PROGRAM
Sunday 11.12
09:30 Breakfast near Tour Albert
10:45 Tour Albert
11:30 Centre d’Animation St-Blaise Wangari Maathai
12:30 Leave luggage in locker at Gare du Nord
13:00 Orgues de Flandre
13:30 Walk through La Villette
14:00 Lunch
14:30 Social Housing Ourcq-Jaurès
15:00 PCF Headquarters
16:45 Pick-up luggage
17:20 Departure at Gare du Nord
20:44 Arrival in Amsterdam Centraal
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Travel times
Hotel
Tour Albert Centre St-Blaise Gare du Nord Orgues de Flandre La Villette Ourcq-Jaurès PCF
11 min 34min 30min 20min 13min 4min 20min 16min
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Tour Albert Centre St-Blaise Gare du Nord Orgues de Flandre La Villette Ourcq-Jaurès PCF Gare du Nord Restaurants Lunch : Cantine Bretonne Weather forecast -1°C to 3°C
01 - Morland Mixité Capitale
02 - Studio Muoto
03 - LAN Architectes
04 - Pavillon de l’Arsenal
05 - Institut du Monde Arabe
06 - Sorbonne, Campus Pierre et Marie Curie 07 - Bibliothèque Sainte-Geneviève 08 - Saint-Rémi School 09 - Centre Pompidou
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FRIDAY 9.12
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01 - Morland Mixité Capitale - David Chipperfield - 2022
17 Boulevard Morland, Paris
David Chipperfield (London, 1953) is a british architect who is known for his modern minimal designs. He leads the David Chipperfield Architects office since 1984, a winning award firm. Chipperfield has rarely worked in France before, with only two other projects of urban planning and retail design in Lyon and Paris respectively. The creation of Morland Mixité Capitale was the result of Réinventer Paris, an international competition in 2014 that called for proposals to transform 23 sites in the city.
The new ‘Morland Mixité Capitale’ is the result of the refurbishment and extension of the existing premises. Two new volumes facing the boulevard and the river, which mediate between the scale of the existing neighbouring buildings, contribute to the repair of the city. The volumes are raised above the ground to create a public axis that provides a passage from the boulevard to the river. This passage is characterized by load-bearing, vaulted arcades at ground floor level. Made from concrete, the arcades form a new grand entrance area for the complex, and help to visually soften the original gridded structure. This solution keeps the routes and views from the street to the river, as well as creating an airy and open system which invites passersby in. The complex houses a spectrum of usages: upscale and affordable housing, a hotel, offices, retail, a gallery, a food market and a childcare facility. The two top floors house an art installation, a bar and restaurant providing views over the capital.
Preserving the existing building not only ensures urban continuity, but also forms an essential component for the sustainability concept. With great respect for the existing fabric, it was repaired instead of being replaced wherever possible. Low energy and resource consumption are ensured, by an energy cycle based on heat exchange and a closed Phyto-purification system on the roof. The previously introverted complex was made accessible to the public, transforming it into a lively and open place and emanating a positive effect on the overall neighborhood.
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02 - Studio Muoto office visit
48 Av. Claude Vellefaux, Paris
Muoto means form in Finnish. Muoto is an architectural office based in Paris since 2003. It was founded by Gilles Delalex and Yves Moreau. Its activities cover the fields of architecture, urban planning, design and scientific research. Muoto’s work features minimal structures that can combine different activities, evolve in time, and merge economical and aesthetic issues. Muoto is also heavily involved in teaching, they participate in a number of conferences, lectures and colloquiums around Europe.
Studio Muoto won recognition with projects like : University Campus Saclay
Stendhal dwellings, nursery and emergency shelter
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47 Rue Popincourt, Paris
LAN (Local Architecture Network) was created by Benoit Jallon and Umberto Napolitano in 2002, with the idea of exploring architecture as an area of activity at the intersection of several disciplines. This attitude, which has now become a methodology, allows the agency to explore new territories in search of a vision involving social, urban, ecological and functional issues.
In addition to architectural and urban design, the office is involved in the disciplinary debate and develops a significant theoretical production through exhibitions. Teaching and transmission are also part of the transdisciplinary vision. They published a number of research books about Napolitan or Parisian architecture.
LAN has also won and been nominated for multiple awards for projects like : Nolistra - a housing complex in Strasbourg Le Theatre du Maillon à Strasbourg 79 Collective Housing complex in Bègles
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- LAN Architectes office visit
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04 - Pavillon d’Arsenal - A. Clément - 1879
21 Boulevard Morland, Paris
The Pavillon de l’Arsenal, opened in December 1988, is located in the historic heart of Paris, a stone’s throw from the Bastille, the Marais and the Seine. The building was built according to the plans of the architect Clément in 1878-1879 at the request of a private individual. The Pavillon is purchased by the city in 1954, and renovations were undertaken by architects Reichen et Robert in 1988 to open the exhibition space.
Exhibition : CONSERVING ADAPTING HANDING
Carbon emissions are associated with all stages of a building’s life from design to use. The construction industry is one of the highest contributors to climate change and the best way of reducing this footprint is therefore to shift away from demolition and rebuilding, to conserving existing structures and adapting forms and materials in order to hand down buildings that are sounder in their operation and their urbanity to future generations.
Through the analysis of some forty award-winning renovation, rehabilitation, or adaptive reuse projects, the permits of which were filed in Paris between 2020 and 2022, the exhibition and publication (curated by architects Alexandre Labasse and Jean-Sebastien Lebreton) intends to report on these new production methods that bring together climate change issues, heritage considerations, and programs tailored to contemporary expectations. The multiple responses, revealed through scale models and drawings, provide an overview of the fundamentals for the Parisian architecture of the future.
Through the prism of the economy of means, the respect for the work of previous generations, and taking a long-term approach to the buildings that contribute to and enact the city, hybrid objects are being invented, which are both sparing in their implementation and their use. These constructions hold the promise of better addressing global warming and the increased scarcity of resources.
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05 - Institut du Monde Arabe - Jean Nouvel - 1987
1 Rue des Fossées Saint-Bernard, Paris
Jean Nouvel (France, 1945) is famous for making buildings in harmony with the context. Nouvel is said to be a conceptual architect, that tries to blend landscapes and built forms. Nouvel is best known in Paris for the Institut du Monde Arabe (IMA) for which he won the contest for in 1981. For this proposal and project, he worked closely with Architecturestudio a parisian based architecture and urban design office.
