Ma dernière interview d'Antoni Calmon, propriétaire du château de Dampierre

Restoration journey and “work in progress” mindset

Antoni Calmon (owner of Château de Dampierre) explains that restoration can feel like watching children grow: gradual day-to-day changes can make it hard to see how far a project has come.

• The estate team can compare before and after photos, helping track what has been done.
• Even after major progress, restoration never feels fully “finished,” because work continues (for example, equipment remains on site).

Why horses—and an equestrian business on the estate

Calmon’s motivation includes a deep personal passion for horseback riding that began in childhood, shared with his father, who later became a riding instructor/trainer.

• Keeping horses at Dampierre allows him to live his passion while enjoying the countryside.
• His daughter Océane is central to the horse project through an on-site equestrian/agriculture business: Dampierre Agri Equitation.
  • Young horses are purchased for potential.
  • They are trained for competition movements.
  • They are then sold—generating income while keeping her based on the estate.

Learning from others and building a restoration support network

Calmon says he doesn’t mainly “trade tips” with every neighbor who owns a château, but he does value early conversations with certain peers.

• He credits discussions with Édouard Guyot at Vaux, particularly about choosing an architect.
• He praises architect Guillaume Ull (Pallot agency) for competence and strong historical/art-technical understanding.

He also emphasizes the importance of professional and institutional networks, including:

• The association “Historic houses” (Historic Residence), which provides:
  • administrative and tax guidance,
  • publications,
  • resources from insured companies,
  • support with subsidies.
• Other heritage organizations and support structures, including insurance documentation and events/competitions.

How the castle is classified—and what that changes about restoration freedom

Dampierre is a listed historical monument, but protection levels vary across different parts of the estate.

Calmon distinguishes among:

• The Châtelet (15th–16th century)
  • Classified, covering exterior and interior elements (e.g., roof, façades, windows, woodwork, fireplaces, walls, floors).
  • Requires permits and limits what can be changed.
• The main castle (overall classified status, but only for specific parts)
  • Classified mainly for certain enclosed/covered portions, plus areas such as the kitchen and stairwell.
  • Offers more flexibility in internal layout as long as the structure isn’t altered.
• The reflecting pool
  • Also classified.

He also mentions an administrative push to classify/regularize additional elements—especially a grid/gate area—to ensure future owners can’t easily sell or alter protected features.

Subsidies and public funding: what percentage, what’s changing, and constraints

Calmon notes that classified portions can receive state subsidies.

• He recalls that, years ago, subsidies could cover about 50% of eligible costs for listed works.
• Today, averages are closer to 30–40% from DRAC (and he expects his own award to be lower).
• Regional support may reach around 20%, but typically not for interior work.

He also references possible European funding, but notes that in this case it isn’t available to private owners.

Funding and fundraising mechanisms mentioned include:

• Heritage lottery / heritage foundation (including reference to a “Bern mission” and heritage lottery)
• Garden-focused competition (Hortus)
• The French Heritage Society (noted as supported by Americans)

Responding to critics about “profit” and restrictions

Calmon addresses criticism by stressing that subsidy recipients face restrictions, including:

• a period during which resale is limited,
• and generally no meaningful ability to profit via “capital gains,” because costs remain high and rules may require repayment if the property is sold improperly.

Cultural and public access: visitors, activities, and local impact

Dampierre opens to visitors during limited windows (about two months per year) and hosts educational projects where students visit regularly throughout the year.

He also mentions occasional concerts—such as a performance of Carmina Burana despite rain, with relocation to the church.

Calmon contrasts his approach with other nearby projects, particularly one described as more visitor-driven and economically scaled (e.g., escape games and large visitor numbers). He implies Dampierre’s model is smaller and more curated.

He argues that cultural programming still supports the local economy and helps draw attention back toward the village center.

Hands-on involvement and learning by doing

Calmon says he personally does not do much restoration work himself, mainly to avoid expensive mistakes and because he considers manual restoration economically inefficient for him.

He gives examples of small contributions, such as:

• changing light bulbs,
• installing wooden horse fencing by moving heavy beams around the site.

Specific restoration choices: painted coatings and authenticity

The “red/whitewash” in the Châtelet

Calmon explains that the red/whitewashed appearance in the Châtelet is likely 19th century, reflecting a historical preference for painting/whitewashing stone to add visual color.

He also describes how earlier restoration periods sometimes painted stone directly—including vaults/ogives/keystones—and later restorers removed coatings to reveal the underlying stone arrangement.

Authenticity and historical constraints

On authenticity, Calmon notes classification constraints can limit modifications—for example, he cannot enlarge doors because earlier builders made them for smaller people.

He emphasizes rebuilding in accordance with historical layout, using documentation such as old photos/records to restore historically appropriate room functions (e.g., dining room, library, living areas).

Archaeological discovery during landscaping work

Calmon describes an early archaeological study involving excavations.

• During excavation of a flowerbed area between the castle and the Châtelet, the team found:
  • foundations,
  • and likely circulation routes.
• These findings suggest remnants of a former lower-courtyard building complex (possibly stables/farms) and an internal courtyard layout.

He notes that conclusions aren’t fully established yet and that future planning may depend on ongoing archaeological results.

Closing

Calmon encourages viewers to see the restoration in person during open periods (notably July and September).

He also notes he will not attend Heritage Days that year due to a family commitment, but the estate remains open by appointment.

Presenters / contributors

• Olivier — host of “So Châteaux”
• Antoni Calmon — owner of Château de Dampierre
• Diane — audience questioner
• Florent — mentioned in a general comment about the “magic of restorations” (likely referenced during the interview)