Let's meet Constance Guisset!

It’s not intimidating, but it does require dedication and a sense of responsibility. I am aware that my part in this edifice from the eighteenth century is minuscule and that my contribution will be ephemeral. That said, I was not asked to enhance the building but to adapt the interior for exhibitions. The historic context must not overshadow the works that are being presented. The two must coexist in harmony.

The nineteenth-century architecture of the banquet hall is punctuated with columns. We built self-supporting panels that blend in between these columns, which was not an easy feat, for the columns are five meters tall! The room also required discreet lighting that would not overpower the space. I worked with Aura Studio to design the technical lighting. The sober design and color of the spotlights make them disappear. Good lighting is lighting that no one notices.

The mansion’s entrance is not protected as a historic monument. After being seriously deteriorated, it was restored. This allowed for greater freedom. I designed the fixture to evoke the magnificent chandeliers that once graced the site and to accompany visitors as they walk up the stairs. I also designed a chandelier for the exhibition space, where the historic monuments services did not authorize
us to use rail lighting, so we needed a solution that would recall period fixtures while incorporating technical spotlights.

The first requirement was to create a pleasant reception area and fluid circulation. I approach space intuitively: when I enter a space, I prepare myself psychologically so I may understand its volumes. As I move through it, I may consider lowering a ceiling, for varying heights can create a feeling of movement. I may incorporate a recess in a certain area to offer visitors a place to retreat.
And then, only after the volumes have been defined, I think about the atmosphere. The shape of furniture contributes to a feeling of comfort.
I try to add soft lines using furniture with rounded edges. I like curves for their graceful, delicate nature.

The materials had to be solid, for the space will be open to the public, and refined. I used oak and wood veneer, which reminds me of boats, sailing the seas, and faraway travels.

Dark blue evokes the night, astronomy, and mystery. It also condenses space. All the posts, on the other hand, are painted a luminous blue with a touch of violet, a color known as periwinkle, which results in a lovely contrast with the darker elements.

I conceived the bookstore with the library of the Nautilus in mind, with large portholes and round lights, as it was depicted in the Little Nemo in Slumberland comic. It was inspired by a curiosity cabinet, which is something that fascinates me.