Located at the threshold of the historical peripheries of Paris along the River Seine, it responds to its immediate context both in plan and elevation. In plan it follows the curvature of the road, whose form is dictated by the river. The interior spaces house numerous typologies including a restaurant, museum, library, offices, and auditorium. A main feature and innovative element of the IMA is the advanced responsive metallic brise soleil on the south façade. Nouvel’s proposal for this system was well received for its originality and its reinforcement of an archetypal element of Arabic architecture, the mashrabiyya. He drew inspiration from the traditional lattice work that has been used for centuries in the Middle East. The system incorporates several hundred light sensitive diaphragms that regulate the amount of light that is allowed to enter the building.
The project was intended to illustrate the relationship of Arab culture with France within a symbolic interpretation of the historic links between these two civilizations. The Institute is the reflection of a dual conceptual framework, at the interface between tradition and modernarchitectural design. Its iconic architecture of glass and steel and its contemporary and innovating interpretation of the traditional mashrabiyya have turned it into one of the most prestigious buildings in the world. As affirmation to the quality of the design, it won the Aga Khan Award for Architecture in 1989, and the Equerre d’Argent for French architecture in 1987.
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4 Place Jussieu, Paris
Edouard Albert (Paris, 1910-1968) graduated in 1937 from the École des Beaux-Arts de Paris. He began his career researching prefab techniques, synthetic materials, plastics, pre-stressed concrete, tubular structures, and then on three-dimensional urbanism. He was among the French architects who largely participated in the era of constructive experimentation.
The Campus, now called Jussieu Campus, was started by Albert in 1958. Albert applied his principle of tubular-frame architecture on a large scale. Its checkerboard plan is inspired by the famous “grid” of the Escorial Monastery near Madrid. Albert envisaged a quadrilateral on a plot of 275m by 333m, and is designed as a modular construction following an orthogonal grid with three morphologic elements: small linear block, of 18m by 33m, for teaching large linear block, of 18m by 45m, for research patios of 18m by 18m, for vertical circulation The project was never completed: 37.5 blocks were built instead of the 55 planned. Structurally, a total of 1,750 steel pilings support the buildings which surround 21 patios. The metal structure is left exposed on the facades; the filling is made of prefabricated panels. Gondola-shaped beams support the structure of the buildings. The Zamansky tower, which is located in one of the patios, was built in 1970 after Albert’s death, and was not executed according to the original plan.
The campus was supposed to be inaugurated in mid-March 1968, but the students of the university organized a series of large demonstrations and the Minister of Education preferred to cancel the ceremony. The project is abandoned in 1972, due to a lack of subsidies, hence the appearance of prefabricated buildings to compensate for the lack of space. The campus and the tower then closed in 1996 for absestos removal. The tower opened again in 2009, the rest of the campus in 2016, 20 years later.
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06 - Pierre et Marie Curie Campus - Edouard Albert - 1970
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07- Bibliothèque Sainte-Geneviève - Henri Labrouste - 1851
10 Pl. du Panthéon, Paris
Henri Labrouste (Paris, 1801-1875) was a French architect. He was one of the first to understand the importance of iron in architecture, and became the center of the Rationalist movement. He is best known as the architect of the Sainte-Geneviève Library.
The long strip of land allocated to the library, forced Labrouste to rethink the classical scheme. The stone facade, classical and sober, reflects the function of the building. Decorated with 810 names of scholars, it proclaims the progress of humanity through knowledge. Labrouste adopted a new functional spatial organization based on the vertical separation between the reading room of four hundred seats on the second floor, and the stores on the first floor. He chose metal, then reserved for frameworks and utilitarian buildings, for its resistance to fire but also for its new aesthetic. In the reading room, the large barrel arches and thin cast iron columns are an integral part of the decor. The iron structure supports two adjoining vaults and allows for ample light penetration through 41 windows. Inside, a long path leads the reader from the dark first floor, decorated at the top with a soothing garden scene, to the monumental staircase dominated by a copy of Raphael’s “School of Athens”, depicting the great thinkers of antiquity, before entering the bright reading room.
The Sainte-Geneviève Library is exceptional in every way. It was the first time in France that a library was not an annex of a palace, a school or a monastery, but an independent building, It is a departure from the neo-classical style in vogue at the time for large public buildings, for a much more sober and rationalist style. It is the first metal architecture to take advantage of the physical and mechanical properties of the material to free up space and let in light. Many consider that the strenght of the building is the contrast between the heavy exterior facade, and the light-filled and open interior. The internal metal structure appears on the outside with pointed bolt heads, a way to annouce: one must proudly display the function and constructive decisions of a building.
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08 - Saint-Rémi School - A. Gamard, D. Lombard, E. Roux - 1972 16 Rue du Renard, Paris
The school was realized by three parisian architects, Alain Gamard, Daniel Lombard and Edouard-Marc Roux in 1972, at the same time as the neighboring construction site of the Centre Pompidou. The school is to replace the one formerly located on rue Saint-Merri destroyed to make way for the Beaubourg piazza.
Because of a planned underground car exit on the site, the architects imagined a building with a spectacular cantilever. The building is treated in raw concrete, in a brutalist spirit. The glazed facades - treated as curtain walls - are of great simplicity. The program includes an elementary school, a swimming pool and a gymnasium. The sports program is accessible by going downhill, the school program by going uphill via a system of ramps. These ramps cross all the other programs (swimming pool, gymnasium, restaurant, library) and leave the limits of the building to use the playgrounds, placed on superimposed terraces. The City of Paris wanted the educational program to be based on the open air school method. Thus, the floors are treated as open areas without partitions. Several classes therefore study in the same space; the activity can be fluctuating and the space mobile, open to appropriation and experimentation.
The school is a remarkable example of the architecture of The Glorious Thirties (1945-1975), yet unloved and little known. The silhouette and the curtain wall still offer a striking contrast with its post-Haussmannian mineral environment. The building is defined by the exceptional fluidity of its interior spaces. Only a visit of the interior allows to measure the unsuspected quality of the voluntary and totally internalized universe which is that of the equipment in its current state. The maintenance work carried out over the years has only altered the initial arrangements, the project managers were never consulted, the access sequence has been disfigured, and in its current state, the hall of Saint-Merri gives little hint of its past splendor.
