Ecoles D’Art Américaines De Fontainebleau Book Two: Travels Alexander Cheng
Contents Book Two: Travels 4
Introduction
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Fontainebleau East France
Book Two: Travels 4
Introduction
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Paris
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Fontainebleau East France
The principal fountain in the Grand Parterre, the main garden of the château.
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Locations Of Study The Fontainebleau program begins with a 5 day opening exploration of Paris. The majority of the program is spent in the town of Fontainebleau, about 70 kilometers southeast of Paris. The program finishes with a 3 day travel study through the east of France, including: Troyes, Ronchamp, Besançon, the Royal Saltworks at Arc-et-Senans, and the Fontenay Abbey in Montbard.
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Paris Fontainebleau Troyes Montbard
Ronchamp
Besanรงon Arc-Et-Senans
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Book Two: Travels 4
Introduction
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The main dome of SacrĂŠ Coeur.
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The view from a small flat in Les Halles consists of a playful line of chimneys.
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This disorderly layering of vertical elements seems very idiosyncratic of urban French rooftops.
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A myriad of chimney stacks cluster together on the rooftops for various purposes, which explain the many different scales and forms.
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In the Sainte Chapelle, 15 windows of ethereal stained glass, subdivided into 15 segments vertically, each 15 meters high, brings tremendous light into the space.
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The window is an exercise in proportion, dimension, and fractal subdivision.
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The windows seem to filter the light like precious gems to light the interior of the Sainte Chapelle.
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3 seems to be a sacred number in the construction of the Sacré Coeur basilica. Openings just below the dome are grouped in 3. There are 3 arched entrances into the front of the basilica.
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3 vertically stretched domes distinguish the top of the basilica from many others in the world. Bands of scale-like reliefs in the dome give SacrĂŠ Coeur its unique texture from afar.
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The hill of Sacré Coeur and the surrounding Parisian urban landscape, looking northeast from halfway up the Eiffel Tower.
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At the top of the steps of Sacré Coeur looking upon Paris to the south.
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At the foot of the entrance to Sacré Coeur.
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The central dome of Sacré Coeur.
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3 typologies of window get smaller and smaller with each ascending floor of the Luxembourg Palace.
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An ordering rule of 3 is prevalent in the facade of the Luxembourg Palace. The rhythms of the facade stay consistent from the edge of the building to the center.
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The Luxembourg Palace with a large swath of its surrounding gardens and grounds.
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A temporary installation on the glass pyramid of the Louvre. An old photograph is blown up to cover the section of the palace behind the pyramid, turning the center of the Louvre into a grayscale triangle.
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A quiet, pensive sculpture garden off to the side of the Louvre.
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Standing on Pont d’Austerlitz - looking towards Pont de Sully and Île Saint-Louis with the Île de la Cité behind.
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Side-by-side grand “porte cochere,” where horses used to pull drawn carriages into beautiful entry courtyards off of the street.
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The Musée d’Orsay, right off of the Seine River, is an old train station converted into a grand art museum.
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The Musée Rodin as seen through the planted arcade at the end of the gardens.
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Standing at the entrance of the Hôtel National des Invalides, looking out towards Pont Alexandre and its golden sculptures.
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Rue Crémieux in the Quinze-Vingts neighborhood on the northeast side of the Seine River.
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The townhomes each have a very unique personality, distinguished most profoundly by color.
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Some residenes expose wood framing to the exterior, which becomes an opportunity for pattern and color. 19 Rue Crémieux.
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Some residenes have murals painted on the facade. 21 Rue Crémieux.
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The covered exterior promenade of Frank Gehry’s Fondation Louis Vuitton.
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The artist Daniel Buren brings color to the Fondation Louis Vuitton through translucent filters placed in a checkered pattern along the top of the building’s sail-like structures.
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The sails of the Fondation Louis Vuitton reach out towards the city of Paris, extending the feeling of the space well beyond the built boundaries of the building.
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The idea of infinity - made evident in the expansive gardens of Versailles.
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The Hall Of Mirrors in the Versailles Palace.
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Book Two: Travels 4
Introduction
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The bell tower of the château.
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The Château Of Fontainebleau The Château of Fontainebleau is one of the grandest royal residences in France, in the same company as Versailles and the Louvre. Over the course of many centuries, the various monarchs that took residence in the château sought to build a section of the château in their name. Thus, in the present day, this château is truly an amalgamation of additions that grows organically from the center of the complex, the Cour Ovale. Each growth is marked by the firs letter of the monarch’s name that built it, “F” for Francois, “H” for Henry, and so on. As a result of the various rulers, the château has a variety of gardens, bodies of water, and other exterior spaces that are part of the château’s grounds.
