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Euro 35


INDEX 6

28

78

102

INTRO BIOGRAPHY CHRONOLOGY EDITORIALS

INNOVATIVE TRANSIT SOLUTIONS FOR LOS ANGELES NAPOLI PIAZZA GARIBALDI STATION CAMPUS VERSUS CLUSTER EDF RESEARCH CENTER ARAGO TOWER HIGH PARK SENSUOUS SHADOW SKIN MUSIK THEATER MUSEUM OF CONTEMPORARY ART WROKLAW KATOWICE CONGRESS CENTER

BUILT SPACES LE CARGO FANGSHAN TANGSHAN NATIONAL GEOPARK MUSEUM GL. EVENTS HEADQUARTERS FRAC BRETAGNE MACRO MUSEUM GREENLAND PAVILION INFORMATION CENTER

UNBUILT WINNING PROJECTS

206

SEA PASSENGER TERMINAL TANGIER LAVAL TOURIST INFORMATION CENTER L. MUSEUM SPATIAL ANISOTROPY ARCHIPELAGO RED LACE SCHINDLER HOUSE DANCING BRIDGE LA FABRIQUE DES IMAGES

SPACES IN PROGRESS

226

DIAGONAL 0 TWIST FLYING HORSE HOUSE

116

154

LIVING SPACES MAISON BERNARD SAINT-ANGE RESIDENCE GLASS HOUSES “PHANTOM” RESTAURANT OPERA GARNIER ESENSE WALLY 143’ FLAT UNLIMITED

INTERNATIONAL COMPETITIONS M5A2 KINMEN PASSENGER SERVICE CENTER TAINAN MUSEUM OF FINE ARTS “TREE RHAPSODY” HOUSE OF HUNGARIAN MUSIC GUGGENHEIM HELSINKI

246

DESIGN SOLEIL-NOIR PÉTALE JAVELOT TWIST AGAIN LE NOIR PHANTOM CERAMIC FURNITURE FOR UNESCO HEADQUARTERS ALICE VICTOR’S HOUSE RENWICK GALLERY RED CARPET

ART AND INSTALLATIONS ATOM NOIR FRACTURE 3DX1 HOMÉOSTASIE 100 RED CANDLES FOR READING VANISHING BLACK HOLES SENSUAL HYPERTENSION MEMORIES OF HIGHLAND LIGTHS FORCE EN PRESENCE ANISOTROPY 2 BEYOND HORIZON BLOC: LE MONOLITHE FRACTURÉ

EPILOGUE CONFLUENCE INSTITUTE FOR INNOVATION AND CREATIVE STRATEGIES IN ARCHITECTURE


INDEX 6

28

78

102

INTRO BIOGRAPHY CHRONOLOGY EDITORIALS

INNOVATIVE TRANSIT SOLUTIONS FOR LOS ANGELES NAPOLI PIAZZA GARIBALDI STATION CAMPUS VERSUS CLUSTER EDF RESEARCH CENTER ARAGO TOWER HIGH PARK SENSUOUS SHADOW SKIN MUSIK THEATER MUSEUM OF CONTEMPORARY ART WROKLAW KATOWICE CONGRESS CENTER

BUILT SPACES LE CARGO FANGSHAN TANGSHAN NATIONAL GEOPARK MUSEUM GL. EVENTS HEADQUARTERS FRAC BRETAGNE MACRO MUSEUM GREENLAND PAVILION INFORMATION CENTER

UNBUILT WINNING PROJECTS

206

SEA PASSENGER TERMINAL TANGIER LAVAL TOURIST INFORMATION CENTER L. MUSEUM SPATIAL ANISOTROPY ARCHIPELAGO RED LACE SCHINDLER HOUSE DANCING BRIDGE LA FABRIQUE DES IMAGES

SPACES IN PROGRESS

226

DIAGONAL 0 TWIST FLYING HORSE HOUSE

116

154

LIVING SPACES MAISON BERNARD SAINT-ANGE RESIDENCE GLASS HOUSES “PHANTOM” RESTAURANT OPERA GARNIER ESENSE WALLY 143’ FLAT UNLIMITED

INTERNATIONAL COMPETITIONS M5A2 KINMEN PASSENGER SERVICE CENTER TAINAN MUSEUM OF FINE ARTS “TREE RHAPSODY” HOUSE OF HUNGARIAN MUSIC GUGGENHEIM HELSINKI

