“Metals like stainless steel and silver reflect light; in reflecting, they speak to the past, embedding us within it,” Poggioli says.
The Ferdinand table in blackened oak by Joris Poggioli for youth éditions with a silver dinner service by Donald Judd for Puiforcat on top. In the foreground, MR side chairs by Ludwig Mies van der Rohe for Knoll. A painting by Key Sato and Rain on rocks and an acrylic and resin on panel by Jonathan Bréchignac feature on the wall.
Step inside architect Joris Poggioli’s Paris home, where he’s orchestrated a sculptural retelling of its storied past.
Your home is famously Napoleon’s former office. Were you immediately aware of the space’s historical significance?
Joris Poggioli: Yes, the historical weight of the space was immediately palpable. Walking into the apartment, I could sense the energy and presence of its past, almost as if the walls were whispering stories. Knowing that Napoleon had worked here added a layer of responsibility; I knew I had to honour the history while injecting my contemporary voice into the space.
What features attracted you most to the home?
Joris Poggioli: What drew me in were the proportions: the 4.2-metre ceiling height, the grand windows flooding the rooms with natural light, and the richness of the historical detailing. The space felt like a blank canvas but with so much embedded character, which resonated with my approach as both an architect and a sculptor. I was particularly fascinated by how the apartment’s classical architecture could be reinterpreted with minimalist, modern interventions.
How did you set out to respond to the past but ensure a clear delineation with your intervention?
Joris Poggioli: I approached the project with a deep sense of respect for its history. Rather than overshadow the original elements, I sought to complement them. This meant integrating bold, modern pieces that felt sculptural but maintained a subtlety in their interaction with the existing architecture. For example, the oversized headboard in the bedroom or the metal details throughout are anchors between the past and present, a dialogue where neither dominates the other but coexists harmoniously.
Poggioli describes the kitchen island as his favourite piece in the home, for which he collaborated with a master craftsman to shape the curved steel forms. “It’s a deeply personal piece for me, as my father was a locksmith by trade, and my mother passed on her love of cooking to me,” he adds.
The kitchen features a solid oak sculpture, a salad bowl by Ema Pradère and a vintage metal candlestick, all from L’Œil de KO. Also pictured: Preparatory drawing for a work by Philip Glass, Robert Wilson from NES Gallery, an Alessi teapot by Aldo Rossi, a ceramic bowl by Jean Besnard from Galerie Maxime Flatry and a PQCV tobacco collection by Joris Poggioli.
Patrick leather sofa by Joris Poggioli for youth éditions, with shelves also by the architect. On the shelves, a small totem by Momcilo Milovanovic, a shell by Natalia Brilli and a bronze sculpture by Thomas Junghans, all from LŒil de KO, and a cigarette case and a lacquered metal bowl by Jean Dunand from Galerie Maxime Flatry.
The Gabriella silver-plated coffee table, the Moon wall lamp, the Ettore bookcase and the Sedia Rick chair in a carved solid oak by Joris Poggioli. A lacquer box by Katsu Hamanaka from Galerie Maxime Flatry, a small modernist bowl in enamelled silver and a Ulua marble vase feature on the coffee table. The rug is by Nordic Knots.
“In my home, every element is sculpted to create meaning. Light, space, and form contribute to a living, breathing sculpture,” Poggioli says.
You describe your approach as if you were a sculptor in the space. How does this language extend from the architecture to the individual pieces you designed for your home?
Joris Poggioli: I was trained as a sculptor, and I infuse all the emotion in the world into every piece I design, whether it’s a piece of furniture or a living space. That, to me, is the secret. We communicate and transmit emotions through our creations. As Santiago Calatrava said, “Architecture is a sculpture in which we live.” In my home, every element is sculpted to create meaning. Light, space, and form contribute to a living, breathing sculpture. Every piece in my home was designed to feel like part of a larger composition as if the entire space is one cohesive work of art.
