Renzo Piano has unveiled renderings for the new Palais de Justice, positioned on the northern edge of central Paris in the urban expansion area of Clichy-Batignolles, which will provide space for and unite numerous judicial services presently scattered throughout the city. The law courts complex appears as a slender, translucent, 525-foot-tall tower comprised of four stacked rectangular masses diminishing in size as they ascend. The structure includes extensive fenestration to blend the division of the interior and exterior, in addition to two exterior glass elevators offering expansive views of the city. Three atria at the 64,600 square foot ground level piazza direct views into the towers overhead that encompass 30 floors grouped into three levels, each containing 10 floors. The structure consists of 90 courtrooms, offices, and meeting rooms for the magistrates, public prosecutor, and presiding judges. The floor plans within the three sections decrease in scale, forming a tiered system with space for terraces, which incorporate roof gardens landscaped with trees. The terraces accommodate solar panels and a rainwater collection system, and the building is on track to set a new standard for energy efficiency in tall buildings. Designed for efficiency and simplicity, the thin proportions of the courthouse are systematically organized so as to guarantee plentiful daylight throughout, and even extending to the tower’s center. The site is situated at a major crossroads between the administrative areas of the city and its suburbs, and is well linked by public transportation, including the northern expanse of the exceedingly successful, recently completed tramway system. The Palais de Justice is expected to open by 2017.
Posts tagged with "Paris":
Whoever said that one needs to leave the city to experience nature hasn’t seen French architect Stephane Malka’s striking facade proposal for the Parisian restaurant EP7, an unusual site that is sure to stand out in the urban setting of the city. Amidst a city of man-made concrete and glass structures could rise a building essentially comprised of an organically growing “forest. Malka, who has experience in urban landscaping, created a green facade that wraps around a glass enclosure and is composed of raw wooden blocks arranged in a patchy, pixelating pattern. The uneven surface creates spaces for plant life to grow, spilling flourishing green plants and foliage down the building. The textured wooden facade, which seems to actively move inward to completely engulf the glass skin, stops to reveal an expansive view of the restaurant’s interior. Malka’s work presents passersby and restaurant customer with with the interesting paradox of nature abundantly flourishing in an urban environment. [Via Design Taxi.]
The Bjarke Ingels Group, along with Tess, Transsolar, Base, Transitec, and Michel Forgue, have revealed their winning design for EuropaCity, a 200-acre urban cultural and commercial destination located between Paris and Roissy. Combining the forms of a dense European city with an open landscape, EuropaCity is set to be a retail, cultural, and leisure city of unprecedented scale. Modeled on the European urban experience and equipped with cutting edge green technologies, the development will serve as a retail and cultural hub for the region as well as a laboratory and showcase for sustainable design. The project will contain concert halls, spas, and retail oriented around an internal avenue and based on traditional European urban models, with integrated infrastructures for bicycles and electric-powered public transit. The entire project will be caped in a massive landscaped green roof, containing, of course, ski slopes, hiking trails, urban farming, rolling hills, sloping valleys, and unmatched views of the Paris skyline. The mega-development will be linked directly to the Paris Metro and the Charles de Gaul Airport. “EuropaCity will be an experimental hybrid between urbanism and landscape design,” said Bjark Ingels in a statement. “Center and periphery overlapped in simultaneous coexistence of a recreational open landscape of rolling hills superimposed on an urban neighborhood of walkable streets, plazas, and parks.” While EuropaCity will be fully powered through solar, biofuels, and geothermal, BIG hopes to reach for another level of sustainability with the project by crafting a high quality of public life within the area and providing solutions by which we can improve the quality of the urban environment.
Since Wednesday, four black ewes have a new home, and new jobs as groundskeepers on a small patch of municipal land in Paris. Fenced in on a half-acre lawn in front of the city’s archives building in the 19th Arrondissement, the New York Times reported that the sheep are part of a new “eco-grazing” program which aims to cut out loud, gas-guzzling lawnmowers and toxic herbicides in favor of a more agrarian solution. If all goes well at the archives, city officials have plans to bring more mouton to pastures across Paris. Their hilly home on the eastern edge of the city is a near perfect paddock for the animals, Marcel Collet, the farmer overseeing the sheep, assured the Times. The special two-foot-tall sheep, known as Ouessant, were brought from the Breton coast and selected for the hardiness and diminutive size. Contained by a three foot electric fence and monitored by a lone guard, the sheep face few threats aside from domestic dogs and the hazard of tipping over (if a sheep falls, someone needs to be there to flip it back over). “Otherwise, it risks smothering itself,” archives director Angés Masson quipped to the Times. While she is happy with her new employees, they weren’t exactly what she was hoping for, telling the Times that, “Myself, I wanted a donkey.” Others also have their doubts about the sheep, as some worry that they may endanger the local biodiversity. Four distinct types of orchids have been found on the sheep’s new pasture, but scientists will stand by to monitor the interaction between the animals and plant life. The sheep are part of a larger greening effort by Mayor Betrand Delanoë, who has brought bike- and car-sharing programs, bike and bus lanes, and pedestrian pathways to the city since being elected in 2001. At a mere $335 for the four, the sheep provide both a sustainable and affordable solution to Paris landscaping needs.
