Summarize this content to 2000 words in 6 paragraphs in Arabic You never know what kind of\u00a0scene you might arrive at when\u00a0walking through the front\u00a0door of Maison Rocher in\u00a0Paris, the private address of French entrepreneur J\u00e9r\u00e9my Rocher and his\u00a0family. Last year, 40 people chatted at\u00a0a\u00a0long banquet table in the white calm of\u00a0the vaulted, 220sq m salon to launch the\u00a0city\u2019s new design fair Matter and Shape.\u00a0More recently, the ambience switched to intimate and hushed with the installation of candlelit tables at a dinner to\u00a0launch the Danish design brand Frama\u2019s collaboration with Beni rugs.\u00a0The apartment was transformed again last month by an exhibition curated by the art adviser \u00c9tienne Macret and Carpenters Workshop Americas\u2019 former director Ashlee Harrison during Art Basel and Design Miami Paris. A\u00a0mix of art, collectable furniture and design objects from galleries such\u00a0as David Zwirner and Carpenters, the pieces were arranged in situ as they might be in a home \u2013 among them coffee tables by Vincent Dubourg and Vincenzo De Cotiis nestled with a Marzio Cecchi Serpente sofa, and Martin Szekely\u2019s aluminium-rimmed West Coast dining table (once owned by Karl Lagerfeld) complemented by six hyper-colourful Franz West chairs.\u00a0The curved forms have\u00a0a cocooning effectBut outside of such events (which have cemented Maison Rocher as one of the city\u2019s most talked-about venues), it is indeed a real home: one that Rocher shares with his partner, the Australian designer Kym Ellery, their two young children and their rescue dog, Miso. On a rainy Sunday, you might find Ellery seated on a long sofa, eight-month-old Amaia napping next to her, while Armand, two, performs toddler body slams into the padded sofa cushions. Above them, a calming blue glow emits from a sphere-shaped James Turrell on a wall.\u00a0\u201cThe idea with this apartment was to have a space where you are disconnected from the city. The curved forms have a cocooning effect,\u201d says Rocher of the vision and an aesthetic \u2013 monastic and minimal but also enveloping \u2013 that sits outside the\u00a0typical Parisian canon. From the antechamber, empty save for a peachy-hued\u00a0draped wax sculpture by the French artist Juliette Minchin, a series of arched openings leads into the vaulted salon. The\u00a0long room curves around the corner of\u00a0the building and is flanked by 10 floor-to-ceiling windows overlooking a park \u2013 the\u00a0leafy outlook lends to the feeling of being perched in the trees. Everywhere, lightness abounds, supercharged by the reflective terrazzo flooring.\u00a0Rocher bought the property six years ago, though he and Ellery only moved in last year. \u201cIt\u2019s funny, the property was on the market for six months because people didn\u2019t see the potential behind it,\u201d he says of what was formerly two office spaces fitted with partition walls, false ceilings and carpeting. \u201cEven the windows and skylights were hidden,\u201d he adds, pointing skyward. We\u2019re seated at an immense island bench in\u00a0the kitchen \u2013 big enough to plate up a\u00a0sit-down dinner for 40-plus people \u2013 just\u00a0off the living room. In contrast to the\u00a0glowing white of the main space, the bench is cut in jewel-like Patagonia granite that also covers the floor. Around us full-height oak cabinets meet ceiling panels framing a series of skylights.\u00a0At first, the 40-year-old envisaged Maison Rocher as a potential commercial art space but loved it\u00a0so much that he\u00a0decided it could also work as a Parisian crash pad, given that he was living abroad (between Hong\u00a0Kong and\u00a0Milan)\u00a0at the time.\u00a0The floorplan circles the building\u2019s inner stairwell, and the private quarters \u2013 three bedrooms, three bathrooms, a dressing room and a laundry \u2013 sit at the\u00a0back of the apartment. They can be\u00a0concealed by a secret door in the kitchen\u00a0cabinet or, on the other side, by\u00a0sliding partition doors designed to\u00a0disappear into the walls.The \u201cat home\u201d feeling that resonates here was overseen by architect Simon Pesin,\u00a0who was briefed to create \u201ca home and a meeting place for art\u201d. Of the art-encounter element, he says: \u201cJ\u00e9r\u00e9my wanted to create an \u2018anti-gallery\u2019 to get away from the clich\u00e9 of concrete floors, orthogonal white walls and technical spotlights.\u201d Together Rocher and Pesin gave\u00a0the space rhythm with the archways, curved walls and ceilings \u2013 organic forms inspired by the art nouveau motifs on\u00a0the exterior of the building, with nods to Antoni Gaud\u00ed, Barbara Hepworth and the\u00a0showstopping fireplaces of French ceramicist Valentine Schlegel.\u00a0It is the rhythm that Ashlee Harrison, who is also Design Miami LA\u2019s curatorial director, instantly tuned into when organising the exhibition. \u201cThe volumes of\u00a0the space allow for curating intimate moments without it being overwhelming,\u201d she says. \u201cIt feels more personal, which enables collectors to understand the relationship between the works and how they might translate into a domestic setting,\u00a0albeit loosely contextualised.