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Place Georges-Pompidou, Paris
Renzo Piano (Genoa, 1937) is an Italian architect best known for his high-tech public spaces. He established a partnership with Richard Rogers (Florence, 1933-2021), british architect, from 1970 to 1977, during which they entered and won the competition for Pompidou. They were unknown at the time, and decided to collaborate due to friendship and similar architectural views. They surprised everybody when they were chosen against 680 other teams of well-established architecture offices. Their idea came out of a time when the youth of Paris were protesting on the streets and the design was about making a place where people could come together. Since, they both went on to start their own practices, becoming world-renowned architects.
Nestled in the centre of Paris since 1977, the Centre Pompidou building, a glass and metal structure bathed in light, resembles a heart fed by monumental arteries in bright primary colours. The building’s exposed superstructure is constructed from more than 16,000 tonnes of prefabricated steel parts and the facades are covered with colour-coded building services: blue marking its airconditioning, yellow is for electrics, green denotes water pipes, and red highlights tubular escalators and elevators. Envisioned as a genuinely living organism, the 6 inside levels provide fully modular plateaux of 7,000m2 each, equivalent to two football fields. They were designed to be organised according to needs and thus meet the requirements of a variety of activities. The building embodies a radical vision in which spaces are no longer defined by their role.
It has once been said that Pompidou “revolutionised museums, transforming what had once been elite monuments into popular places of social and cultural exchange, woven into the heart of the city.” Their entry exemplified constructivism and was a high-tech modern cultural center structured with a system gerberettes and trusses unlike anything seen in the architectural world before. Their concept, depicted in one of their competition drawings as a collage, was portraying the museum itself as movement.
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09 - Centre Pompidou - Renzo Piano, Richard Rogers - 1977
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SATURDAY 10.12 - morning
10 - Pavillon Suisse
11 - Maison du Brésil
12 - Cité internationale universitaire de Paris 13 - Résidence Julie-Victoire Daubié 14 - Résidence Chris Marker
15 - Maison-atelier du peintre Amédée Ozenfant
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10 - Pavillon Suisse - Le Corbusier - 1932
Le Corbusier was an influential Swiss architect and city planner whose designs combined functionalism with sculptural expressionism. He belonged to the first generation of the socalled International school of architecture, which promoted clean geometric forms and open efficient spaces. The Swiss Foundation, also known as the Swiss Pavilion is a residence for Swiss student graduates in Paris. The Swiss government directly commissioned Le Corbusier.
The building is made up of three volumes. The first, the rooms, is in the form of an autonomous bar resting on a row of concrete poles and rising on four levels. The second volume, is on the first floor and houses the reception and administration areas. The third volume is the link between the two spaces and allows the connection through vertical circulation. The staircase that begins in the hall is illuminated by a facade of Nevada glass. The building is built on an artificial slab allowing the anchoring of the foundations deep in the ground. The lower structure is formed of massive reinforced concrete poles. The first floor consists of curtain walls and a millstone façade on the curved lounge side. The upper floors are built with a metal frame hidden in a brick and reconstituted stone slab envelope. The curtain walls and the industrial prefabrication process of the floors give the building a modern look.
Le Corbusier made the Swiss Pavilion a privileged laboratory for the implementation of their vision of collective housing and their theories as contemporary builders: the power of the reinforced concrete lower structure, industrial prefabrication of the floors, advanced research on sound insulation and the studied layout of the rooms with the collaboration of the designer Charlotte Perriand. The “five points of modern architecture” are expressed here: free plan, free facade, pilotis, curtain walls and flat roof.
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7K Boulevard Jourdan, Paris
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11 - Maison du Brésil - Le Corbusier - 1959
7L Boulevard Jourdan, Paris
The Brazilian government commissioned the building in 1952 to provide a residence for Brazilian students. To design the building, they selected Lúcio Costa. After initial sketches, he reached out to Le Corbusier to aid in the design process and overlook construction. Rather quickly, Corbusier made significant changes to Costa’s original design for the building. Although the major forms of the building remained the same, the changes were enough to estrange Costa from the project, and he would eventually have his name removed from the design.
The building, is a five story concrete volume that stands above the ground on stilts. Beneath this volume is an irregular first floor that houses administrative spaces in the west wing, and communal spaces in the east. The two wings are joined underneath by a curvilinear passage that acts internally as an intermediate space, and externally as a boundary for outdoor arcades.The large volume above, which houses the residential spaces, is laid out with rooms in the west wing and communal kitchens, stairwells, and other facilities in the east. As such, the eastern and western facades differ according to their respective interior functions. The eastern facade has large glass expanses in the middle to allow for light and openness, and small square windows on either side to allow light to enter the flanking stairwells. Balconies painted with polychrome colors make up the entire western facade
Created as a microcosm of Brazilian culture, Maison du Bresil is a significant example of Le Corbusier’s high-density residential design. This house stands out as a representative work of 20th century architecture. The use of rough-cast concrete, the contrasts between masses and materials, the polychromy, the use of prefab, and the rationalist design of the interior - whose furniture was designed by Perriand and Prouvé - make this building a recognized element of modern architectural heritage, listed on the French inventory of historic monuments since 1985.
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12 - Cité internationale universitaire de Paris
17 Bd Jourdan, Paris
The Cité internationale universitaire de Paris (CiuP) is a foundation that groups together a number of housing estates for students. By building an international university residence, the ambition was “to offer French and foreign students quality housing and study conditions, but also a living environment conducive to meetings and daily multicultural exchanges” and came from a reaction to the trauma of the First World War, and wanting to appease and strengthen international relationships, but also as a response to the housing crisis of the time. The residence started in 1925 and hosts today more than 10 000 students in 43 houses.
The first house opened in 1925, and by 1927, half of the estate was already built. In less than 15 years, 19 houses were built, in styles revealing the architectural eclecticism of the inter-war period. The outbreak of the Second World War in 1939 marked a halt in the development of the Cité internationale. At the end of the war, the CIUP launched a vast campaign to restore its grounds. In 1948, they quickly embarked on a new era of construction: 12 houses were built in the 1950s, followed by 5 others in the 1960s. This period of expansion saw the deployment of the international style, through constructions signed by famous architects and urban planners: Le Corbusier, Lucio Costa, Claude Parent and many more. In 2012, a new land agreement was signed and marked the start of the Cité internationale development project, which was scheduled to run until 2020. During that time, 8 more houses were built. Today a new program, Cité 2025, is in place, and plans to build 10 additional estates.