246

DESIGN SOLEIL-NOIR PÉTALE JAVELOT TWIST AGAIN LE NOIR PHANTOM CERAMIC FURNITURE FOR UNESCO HEADQUARTERS ALICE VICTOR’S HOUSE RENWICK GALLERY RED CARPET

ART AND INSTALLATIONS ATOM NOIR FRACTURE 3DX1 HOMÉOSTASIE 100 RED CANDLES FOR READING VANISHING BLACK HOLES SENSUAL HYPERTENSION MEMORIES OF HIGHLAND LIGTHS FORCE EN PRESENCE ANISOTROPY 2 BEYOND HORIZON BLOC: LE MONOLITHE FRACTURÉ

EPILOGUE CONFLUENCE INSTITUTE FOR INNOVATION AND CREATIVE STRATEGIES IN ARCHITECTURE


Built Spaces

01 Studio Odile Decq

28

Built Spaces

29


Built Spaces

01 Studio Odile Decq

28

Built Spaces

29


04

FRAC BRETAGNE

Client Region Bretagne; Surface 5000 m 2 ; Mission Competition winning project; Site Rennes, France; Program Exibition spaces, Stockroom, Library, workspace, conference room, café; Dates 2012

The new building for the FRAC is the first of new contemporary art museums to be built in France. It combines the main functions of conservation, exhibition as well as diffusion of knowledge about art throughout a library, a conference room and educational services. The main façade offers a silent setting in respect to Nemours art work installed in front of the FRAC, but, inside, the building reveals itself in an unexpected complexity, catching the visitor by the strong, full, and sensual expression of the vertical void running over the entire building’s height. From this void, the museum’s main functions are clearly readable, dispatching and articulating the different spaces in three dimensions along a progressive promenade of discovery and changing perception, from the basement to the library on top. This museum, though modest in size, is challenging as a local landmark for contemporary art and combining all the functions needed in a densely articulated ensemble realized within the frame of a tight budget.

Studio Odile Decq

60

Built Spaces

61


04

FRAC BRETAGNE

Client Region Bretagne; Surface 5000 m 2 ; Mission Competition winning project; Site Rennes, France; Program Exibition spaces, Stockroom, Library, workspace, conference room, café; Dates 2012

The new building for the FRAC is the first of new contemporary art museums to be built in France. It combines the main functions of conservation, exhibition as well as diffusion of knowledge about art throughout a library, a conference room and educational services. The main façade offers a silent setting in respect to Nemours art work installed in front of the FRAC, but, inside, the building reveals itself in an unexpected complexity, catching the visitor by the strong, full, and sensual expression of the vertical void running over the entire building’s height. From this void, the museum’s main functions are clearly readable, dispatching and articulating the different spaces in three dimensions along a progressive promenade of discovery and changing perception, from the basement to the library on top. This museum, though modest in size, is challenging as a local landmark for contemporary art and combining all the functions needed in a densely articulated ensemble realized within the frame of a tight budget.

Studio Odile Decq

60

Built Spaces

61


GREENLAND PAVILION INFORMATION CENTER

06 Client Greenland Furniture Group ; Surface 1400 m 2 ; Site Shaoxiang quarter, Shanghai – Qingpu, China; Program Reception, Information hall, offices, exhibition hall; Dates 2006 - 2007

At the end of the avenue, the information center is unique by its location. Inserted between the two first main exhibition halls, it must stay different. To mark the precise point where the visitors are coming and going, to signal the furniture exhibition park. Its shape is unique. Looking like an opened flower, it welcomes the visitors. Its red color makes it brighten in the center. The large opened petals leave the heart visible from the outside: a pyramid of black glass. Shining during the day, it becomes translucent in the night when the interior light makes it sparkle from the inside. The entire pavilion is set on the circle area of the pond; perception of the pond is kept for people walking around. From the pavilion, two large paths are guiding visitors to the interior. On the right, large steps take them to the hall 1,50m above the pond level. These steps provide seating for people awaiting transport.

Studio Odile Decq

The multifunctional room is established at the -4,50m level. This level is under the water but is not a basement. The visitors travel through the space by long steps and stairs, which connect the entrance level and the multifunctional room level into the same volume. These steps could be easily transformed as a theatre to organize different exhibitions or scenography. This large room is also directly connected from the outside by the long steps going down on the left side. The VIPs enter the pavilion from the left where their hall is located near the offices. From this hall they reach the VIP rooms on the mezzanine using the lift or the stairs. Storage, restrooms and services are provided on every level. The structure is organized by three masts, which overpass the highest point of the building and increase its signaling effect. The facades are made of dark glass and red painted shiny aluminum panels.

