巴黎是一座在古典与先锋之间束缚切换的城市，在此经过中自会悄然地出生新的事物。Atelier MKD的作品有着城市的缩影，“先倾听建筑，再雕饰细节”让暗藏于巴黎旧结构中的光、层高与比例再行发声；定制的产物与对程序的鸿沟，将现代生存的温度注入室内，演绎“巴黎式优雅”的盛大体验。
Paris is a city that constantly switches between the classical and the avant-garde, and in this process, new things will quietly emerge. Atelier MKD 's work is a miniature of the city. "Listen to the architecture first, then refine the details" gives a new voice to the light, ceilings and proportions hidden in the old structures of Paris; Custom-made furniture and control over scale infuse the warmth of contemporary life into the interior, presenting a daily experience of "Parisian elegance".
Atelier MKD最新磋磨的三个住宅名目——Trocadéro Appartement、Foch Residence和Wilson Residence向咱们展示着何谓“程序、材质与节拍”确现代程序叙事：在拆与留之间总结建筑本真，在克制与丰盛之间为生存打造典礼感。
The three latest residential projects designed by Atelier MKD - Trocadero Appartement, Foch Residence and Wilson Residence - show us the contemporary French narrative of "scale, material and rhythm" : Return to the essence of architecture between demolition and retention, and create a sense of ceremony for life between restraint and abundance.
Wilson 住宅是一间紧凑型住宅，Atelier MKD 以“微程序建筑”的想维将正本的墙体铲除，从而变成具有流动性的连贯空间。最大甘休的开窗，引入当然光，使空间在视觉上变得更为活泼与亮堂。
Wilson is a compact house. Atelier MKD removed the original walls with the idea of "microscale architecture" to create fluid and coherent Spaces. Open the Windows to the maximum extent to let in natural light, making the space visually more open and bright.
为了营造立面档次，磋磨师在室内使用了丰富的材料、色调、守旧产物和精选的潦倒摆件，以及一系列微不雅的元素，它们谐和交融，为空间营造详细却现代的巴黎情调——在有限平米中杀青“盛大的典礼感”，而这也恰是Atelier MKD独属的叙事神色。
To create the layers of the facade, Atelier MKD has used a rich array of materials, tones, vintage furniture and selected decorative items, as well as a range of microscopic elements that blend harmoniously to create a delicate yet contemporary Parisian atmosphere in the space - achieving "everyday ritual" in the limited square meters, which is the unique narrative style of Atelier.
这座位于巴黎的公寓，泉源呈现的是“臆造的古典”——伪造的吊顶、过度的潦倒、失确切比例。在铲除经过中，Marika Dru发现了荫藏于结构之下的惊喜：3.5米的挑高、都集的方形拱廊和延展的线性结构。这些“有时的原始肌理”成为她磋磨的灵感，通过重构让拱廊成为串联视线的轴线，赋予住宅明显的“空间序列”。
This apartment located in Paris initially presented a "fictional classic" - forged ceilings, excessive decoration and distorted proportions. During the demolition process, Marika Dru discovered the surprises hidden beneath the structure: a 3.5-meter ceiling height, continuous square arcades and extended linear structures. These "unexpected original textures" became the inspiration for her design. Through reconstruction, the arcades became the axes that connect the views, endowing the residence with a distinct "spatial sequence".
