The Paris-based architect and designer refuses to sign up. We create a different story in each project, we try to have the right tone, to produce the right emotion,, based on an interpretation of the client’s desires and not on his own characteristics. He influenced to use textured materials to enhance his shadow in one new apartment in Monte Carlo, with its distinctive Mediterranean light and modernist architecture. In comparison in 2015, the apartment of Paris, designed in 1910, was converted into a spare futurist jacket with concrete walls and bright rotting floors, channeling the client’s devotion to Buddhism, modern architecture as well as Interior design firms.
The recent work by parente has been a refurbishment in the well heeled Saint-Germain-des-Prés area of Paris of a 2,000 square-foot pied-a-terre location. The bright room shows its mark-stories— the bravery of colour, the play of textures and backgrounds— along with its own unique furnishings, but each item blends this talent for collaborative history. The airy five-room apartment in Haussmann’s style with ringboard floors and a succession of soaring double windows is owned by a Swiss art dealer who wishes to remain anonymous and applies traditionally Parisian sophistication to a distinct personal collection of trendy contemporary art and artifacts.
The sculpture of the proprietor and antique heirlooms have been smartly combined, including a selection of ceramics from Picazzo, used in various rooms as what Parente calls’ protagonists.’ For instance, an enamelled mask in the somber Japanese pottery by the Mexican artist Pia Camil is offset on the antique desk in the study by a vibrantly painted terra-cotta vass by Picasso. It was really interesting to have a dialog between those two ceramics from two eras, he recalls.
Parente’s approach has long been fundamental to the belief that materials and artifacts have their own language. After studying interior design at Dijon National School of Fine Art and in Strasborgo National school of decorative arts, and product design at Lausanne’s École Cantonale d’Art, he spent five years working for Paris-based designer Andree Putman, who acquired a deep, complex background skilful. In addition to the latest in architecture, he studied interior design at Cantonale d’Art. Parente has applied this talent both to private projects and to restaurants and stores in Europe and beyond since its own studio was established in 2010.
Parente integrates in all of its areas his custom furniture seamlessly into story and there is no exception to that in Saint-Germain-des-Prés. In the hushed-toned dining room, the Italian designer Willy Rizzo puts his minimalist rectangular dining table in a silent Breche marble and is overcome with a bulbous light blue vase from the local designer Jean Baptiste Fastrez. Parente crafted a textured brass headboard shaped like a folding panel for the master bedroom with a collection evoking Dutch master paintings (cerulean, cognac and tangerine). In the open living room, the host is facing the circular armchair, Boris Tabakoff, which is composed of a brown plexiglash coat with a creamy leather upcolouring — a tension between matt and reflective surfaces, which is present in the room.
The abundant windows change the light all day long in every room of the house. Parente had a study with a deep mustard painted which, depending on the hour, not yellow, not brown, not oak. The soft white walls will expand in the living room from a bubble in the morning to a powder gray as evening falls. Parente says, I love that ambiguity. Like movie frames, every corner and point of view in the home is designed and designed with purpose and a love of surprise. We will feel the shadows. In the room of the owner’s son, for instance, a
Just as with film frames, every corner of the house is built and styled with intent and surprise love. In the bedroom of the owner’s son, for example, there are vivid focal points for an electric blue tube chair of the Italian industrial designer Jo Colombo and a glittery purple linen of the contemporary American painter Jacin Giordano. In this study, Parente set a metal lamp by the French lighting designer Jacques Biny in the mid-century, on top of the elegant antique ebony desk. In order to make an unlikely juxtaposition of modern and antiquarian, the French lighting designer of the mid-century Jacques Biny put the metal lamp. At the compact entrance, the Swiss artist Walter Pfeiffer takes a framed large-scale photograph which first appears as a mixture of vibrant colours— until a picture of the nude figure emerges. When you’re in front, you don’t realize it because it’s huge and in colour, but you see a guy then, Parente says with happiness.
Their perpetual will to play with the sense of high and low-culture that is obvious in the entire apartment is responsible for this type of intrigue. Two portraits of Alsatian ancestors from the owner’s own hang in a corner of the living room, so closely that they can also be attached to the austere antiquities by a hinge, bringing disrepute and modernity to it. And another model from Picasso presents an unusual, multicolored polymorphic fiberglass piece by contemporary French sculptors known as Les Simmonett on a wardrobe in the bedroom.