In what ways does your sculptural approach extend to how you’ve worked with light in the space, and how does it enhance the overall atmosphere?
Joris Poggioli: As a sculptor, I work with light like a material—almost like a liquid object that you allow to flow, glide, and never stop. Sculpting a space is more powerful than simply filling it with million-dollar artworks; the space itself becomes a masterpiece. It brings energy and serenity to the body. I’ve designed the light to enhance these feelings, working with natural light and reflective surfaces to create a dynamic atmosphere that shifts throughout the day. Light doesn’t just illuminate; it sculpts the experience of being in the space.
Metallic elements such as stainless steel and plated silver make a real design statement in your home. What is the significance behind the choice and use of these materials?
Joris Poggioli: Metals like stainless steel and silver reflect light; in reflecting, they speak to the past, embedding us within it. It’s as if the past and present eras have always existed together in harmony. These materials add a modern edge to the historical architecture and create a timeless dialogue where the old and the new coexist beautifully. They also amplify the natural light, enhancing the dynamic quality of the space.
The bathroom features a custom stone and lacquer sink by Joris Poggioli and a Fratina de Marco chair.
Chair by Joris Poggioli
Custom details can be seen throughout – from the bedroom’s lacquer headboard to the bathroom sink. What are some of your favourite custom details, and how do they reflect how you live there?
Joris Poggioli: My favourite piece is my kitchen island, which is like a stainless steel sculpture. I had to find a master craftsman to shape those curved forms from steel. It’s a deeply personal piece for me, as my father was a locksmith by trade, and my mother passed on her love of cooking to me. I love cooking for friends, so this island is the perfect link between the three of us. It lives as a sculpture but is also the central gathering point when I invite family and friends over. Everyone gathers around it.
Could you share the story behind one or two pieces and why they are personal to you?
Joris Poggioli: One of the most special pieces in the apartment is the Thalie console in my bedroom, as it’s the first piece I ever made. It holds a lot of meaning because it was the beginning of everything. The idea of taking a block of material, much like in my uncle’s workshop and shaping it into a sculpture is where my journey began. I keep it because it reminds me of my origins and holds great personal value. This stone block exudes serenity and has the strength to converse with the bold Napoleon-style headboard.
Another significant piece is my Ettore library, which is deeply personal because it comes from the forests my uncle tends to. Whenever an oak tree falls, whether struck by lightning or otherwise, he retrieves it for me, and I transform it into something new. During the TOTEM collection, I was heavily influenced by Giuseppe Penone and his direct relationship with material, so I decided to work similarly. It also takes a certain strength to hold up books!
Sculptural headboard and console by Joris Poggioli, with a Butterfly floor lamp by Afra and Tobia Scarpa for Flos from Galleria Graziella Semerciyan. ‘Untitled’ by Robert Wilson from NES Gallery on the console.
“One of the things I’m most happy with is the entrance. The challenge was to make the space interesting, inspiring, and full of energy through the forms and the white paint alone,” Poggioli says.
Now, living in a home of your own design, has anything surprised you about the space?
Joris Poggioli: What has surprised me the most is how fluid the space feels despite its strong architectural bones. My interventions, which I thought might dominate initially, have settled into the apartment so naturally that it feels like they’ve always been there. The way the light changes throughout the day continues to surprise me, casting different moods and creating a living, breathing environment that evolves with time.
An architect’s home is often a testbed for ideas. What did you experiment with in your own home that has influenced projects that have followed?
Joris Poggioli: My home is a laboratory for architecture and design, which to me, are the same practice. You’ll always find prototypes around. One of the things I’m most happy with is the entrance. The challenge was to make the space interesting, inspiring, and full of energy through the forms and the white paint alone. No decorative details, no colour, nothing fancy that would irritate me after a week. Instead, it’s about the sculptor’s attitude—making clay interesting by giving it form. In that sense, I’m pleased with the apartment, but it’s only the beginning. The next step? Designing a house.
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