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An aerial view of the château. The main court of the château opens up to the street and the rest of the town.
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The Cour d’Honneur (Main Court) and main entrance into the grounds from the front balcony of the château.
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The Château de Fontainebleau by night from the main entrance at the Cour d’Honneur.
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The Grand Parterre (French Formal Garden) of the Fontainebleau Château is the largest formal garden in Europe. It was formed in the mid- 17th century by André Le Nôtre and Louis Le Vau, the same designers of Versailles.
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The Château de Fontainebleau from the Grand Parterre.
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The Jardin Anglais, or English Garden is less formal and geometrically rigorous than the Grand Parterre and features meandering paths through densely shaded woods and lush plantings.
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The Jardin De Diane (Garden of Diana) was formerly the queen’s private garden. The paths converge upon a circular fountain topped by Diana, the goddess of the hunt.
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The Cour Ovale (Oval Court) - the oldest exterior space of the château, where the rest of the building’s additions extend from.
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The château from across the L’Étang Des Carpes, or “Carp Lake.”
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The château from across the L’Étang Des Carpes, or “Carp Lake.”
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The patio just outside of the Fontainebleau School’s studio space. While the space is chained-off and reserved for the architecture school, tourists commonly mistake this patio for a cafe or place to take a break from their tour.
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The Gallery of François I. Hand-carved walnut woodwork adorns the first two meters of the walls. Above this, beautiful paintings and carved busts in stone meet the ceiling. The first initial of François I is carved into nearly every panel of the space.
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In a small salon off of the François I Gallery, beams in the ceiling are ornamented with intricate painting and carving.
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In the same salon as the ornamented beams, the floor mirrors the dimension and rhythm that the beams establish.
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The octagonal wood coffers of the Salle De Bal, or ballroom. The room was built during the reign of Henri II, as his monogram is etched into every other coffer on the sides of the ceiling. Lively frescoes play on the walls on either side of the space.
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The Saint Saturnin Chapel, built under François I in the mid 1500s. The painted decoration is completed during the reign of Henri IV, hence the many “H” monograms in the coffers of the chapel.
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The Gallery of Diana is 80 meters long. Frescoes on the vaulting depict the story of Diana, the goddess of the hunt. The gallery initially was built as a covered walk for the queen, but was converted into a library in 1853.
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The Private Salon, or perhaps more famously known as the Abdication Room, is a space of crimson and gold. It is the space where Napoleon halted the war and gave up his power. He was forced to sign a paper of abdication at the table.
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The small bedchamber of the emperior is furnished in lavish shades of green and gold.
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A typical window latch in the château. It is intricately adorned around the edges with the same patterns as one would see in the cornices of various spaces in the palace. Flowers and flora are a great influence in its ornamentation.
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One of the curtain tie backs in the château. Even the idea of the rope is celebrated, and is a linkage of fine, bulbous fibers in royal hues of crimson and green. The bulbs are tied together with gold sashes.
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Opulent curtain tie backs in the in the Abdication Room of the château. A series of gold leaves seem to chain together into one tie back, while a rope of crimson and gold threads also encircles the curtain.
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An elaborate curtain tassle in the in the château. The tassles always accentuate and compliment the rigorous color themes and textural palattes of the spaces they occupy.
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A stairway in the château. The pattern on the railings focus on flower buttons in the center. The walls in the château are often perceived as patterns of marble stone, but instead is simply drywall with an elaborate paint job.
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The Trinity Chapel was a long project that took about a century to complete in its entirety. It was begun by François I, and finished by Louis XIII. The upper section of the chapel shown, is the royal tribune balcony, where the king and his family sat during services.
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The Town Of Fontainebleau The town grows organically, much like the château. However unlike the château, the town is humble in scale. The beauty of the town is found in the small idiosyncracies and details of the streets and the mixed-use buildings that flank them. Pedestrian streets filled with a diverse cornucopia of shops spontaneously cut through town blocks. Patisseries, boulangeries, cafes, pizzerias, coffee shops, wine shops, chocolatiers, pharmacies, cell service shops, and much more are clustered together at the street level. Small apartments with shutters hinging open and closed are stacked two and three floors above the shops throughout the town, often with succulent plants growing out of the windows. The buildings are centuries old, in faded shades of blues, yellows, creams, greys, and reds. Beautiful street lights hover over the center of the streets, casting a soft, even fl w on the cobblestones below. Away from the center of town, old walls of stone are overgrown with vines and plants that speak to the historic presence and maturity of the town. Streets of mixed-use slowly become grand, old-money mansions with lavish gardens that harken back to the nobility that occupied the town during the imperial years.
