Just a few steps from the Place des Vosges, a 14th-century building looks like a typical Marais structure: half-timbered, stone-walled, and decidedly Parisian. But once you step inside, you can tell some interventions have been made over the past 700 years (as one would hope). “There were originally two separate buildings that were later joined together. It was one of the main challenges of the space," says architect, designer, and artistic director Jérémy Chaillou, founder of the multidisciplinary firm Chaille. “And it was also the starting point of our design.”

A view of the kitchen from the living room. The brushed stainless-steel cabinets and the mirror and Avocatus marble for the backsplash create a unique effect. The floor extends across two different levels.

A view of the living room from the kitchen. Chaille’s work focused on this axis running between two old buildings that were later joined together; the mirrored step highlights the threshold between them. On the wall are Frame wall lights by Violaine d’Harcourt.

The line where the two buildings meet—marked by a mirrored step—runs from the kitchen to the dining room, and then crosses the living room to a fireplace. It's the main axis of the apartment, and is what Chaillou decided to emphasize in his reimagining of the space. Now, various materials run along its length, mirrors meet lime wash on bare walls, and cabochon floors boast limestone from France’s Nivernais region. Chaillou kept the ceiling beams exposed, a reminder that they have witnessed centuries of life unfold below.

Stone, steel, and mirrors

A Rotondo sofa (The Socialite Family) is covered in garnet cowhide leather with crocodile embossing (Espace Cuirs JCA). On the antique Willy Rizzo coffee table is a metal bud vase and porcelain bowl by Alexandre Veillon. To the left of the fireplace is a Collapse lamp by William Guillon.

Depending on the time of day and the light, the color of the mahogany will sometimes match the solid carpet. On the coffee table are two Flora Mechanica vases by Alexandre Veillon (Appartement Témoin). To the right of the fireplace, a pair of antique Japanese vases.

The existing building determined the material choices for an assertive redesign. Chaille’s approach fits the owner’s personality: “He’s 28 years old, single, and has a boldness and confidence, which translates into confident choices and subtle references,” Chaillou says of his client. “We created a rich, joyful decor to match.”

Around a custom mahogany and aluminum table, leather and stainless-steel chairs (Axel Chay). The pendant light is by Tom Ducarouge. The varnished metal artwork covered in silver leaf on the table is by designer and ceramist Sophie Blouin.

Avocatus marble paired with a mirrored backsplash, stainless steel cabinetry, and stone floors bring a layered mix of sheen and texture to the kitchen. The kitchen table, living room furniture, and millwork in the bedroom are all made of stained and varnished mahogany, reminiscent of the wood used for Italian Riva yachts, according to Chaillou. Mirrors also play an important role in Chaille’s design by multiplying perspectives, whether around the fireplace, in the hall leading from the kitchen to the living room, or above the Avocatus backsplash. “I like to play with perspectives and blur points of reference,” Chaillou says. “It brings an apartment to life.”

Sharply modern

The custom storage units are in stained mahogany. On the left bedside table, a La Fleur Fanée lamp, 2025 edition, by Vincent Decat; on the right, a ceramic piece by Maurice Gensoli from 1945 (Galerie Maxime Flatry). On the wall is a bronze sculpture by Victor Guedy. Apollo 14 wall lights (Pholc).

In the bedroom, stained mahogany reigns. The leather bedspread has crocodile embossing (Espace Cuirs JCA). The ceramic piece by Maurice Gensoli is from 1945 (Galerie Maxime Flatry). The Strat Chair is by Nicolas Zanoni.

The entire primary suite is small and L-shaped, with wood-paneled walls. The bedroom feels part boudoir, part ship captain’s cabin, and mimics the tones found elsewhere in the home. The bed and headboard (which features built-in storage), for example, are made of red-stained mahogany, finished with a high-gloss varnish that leaves the grain of the wood visible. “The interior changes with the light during the course of the day,” Chaillou says. “You see the wood come to life. It’s very beautiful.” Red satin sheets and a dark red leather bedspread with crocodile embossing complement the grain. A dressing table stands opposite the bed, and offers storage for wallets, bags, and watches. A gold-carpeted floor complements the wall behind the bed, which is painted a deep green—the same hue is echoed in a nearby chair designed by Nicolas Zanoni. Completing the scene is a full-length mirror outlined with smooth chrome tubes.

Something old, something new

In the bathroom, the walls are finished with a lime plaster, while the floor, baseboards, shower, shelves, and sink are made of Emperador marble.

Alongside the apartment’s contemporary elements, Chaille chose wall lights and bathroom fixtures with Victorian accents, in keeping with the play of contrasts that is true of all of the studio’s projects.

Off of the hallway to bedroom, the bathroom has whitewashed walls, while the floor, baseboards, shower, shelves, and sink are all made of Emperador marble. The stone's brown, red, and yellow veins complement the apartment’s wood elements and carpet.

Chaillou believes that as a designer, he should create interiors that are easy to understand, and allow people to quickly feel at home. This is the ultimate goal, before adding in intriguing details and unusual juxtapositions to avoid boredom and sterile repetition. “I like this idea of creating anachronisms between this old building and my contemporary interventions,” the designer says. “The owner always plays as important role in my work and, in this case, he has a real vision for beauty. We’ve built a friendship that has lasted beyond the conclusion of this project.”

The dining room table was designed by Tom Ducarouge. On the kitchen wall, a vintage Brutalist mirror (Appartement Témoin). On the living room wall, three acrylics on canvas by Arthur Lemonier, Slime Coat (2024) and two untitled works, both from 2025 (Galerie Ketabi Bourdet).

The green of the wall behind the bed pairs with the green of Nicolas Zanoni’s Strat Chair. The room’s palette is completed with the gold of the carpet and the deep red of the mahogany elements, the satin sheets, and the leather bedspread with crocodile embossing (Espace Cuirs JCA). The ceramic piece by Maurice Gensoli is circa 1945 (Galerie Maxime Flatry).

This 14th-century building's reimagining was originally published by AD France. It was translated by John Newton.