A Jacques Couëlle-designed modernist home near Cannes gets an organic refresh
This experimental house in the South of France has been brought to 21st-century standards through an interior refresh by Miriam Frowein
Works such as this Jacques Couëlle-designed home in the South of France helped coin the name of its genre, 'architecture-sculpture' – and it's easy to see why. The flowing, organic-inspired house features intense curves and an abundance of sun-drenched terraces, gleaming under the Mediterranean sun. The project, located in a village high above Cannes, was originally completed in the early 1960s, making it a rare build by this unconventional modernist architecture representative. The residence has now just been given a sensitive 21st-century refresh, courtesy of Miriam Frowein Interiors.
Step inside this reimagined Jacques Couëlle-designed home
The home is one in a complex of just six remaining residences designed by Couëlle (1902-1996). Frowein met the current owner at an event at the nearby Fondation Maeght in Mougins. They soon embarked on an interiors scheme together, working with the house's powerful and idiosyncratic architecture to bring it to the 21st century through a delicate, context-driven approach.
'A house conceived by Jacques Couëlle demands a particularly sensitive approach. His architecture is so expressive and sculptural that it naturally becomes the protagonist of any design narrative. Rather than attempting to reinterpret or compete with it, my intention was to quietly reinforce its organic language and allow its uniqueness to shine,' says Frowein.
She continues: 'The residence in [the village of] Castellaras, built in the late 1950s and early 1960s, embodies the spirit of the Mid-Century period. In response, I selected a kidney-shaped sofa by Pierre Augustin Rose — a form strongly associated with that era. Its soft curves subtly echo the fluid geometry of the architecture. Upholstered in a refined bouclé, blending gently into its surroundings so that the architectural forms remain visually dominant.'
'For the dining area, natural oak was chosen by me for both the table and chairs. The softly contoured edges and warm materiality complement the sculptural envelope of the house without introducing unnecessary contrast. Every furnishing was selected with the intention of continuity – organic lines, tactile surfaces, and restrained elegance. Ultimately, the concept is one of dialogue rather than intervention: a quiet interior landscape that follows the rhythm of Couëlle’s vision, ensuring that architecture and furniture exist as one harmonious expression.'
Working with a building of such a strong character might have been a challenge for some but for Frowein it felt a natural fit, the designer explains. 'The openness and trust of the villa’s owner, who became a friend, combined with the strong architectural direction of Jacques Couëlle, made this project feel natural rather than challenging. A house of such sculptural clarity already provides its own guidance. It becomes difficult only when an interior designer’s ego attempts to compete with the architecture instead of listening to it.'
'I approached the project with deep respect for Couëlle’s genius. His organic forms, carved volumes, and flowing transitions shaped every design decision. The abundant influx of natural light reveals the tactile elements of the house throughout the day. The stunning tiling in each room is so expressive that it almost insists on remaining uncovered. There was no need to lay extensive rugs out. The only exception is a small, organically shaped rug beneath the coffee table, featuring nuanced tones of brown and soft yellow. It introduces warmth and subtle depth without interrupting the architectural language.'
Frowein leaned into the earthy atmosphere of the house, adding artisan-made table lamps, handcrafted elements and natural materials. As a result, nothing feels at odds with the home's unusual volumes or out of place.
'Interestingly, the interior concept evolved very intuitively. Extensive research felt unnecessary, as the 1960s — my preferred period of the last century — is a design language I know intimately. Its forms, materials, and proportions are deeply familiar to me, so the process was less about investigation and more about thoughtful implementation,' she explains.
The designer-and-client team's desire to maintain the home's existing identity and its architect's pure intention was critical in their choices throughout. Natural fibres were used for all fabrics, such as bouclé, linen, and soft woven textiles. This blended well with the brown, crème and gold tones chosen for the soft furnishings. Ceramics feature heavily too, underlining the home's connection with the land. It all feels cohesive and purposeful.
And does Frowein have a favourite spot in her project? 'The mural on the main door in the dining room is, without question, my favourite element of the house. Its abstract motif and layered bronze finishes create a powerful yet nuanced focal point within the space,' she says.
'What makes it so compelling is the way the patinated bronze captures and reflects the changing light throughout the day — sometimes glowing warmly, at other times appearing almost shadowed and sculptural. The materiality feels deeply connected to the earthy palette of browns and crème tones used throughout the interior. Rather than functioning merely as a decorative feature, the mural reads as an extension of the architecture itself — almost like a piece of integrated sculpture. It embodies the house’s spirit: expressive, artisanal, and rooted in material authenticity.'