A stroll through the 34-hectare park of the Cité internationale universitaire de Paris leads to the discovery of its buildings, jewels of early 20th century architecture. It has an exceptional architectural, artistic and landscape heritage. From Le Corbusier to Laprade and Claude Parent, from Charlotte Perriand to Jean Prouvé, from Foujita to Le Phô.
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13 - Résidence Julie-Victoire Daubié - Bruther - 2018
27f Bd Jourdan, Paris
Bruther, a contraction of the names of its founders Stephanie Bru and Alexandre Theriot, was created in 2007. Today, the office is active in the fields of architecture, research, education, urbanism and landscape. Bruther is known for its commitment to socially engaged and responsible architecture. They have three main guideline : performance, economy (financial and material) and transparence. The studio was in charge of the project and construction of the Julie-Victoire Daubié residence for researchers that is located at the southern end of the Cité Universitaire park.
Unencumbered on its four sides, the residence is identifiable as a “split and raised” cube. The first floor of apartments is 2m90 above the ground level of the Cité Universitaire. The 106 apartments are distributed over seven levels. The entrance areas are therefore covered by the underside of the housing block, made of silky ribbed concrete. The typological organization of the plan resides in three parallel strips oriented on a north—south line: two are dedicated to housing units and between them, a hollow strip accommodates all circulation cores. On the eighth floor, the circulation area widens to a large terrace, protected by clear railings, while the top of the “East strip” houses a fitness room, these common facilities affirm the collective aspect of the building, as well as its relationship with its environment. The layout of the dwellings is based on a grid (6.30 m x 6.65m) to compact the service rooms and offer open living spaces.
The structural efficiency and the singularity of the context allow the façade to take the form of a majestic curtain wall. More than a contemporary re-reading of the pavilion typology, this new residence becomes a casket of glass and metal, promoting transparency between exterior and interior, privacy of the housing and spectacle of the périphérique ring road. The moving view is also a component of the building design. During the day, its glass facades grant it a majesty. At night, the lights of the apartments turn the building into a lantern.
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14 - Résidence Chris Marker - Eric Lapierre Experience - 2017
146 Rue de la Tombe Issoire, Paris
Eric Lapierre is an architect and theoretician of architecture, the founder of Eric Lapierre Experience (ELEx), a Paris based office that coordinates both practice and writing. Lapierre has overall been more productive in his writings, and his work has been related to the expressive potential of construction and materiality of buildings, the relationship between tradition and modernity, architecture and works of art.
The student residence is the largest in Paris and was completed in 2017. In addition to the residence, the building’s program also includes a car park for eight public transport lines in Paris. The residence built above the bus center, is a large bar 100m long and 30m high, which houses 400 students. It is a very dense linear structure, cut by a diagonal that creates voids dedicated to collective life and circulation. Two functions whose difficult coexistence is solved in the diagonal crosses in the main facades. The main facade also shows the distribution in the complex: the expressive play derives from the plan, dominated by a weaving line shown in the facade in the form of triangular concrete elements made in situ. This element is key in the experience: it is from local fire regulations that these forms derive, an elevation of an ordinary, almost banal element made poetic.
The intention was to “communicate the domestic monumentality of a community of 400 people through an architectural expression on the level of this large group”. The project is conceived as an extension of the Cité Universitaire, from an urban and architectural point of view, in relation to some surrounding masterpieces of modern architecture (Fondation Suisse, Maison du Brésil, Collège Néerlandais, Maison de l’Iran). This context is for him an opportunity to revisit certain elements of modernity and to affirm that we can, in the present conditions, try to be modern: to search for a rational basis for architecture, to produce specific typological research, to face the question of novelty and to refuse nostalgia, so often present in contemporary architectural production.
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15 - Maison-atelier du Amédée Ozenfant - Le Corbusier - 1922
53 Av. Reille, Paris
Amédée Ozenfant is a painter. In 1919, he founded the magazine L’Esprit nouveau with Le Corbusier. In 1923, Le Corbusier and his cousin built a house-studio for Ozenfant. This is the first work that Le Corbusier builds in Paris. By then, he had already studied new materials (reinforced concrete), and also developed some of the more important works of his youth and with them, his theories on housing, standardization, new structural systems and architectural language.
The building is in the “paquebot” style of the Art Deco school. The apartment is located on the ground floor, while the workshop occupies the second and third floor. The double-height workshop is favored over the living rooms illuminated by the strip window on the lower level. The whiteness of the walls is emphasized by the void of the double height. It is in these artists’ studios where light is magnified that the modern space appears after the overcrowded studios of the 19th century. Here the painter frees himself from the heavy bourgeois conventions. Originally, the large glass roof was covered by glass sheds providing zenithal light; today they have been replaced by a terrace. The two corner facades are treated with simplicity, with large bay windows providing optimum lighting. Only a small concrete spiral staircase animates the strict volumetry of the building. The house has been transformed, the garage removed, the rhythm of the first floor windows changed and the interior volumes partitioned.
Here the house is characterized above all by a systematic standardization of the elements of construction (framework, windows, staircases) The architecture of the house is opposed to the regionalist or academic research, takes again the idea of purity and exploits the novelty brought by the reinforced concrete enveloped by a white coating revealing the eloquence of the architectural volume. it is the perfect illustration of Le Corbusier’s “ purist period “. The Ozenfant house is partially listed (facades and roofs) as a historical monument by a decree in 1975.
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16 - Cartier Foundation possible visit of a LAN building
16a - 40 housing units in Clichy-Batignolles
16b - 30 housing units in Fréquel-Fontarabie
16c - 58 housing units in Boulogne-Billancourt (outside of map)
17 - Palais d’Iena
18 - Palais de Tokyo
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16c
SATURDAY 10.12 - afternoon
17 18 16 16b 16a
- Résidence Point-du-Jour 20 - Boulogne-Billancourt school complex 21 - Villa La Roche 22 (17) - Palais d’Iena 23 (18) - Palais de Tokyo
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SATURDAY
or 19
10.12 - afternoon
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16 - Cartier Foundation - Jean Nouvel, Emmanuel Cattani - 1994
261 Bd Raspail, Paris
In 1994, after ten years spent in Jouy-en-Josas, the Fondation Cartier moved into the airy glass and steel building in central Paris designed by Nouvel (France, 1945) and Cattani (Switzerland, 19511997). Very little information can be found about their partnership, except that it lasted from 1988 to 1994.