72

Built Spaces

73


GREENLAND PAVILION INFORMATION CENTER

06 Client Greenland Furniture Group ; Surface 1400 m 2 ; Site Shaoxiang quarter, Shanghai – Qingpu, China; Program Reception, Information hall, offices, exhibition hall; Dates 2006 - 2007

At the end of the avenue, the information center is unique by its location. Inserted between the two first main exhibition halls, it must stay different. To mark the precise point where the visitors are coming and going, to signal the furniture exhibition park. Its shape is unique. Looking like an opened flower, it welcomes the visitors. Its red color makes it brighten in the center. The large opened petals leave the heart visible from the outside: a pyramid of black glass. Shining during the day, it becomes translucent in the night when the interior light makes it sparkle from the inside. The entire pavilion is set on the circle area of the pond; perception of the pond is kept for people walking around. From the pavilion, two large paths are guiding visitors to the interior. On the right, large steps take them to the hall 1,50m above the pond level. These steps provide seating for people awaiting transport.

Studio Odile Decq

The multifunctional room is established at the -4,50m level. This level is under the water but is not a basement. The visitors travel through the space by long steps and stairs, which connect the entrance level and the multifunctional room level into the same volume. These steps could be easily transformed as a theatre to organize different exhibitions or scenography. This large room is also directly connected from the outside by the long steps going down on the left side. The VIPs enter the pavilion from the left where their hall is located near the offices. From this hall they reach the VIP rooms on the mezzanine using the lift or the stairs. Storage, restrooms and services are provided on every level. The structure is organized by three masts, which overpass the highest point of the building and increase its signaling effect. The facades are made of dark glass and red painted shiny aluminum panels.

72

Built Spaces

73


SCHINDLER HOUSE

07

08

DANCING BRIDGE

Client MAK Center; Surface 3 800 m 2 ; Site Los Angeles, USA; Mission Housing; Dates 2003

In architecture the section reveals the non-visible. It is a specific point of view and in the project the section is shown through the translation from horizontal to vertical, from inside to outside. The scarification of the roof garden territory is transmitted inside the site in terms of light and screens partitioning. This proposal is mainly inscribed in the urban and architectural context. The horizontal and the vertical, the singular houses and their diversity… are at the same time articulated and specifically distincts. In the system of transition in which the new is integrated in the territory around, every part wins a complex clarity, becomes attractive and offers privacy and intimacy. The inside and outside views, the perspectives, the successive frames… everything is organising as un-centered spaces. The perspectives are tangential and allow chaining and sequential points of view as same as privacy. Space is never static but in tension and creates dynamism. The transposition in three dimensions of the section process perturbs the inscription surfaces

of the project at every level. The floor and the roof are engraved, fractured, opened and animated by tectonic movements which define spaces, connect and articulate inside and outside spaces. On the two surfaces of the floor and of the roof and through them, the frames and the screens, are perceived as places of stability. The technical noddles work as articulation and rotation points inside the houses. The open gardens are perceived as vertical axes of rotation The folding surface of the roof is animated by movements of flaping shutters which in day and night modify the perception of the territory which is constantly animated.

Client Syndicat Intercommunal de l’aménagement Houconcourt et Talange; Surface 60 ml; Mission Direct Commission; Site Canal of Mines, Talange, France; Mission Bridge; Dates 2006 - 2008

The bridge over the Canal des Mines de Moselle is not straight. It passes from one side to the other sinuating after having passed along the canal from one side to the other... Beautifully planted, one could almost say wooded, banks rise in slopes to allow the bridge to cross the canal and boats to sail underneath. The nearby lock downstream and the masonry supporting walls of the old bridge are minerals in a green landscape. It is in this landscape context that the new bridge is installed obliquely to cross the canal while minimizing the impact of the embankments.

It is also in this context that, by crossing the canal, the bridge began to dance. Its overwound arch structure first swings towards the vehicle side and then towards the pedestrian and cyclist side. The arch to which the double apron is suspended is completed by a system of asymmetrical guardrails on both sides. It is a suspended metal bridge. The red color of the structure comes in contrast with the surrounding landscape. The lighting under the aprons dramatizes the suspension of the bridge. A highlighting of the arch under its grip completes this effect.