Starting Wednesday, January 30, LA's MAK Center and arts promoter ForYourArt will begin hosting Dialogues: Art/Architecture, Paris/Los Angeles, a series of events bringing together architects and artists from those two cities. Events include four discussions at the Schindler House in West Hollywood, an exhibition of drawings and models at ForYourArt in Miracle Mile, and the launch of a publication compiling participants' work and discussion. In addition to AN West Coast editor Sam Lubell, participants include (take a deep breath): Doug Aitken, Berdaguer/Pejus, Barbara Bestor, Claude Collins-Stracensky, Dahlqvist/Hommert, Escher/Gunewardena, Didier Faustino, Yona Friedman, Cyprien Gaillard, Fritz Haeg, Piero Golia, Ibai Hernandorena, Marie Jager, Alice Konitz, Vincent Lamouroux, Won Ju Lim, Tom Marble, Jorge Pardo, Claude Parent, Francois Perrin, Ivette Soler, Linda Taalman, Oscar Tuazon, Xavier Veilhan, Eric Wesley, Pae White and Peter Zellner. The impressive program is part of part of “Ceci n’est pas…Art between France and Los Angeles," a five month art and cultural exchange put together by the French Embassy of the United States, the French Institute, and the Los Angeles Department of Cultural Affairs. See the full schedule and a slideshow of participants' work below: WEDNESDAY JANUARY 30, 2013, 6-8 PM, SCHINDLER HOUSE Program launch reception and panel discussion with Fritz Haeg, Marie Jager, Alice Konitz, Ivette Soler, and Oscar Tuazon, moderated by Jan Tumlir. WEDNESDAY FEBRUARY 27, 2013, 6-8 PM, SCHINDLER HOUSE Panel discussion with Joakim Dahlqvist, Didier Faustino, Jens Hommert, Piero Golia, Jorge Pardo, Linda Taalman, and Peter Zellner, moderated by Sam Lubell. WEDNESDAY MARCH 27, 2013, 6-8 PM, SCHINDLER HOUSE Panel discussion with Frank Escher, Won Ju Lim, Tom Marble, Xavier Veilhan, and Pae White, moderated by Danielle Rago. TUESDAY APRIL 2, 2013, 6-8 PM, FORYOURART Opening reception of drawings and models by the participants. TUESDAY APRIL 16, 2013, 6-8 PM, FORYOURART Closing reception and presentation of the publication and panel discussion with Barbara Bestor, Claude Collins-Stracensky, Cyprien Gaillard, Vincent Lamouroux, and Marie Pejus moderated by Andrew Berardini.
OMA has won the design competition for the new École Centrale Engineering school in Saclay, France, a suburb of Paris. The final design calls for an enormous block composed of smaller buildings creating an open plan grid. According to OMA, the concept behind the design is a "lab city" where multiple events can take place while all being simultaneously observed. A diagonal pathway cuts through the grid connecting the existing engineering school to a future metro station connecting to Paris. The entire school complex will be sheltered by a glass roof and encourage collaborative practices while still maintaining the structure and stability necessary for an engineering school. In the very center, rising above the surrounding campus, a smaller forum block will be built above the glass roof to act as an activity hub housing a gym, classrooms, and an administration center.
Paris-based artist Jonas LeClasse’s Imaginary Doors (And the People Who Pass By Them) is as simple as it is beautiful. Amidst the continuous grit and grime of dirty, graffiti-filled urban walls in St. Dennis—a working-class Parisian suburb—LeClasse draws doors using chalk, provoking viewers to slow down and reflect. He then invites viewers to pause for a portrait with the “door.” Perhaps it is a gateway of sorts, a simple delineation of inside and outside, or the fact that the portrait always captures the subject within a double-frame (outside of the the door yet inside of the picture). In any case, LeClasse achieves poetry using subtle architectural gestures. All photos by Jonas LeClasse. [Via Wooster Collective.]