客厅内，Sasha x Sasha (Galerie Paradis) 磋磨的金属架前摆放着来自Guglielmo Ulrich (Maison Rapin) 一双凳子。茶几上摆放着Jean Besnard (Galerie Marcilhac) 制作的陶碗和陶瓷花瓶、Bruno Munari (Nans Design) 制作的金属盘子和 Maurice Gensoli (Galerie Anne Sophie Duval) 制作的搪瓷陶鱼。Francis Sultana磋磨的Eloise 地毯 01 05。
来自Atelier MKD的餐具柜屏风；桌上摆放着 Jean Desprès（Maison Rapin）磋磨的杯子和玻璃杯，以及 Laëtitia de Bazelaire（Galerie Mayaro）磋磨的青铜雕镂Femme Biche；墙上挂着由Shuo Hao（Galerie Derouillon）于2023年创作的布面油画《陨落之后的伊卡洛斯》；漆红木桌子上放着一个来自Christofle的古董碗。
厨房的餐具柜上摆放着由Jacques Lenoble (Galerie Anne-Sophie Duval) 磋磨的陶瓷碗。责任台上有一个Marion Benoit的陶瓷半身像。镜子上挂着Roman Moriceau的作品Neovison Macrodon。
空间中央一张袖珍的20世纪30年代抽烟桌，由Léon和Maurice Jallot（Galerie Marcilhac）磋磨，桌上摆放着Christofle杯子；背面是一幅由Adam Jeppesen（Bendana-Pinel）于2024年创作的大型版画《Mæra#19》；控制遗弃了一盏Nezu台灯（Garnier & Linker），大地上铺设着Baldaquin地毯（Les Éditions de Tapis）。
Marika Dru期骗精细的木作磋磨和空间分裂来柔化程序。红木镶板成为视觉亮点，伙同镜面倒影与旋转门的树立，构筑各类的折射，既增强纵深，又制造迷东谈主的流动感。来自1940年代灵感的木饰面宛如巨幅屏风，让每一个空间在“可见”与“半隐”之间诊治，变成戏剧性与生存感的双重氛围。
Marika Dru uses meticulous woodwork design and spatial division to soften the scale. The rosewood panelling becomes a visual highlight. Combined with the mirror-like reflection and the setting of revolving doors, it creates diverse refractions, enhancing the depth while also generating a charming sense of flow. Inspired by the 1940s, the wood veneer is like a huge screen, allowing each space to transition between "visible" and "semi-hidden", creating a dual atmosphere of drama and a sense of life.
走廊里有一双 Marcello Piacentini (ALB Antiquités) 磋磨的Sarfatti椅子、一张Apophis地毯 (Les Éditions de Tapis) 和一盏Luna雪花石膏吊灯 (Atelier Alain Ellouz)。
卧室中，有一张由Lore Stessel (Galerie Les filles du Calvaire) 创作的银色帆布像片、一张由Carlo Bugatti (Harold Mollet)简略在1900年创作的袖珍底座桌，以及一双由Pierre Chareau (Galerie Marcilhac) 创作于1921年的SN1凳子。
她用粉色的Paloma石材、象牙日间花与Versailles拼花地板，诱骗一种档次分明又和煦的色调三角干系。而产物磋磨亦成为空间的延长：从宴集长桌、雕镂感沙发到守旧扶手椅，AG真人百家乐线路全部以洽商木断定制而成，配以30-40年代作风的低迷漫色调，重构属于当下的程序致密，低调克制又相称精准。
She used pink Paloma stone, ivory white ceilings and Versailles parquet flooring to create a distinct yet gentle color triangle relationship. Furniture design has also become an extension of the space: from banquet long tables, sculptural sofas to vintage armchairs, all are custom-made from the same wood, complemented by low-saturation colors in the style of the 1930s and 1940s, reconstructing the French refinement of the present, which is low-key, restrained yet very precise.
浴室里，Marika Dru使用釉面石膏打造了一个古色古香的步入式淋浴间。水龙头石碑与这个空间的圆形概述井水不犯河水。
Faudesteuil 凳子由Edgar Jayet磋磨；一幅来自Étienne Cournault的纸上粉彩画（Galerie Anne Sophie Duval）。
Aspen 凳子由Marion Mailaender (Mycoworks) 磋磨。
这套坐落于香榭丽舍正途隔壁的400㎡公寓，建于20世纪五六十年代。Marika Dru将杂然无章的空间解构并再行组织为环形布局，圆弧、弧线束缚出现，跻身其中，流通感犹如在流动的水中穿行。磋磨师用生动的线条围合出具有包裹感的同意场域，既有建筑构图的严谨，也多情谊层面的柔软。
This 400-square-meter apartment, located near the Champs-Elysees, was built in the 1950s and 1960s. Marika Dru deconstructed and reorganized the chaotic space into a circular layout. Arcs and curves keep emerging. Being in it, the sense of smoothness is just like walking through flowing water. The designer uses flexible lines to enclose a comfortable space with a sense of envelopment, featuring both the strictness of architectural composition and the softness of the emotional aspect.
