ÎÄÈËÜ ÄÅÊ ODILE DECQ
ÀÐÕÈÒÅÊÒÎÐ ARCHITECT
Êîíöåïöèÿ äèçàéíà Àäìèíèñòðàòèâíîãî öåíòðà áàíêà Banque Populaire de l’Ouest ïåðåäàåò ñòðîãîñòü, òî÷íîñòü, òåõíîëîãè÷íîñòü è äåÿòåëüíîñòü áàíêà çà ñ÷åò âûáîðà êîíñòðóêòèâíûõ ìåòîäîâ è ìàòåðèàëîâ, òåõíè÷åñêèõ èííîâàöèé, ïðèìåíåííîãî â îôîðìëåíèè ôàñàäà ïîäâåøåííîãî ñòåêëîïðîôèëèòà è íîâàòîðñêîé ïðèðîäû îðãàíèçàöèè ñàìîãî ïðîñòðàíñòâà. Ïðîçðà÷íûé þæíûé ôàñàä áåç âíóòðåííåãî êàðêàñà ïîëíîñòüþ îòâå÷àåò æåëàíèþ çàêàç÷èêà îáúåäèíèòü ïðîñòðàíñòâî öåíòðà ñ îêðóæàþùåé ñðåäîé è ïîä÷åðêíóòü îòêðûòîñòü êîìïàíèè. Ãàðìîíè÷íîå ñî÷åòàíèå ìàòåðèàëîâ è öâåòîâ íà âíåøíåé îáîëî÷êå èç ñåðîãî àëþìèíèÿ äîñòèãàåòñÿ èãðîé ïîñòîÿííî ìåíÿþùåãîñÿ ñâåòà è òåíè, à òàêæå ñêóëüïòóðíûìè êà÷åñòâàìè ðàçëè÷íûõ îáúåìîâ. Ïðîåêò Frac Bretagne, îñóùåñòâëÿåìûé â òåñíûõ ðàìêàõ ãîðîäñêèõ ïðàâèë, ïî-íîâîìó îñìûñëèâàåò ÿâíîå ïðîòèâîðå÷èå î íåîáõîäèìîñòè ñî÷åòàòü ãîðîäñêèå ïðåäïèñàíèÿ è áåãñòâî â íåìàòåðèàëüíûé ìèð, îò ïðèðîäíîãî ê èñêóññòâåííîìó, îò òÿæåëîãî ê ëåãêîìó, îò òåíè ê ñâåòó.  àðõèòåêòóðíîì ïëàíå çäàíèå ïðåäñòàâëÿåò ñîáîé î÷åíü íåîáû÷íûé ïðîåêò. Çäåñü ãîðèçîíòàëüíûå ëèíèè ïåðåõîäÿò â âåðòèêàëüíûå ñíàðóæè âíóòðü è âíîâü íàðóæó, èç ôîéå ê çàëàì ìóçåÿ. Âûñòàâî÷íûå ïîìåùåíèÿ ðàñïîëîæåíû íåçàâèñèìî äðóã îò äðóãà, íî îäíîâðåìåííî ñî÷ëåíåíû. Ñèñòåìà ïåðåõîäîâ ïîñðåäñòâîì ïàíäóñîâ ñ öåíòðàëüíûì àòðèóìîì ïîçâîëÿåò âûäåëèòü êàæäûé ýëåìåíò çäàíèÿ â îòäåëüíîñòè.  çäàíèè ìóçåÿ Liaunig Collection Museum ïî-íîâîìó îñìûñëåíî ÿâíîå ïðîòèâîðå÷èå î íåîáõîäèìîñòè ñî÷åòàòü ãîðîäñêèå ïðåäïèñàíèÿ è áåãñòâî â íåìàòåðèàëüíûé ìèð, îò ïðèðîäíîãî ê èñêóññòâåííîìó, îò òÿæåëîãî ê ëåãêîìó, îò òåíè ê ñâåòó. Ìåæäó çäàíèåì è îêðóæàþùåé ñðåäîé íåò âçàèìîïîä÷èíÿþùèõ îòíîøåíèé. Èõ âçàèìîäåéñòâèå îïðåäåëÿåò âûñòàâî÷íóþ àíôèëàäó. Òåì íå ìåíåå, ìóçåé îòäåëåí îò õîëìà áëàãîäàðÿ ñâîåé èñêóññòâåííîé ïîðèñòîé ñòðóêòóðå ÷åòêî âèäíîé ìåæäó âîëíîîáðàçíûìè ëèíèÿìè. Ôîðìû õîëìà îáûãðàíû â ñæàòûõ è èçâèëèñòûõ îáúåìàõ çäàíèÿ, êîòîðîå ïðåâðàùàåòñÿ â ïàâèëüîí ñ ïåðñïåêòèâíûì âèäîì íà äîëèíó, äåðåâíþ è çàìîê. Ëèíèè ôàñàäà èìèòèðóþò âîëíû. Âíåøíèå ãðàíèöû çäàíèÿ ñòàíîâÿòñÿ ïåðåõîäîì ìåæäó âíóòðåííèì è âíåøíèì ïðîñòðàíñòâîì, îòêðûòûì è çàêðûòûì, ìåæäó ìóçååì è ëàíäøàôòîì, èñêóññòâîì è ïðèðîäîé. Îíè êàê ñâåòîâîé ôèëüòð ïîçâîëÿþò ðàçäåëèòü ÿðêèé ïðèðîäíûé ñâåò ñíàðóæè è âíóòðåííåå ïðîñòðàíñòâî ìóçåéíîé àíôèëàäû.
In its conception and design, by the choice of construction methods and materials, by the technological innovations of the facade in structural suspended glass and the innovative nature of the spaces themselves, the Administrative Centre for the Banque Populaire expresses the rigour, the precision, the technology and the activities undertaken by the BPO. By the complete transparency of the south facade, devoid of any internal frame, the administrative centre radically expresses the wish of the bank to open out to its surroundings (countryside consisting of gently undulating groves) and to express, further that nothing is hidden. The interaction between the materials and colours on the external envelope of grey aluminium is achieved by the play of the constantly changing light and shadows and by the sculptural qualities of the various volumes. The Frac Bretagne project, within the tight borders of the constraints of urban regulation, reinterprets the apparent contradictory and dual idea of the necessary urban inscription simultaneously to that of immaterial escape, from nature to artificial, from heavy to light, from shade to brightness. In architecture, the section reveals the invisible; the section represents a specific point of view. In the FRAC project, the section reveals itself in the transfer from horizontal to vertical, from outside to inside and outside again, from the foyer towards the artworks. The exhibition areas and other activities are both separate and articulated. The system of transition through which atrium and ramps contaminate and irrigate space around, each element becomes attractive. The Liaunig Collection Museum reinterprets the dual idea, apparently in contradictions of the contextual inscription and the immaterial escaping, of natural and artificial, heavy and light, shadow and light. Between the site and the museum no one is before the other. Their interaction defines the exhibition promenade. Nevertheless, the museum is distinct from the slop by its artificiality and its porosity clearly seen through the interstices in between the curved lines. Lifted up, the curves of the slop are re-interpreted in volumes. Compressed, twisted and redeveloped they reconstitute the idea of a belvedere looking toward the valley, the village and the castle. On the facades the lines become waves. Then, the envelop becomes an in-between: the outside and the inside, the enclosed and the opened, a building and a landscape, Art and Nature. The envelop as light filter gives a transition between the full light of outside and the inside of the art promenade.
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