NGF 175.20 : POINT HAUT DU PONT

NGF 168.38 : POINT HAUT DU GARDE CORPS VELOS

NGF 165,83 : NIVEAU EN BORD EXT DE CHAUSSEE VEHICULES NGF 164,90 : NIVEAU BAS DU TABLIER

NGF 158,30 : COTE HAUTE DU NIVEAU DE L'EAU

ELEVATION NORD-EST

NGF 175.20 : POINT HAUT DU PONT

NGF 168.38 : POINT HAUT DU GARDE CORPS VELOS

NGF 165,83 : NIVEAU EN BORD EXT DE CHAUSSEE VEHICULES NGF 164,90 : NIVEAU BAS DU TABLIER

NGF 158,30 : COTE HAUTE DU NIVEAU DE L'EAU

ELEVATION SUD-OUEST VUE DEPUIS LA ROUTE DE L'ECLUSE

NGF 175.20 : POINT HAUT DU PONT

NGF 168.38 : POINT HAUT DU GARDE CORPS VELOS

Studio Odile Decq

98

NGF 165,83 : NIVEAU EN BORD EXT DE CHAUSSEE VEHICULES

Unbuilt Winning Projects NGF 164,90 : NIVEAU BAS DU TABLIER

99

ELEVATION OUEST ELEVATION EST

ELEVATIONS


SCHINDLER HOUSE

07

08

DANCING BRIDGE

Client MAK Center; Surface 3 800 m 2 ; Site Los Angeles, USA; Mission Housing; Dates 2003

In architecture the section reveals the non-visible. It is a specific point of view and in the project the section is shown through the translation from horizontal to vertical, from inside to outside. The scarification of the roof garden territory is transmitted inside the site in terms of light and screens partitioning. This proposal is mainly inscribed in the urban and architectural context. The horizontal and the vertical, the singular houses and their diversity… are at the same time articulated and specifically distincts. In the system of transition in which the new is integrated in the territory around, every part wins a complex clarity, becomes attractive and offers privacy and intimacy. The inside and outside views, the perspectives, the successive frames… everything is organising as un-centered spaces. The perspectives are tangential and allow chaining and sequential points of view as same as privacy. Space is never static but in tension and creates dynamism. The transposition in three dimensions of the section process perturbs the inscription surfaces

of the project at every level. The floor and the roof are engraved, fractured, opened and animated by tectonic movements which define spaces, connect and articulate inside and outside spaces. On the two surfaces of the floor and of the roof and through them, the frames and the screens, are perceived as places of stability. The technical noddles work as articulation and rotation points inside the houses. The open gardens are perceived as vertical axes of rotation The folding surface of the roof is animated by movements of flaping shutters which in day and night modify the perception of the territory which is constantly animated.

Client Syndicat Intercommunal de l’aménagement Houconcourt et Talange; Surface 60 ml; Mission Direct Commission; Site Canal of Mines, Talange, France; Mission Bridge; Dates 2006 - 2008

The bridge over the Canal des Mines de Moselle is not straight. It passes from one side to the other sinuating after having passed along the canal from one side to the other... Beautifully planted, one could almost say wooded, banks rise in slopes to allow the bridge to cross the canal and boats to sail underneath. The nearby lock downstream and the masonry supporting walls of the old bridge are minerals in a green landscape. It is in this landscape context that the new bridge is installed obliquely to cross the canal while minimizing the impact of the embankments.

It is also in this context that, by crossing the canal, the bridge began to dance. Its overwound arch structure first swings towards the vehicle side and then towards the pedestrian and cyclist side. The arch to which the double apron is suspended is completed by a system of asymmetrical guardrails on both sides. It is a suspended metal bridge. The red color of the structure comes in contrast with the surrounding landscape. The lighting under the aprons dramatizes the suspension of the bridge. A highlighting of the arch under its grip completes this effect.