在石灰华的Trani咖啡桌（Stéphane Parmentier）前，摆放着两把1955 年的A.R.P.扶手椅（Galerie Pascal Cuisinier）；在Sainte-Croix石壁炉上，摆放着艺术家Han Chiao的陶瓷雕镂；两侧是Marika Dru磋磨的定制漆面木凳；墙壁上是Alain Ellouz磋磨的圆形雪花石膏壁灯。
走廊有矿物灰泥墙和圣十字石框架，在Garcé & Dimofski创作的图腾基座上，遗弃着Han Chiao创作的陶瓷雕镂。
餐厅磋磨围绕定制的漆桌张开，两把西班牙文艺回话时刻的椅子与两扇受20世纪30年代和登第作风启发的双开门与一盏Oslo L1P雪花石膏吊灯（Alain Ellouz）互相衬映。
这张20世纪70年代作风的大桌子的圆角与西班牙文艺回话时刻椅子的凿刻乌木圆善交融，与致密的拼花地板过火良好的嵌入图案变成了丰富的对话。
桌子上摆放着Claire De Lavallée（Galerie Anne Sophie Duval）磋磨的贝壳碗和Sophie Lou Jacobson磋磨的Martini羽觞。墙上挂着Camilla Reyman的“拼布画图”（Patchwork Painting）。
空间虽以白色与奶油色为主调，但磋磨并莫得落入“冷白从简”的陷坑。Marika Dru通过不同材质的堆叠，在“无色调”中营造丰富的肌理档次。弧形门、凹槽线条、圆弧墙角的重迭使用，让其领有当然的温度与节拍，使材质不再仅仅名义，而是一种论说言语。
Although the space is mainly in white and cream colors, the design does not fall into the trap of "cold white simplicity". Marika Dru creates rich texture layers in "colorless" through the stacking of different materials. The repeated use of arc-shaped doors, grooved lines and rounded corners gives it a natural temperature and rhythm, making the material no longer just a surface but a narrative language.
漆木鸿沟台桌由Marika Dru定制磋磨。
吊灯Eos来自Garnier et Linker。
在这个克制而有序的空间中，产物一直是视觉焦点。Marika Dru一方面定制了多件极简雕镂感产物，另一方面，则斗胆地罗列时刻跨度极大的产物。让不同作风与期间在这间住宅中交汇，但又因空间的雪白而不显冲破，哀而不伤地体现“极简不是削减，而是致密的收受”。
In this restrained and orderly space, furniture has always been the visual focus. Marika Dru, on the one hand, custom-made many minimalist sculptural pieces of furniture, and on the other hand, boldly displayed furniture with an extremely long time span. Let different styles and eras interweave in this residence, yet not appear in conflict due to the purity of the space, appropriately embodying the idea that "minimalism is not about reduction, but about exquisite choice."
壁龛中摆放着Han Chiao的陶瓷雕镂《Warrior Series》。右侧是Charlotte Juillard磋磨的 Hestia 凳子。
在这三个名目里，Atelier MKD恒久坚捏使用归并把“隐形的刻度尺”——以建筑原始递次为圭臬、以现代生存温度为刻度。磋磨的兴趣从不是简便形制叠加，而是让空间重获壮盛，创造栖居之所。当古典与先锋在归并屋檐下和声共振，生存便能在每一次开门、每一都转角、每一束光影里，生成新的典礼与惊喜。
In these three projects, Atelier MKD has always insisted on using the same "invisible ruler" - taking the original order of architecture as the criterion and the temperature of contemporary life as the scale. The significance of design is never simply the superimposition of forms, but rather to rejuvenate the space and create a place to live. When the classical and the avant-garde resonate in harmony under the same roof, life can generate new rituals and surprises in every door opening, every corner, and every beam of light and shadow.
网络彩票和AG百家乐