Set within a square floor plan with a pyramidal ceiling, a 22-meter diameter chandelier aligns with the curved sweep of the hemicycle’s seating. A stage curtain unfolds from one of the object’s concentric rings of light, creating a play of transparency in a dialogue between materials and light.

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The aerial suspension holding it all together is the result of meticulous metalwork: the riveted aluminum panels form their precise curvature. The fabric that descends from it, which has acoustic properties, veils and unveils the space depending on how it is used, making it feel either intimate or formal. Its light, silky appearance contrasts with the mineral surroundings, while its pale color complements the white concrete of the work by Maurice Calka (Grand Prix de Rome in 1950). On the sculptor’s bas-relief that adorns the walls and ceiling, one can make out garlands of flowers and mineral crystals. The simple, straight drape of the curtain responds to this abundant, moving nature. To support the metal structure that holds both the long light ribbons and the curtain rails, the fixtures are discreetly positioned diagonally on the edges of the ceiling to highlight its immense aesthetic and heritage decor. The custom-extruded metal profiles adjust to the existing shapes of the hemicycle. Where these lines of force meet, the chandelier appears to float above the void.

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The priority given to materials and lines, shared with the Delalande Tabourin (ADT) studio, is combined with an ethical commitment to sourcing materials and expertise as locally as possible.

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