NGF 175.20 : POINT HAUT DU PONT

NGF 168.38 : POINT HAUT DU GARDE CORPS VELOS

NGF 165,83 : NIVEAU EN BORD EXT DE CHAUSSEE VEHICULES NGF 164,90 : NIVEAU BAS DU TABLIER

NGF 158,30 : COTE HAUTE DU NIVEAU DE L'EAU

ELEVATION NORD-EST

NGF 175.20 : POINT HAUT DU PONT

NGF 168.38 : POINT HAUT DU GARDE CORPS VELOS

NGF 165,83 : NIVEAU EN BORD EXT DE CHAUSSEE VEHICULES NGF 164,90 : NIVEAU BAS DU TABLIER

NGF 158,30 : COTE HAUTE DU NIVEAU DE L'EAU

ELEVATION SUD-OUEST VUE DEPUIS LA ROUTE DE L'ECLUSE

NGF 175.20 : POINT HAUT DU PONT

NGF 168.38 : POINT HAUT DU GARDE CORPS VELOS

Studio Odile Decq

98

NGF 165,83 : NIVEAU EN BORD EXT DE CHAUSSEE VEHICULES

Unbuilt Winning Projects NGF 164,90 : NIVEAU BAS DU TABLIER

99

ELEVATION OUEST ELEVATION EST

ELEVATIONS


FLYING HORSE HOUSE

03 Client CIPEA; Surface 500 m 2 ; Mission complete; Site Nanjing, China; Program House for rental and/or artist atelier; Dates 2003, under construction

Five Stones are rolling down the slope in the wood to a lake: the five bedrooms of the house. Each of them is singular, each of them is particular. They offer for everybody living in the house the choice to live different experience of space,and of the site. The house is not an object but a series of objects, the stones. They are inserted into the ground, emerged in the trees or hidden in the wood. The composition of the volumes together reflects the image of the flying horse and gives to the house its other name. This house is a place for temporary stay. It has been conceived as a house for the “nomad living”. The common space is a place to meet and to take the meals . For that reason, the table is long, going from the kitchen to the living room to make the dining and meeting table as the central element of the space. The space of the bedrooms is not divided by functions, bed, bath and seats but organised as a large space where the configuration itself creates the places for the functions without strong partition.. In a way, the space takes a plasticity. The “Sky Tower” bedroom is only open to the sky. When entering in the room a passerelle crosses the space and stairs hung up on a wall. Cupboard’s doors are spread out on the whole surface of the opposite wall. Inside it the functions of the bedroom are hid-

Studio Odile Decq

den : stairs, bedroom, bathroom and toilet. To reach these functions one has to use a remote control for unfolding part of the cupboard wall and some floors and passerelles arrive. One passerelle to reach the stair inside, one to reach the unfolded bedroom, one to reach the bathtub and a stair inside the wall to go up to the top glass roof and the terrace above. The “S Suite” bedroom, accessible from the common space, disassociates the two rooms of the suite, looking opposite, with a common space for bath in beween. The “Belvedere” bedroom takes its name from the position of the bathroom where the free shape bathtub inserted in the ceiling above the bed is in its own glass volume, looking to the lake. The “Horn” bedroom is oriented to the lake. The narrowness of the space is emphased by the tension between the turning walls. From the entrance the space is perceived as non finite. Walking inside gives the perception of its length. When opening the sliding glass walls the space of the bathroom absorbs the space of the entire bedroom. Isolated, the “Sunken” is a double level bedroom embeded in the ground. Its advanced position, gives it its autonomy. The oblique surface of the floor onto the bathtub increases the impression of being inside the slope.

110

Spaces in Progress

111


FLYING HORSE HOUSE

03 Client CIPEA; Surface 500 m 2 ; Mission complete; Site Nanjing, China; Program House for rental and/or artist atelier; Dates 2003, under construction

Five Stones are rolling down the slope in the wood to a lake: the five bedrooms of the house. Each of them is singular, each of them is particular. They offer for everybody living in the house the choice to live different experience of space,and of the site. The house is not an object but a series of objects, the stones. They are inserted into the ground, emerged in the trees or hidden in the wood. The composition of the volumes together reflects the image of the flying horse and gives to the house its other name. This house is a place for temporary stay. It has been conceived as a house for the “nomad living”. The common space is a place to meet and to take the meals . For that reason, the table is long, going from the kitchen to the living room to make the dining and meeting table as the central element of the space. The space of the bedrooms is not divided by functions, bed, bath and seats but organised as a large space where the configuration itself creates the places for the functions without strong partition.. In a way, the space takes a plasticity. The “Sky Tower” bedroom is only open to the sky. When entering in the room a passerelle crosses the space and stairs hung up on a wall. Cupboard’s doors are spread out on the whole surface of the opposite wall. Inside it the functions of the bedroom are hid-