The building consists of three parallel glazed planes. The first extends the perspective of the boulevard and isolates it from the street. The second is that of the front façade, but it is deliberately larger, blurring its boundaries. The third is that of the rear façade, which is just as well planned as the front, featuring office space that overlooks the garden and a set of elevators that slide up the side without the use of wires or cages. Sticking to the image of luxury and excellence of the Cartier brand, this “technological” building is entirely transparent, and has been described as a “phantom in a park” due the transparence and alternately real or virtual reflections of the glass. It gives a glimpse of the works, the garden or can reflect the sky. Another concept of this design is dematerialization, which is taken to the extreme through the innovative uses and functions of the glass and steel. The building is comprised of 650 tons of steel, and 5,000 square meters of glass. Large, flexible areas that are used as exhibition spaces are made possible by the structural beams which span sixteen meters without intermediate columns. There are a total of seventeen stories of floor space, although only nine are above ground.
Nouvel employs his usual dedication to transparency and rigor of the surface for Cartier. As a public space that houses contemporary art and graffiti exhibitions, the play between inside and out is very fitting as it creates an openness which invites people to experience the building from up close and afar. This is incorporated into the 8-meter-high windows that separate the gallery from the outdoors, which are removable allowing for a fusion of space. This discreet and immaterial architecture is one of the most interesting constructions of the end of the century in Paris.
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16a - 40 housing units in Clichy-Batignolles
3 Rue Marie Georges Picquart, Paris
This apartment building is part of the ZAC Clichy-Batignolles. This new city district is located near the long boulevard Pereire, a typically Haussmannian artery by its typology. For this project, the architects of the LAN agency (Umberto Napolitano and Benoit Jallon) decided to explore in a contemporary way two notions specific to the Haussmannian building: density and flexibility. The tapered silhouette of this dark and uniform building evokes the Flatiron Building in Manhattan or certain commercial buildings on Rue Réaumur.
Perfect extrusion of the triangular plot, the volume fully exploits all the land possibilities. The project introduces the idea that by emptying an architecture of its program, a building can generate a potential that accompanies urban evolutions and responds more easily to changes in use. The structure of the building is composed of both a load-bearing core, concentrating horizontal and vertical circulation, and window trumeaux. With a view to flexibility, the facades are drawn on 1m35, regular succession of empty and full, concrete and glass, they make the project very iconic. The animation of the facades resides in the presence of large loggias: they are a real extension of the interior living space towards the outside and contribute to ventilate the dwelling in summer. Arranged in such a way that they never overlap, they create a play of full and empty spaces that enliven the façade. With its black lacquered aluminum joinery and polished concrete panels, the building expresses both monumentality and luxury through its purity. An elegance enhanced by the horizontal golden bands framing the first floor, evoking the noble floor of the Haussmann building.
Their proposal is to pay homage to Paris, through an architecture that is in keeping with the logic of the city, but which also offers solutions to current and future problems. The building seeks to anticipate this mutation by proposing a perfect reversibility between residential and office buildings.
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16b - 30 housing units in Fréquel-Fontarabie
261 Bd Raspail, Paris
The last step in the development of the Quartier de la Réunion ZAC. The Fréquel-Fontarabie block reveals an older layout of small elongated parcels. There are also traces of a “Faubourg” type of architecture, characterized by low-slung buildings consisting of urban houses situated at the edge of their parcels. If the four lots have the same program, their urban role differs significantly according to their location: to form a threshold for the square (lots 6A-B), to continue the existing building (lot 6C), to create a light gap (lot 3).
the apartments are organized throughout four structures and provide affordable living while paying specific attention to sustainable building. The collective spaces - corridors, courtyards and staircases - have been particularly well cared for, so as to transform them into living spaces, in the manner of the faubourienne architecture that still exists in the district. The buildings have three to five levels. The recess of the upper levels ensures the articulation with the adjacent buildings, and keeps the whole from being too monumental. The architectural style favors sobriety: the facade cladding is a black stained concrete thermal precast for lots 6 A-B-C, or a larch wood cladding for lot 3. Folding steel shutters on lots 6 A-B-C allow for natural light screening and privacy. The wooden window frames soften the black facades. The morphology of the building and the materiality allow each building to be individualized. The design of the facades limits energy losses: to the north, they are closed, while to the south, they are open onto the garden; balconies extend the living rooms of the apartments. Solar panels on the roof provide the buildings with energy.
This effort has sought to reduce the visible level of inhabitability, build new housing, value existing resources, and design nearby public facilities in an effort to create quality public spaces. The project to build thirty housing units has pursued a dual goal: to reconstruct the older urban fabric through small interventions within an overall framework of sustainable development.
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16c - 58 housing units in Boulogne-Billancourt
3 All. Robert Doisneau, Boulogne-Billancourt
This project, for which the competition was in 2008, is the result of a transformation process in the city along with a precise economic context. Located on the former site of the Renault factories in Boulogne-Billancourt, it consists of a new mixed use neighbourhood, residential and dynamic altogether, at the cutting edge in sustainable development.
The built form is simple and readable. The South and East façades are punctuated by multiple larges openings, extending the interior of the dwellings to exterior corridors running along the building. Larger balconies are inserted at intervals in the line of the terraces, projecting out. The juxtaposition of protruding, punctual and linear elements give the impression of a slender and lighter building onto Yves Kermen and Emile Zola streets. The building fulfills its role as a corner element and provides a clear distinction from the surrounding buildings. Plays with solids and voids, horizontals and verticals, light and shadow, glass and curtains, give the façade both sobriety and animation. To the simplicity of the drawing is added the richness of the material. We have sought for a finish that is clean, shaven and refined but rich enough to reflect light, and communicate with the colours of its environment.
This project faced many challenges concerning diminished costs of construction, the hit of an economic crisis, a private real estate system that isolates the site designer, strict certification labels... So they chose to let aside exhaustive studies on urbanity and potential grabbing, to pivot back around an essential postulate: a space exists only if it is built. Simplification, substraction and timeless values drew the three guidelines of the project.