\u201dRocher, the grandson of the late cosmetics entrepreneur Yves Rocher, cuts\u00a0a\u00a0stylish figure in his home wearing his\u00a0trademark uniform: a black T-shirt, jeans, sneakers and cap (he shops at Prada, Uniqlo and Comme Des Gar\u00e7ons). In addition to a prior career as CEO of the accessories brand C\u00f4te & Ciel and the now-defunct fashion brand Damir Doma, he\u00a0has long been a collector and investor, and was an early shareholder in the online\u00a0art platform Artsy.\u00a0The Rocher family are entrepreneurial but also creative. Rocher\u2019s father Daniel is a\u00a0sculptor and the founder of the open-air contemporary art space Ch\u00e2teau Charleval in Provence. His two sisters, Noemie and\u00a0Aur\u00e9lia, are both artists. Ellery, too, has\u00a0successfully transitioned from fashion into\u00a0collectable furniture design and sculpture. \u201cThere has always been an artistic and a business side in the family, and I like being between the two,\u201d Rocher says. \u201cWhat I love is the exchange you can\u00a0have with artists and the emotion I\u00a0feel\u00a0in front of works of art.\u201dWith Maison Rocher, he hoped to support and enhance such possibilities. He\u00a0sees the proliferation of art fairs as akin\u00a0to Fashion Weeks \u2013 inexhaustible whistlestop tours in\u00a0major\u00a0capital cities that leave little time for contemplation. \u201cYou just go\u00a0from stand to\u00a0stand, past\u00a0different galleries and\u00a0themes. There\u2019s too many people, too much information,\u201d he says, adding that\u00a0we should appreciate what is\u00a0in\u00a0front\u00a0of us. \u201cThis is a place to exchange and disconnect.\u201d\u00a0Some of the works Rocher has acquired, like those by Turrell and Minchin, are now integral to the architecture \u2013 a permanent part of the experience. He gets his kicks, however, from mixing things up and seeing\u00a0how collaborators interpret the space. \u201cI\u00a0want to incorporate more installation-based works to ensure the place evolves, and I love it when someone comes in with\u00a0a\u00a0different perspective and\u00a0way of\u00a0presenting,\u201d he\u00a0notes.\u00a0But the self-described minimalist \u2013 a necessity, he\u00a0says, having lived in 13 apartments in 15 years \u2013 admits that flexibility will not be compatible with family life for long. Thus far, it\u2019s proven to be a happy home. Ellery, in particular, loves the place: \u201cThere is loads of space, and the location is central, so we\u00a0often have friends to visit,\u201d\u00a0she says, looking around the apartment. \u201cBut\u00a0if you feel like hibernating, it\u2019s also very cosy. I love to lie\u00a0on the sofa\u00a0in\u00a0the sun and take it all in.\u201d\u00a0She has been\u00a0teaching their son Armand that art\u00a0is\u00a0for looking at, rather than touching \u2013 especially the alluring light-dance of the Turrell.\u201cArmand also loves the bathtub,\u201d says\u00a0Rocher as he leads us into the main bathroom, which has a solid oval-shaped marble tub, a vibrant camo-hued slab from\u00a0a quarry in the south of France. He\u00a0likens the marble to a painting \u2013 although, weighing 500kg, it proved the\u00a0most challenging work to install.\u00a0If the family outgrows the space, there\u00a0may be an opportunity to take the immersive element to the next level. Rocher\u00a0has acquired a tourism licence and is considering creating a highly curated overnight experience where guests live with\u00a0bespoke selections of art and objects. \u201cToday, there is a huge financial facet to the art market, but the original purpose of art is to bring us outside ourselves, to confront ourselves in its reflection and to create emotion,\u201d he says. \u201cIt was never meant to\u00a0be locked away in storage.\u201d\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic You never know what kind of\u00a0scene you might arrive at when\u00a0walking through the front\u00a0door of Maison Rocher in\u00a0Paris, the private address of French entrepreneur J\u00e9r\u00e9my Rocher and his\u00a0family. Last year, 40 people chatted at\u00a0a\u00a0long banquet table in the white calm of\u00a0the vaulted, 220sq m<\/p>\n","protected":false},"author":1,"featured_media":154560,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-154559","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/154559","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=154559"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/154559\/revisions"}],"predecessor-version":[{"id":154561,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/154559\/revisions\/154561"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/154560"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=154559"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=154559"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=154559"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}