Rue Du Bac Apartment in Paris by Rodolphe Parente.

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For an apartment situated on Paris’ historic Rue Du Bac, Rodolphe Parente’s kaleidoscopic interior remodel could have you mistaking it for a gallery. Or a museum. Or even a zany installation that could have tumbled out of The Louvre. Neither loud nor muted, the home features outré pieces that are both bizarre and beautiful.

A pair of floating legs (actually a blue jeans body pillow by Pia Camil), for example, dangles over a mantel in the living room. A metallic blue Tube Chair by Joe Colombo sits outside a bedroom, while a Bubble Bench by Léa Mestres unfussily occupies a passage. Some accents, like the bust masks by Pia Camil, riff on otherworldly, thanks to their peculiar composition (these ones are a ceramic design made of synthetic hair and brass).

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The artistic flourishes are equally outlandish, with a polymorphous sculpture by Simonnet, a ‘Les Pesquiers’ sculpture by Olivier Millagou, and a ‘Violet Night’ rendition by Jacin Giordano. There’s also a Stool Zindi by Charlotte Thon and Marc Boinet (inspired by royal nuptial stools from Nigeria), golden bronze rods from Maison Intègre, and Allpa-Qucha-Pacha vases by Jean-Baptiste Fastrez.

“The client wanted to maintain a Parisian patina, while modernising other aspects of the home. The home is in the heart of Paris and the idea was to transmit this mood through an eclectic signature,” says Rodolphe.

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His words ring true in the smorgasbord of modish tchotchkes: a pair of Model 251 table lamps by Tito Agnoli here, a golden bronze Lamp 231 by Jacques Biny there, an Echo lamp by Brendan Ravenhill and Maison Intègre in the bedroom.

Admittedly for Rodolphe, the interior is a pastiche of eclectic styles. “And yet, they’re perfectly compatible,” he says, noting that it’s the dialogue between the materials and textures that really characterises the place. “We used the client’s existing collection to develop our selection of pieces. It takes a lot of sensitivity to anchor a space in the past while also making it better for the present. The most complicated thing was to make the project look effortless—as if it had always existed.”