Studio Odile Decq

den : stairs, bedroom, bathroom and toilet. To reach these functions one has to use a remote control for unfolding part of the cupboard wall and some floors and passerelles arrive. One passerelle to reach the stair inside, one to reach the unfolded bedroom, one to reach the bathtub and a stair inside the wall to go up to the top glass roof and the terrace above. The “S Suite” bedroom, accessible from the common space, disassociates the two rooms of the suite, looking opposite, with a common space for bath in beween. The “Belvedere” bedroom takes its name from the position of the bathroom where the free shape bathtub inserted in the ceiling above the bed is in its own glass volume, looking to the lake. The “Horn” bedroom is oriented to the lake. The narrowness of the space is emphased by the tension between the turning walls. From the entrance the space is perceived as non finite. Walking inside gives the perception of its length. When opening the sliding glass walls the space of the bathroom absorbs the space of the entire bedroom. Isolated, the “Sunken” is a double level bedroom embeded in the ground. Its advanced position, gives it its autonomy. The oblique surface of the floor onto the bathtub increases the impression of being inside the slope.

110

Spaces in Progress

111


Studio Odile Decq

114

Spaces in Progress

115


Studio Odile Decq

114

Spaces in Progress

115


02

SAINT-ANGE RESIDENCY

Client Private; Surface 185 m 2 ; Site Seyssins, France; Program Artist residency, studio and appartments; Dates competition 2013 - delivered 2015

The placement of the Saint-Ange Residency, on the lower side of the plateau of Tour Saint-Ange’s park, beyond the vegetable garden, under the trees and on the slope leading towards Grenoble’s golf course was definitively a challenge. The site is beautiful for its unobstructed view on Grenoble’s valley, but difficult for its hard and narrow slope. This is why, when discovering the site, and despite all the difficulties, creating a view overlooking the entire valley became the dominant idea. A belvedere became the evident solution: to see as much of the valley as possible by going above the trees, but without ever having a reverse view in order to protect the intimacy of the Tour Saint-Ange and its park.

Studio Odile Decq

The studio was therefore thought of as a kind of tower on 3 different levels that twist to reach the view beyond the valley. This is monolithic architecture, a silent piece of art, made entirely from wood, with a natural finish on the inside and a black asphalt finish on the outside. During the daytime, multiple openings on the facade allow the light to pour into the living rooms, the studio and the two levels above - from 3 different directions (except from the north side facing the Tour Saint-Ange). At night, the wood blinds treated with the exact same finish as the facade hide the windows and allow the monolith to become all black and quiet once again.

124

Living Spaces

125


02

SAINT-ANGE RESIDENCY

Client Private; Surface 185 m 2 ; Site Seyssins, France; Program Artist residency, studio and appartments; Dates competition 2013 - delivered 2015

The placement of the Saint-Ange Residency, on the lower side of the plateau of Tour Saint-Ange’s park, beyond the vegetable garden, under the trees and on the slope leading towards Grenoble’s golf course was definitively a challenge. The site is beautiful for its unobstructed view on Grenoble’s valley, but difficult for its hard and narrow slope. This is why, when discovering the site, and despite all the difficulties, creating a view overlooking the entire valley became the dominant idea. A belvedere became the evident solution: to see as much of the valley as possible by going above the trees, but without ever having a reverse view in order to protect the intimacy of the Tour Saint-Ange and its park.

Studio Odile Decq

The studio was therefore thought of as a kind of tower on 3 different levels that twist to reach the view beyond the valley. This is monolithic architecture, a silent piece of art, made entirely from wood, with a natural finish on the inside and a black asphalt finish on the outside. During the daytime, multiple openings on the facade allow the light to pour into the living rooms, the studio and the two levels above - from 3 different directions (except from the north side facing the Tour Saint-Ange). At night, the wood blinds treated with the exact same finish as the facade hide the windows and allow the monolith to become all black and quiet once again.

124

Living Spaces

125


“TREE RHAPSODY” HOUSE OF HUNGARIAN MUSIC

The House of Hungarian Music is a challenge between the history and the contemporary, between the tradition and the modernity and among that it has to be a lively and popular place where everyone can learn and listen, discover and experiment. Music has always taken place in the life and heart of Hungarian people with a huge tradition of folk music as well as world-renowned classical and modern musicians. Music is constantly evolving by being interpreted and by fast changes of generations, so, our project needs to envision the future and to embrace the movement in a positive direction. Even if the envelope of the building is stable, exhibition spaces have to be flexible and provide suitable conditions for friendly welcoming and the expectations of the visitors of tomorrow of all ages.

