A Space Designed Around the Object

Craftsmanship extends beyond the making of objects. It is a way of translating ideas, needs, and ambitions into material form. Through the act of combining materials, it creates relationships between forms, textures and meanings. For this very reason, I have always perceived craftsmanship as something inherently poetic. Poetry builds meaning through relationships between words and images. Craftsmanship follows a similar principle. The maker does more than create an object. They shape an experience and give material a sense of purpose.

The earliest concepts looked very different from the final interior. The starting point was the colour related to the brand’s palette: a distinctive green with subtle blue undertones, reminiscent of emerald or jade. We were fascinated by this colour from the outset and initially imagined an interior immersed almost entirely in its tone. Variations of emerald appeared across floors, walls, textiles, and carpets, each expressed through a different texture and intensity.

As the design developed, we introduced wood and accents in aged gold tones to bring greater warmth to the space. Curly maple veneer, distinguished by its subtle, silky grain, also became part of the material palette. We also spent a considerable amount of time searching for the right stone. Eventually, we selected honey coloured onyx, whose warmth introduced another layer of depth while subtly echoing the amber tones that often appear in La Marqueuse collections.

To balance these warmer materials, we incorporated polished black surfaces, oxidised aluminium, and decorative fused glass. Looking back, the defining ambition was to create a space that feels open and comfortable. We wanted visitors to feel welcome from the moment they entered. The interior needed character and identity, while remaining approachable and easy to inhabit. A more monochromatic solution would have created a stronger visual statement, but it would also have felt more demanding and less inviting.

From the beginning, the interior was conceived as a setting for the jewellery. Its role was to support the objects on display, allowing them to remain the focus while giving them an appropriate architectural context. The space was designed to feel timeless and refined, but also warm and welcoming. We wanted visitors to feel comfortable spending time there. A sense of intimacy was just as important as elegance.

Two elements play a particularly important role in shaping the atmosphere. The central skylight introduces a changing quality of light throughout the day, while the tall black cabinetry with its drawers creates a sense of discovery. Together, they bring a quiet theatricality to the interior. In some ways, they reflect the character of an artist's atelier: a place dedicated to making, observation, and the accumulation of ideas over time.

Everything begins with scale. A space should feel proportionate to the people who inhabit it. It should provide comfort, clarity, and a natural sense of orientation. Light, material, acoustics, and colour are equally important. These elements shape the atmosphere of a space and influence the way it is experienced. Architecture also gains depth through its relationship with context.

Sometimes that context is the surrounding environment. In this case, it was the jewellery itself. When architecture enters into dialogue with the objects it contains, it can reinforce their presence and deepen the experience of encountering them.

From the outset, we knew the interior should attract attention and encourage visitors to stay. It needed to feel refined yet welcoming, distinctive yet restrained enough to allow the jewellery to remain the primary focus. The jewellery itself provided many of the answers.

Faceted gemstones interact with light through a complex arrangement of surfaces, reflections, and colour. This observation became an important reference point throughout the design process. Light therefore plays a central role within the interior. Particular attention was given to the way different materials and finishes respond to illumination. The lighting was carefully developed to complement jewellery made from materials with different colour temperatures and visual characteristics.

Throughout the process, we benefited greatly from the knowledge of the founder of La Marqueuse. Her understanding of gemstones and the conditions in which they reveal their character most clearly informed many of our decisions. Through conversations about her work, she also shared a profound respect for the objects themselves. That perspective shaped our approach. We wanted to create an environment that supports the experience of the jewellery and allows its materiality, colour and relationship with light to unfold naturally in front of the viewer.