Simplification: a technical way to reduce cost, A single detail drives the wholeness of the project
Substraction: structure becomes façade, no superfluous elements
Timeless values: to attract people, incontestable building qualities: light, orientation, views and organization
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17 - Palais d’Iena - Auguste Perret - 1937
9 Av. d’Iéna, 75016 Paris
Auguste Perret (Belgium, 1874-1954) is a French architect who was one of the first technical specialists in reinforced concrete. Perret takes place within an architecture movement more oriented towards a heritage logic. He appears as one of the very few architects to have challenged the Modern Movement for its issues and limitations. He wanted to promote concrete, but use it towards a more classic form. He refused the tabula rasa, and wanted to keep the morphological and artistic heritage of the European city. He designed de Palais in 1937, which was first the National Museum of Public Works, but then became the International Commerce Chamber in 1960.
He defined a classical order whose proportions are directly derived from the logic of concrete. Fully made of the material Perret does not use any cladding or covering, “the concrete is enough in itself”. The slender columns carry the roof in a single stream, under which a second building slides. The interplay of these two frameworks forms a setting of perfect proportions. The columns flare out towards the top to unite with the edge beam by a trunk of pyramid decorated with plant motifs. It is not, according to Perret, a simple capital, but a visual link ending the column and making it, with its curve and its base, “a person”, that one cannot, he says, “lengthen or shorten”. But the masterpiece of the Palais d’Iéna is undoubtedly its famous monumental staircase, with double evolution, in openwork concrete. The concretes are made of green porphyry and pink marble.
Capturing light and shadow in the hierarchy of its textures and moldings, the colonnade facade is the most remarkable expression of the “order of reinforced concrete”, Perret’s contribution to an age-old discipline of which he wanted to be the temporary artisan. The building is now a perfect representation of Perret’s beliefs. Even 80 years later, the Palais d’Iéna has kept its superb appearance and has survived without ever going out of fashion. It is even said to be one of the great classics of modern architecture.
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18 - Palais de Tokyo - Lacaton & Vassal - 2014
13 Av. du Président Wilson, Paris
The office was created by Anne Lacaton and Jean-Philippe Vassal in 1987, and have since showed boldness through their design of new and transformative projects. The duo’s architecture reflects their advocacy of social justice and sustainability. They reinvigorated the Palais in 2002, and then built a new expansion in 2014.
The gallery has grown from 7000 to 22,000 square meters. Lacaton & Vassal chose to keep everything raw – honesty of materiality. Thus, when they broke through into an unused basement, the remnants of the process involved with breaking through have been left exposed, rather than plastered over. Free from the typical clean-room atmospheres, the building elements are allowed to age which adds to the patina of a structure that has stood for a century. The bottom basement layers exert an almost tomb-like aura, but the upper levels bask in the sunlight through glass roofs. Another interesting aspect of the museum is its lack of dictated routes. The visitor is free to roam and explore uninhibited. The technical requirements, the safety regulations, the accessibility and fittingout of the installations have determined the proposal’s design. Some rooms are even left so untouched they are unusable due to safety and fire regulations. The purpose of this is to encourage a flexible relationship with the natural environment and the urban one, preserving the openness made evident by the demolition and revealing the internal logic of a building.
Two of the premises reflected in the bases – a reduced budget and the explicit reference to the term “installation” – served as guidelines for the design of the project. The Palais de Tokyo then becomes a unique place, open from noon to midnight to every day. It becomes a place of cultural activity, for visitors and a place to stay for artists, where both participate in an open debate. The project starts from the perception of space as a context that the users constantly reshape; a place for meeting, without obstacles, with freedom of use, a space that changes depending on the activity of its participants.
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Rue du Point du Jour, Paris
Fernand Pouillon (France 1912-1986) is a French architect and urban planner. He was one of the great builders of the reconstruction after the Second World War. His achievements are characterized by an insertion in the site, a balance of masses born of harmonic proportions, noble materials, including in social housing, and the collaboration of craftsmen. Point-du-Jour was going to be his ideal realisation, but he went to prison for financial fraud during the construction. Soon after his sentence of three years, he left for Algeria, where he designed many public buildings.
This complex brings more than 2,000 housing units located on the banks of the Seine on a complex plot of land. From the urban scale to that of the building, the forms result from a varied assembly of several simple basic modules. The dwellings are all open to the outside, with bay windows letting in light. The materials are all similar: concrete is used for the internal structure and stapled stone for the exterior decoration. The dwellings are organized around a collective space. Prefabricated squared panels decorate the facades, and the monumentality of the architecture reminds us of the order of the colossal (the 2nd and 3rd floors are set back from the first one so the building seems less imposing). The artifices of optical illusion are skilfully used to avoid making this densely packed residence oppressive: the glass reflects the sky, the elongated structure emphasizes the horizontal vanishing lines, the different heights let the sun shine in, and the masses are weighted for a pleasant scale. Today, the complex is aging well and the apartments have increased in value.
The high density of the operation is compensated by the important presence of vegetated exterior spaces, and the operating mode allows for a very high quality and efficiency - including financialto be achieved. This ensemble is emblematic of Pouillon’s work, who believed that “The more modest the housing, the more monumental the architecture must be”. Point-du-Jour was awarded the “Heritage of the 20th Century” label in 2008.
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19 - Résidence Point-du-Jour - Fernand Pouillon - 1957
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20 - Boulogne-Billancourt school complex - Studio Muoto - 2018
28 Rue Yves Kermen, Boulogne-Billancourt
In 2018, Studio Muoto realized the urban and architectural project of the Boulogne-Billancourt School complex. The school group is inserted in a contrasting urban context on a triangular satellite plot of the ZAC Rive de Seine.
The school’s volume is drawn like a crenellated skyline that defines different built profiles along the streets that border it. This composite form finds a homogeneity in the treatment of the steel facades whose surfaces are finely striated, and reinterprets in a contemporary way the historical architecture of the industrial site. The curved blades in shades of blue play with the natural light. The iridescent reflections undulating with the sun constantly modify the perception of the building. All the first floors are glazed, creating an urban relationship on an urban scale. The kindergarten and elementary schools share the first two levels. The last level is dedicated to digital spaces open to the inhabitants of the neighborhood. The kindergarten has a patio courtyard and the elementary school has a terrace courtyard. These two courtyards face south and are protected from the neighborhood. The gymnasium located in the bow of the building has a double access, from the school group and from the street. When the school is closed, it functions as a facility open to the public, which can be transformed into a concert hall or a neighborhood cinema.
