duendepr.com news Lizybiz showroom by Paul Coudamy

Lizybiz showroom by Paul Coudamy


Paul Coudamy has landed the new Parisian showroom for the textile creator Lizybiz. With 170m2 to play with in one of the capital’s classic 19th century buildings, this young French architect has met the needs of a studio exclusively devoted to textiles. ”My priority was to make the furniture blend in with the walls, blurring the boundaries of the forms and therefore minimizing the impact. The unique nature of the ceiling work provides intimacy while placing the spotlight on it, it diminishes the feeling of height in places and subtly prevents the architecture from being intimidating without distorting it,” resumes Paul Coudamy who has produced a monumental, yet light installation suspended in the space, a functional structure as well as a visual object linking the Haussmann era with contemporary style.


The Volatiliz ceiling light design looks like an inverted forest, a field of grass descending from the ceiling at varying heights to create a continuous layer undulating in the space. “Perceptible and transparent, these very slender stems dispersed over the smooth ceiling flirt with the integrated light, allowing a free perception of the space.” Suspended on lacquered panels, 2.6km of fibreglass stems were required to compose the showroom ceiling light covering a total of 20m².The furniture design is based on a triangular structure.” Visually the profile is extremely refined yet it remains very stable and solid. This design enables the section approaching the ground to be slimmer. The furniture hovers, resting on its ultra-slim feet like insect legs.”


Reduced to a bare minimum the rails on wheels disappear behind the clothes and fabrics with a double configuration, presenting both a front and side view. The tables designed in three sections enable many configurations: straight, curved, split up into three parts or L-shaped suitable for presentations and work sessions. The thickness of the table surface is not obvious due to it being partially bevelled. The feet that narrow as they approach the ground reinforce the feeling of lightness and floating. This disconcerting finesse contrasts with the solidity of the broad white top.


There is particular attention to detail regarding the design of the drawer units. “It was important for the presence of the storage furniture to be subtle in order to retain the equilibrium of the space. The drawers are like stratum, a landscape of cubes that evolves at different heights. A fine engraving on the external surface clarifies the interpretation of the drawers. The entire volume is grooved with layers that blend with the drawers and reflect the moulding. The range of heights provides additional surfaces to sit, settle down and consult books or spread out fabric next to a nearby table. A mirror polished steel skirting board provides a disconcerting lightness by visually lifting the mass of unpolished, white lacquered wood from the parquet.


The partition in the main space is like an angular slanting form. Once in the reception area visitors notice this mysterious shape, a geometrical rock displaying coloured threads. The structure fully opens and provides storage on the other side. Lastly, the company archives are at the heart of the workspace. Samples become an architectural material highlighting the lightness of the ceiling.


Photo credit Benjamin Boccas

Since 2008, Paul Coudamy has continued to invent eye-catching interior design whatever the constraints. His talent for maximizing the materials (poor or rich: cardboard, fibreboard, metal, porcelain…) combined with the demands of custom-made has led the agency to create new digital design and manual production processes on a daily basis usually in his own workshop. His is a rare architect/artisanal approach made necessary by the ever-demanding residential and commercial market and its economic and aesthetic requirements. Paul Coudamy used the same sharp-eyed look for his ‘Fantastic Canopée’ produced for the extremely hip Comme des Garçons shop in Tokyo (a plant installation made from an accumulation of parquet floorboards) in 2012 or the 23m2 Parisian Red Nest studio with mobile furniture entirely designed by the agency: each project is met with an extrovert as well as financially realistic gesture. The design of the places that he has tackled is therefore a naturally consequence of this approach: a result of manufacturing techniques that he has mastered from A to Z.  Whether a bookshelf, lamps, tables, chairs or storage, Paul Coudamy adapts each typology to its architectural and economic environment: cardboard office furniture for a young advertising agency (Cardboard Office 2008); an enormous chandelier reproducing the sky for a private house (Nuctale 2013); a curved bookcase in a library for a Haussmann style apartment in 2010. His research is symbolic of a period reinventing its aesthetic with regard to realism and based on digital to optimally re-appropriate the physical material.