Ettore Sottsass meets the classic Paris apartment of Charles Zana

The classic 18th-century Paris apartment of top interior designer and architect Charles Zana is decorated extraordinary modern art and furniture. Zana revealed to be one of the most enthusiastic Ettore Sottsass fan and the Memphis Movement that he has been collecting for over 15 years.

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Paris apartment Ettore Sottsass meets  the classic Paris apartment of Charles Zana BestPiecesbyBocadoLobo

See also: Eclectic London House by Top Interior Designer Teresa Sapey Studio

In a tour of his home for T: The New York Times Style Magazine, Zana demonstrate a deep admiration for the radical Italian architect: ‘‘He changed everything. He was really the first person to entirely inhabit that most interesting place between art and architecture.’’

Ettore Sottsass meets the classic Paris apartment of Charles Zana Paris apartment Ettore Sottsass meets  the classic Paris apartment of Charles Zana charles zana 3

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Zana’s collection consists of over 30 pieces from Sottsass including rare prototype ceramics, furniture, and lighting.  Which flawlessly mixes works of Sottsass together with lamps by Andrea Branzi, pieces by Carlo Mollino, and luxury furniture that Zana himself designed.Ettore Sottsass meets the classic Paris apartment of Charles Zana Paris apartment Ettore Sottsass meets  the classic Paris apartment of Charles Zana charles zana 6

Paris apartment Ettore Sottsass meets  the classic Paris apartment of Charles Zana charles zana 7The classic interiors of a typical Parisian apartment is a contradictory framework against the colorful and eclectic collection of objects, the Memphis aesthetic, known for its brash colors and bold shapes.

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Zana sees himself to be a ‘‘bohemian sort of collector,” he refuses to treat his home like a museum or art gallery: ‘‘I always thought it was absurd to treat things as though they were suddenly so delicate and valuable when that wasn’t how they started.’’

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Charles Zana’s apartment is a perfect refinement of art and architecture combined together, he strongly confirms that he “would rather be alive with beauty than living in a museum, with things under glass.”

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