The spatial organization defines a compact building, with obvious entrances and clear circulations. The building is situated on former cars factories, so its aesthetic identity refers to the shift from the former industrial economy of the site to the digital era, as the pedagogic program of the school is defined around the introduction of connected technologies. The project responds to the double challenge of display and visibility of a public facility within the city of Boulogne, while maintaining a friendly relationship with the housing buildings to the north.
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21 - Villa La Roche - Le Corbusier - 1925
8-10 Sq. du Dr Blanche, Paris
The Villa La Roche was commissioned by the Basel collector Raoul Albert La Roche, who wanted to house his art collection. Le Corbusier initially planned to build an architectural ensemble, but eventually developed a project for two neighboring houses: One was the “Jeanneret House” occupied by Le Corbusier’s brother. The other is for the art collection : it is the “Villa La Roche”. The house forms part of the architect’s “white villas” series of private homes.
The house is impregnated with austerity and develops a “poor” aesthetic where volumes are “assembled under the light”. The house is developed on three levels, including the roof terrace. To accomodate both a private apartment and an exhibition space, Le Corbusier split the space into two parts. Two staircases concealed behind each wall of the foyer lead to the two different areas of the house. For the visitor, that offers two different routes. The private apartment is located in the right wing. The wing on the left contains a guest room on the ground floor, the art gallery on the first floor, and a library on the second. These two routes are independent and are connected on the second floor by a double height walkway, a series of balconies providing views into the atrium. To link the spaces Le Corbusier used the “architectural promenade”, the aim was to create a path that guides the visitor through the building, as well as unveiling the artwork. The promenade is symbolised by the curved ramp that leads from the art gallery to the first floor library. The interior finishes are in-keeping with Le Corbusier’s style of block-coloured walls, in shades of gray, blue and sienna.
The building features many of the elements that Le Corbusier felt necessary for Modern architecture and was part of his “white villa” series along with Villa Savoye, Villa Stein, Villa Ker-Ka-Ré, Villa Le Lac and others. It features elements that Le Corbusier would later coin as the Five Points of architecture necessary for the Modernist style. The Villa was classified as a historical monument in 1996 and now operates as a museum for the Fondation Le Corbusier.
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“purist” room access hall
roof terrasse dining room
gallery
library
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24 - Tour Albert 25 - Centre D’animation Wangari Muta Maathai 26 - Orgues de Flandre 27 - Student and social housing, Ourcq-Jaurès 28 - La Villette 29 - PCF Headquarters
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24 - Tour Albert - Édouard Albert - 1960
33 Rue de Croulebarbe, Paris
The construction of the Albert Tower was part of an urban planning project aimed at linking rue Croulebarbe to avenue de la SœurRosalie, which are separated by a steep drop in elevation; however, the project was abandoned because the RATP refused to allow a footbridge to be built over the maintenance station it occupied. The tower is clearly distinguishable from the surrounding buildings by its height and architectural style. For this first “skyscraper” for residential use, the architect attempted to integrate the highrise building into the Parisian landscape and to put constructive intelligence at the service of a flexible plan. High-rise buildings, born in the United States at the end of the 19th century with metal structures, only appeared late in France, where urban planning regulations did not allow them for a long time. In 2005 the tower underwent renovations to bring it up to date of living standards.
The 67-meter high, 23-story Albert Tower, was the first residential skyscraper built in Paris. Its load-bearing structure is composed of hollow steel tubes of 19.1 to 21.6 centimeters filled with concrete. The floors are made of reinforced concrete slabs laid on the tubes. The structure is reinforced by a double longitudinal bracing and by a cross bracing. The load-bearing steel tubes are left exposed. The facades alternate glazed panels and stainless steel panels placed randomly according to the interior distribution. The terrace on the 6th floor, decorated with a fresco by Jacques Lagrange, may seem curious: the architect had planned a footbridge on this floor leading to the rue Abel-Hovelaque but it was never built. The Albert Tower has high-speed elevators, closed parking lots, no facing walls.
It became the image of modernity in the 1960s. The tower is an icon of modern architecture in Franceand is recognized as much for its aesthetics as for its constructive intelligence. The building was listed on the supplementary inventory of historical monuments in 1994.
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15 Rue Mouraud, Paris
The centre was developed by Bruther to provide a range of public services for the community of the heavily populated and densely urbanised area of Saint-Blaise. The district represents an enclave, with repetitive high buildings with complex geometries, mostly from the 70’s-80’s outlining a closed arena.
The project comprises a vertically-stacked structure with a small footprint – helping to preserve one of the area’s rare open spaces. Lower storeys are enclosed by a glazed curtain wall that retains a visual connection between the street and a courtyard. This transparency also maintains links between other public facilities situated around the plaza. Above the double-height atrium are further windows and a cantilevered balcony that wraps around the building, including the concave long elevations. The transparent cladding allows the concrete structure, with its diagonal bracing system, to be seen from outside. Black corrugated cladding surrounds the upper portion of a sports hall dedicated to circus arts, which is located on the top floor. A gauzy mesh above this level allows light to reach the glass vaulted ceiling for a bright interior. Folding doors set in the glazed facade open onto the large foyer, where a suspended ceiling is wrapped in mirrored panels so that it reflects the outside. A freestanding plywood structure resides in this space. It features gable-shaped openings that create rooms for informal meetings. Materials throughout the interior are left in their raw state, with exposed concrete and plywood.
Flexible, the new centre is thought as a sustainable architecture. The project answers to the functions but doesn’t freeze them. Generosity as a common denominator of all spaces, to allow reinterpretation and follow evolutions of uses and needs. In a compact volume, the project aggregates a large diversity of functions, spaces, uses, relations to the outside, materials, and displays them in a neighborhood where there was no diversity.