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The pedestrian streets are intimate and narrow, with a variety of scales, textures, and colors.
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Even as one of the primary avenues of the town, Rue de France is only a one-way street with very thin sidewalks - enough for people to make their way to and from the château. The vertical proportion of the buildings and the windows make the street feel narrow and intimate.
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Cracks within old stone walls are repaired with concrete fill. The stones disappear and reappear in scattered moments in the walls. Vibrant vines and mature plants casually drape themselves over fences and privacy boundaries into the street and sidewalk.
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Away from the château, the small scale, mixed-use nature of the town evolves into a series of old mansions and guest homes with large, luscious gardens. Large stone walls overgrown with vines define property lines between neighbors.
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The entrance into one of many of the old mansions in Fontainebleau. Like the château, the mansion has a large gate that permits and prohibits visitors from coming into the grounds.
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The backyard of the mansion is surrounded by old stone walls, whose coarseness is contrasted with polished white stone patios, and the softness of the abundance of landscape plantings that surround.
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Book Two: Travels 4
Introduction
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A wall of the Royal Saltworks by Claude Nicolas Ledoux at Arc-et-Senans, France.
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East France Travel Study To cap off the end of the Fontainebleau program, the school offers a studio trip to the east of the country to visit a few towns with noteworthy architecture. The trip begins traveling east from Fontainebleau towards Troyes, to visit the Maison de L’Outil, or Tools Museum. Next, the tour takes the group to visit Le Corbusier’s Notre Dame du Haut in Ronchamp, followed by a pit stop in the city of Besançon to see Kengo Kuma’s Cité des Arts et de la Culture. The penultimate day is then spent at Claude Nicolas Ledoux’s Royal Saltworks complex at Arc-et-Senans. Finally, the trip moves northwest to Montbard to see the Abbaye de Fontenay, before finshing in Paris, where the program officially ends.
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Paris Fontainebleau Troyes Montbard
Ronchamp
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The travel study begins in Fontainebleau, works its way east, then loops around and heads back northwest to finish in Paris.
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Troyes The first stop of the trip is in Troyes, a small medieval town in northeastern France that is composed of timber buildings tightly hugging narrow streets. The visit to the town is brief, just to see the Maison de L’Outil, or Museum of Tools. The museum offers a comprehensive exhibit that shows the evolution of tools of various trades over the course of many centuries. This museum showcases over 11,000 tools, and clusters the tools by type (ex: hammers with other hammers), or by other tools that a type of craftsman would use (ex: a trowel with other tools of a bricklayer).
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One of the old and narrow streets of Troyes.
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The Maison de L’Outil in Troyes, France. The museum is filled with glass boxes that exhibit the evolution of various kinds of tools over the years, such as hammers, anvils, axes, and other utensils of craft.
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The tools are staged in dynamic positions that are indicative of how they would be moved or used in order to accomplish the task it was meant for. Here, hundreds of suspended trowels arc across the exhibit, in the same motion a bricklayer would move the tool to spread mortar.
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In other exhibits, the tools are clustered by the name of the craftsman that used them. For example, here are all of the materials of the “bricklayer.” He uses molds to form clay to make bricks, trowels to spread mortar, and has a stamp unique to his business to brand each brick he makes.
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Ronchamp Le Corbusier’s chapel of Notre Dame du Haut at Ronchamp is the next visit on the trip. The visit offers a holistic understanding of the project and includes seeing the interior of the chapel, a sneakpeek inside the airspace of the double-shell concrete roof, as well as a guided tour of Renzo Piano’s gatehouse and monastery addition to the chapel’s grounds.
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The handrail on the exterior staircase of the chapel. Le Corbusier molds the form of the handrail to the anatomy of the hand. A thin space on the inside of the section offers a place to put the thumb, while a large cavity on the outside lets the rest of the fingers grip comfortably.
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Notre Dame du Haut in the soft light of the clouds.
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The spatial geometry of Notre Dame du Haut becomes more pronounced in the hard light of the unobstructed sun.
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The scupper celebrates the flow of water off of large, sweeping, concrete shell roof.
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Inside the monastery. The concrete vault is split from the wall to bring in soft light that pours over the altar.
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Inside of the concrete double-shell roof space of Ronchamp. Thick, regularly spaced concrete ribs support the vast, sweeping form of the roof.
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Renzo Piano’s monastery at Ronchamp. The corrugated metal acts as a double roof to keep water off of the projecting winter gardens encased in thin, vertical panes of glass.
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Inside the monastery. The concrete vault is split from the wall to bring in soft light that pours over the altar.