Studio Odile Decq

04 Client Museum of Fine Arts Budapest & Városliget Zrt.; Surface 9 780 m 2 ; Mission Competition; Site Budapest, Hungary; Program Museum of hungarian music; Dates 2014

To create and to build a dynamic equilibrium, in music as in architecture we need to find the breaking point, to keep tension, to transgress the limits. It is also a quest for instability and movement as music permanently is at stake, explores new ways, contests and does the spadework on. By the split in two volumes - the one on the ground which is largely open to the outside by transparent glass facades, and the other, the upper volume, wrapped in a translucent, transparent and opaque skin that plays with the reflections of the trees and of the sky - the building feels like an extension of the park, and the park as being continuous into the building.

166

International Competition

167


“TREE RHAPSODY” HOUSE OF HUNGARIAN MUSIC

The House of Hungarian Music is a challenge between the history and the contemporary, between the tradition and the modernity and among that it has to be a lively and popular place where everyone can learn and listen, discover and experiment. Music has always taken place in the life and heart of Hungarian people with a huge tradition of folk music as well as world-renowned classical and modern musicians. Music is constantly evolving by being interpreted and by fast changes of generations, so, our project needs to envision the future and to embrace the movement in a positive direction. Even if the envelope of the building is stable, exhibition spaces have to be flexible and provide suitable conditions for friendly welcoming and the expectations of the visitors of tomorrow of all ages.

Studio Odile Decq

04 Client Museum of Fine Arts Budapest & Városliget Zrt.; Surface 9 780 m 2 ; Mission Competition; Site Budapest, Hungary; Program Museum of hungarian music; Dates 2014

To create and to build a dynamic equilibrium, in music as in architecture we need to find the breaking point, to keep tension, to transgress the limits. It is also a quest for instability and movement as music permanently is at stake, explores new ways, contests and does the spadework on. By the split in two volumes - the one on the ground which is largely open to the outside by transparent glass facades, and the other, the upper volume, wrapped in a translucent, transparent and opaque skin that plays with the reflections of the trees and of the sky - the building feels like an extension of the park, and the park as being continuous into the building.

166

International Competition

167


KATOWICE CONGRESS CENTER

15 Client City of Katowice; Surface 33 000 m 2 ; Mission Competition; Site Katowice, Poland; Program Construction of a Conference Center, Conference rooms and exhibitions, restaurant, shops; Dates 2007

Spodek in Katowice is a mythical and symbolic object in a mythical neighborhood. It is the challenge of the addition of the conference center articulated with the Spodek complex in the center of a heart of a city in total transformation, in a very near future. Today, constructing buildings such as large museums, auditoriums or conference centers is about bringing contemporary accentuation to the monuments of our time. Our project for the Katowice Conference Center does not escape this monumental intent. Its size, complexity and diversity of programs that it shelters are the obvious signs of today’s monuments. Our project is contemporary and even

Studio Odile Decq

reinterpreting the architectural characteristics of Spodek. It does not try to simulate a story that is not theirs. Its history is rather in the field of architecture of the most spectacular kind, the one most open to the imagination that we must seek it. The inventive, futuristic years, bearers of the modern images of the sixties. Through its urban, formal and spatial prospect, our project aims to make the conference center a place that is spectacular, fun and commercial. Drawing on Spodek’s formal idea, while amplifying and clearly differentiating it, our project aims to energize the imagination and interest of visitors and customers.

204

International Competition

205


KATOWICE CONGRESS CENTER

15 Client City of Katowice; Surface 33 000 m 2 ; Mission Competition; Site Katowice, Poland; Program Construction of a Conference Center, Conference rooms and exhibitions, restaurant, shops; Dates 2007

Spodek in Katowice is a mythical and symbolic object in a mythical neighborhood. It is the challenge of the addition of the conference center articulated with the Spodek complex in the center of a heart of a city in total transformation, in a very near future. Today, constructing buildings such as large museums, auditoriums or conference centers is about bringing contemporary accentuation to the monuments of our time. Our project for the Katowice Conference Center does not escape this monumental intent. Its size, complexity and diversity of programs that it shelters are the obvious signs of today’s monuments. Our project is contemporary and even

Studio Odile Decq

reinterpreting the architectural characteristics of Spodek. It does not try to simulate a story that is not theirs. Its history is rather in the field of architecture of the most spectacular kind, the one most open to the imagination that we must seek it. The inventive, futuristic years, bearers of the modern images of the sixties. Through its urban, formal and spatial prospect, our project aims to make the conference center a place that is spectacular, fun and commercial. Drawing on Spodek’s formal idea, while amplifying and clearly differentiating it, our project aims to energize the imagination and interest of visitors and customers.

