Maison Ozenfant (Le Corbusier, 1923)

Maison Ozenfant Le Corbusier living room Perriand table meribel chairs Noguchi akari 10A 7A lamps African art modern vases
 
 
Maison Ozenfant Le Corbusier living room Perriand table meribel chairs Noguchi akari 10A 7A lamps African art modern vases
 
 
Maison Ozenfant Le Corbusier Dramatic Light Staircase Perriand black berger Stool
 
Maison Ozenfant Le Corbusier Dramatic Light Staircase
 
Maison Ozenfant Le Corbusier living room Perriand table meribel chairs
 
Maison Ozenfant Le Corbusier living room Perriand table meribel chairs Ferreol Babin
 
Maison Ozenfant Le Corbusier living room Perriand table meribel chairs modern vases
 
 
Maison Ozenfant Le Corbusier Dramatic white Staircase perriand meribel stool
 
 
Maison Ozenfant Le Corbusier Spiral white Straicase
Maison Ozenfant Le Corbusier Spiral white Straicase
 
Maison Ozenfant Le Corbusier Dramatic Light Black Modern Cylinder Vase Georges Jouve Fireplace
Maison Ozenfant Le Corbusier White Stairs architectural detail
Maison Ozenfant Le Corbusier Dramatic Light Staircase
Maison Ozenfant Le Corbusier White Stairs architectural detail
 
Maison Ozenfant Le Corbusier Dramatic Light Window
 
Maison Ozenfant Le Corbusier Dramatic Light glass door Sori Yanagi butterfly stool
 

Completed in 1922 in Paris, Maison Ozenfant marks a pivotal moment in the history of modern architecture. It is widely recognized as Le Corbusier’s first modernist house—designed for the painter and theorist Amédée Ozenfant, with whom he co-founded the Purist movement shortly after World War I.

Located in the 14th arrondissement, the house was conceived as both a living space and an artist’s studio. At its core is a striking glass volume, designed to flood the upper floor with natural light—ideal for painting. The project reflects Le Corbusier’s early experiments with rational structure, functional volumes, minimal ornamentation, and a radical openness to light and space.

In photographing the house, I wanted to explore its architectural essence while introducing a subtle dialogue through objects. I staged the space with vintage pieces: a table and chairs by Charlotte Perriand, a Noguchi stool, modernist ceramics, and African artworks—drawn from my own collection and that of close friends.

These elements weren’t chosen to furnish or decorate, but to interact gently with the architecture. Each piece was placed with restraint, to highlight the balance, proportions, and clarity of the original design.

This series is a quiet tribute to the spirit of the house and to a turning point in architectural history.