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Besançon The city of Besançon approaches the border of Switzerland in the east of France. The old city center and large citadel sits on top of a hill. At the base of the hill lies the Besançon Cathedral and Porte Noire, a large triumphal arch that dates all the way back to the second century. Just a little further down the hill by the Doubs riverfront lies the focus of the visit: the Cité des Arts et de la Culture, a contemporary art museum by Kengo Kuma. The museum is an exercise in pattern, as well as the material connections between wood, steel, and glass.
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The Porte Noire, which rests right in front of the projecting tower of the Besanรงon Cathedral.
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A riverwalk along the Doubs River in Besançon that meanders and bends through the city.
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The entrance portico and reflecting pool just outside Kengo Kuma’s Cité des Arts et de la Culture. Wood and steel find connection through structure and through panelization in the facade.
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Vertical planks of wood are laminated together edge to edge to form the checkered pattern of larger, horizontal panels.
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Royal Saltworks - Arc-Et-Senans The Salines Royales, or Royal Saltworks at Arc-Et-Senans is a large, geometrically rigorous complex of buildings designed by Claude Nicolas Ledoux, organized radially in a semi-circle. The buildings focus on the Director’s House, at the center of the semi-circle. The architecture is built in very large pieces of stone that suggest a great weight and physical presence of the buildings. The original use of the campus in the 18th century was to produce salt - extracting it from the water of nearby salt springs by heating and evaporating the water away. Today, the Royal Saltworks is a UNESCO World Heritage Site and houses temporary art installations around the periphery of the campus. In addition, the spaces of the buildings in the complex have been converted into gallery spaces to showcase Ledoux’s drawings and models of his other unbuilt projects.
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The heaviliy rusticated columns of the Director’s House in the Royal Saltworks. The drum sections of the column alternate between square and circle in geometry.
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The entrance gate into the Royal Saltworks. The use of extremely large blocks of stone foreshadows the material nature of the rest of the buildings within the complex.
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Large, coarse stones form the threshold of the entrance gate. the idea of water dripping from the stone tells visitors of the purpose of the Royal Saltworks campus.
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Within the complex, Ledoux continues to reinforce the presence of water through stone. The opening from which the “water� pours is actually a deeply recessed window that allow people within to peer out onto the campus.
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The Director’s House lies in the center of the complex, able to oversee all of the activity of the Royal Saltworks campus. The columns are constructed in alternating square and circular drums. The heaviness and weight of the structure is emphasized through the form.
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The rest of the Royal Saltworks is arranged in a semi-circle around the Director’s House, with each building facing the center. A circumambulatory path connects all the peripheral buildings together.
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Inside one of the former salt barns of the Royal Saltworks. A massive A-frame roof is supported by tapering ribs that span nearly the whole width of the space. Now, the buildings of the complex are used as museums to exhibit Ledoux’s unbuilt projects and other temporary art installations.
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Abbaye Fontenay - Montbard The last stop in the east of France is at the Abbey of Fontenay, near Montbard. Founded in the early 12th century, the abbey has been around for nearly a millenium, and is now a UNESCO World Heritage Site. The abbey is of the Cistercian Order, which mandates strict observance of a relatively harsh existence and lifestyle of the monks that live in the abbey. The architecture is without much ornament - the Cistercian monks sought out a simplicity in their built surroundings, using stone as structure to create simple form for simple shelter. The plantings within the walls of the abbey are maintained with a rigor and attention to geometry, as is so common in French gardens.
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The Abbey of Fontenay, founded in the early 1100s, is nearly one-thousand years old. Heavy growths of vines creep up and down its facades, almost completely covering the aged stone behind.
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The grounds of the abbey looking over the pond on the east side of the complex. A large old tree stands in the middle of the abbey - a natural anchor around which the architecture rises.
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Luscious lawns and gardens are planted at the bend of a building in the abbey. The lines of the plantings are meticulously controlled, as is evident by the growths on the stone facade that carefully frame each window.
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A window at the ground level of the old dormitory, where the monks would take residence.
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The windows in the dormitory have several typologies of geometry in stained glass, each type slightly different from the others.
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Upstairs in the dormitory. The 56 meter long space is covered by an oak frame that resembles a ship’s hull turned upside down. This massive wood frame dates back to the late 1400s.
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The nave of the abbey church. Compared to French Gothic churches and cathedrals later in history, the majority of this space is without ornament. The Cistercian monks opt for an architecture of simplicity. The stone exists to form the space of the building alone.
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The side aisle off of the nave of the abbey church. Pointed arches frame the procession down to the crossing of the plan.
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The cloister of the abbey church. The cloister is at the heart of the abbey - it is the center from which the other structures of the monastery are organized around.
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