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25 - Centre d’Animation Saint-Blaise - Bruther - 2014
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26 - Orgues de Flandre - Martin Shulz van Treeck - 1980
69-95 Av. de Flandre, Paris
Martin Schulz van Treeck (Berlin, 1928-1999) is a German architect. More interested in the form of space than in the architectural object, he used a tool for visualizing projected buildings, created by himself, called relatoscope. When he was chosen to design the social housing complex, he decided to build a project in opposition to the monotonous character of the dwellings of the 1950s
On a surface of about 6 hectares, four brutalist towers rise towards the sky at heights of 82m, 96m, 104, and 123m respectively: they exalt verticality and are the result of a sculptural work on form. These towers all have names that evoke the musicality of this architecture. One of them is still the highest residential tower in Paris. The two linear buildings located along the Avenue de Flandre are even more radical. The specificity of these dwellings is that they are designed as outward or inward steps: the corbelled facades thus “protect” the pedestrian and bring an intimist side to the whole. In the middle of the towers, a one hectare green space isolates the children from the street. Developing in space like an origami, the two entrance buildings with imposing and symmetrical profiles seem to defy perspective. Between the two entrance buildings sits a stone portal, remnant of the workers’ complex that was there before. On the scale of a passer-by, the staircase architecture of Organs V & VI on the garden side provides space and a form of breathing, unlike the purely vertical architecture of the towers.
With the Organs of Flanders, Martin Schulz Van Treeck decided to break with the banality of the buildings of his time and, despite the gigantic size of the project, he sought to integrate a human approach into the design of the circulation and living spaces. He created an origami-like architecture, and was able to realize his dream of designing an architecture that could be perceived from a human point of view.
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27 - Student & social housing - Lacaton & Vassal - 2014
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BIS Rue de Thionville, Paris
The building was commissioned to Lacaton&Vassal, an office known for the social housing and sustainable architecture. The residence is located in an area that is developing quickly, between l’Ourcq canal and old railroad tracks. To address this changing context and favor urban fusion, the project proposes a program in seven floors that includes 98 housing units for students and thirty social dwellings, a shelter and three retail spaces.
The project provides spacious apartments and gives, as much as possible, the opportunity to the inhabitants to enjoy the 2 situations: on the garden and on the street. All apartments are run-through or double-oriented. The living rooms and kitchens are on the garden side and open onto a 2,10m deep winter garden, south or south-east orientated, from 9 to 28 sqm, extending in a 1m deep balcony. The bedrooms and main bathrooms, well glazed, are on the north façade and open onto a continuous balcony. The winter gardens and balconies give each dwelling a private outdoor space that offers the possibility to live outside in a collective context while being home. Combined with thermic and shadow curtains, they ensure a function in the winter and summer indoor climatic conditions (thermal comfort) and savings on energies, within a bioclimatic approach. Essential to the life quality in an urban context, these private outdoor spaces make the apartment conditions closer to the facilities and pleasure you can have in an individual house.
The building is interesting in that it bears witness to a militant strategy that Anne Lacaton and Jean-Philippe Vassal have been implementing for over twenty years. It consists of asserting that, whatever the program, it is possible to build at a lower cost in order to give users as much appropriable space as possible. A position that has been able to rely on the wave of sustainability to develop and mature. The additional spaces are often considered as thermal buffers to regulate the exchanges with the outside.
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211 Av. Jean Jaurès, Paris
Bernard Tschumi is a Swiss-French architect who used deconstructivist concepts of disorder and contrast to develop radical theories about how to inject ideas of movement, spectacle and event into architecture.
Tschumi won an international competition in 1983 to design the 55-hectare Parc de la Villette. The park contains 35 architectural follies intentionally departed from the classical interpretation of a park as an ordered space for relaxation, they are arranged in a grid system of 120x120 square meters. The red follies distributed across the landscape feature forms that appear to have been broken apart and reassembled, enhancing the sense of imperfection and disorder that gives the park its distinctive personality. Each unique structure is built using concrete and red-enamelled aluminium panels. The repetition of forms and colour creates a sense of coherence and their even spacing helps visitors orient themselves in the large park. Like the rest of the park, the follies are designed to exist independently and even their functions are arbitrary, with several having been used for different purposes since their completion.
Many of the follies are purely sculptural, while others provide spaces for amenities including cafes, ticket offices, lookouts and a 700-seat concert hall.
Tschumi did not design the park in a traditional mindset where landscape and nature are the predominant forces behind the design . Rather he envisioned Parc de la Villette as a place of culture where natural and artificial are forced together into a state of constant reconfiguration and discovery. He wanted the park to be a space for activity and interaction that would evoke a sense of freedom within a superimposed organization that would give the visitors points of reference. The award-winning project noted for its architecture and strategy of urban organization, La Villette has become known as an unprecedented type of park, one based on “culture” rather than “nature.”
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28 - La Villette - Bernard Tschumi - 1987
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29 - PCF Headquarters - Oscar Niemeyer - 1980
2 Pl. du Colonel Fabien, Paris
Oscar Ribeiro de Almeida de Niemeyer Soares is one of the most famous Brazilian architects and designers. His work, which is closely related to the International Style movement, holds a major place in the history of modern architecture. As a communist, Niemeyer fled to France in 1964, after his government had been overthrown by a right-wing dictatorship. The French Communist Party then commissioned him to design the party’s headquarters.
Niemeyer’s final design was a vertical serpentine block of offices coupled with vertical service cores in two separate towers alongside a series of subterranean public spaces to preserve the openness of the site rising above the ground. The curving six-story structure is supported on five pairs of columns that not only bear the weight of the cantilevered plates but incorporate crucial service ducts as well. A spiral staircase leads to the expansive main dining room on the sixth floor with a view of the city. The entire secretariat block is wrapped in a tinted glass curtain wall designed by Jean Prouvé. This emphasis on verticality ultimately enhanced Niemeyer’s gestural forms. Beneath the vertical block are exhibition spaces, a reception hall, lounge, bookshop, conference rooms, and a 450set auditorium carved into the site to prevent its extension into the open public space. Only a portion of the irregular dome extends above ground providing the iconic white mound. Inside the 11 meter-high dome, the auditorium’s ceiling is clad in thousands of light-diffusing anodized aluminum blades.
Through opening the ground plane, Niemeyer intended to avoid excessive occupation of the site and maximize green space for the city. Niemeyer’s guiding principle for the project was carefully considered balance between open space and architectural volume, he wanted to show the importance of the harmony between the two. His’s preoccupation with formal unity resulted in a work that seemingly transcended political divides. Right-wing president G. Pompidou called it “the only good thing those Commies had ever done.”
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