204

International Competition

205


MEMORIES OF HIGHLAND LIGHT

08 Site Chaumont-sur-Loire, France; Program Installation; Event Festival des Jardins de Chaumont-sur-Loire; Surface HO 250 m 2 ; Dates 2000

The Highlands sky is rarely blue. The blue is fugitive. It becomes all shades from white to black. Light is material, it has thickness. Constantly changing in accordance to the multiple thicknesses of clouds, of fog. Sometimes diffused, sometimes striped, sometimes filtered, sometimes spread, it is the landscape. The infinity of Highland space is rebuilt, limited, transformed, blurred or fluid, sometimes destroyed by the materiality of the light, which constantly modifies its vision. When light is intense, in touching the ground it is always absorbed. Nothing lets it reflect

Studio Odile Decq

except the sea and on water. Peat is black and its vegetation is short. Humidity is constant and makes the ground supple. For us, a garden is first of all, a landscape. It is a place as opposed to a simple space. It is a space more than a surface. And then, it is an assembly of matter and texture. It is a place where we are transported to somewhere else, where the brain escapes and imagination flies away. It is a place where the body takes the materiality of the air, of the light and of the wind.

240

Art and Installations

241


MEMORIES OF HIGHLAND LIGHT

08 Site Chaumont-sur-Loire, France; Program Installation; Event Festival des Jardins de Chaumont-sur-Loire; Surface HO 250 m 2 ; Dates 2000

The Highlands sky is rarely blue. The blue is fugitive. It becomes all shades from white to black. Light is material, it has thickness. Constantly changing in accordance to the multiple thicknesses of clouds, of fog. Sometimes diffused, sometimes striped, sometimes filtered, sometimes spread, it is the landscape. The infinity of Highland space is rebuilt, limited, transformed, blurred or fluid, sometimes destroyed by the materiality of the light, which constantly modifies its vision. When light is intense, in touching the ground it is always absorbed. Nothing lets it reflect

Studio Odile Decq

except the sea and on water. Peat is black and its vegetation is short. Humidity is constant and makes the ground supple. For us, a garden is first of all, a landscape. It is a place as opposed to a simple space. It is a space more than a surface. And then, it is an assembly of matter and texture. It is a place where we are transported to somewhere else, where the brain escapes and imagination flies away. It is a place where the body takes the materiality of the air, of the light and of the wind.

240

Art and Installations

241


Published by LISt Lab Laboratorio Internazionale Editoriale Via Esterle, 26 38100, Trento Italy Spain info@listlab.eu www.listlab.eu Production GreenTrenDesign Factory Piazza Manifattura, 1 38068 Rovereto (TN) - Italy T: +39 0464 443427 info@greentrendesign.it Authors Massimo Faiferri, G. Pino Scaglione Editorial Director Alessandro Franceschini Editorial Assistant Gioia Marana Art Director Massimiliano Scaglione Graphic Design Blacklist Creative Studio, Barcelona blacklist-creative.com

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Translator Johanna Worton All rights reserved © of the edition LISt Lab © of the texts the authors © of the images, the authors

ISBN 9788899854119 Promotion and distribution in italy Messaggerie Libri, Spa, Milano, Numero verde 800.804.900 assistenza.ordini@meli.it; amministrazione.vendite@meli.it International promotion and distribution ACC Distribution, United Kingdom +44 (0) 1394 389950 Scientific Board of the List Publishing Eve Blau (Harvard GSD), Maurizio Carta (University of Palermo), Eva Castro (Architectural Association London) Alberto Clementi (University of Chieti), Alberto Cecchetto (University of Venezia), Stefano De Martino (University of Innsbruck), Corrado Diamantini (University of Trento), Antonio De Rossi (University of Torino), Franco Farinelli (University of Bologna), Carlo Gasparrini (University of Napoli), Manuel Gausa (University of Genova), Giovanni Maciocco (University of Sassari/Alghero), Antonio Paris (University of Roma), Mosè Ricci (University of Trento), Roger Riewe (University of Graz), Pino Scaglione (University of Trento). LISt Lab is an editorial workshop, based in Europe, that works on the contemporary issues. LISt Lab not only publishes, but also researches, proposes, promotes, LISt Lab produces, creates networks.

GreenTrenDesign Factory, member of Progetto Manifattura, multiplatform structure, provides advanced design services. In the balance between sustainability and quality, craftsmanship and digital experimentation, the company operates in partnership with LISt Lab.

Printed and bound in the European Union September 2017

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