibility with the kind of antique gems—the type collectors wait decades to snap up—their clients seek them out for. (Sourcing such special antiques for clients is a growing aspect of their interior business).

在该场域中，Luis Laplace 与 Christophe Comoy 试图在顶级藏品的厚度与生活的松弛感之间达成一种微妙的平衡。他们刻意回避了陈列式叙事的张扬，转而追求一种“举重若轻”的介入方式。

In this domain, Luis Laplace and Christophe Comoy seek a delicate equilibrium between the weight of world-class collections and the ease of daily living. They deliberately eschew the ostentation of traditional display, opting instead for an intervention of "casual gravity."

J. Adnet 柱状灯 (1934)曾由安迪·沃霍尔珍藏，以极简物质感静默守护起居一角。

最激进的审美表达体现在艺术品的悬挂逻辑上。艺术家 Rashid Johnson 的三联画《焦虑的绘画》并未顺应豪斯曼风格原有的护墙板框架，而是以一种叠加（Superimposed）的方式跨越了石膏线条与被封闭的门洞。这种对既定空间秩序的“无视”，完成了从古典秩序向当代激进主义的跨越。

The most radical aesthetic statement lies in the hanging logic of the artwork. Rashid Johnson’s triptych, Anxious Painting, does not conform to the original Haussmannian wall moldings; instead, it is superimposed across the plaster lines and blocked doorways. This "disregard" for established spatial order marks a definitive leap from classical structure to contemporary radicalism.

J-M. Frank 橡木桌与 Laplace 沙发侧位摆放消解了古董的肃穆感，重塑空间松弛感。

对于Laplace而言，这种席地而坐、被书籍与雕塑环绕的生活方式，使物件超越了“客体”的身份，转化为如老友般亲昵的陪伴。在不同维度的观察视角中，这些物件不再是被审视的藏品，而是构建生活微观美学的核心变量。

For Laplace, this lifestyle of sitting on the floor—surrounded by books and sculptures—transforms objects from mere "items" into companions as intimate as old friends. Through shifting perspectives, these objects cease to be static exhibits; they become the core variables that construct the micro-aesthetics of living.

会客厅的一侧是漆成深灰蓝色的电视室，营造出一种如蚕茧般的包裹感；另一侧则是布局精巧的书房。紧邻书房的餐厅呈现出一种深邃的夜色调——巧克力色的墙面与贴金天花板交相辉映，宛如一块散发着奢靡气息的巧克力。在这个空间里，Martin Creed 的粉色霓虹灯闪烁着前卫的光影，映照在 Laplace 设计的红大理石餐桌上，定义了极具亲密感的晚宴氛围。而午餐通常被移至相邻建筑的创意工作室中，那里拥有另一套设施完备的厨房及通往阳光花园的开敞用餐区。

On one side of the salon is the cozy TV room painted in a cocooning deep gray-blue, and on the other, a well-appointed study. Next to the study is the dining room, which is cast in moody, nighttime shades—deep chocolate brown walls meet the gilded ceiling in an effect that evokes a decadent block of chocolate. Intimate dinner parties happen here under the glow of a flashing pink Martin Creed neon and around the Laplace-designed red-marble-topped dining table. Lunch is often taken in the work studio in the adjacent building, where there is another fully equipped kitchen and a spacious dining area that opens onto a sunlit garden.

正是由于拥有第二处社交空间，两人对公寓内精简的长条形厨房达成了审美上的和解，转而将更多空间留给私密寝居。在这里，他们进行了最彻底的改造：移除壁炉，剥离繁琐的檐口与装饰，取而代之的是极致纯粹的立面处理。为了追求一种松弛感（Laid-back），空间的尺度被重新调整得更为从容、亲和。

With that second area for entertaining, the couple made peace with a small galley kitchen at home and decided to allocate more space to their private quarters, where they have a bedroom and en suite overlooking the back courtyard. This is where they carried out the most significant work: removing a fireplace and stripping back cornices and ornaments in favor of pure finishings. To cultivate a sense of relaxation, the spaces were made more generous and welcoming.

与之相邻的是一间约 12 平方米（130 平方英尺）的现代卫浴空间。即便在这块“空白画布”上，两人依然将当代的先锋与历史的珍宝完美缝合。由 Laplace 设计、呈现“蒙德里安风格”的定制拼接大理石淋浴间，尽管卧室与卫浴空间的宽绰与小巧的厨房形成了某种跨度的对比，但这种对生活重心的取舍，正体现了两人对“如何到达理想居所”的高度审美共识。

Next door there is a modern 130-square-foot bath. Even here, with a blank canvas, the couple married the best of today with treasures of yesterday. This room, specifically the large freestanding tub, serves as a sanctuary within the home. While the generous proportions of the bath might contrast with the modest kitchen, such a deliberate prioritization reflects the couple’s shared vision of their ultimate domestic environment.

一盏由 Armand-Albert Rateau 创作、拥有百年历史的金木雕花吊灯，其历任主人包括时装大师 Jeanne Lanvin 以及后来的设计师 Karl Lagerfeld。

浴室中内安置了The Water Monopoly出品的独立式浴缸，并辅以Volevatch的精工五金配件，达成了一种历史厚度与现代触感的完美共鸣。

The ensemble features a freestanding tub by The Water Monopoly, paired with exquisite Volevatch fittings, achieving a sublime resonance between historical depth and modern tactility.

卧室墙面悬挂着三件来自英国艺术家菲利达·巴洛（Phyllida Barlow）的作品，其建筑感构图为空间注入了结构张力。居中摆放的是 Laplace 亲自设计的床架；上方点缀着维科·马吉斯特拉蒂（Vico Magistretti）设计的 1960 年代吸顶灯。角落里，由富尔维奥·比安科尼（Fulvio Bianconi）于 1950 年代为 Venini 创作的落地灯，正散发着意大利玻璃工艺的温润光泽。

Three pieces by Phyllida Barlow hang in the bedroom, their architectural compositions infusing the space with structural tension. The centerpiece is a bespoke Laplace Design bed, complemented by a 1960s Vico Magistretti ceiling light and a 1950s Fulvio Bianconi floor lamp for Venini.

项目名称 |

Comoy’s Paris Home

设计公司 |

Luis Laplace

主创设计 |

Luis Laplace、Christophe Comoy

创始人 / Luis Laplace、Christophe Comoy

Laplace设计工作室由Luis Laplace和Christophe Comoy于2004年在巴黎成立，经过几年的磨练现已发展出针对高端设计和对设计有独特要求的国际客户。通过充分利用空间和光线，基于当地文化和传统的设计理念，材料和色彩的选择以及对艺术和手工艺的热情，Laplace将现代简约与极致优雅融为一体。Luis Laplace是一位受过阿根廷培训的建筑师，对室内设计有敏锐的眼光，他採用独特的方法将艺术品与生活环境融合在一起。他的才华在于他综合艺术及其对周围环境观察的能力，这种方式既要保持独特性，同时又要时刻进行补充交流。他的建筑目标是将美学和功能性空间结合起来，以补充艺术品并加以完善，揭示出意想不到的细微差别，产生新的诠释和解读，并促进与作品的更深入的融合。

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