The "reconquest" of the Seine's riverside expressways will be ushered in by Paris Mayor Bertrand Delanoë, following a long battle with Nicolas Sarkozy's recently ousted right-wing government. Continuous two-lane motorways have severed Paris from the banks of the Seine, recognized by UNESCO as a World Heritage Site, since Georges Pompidou opened them in 1967 under the slogan “Paris must adapt to the car.” Delanoë has made it his mission to reverse Paris' auto-centric planning mentality, increasing the number of bicycle and bus lanes in the city while implementing bike- and electric car-share schemes. The pedestrianization of the Seine also follows Delanoë’s Paris-Plages program, started in 2002, that transforms small stretches of riverbank into sand-covered beaches complete with palm trees and deckchairs for one month each summer. Starting next month, a stretch of road on the Right Bank starting at the Hôtel de Ville and running eastward a little more than half a mile will be narrowed and additional speed-controlling traffic lights and pedestrian crossings will be installed. Pedestrian corridors and bicycle lanes will be added to the road, along with bars and cafes (some of them on floating barges and islands). The next stage, to be unveiled next spring, will replace the road completely for a one-and-a-half-mile stretch of the Left Bank between the Musée d’Orsay and the Pont de l’Alma, creating an 11-acre park with volleyball courts, sundecks, and floating gardens. This corridor will be connected to the Right Bank by new pedestrian crossings at Debilly (adjacent the Eiffel Tower) and Jardins des Tuileries (adjacent the Louvre). It is expected these modifications will add only six minutes to the average commute while restoring access to the riverfront to Parisians and tourists alike.
The Parisian gallery Patrick Seguin features 20th century furniture and architecture and is currently showing Jean Prouvé's 1956 Maison Des Jours Meilleurs from May 25 to September 29. But if you can't make it to 5 Rue des Taillandiers this summer, you can still watch the live set-up of the house in the gallery at Seguin's website. Construction takes place from 9:00 a.m. to 8:00 p.m. Paris time.
In Bjarke Ingels' traditional style, what started as a standard box of a building for Paris' Université Pierre et Marie Curie has been lifted, bent, and deformed to maximize light, sight lines, and air flow for a cramped urban site. Ingels' firm BIG and Paris-based OFF recently won won a competition to design the new multidisciplinary research center called Paris PARC to reunite the university's campus with the surrounding city including Jean Nouvel's adjacent Institut du Monde Arabe and the nearby Notre Dame Cathedral. BIG’s design calls for a specific geometry to coordinate the new building with its neighbors from varying historical periods while taking into account optimized daylight access, views, and accessibility. PARC emphasizes its axial relationship to the cathedral with large panoramic windows offering views of Notre Dame and the Parisian skyline. The exterior is slightly titled, creating a canyon-like central atrium that provides greater access to natural light and promotes visibility among laboratories and office spaces. There is also public access to the rooftop, which offers further panoramic views of the city. “As a form of urban experiment the Paris PARC is the imprint of the pressures of its urban context. Wedged into a super dense context—in terms of space, public flows and architectural history—the PARC is conceived as a chain of reactions to the various external and internal forces acting upon it," said Ingels in a statement. "Inflated to allow daylight and air to enter into the heart of the facility, compressed to ensure daylight and views for the neighboring classrooms and dormitories, lifted and decompressed to allow the public to enter from both plaza and park and finally tilted to reflect the spectacular view of the Paris skyline and the Notre Dame to the Parisians.”
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Ductal concrete technology used for the architect’s shapely “icebergs” in ParisFrank Gehry has referred to his design for the Louis Vuitton Foundation for Creation, a new home for the contemporary art collection of LVMH mogul Bernard Arnaud, as “a veritable ship amongst trees.” The project, located at the northern entrance of Paris’ Bois de Boulogne near the Jardin d’Acclimatation, hasn’t been without its share of controversy and delays, but the nearly 130,000-square-foot, 150-foot-tall building is moving ahead and is slated for completion in 2012. Though a hovering glass carapace will enshroud the museum, models of the design show the sails parting at various points to reveal concrete “icebergs” that form the building’s core. Since 2006, building material manufacturer Lafarge has been working with the building’s project team, prototype designer Cogitech Design, and precast concrete manufacturer Bonna Sabla to realize the design with Lafarge’s Ductal ultra-high performance concrete (UHPC). The Foundation’s concrete facade will require 16,000 exterior wall panels, each with its own geometry to match the curves of the nearly 97,000-square-foot glass facade. Because producing each panel individually was technically and financially unfeasible, Lafarge partnered with Cogitech and project management consortium RFR/TESS to develop a unique vacuum-casting process. The technology combines a flexible mold that can take on any curvature determined by a 3-D model with a master polystyrene template machined to the desired panel geometry. Named Moulage Sous Vide (MSV), it was patented by Lafarge in 2008 and has since won two innovation awards from the French Concrete Industry Federation. Using the MSV process, Bonna Sabla produced several prototypes, ultimately manufacturing 400 panels with identical dimensions, but completely unique curvatures, that were installed in a full-scale first run model at the building site in September 2010. The company began industrial production of the 16,000 panels this spring. “Our main challenge lay in keeping the mold sufficiently rigid, whilst retaining the suppleness needed to guarantee the exactness of the geometric forms, in conformity with the demands from the project managers,” said Patrick Mazzacane, Director of the UHPC Division at Bonna Sabla, in a release. “We optimized the vacuum molding process, in order to be able to use this during the industrial manufacturing phase.” After undergoing the MSV process, each Ductal panel is cured for 20 hours, then mapped to produce a 3-D report of its shape and ensure it is within 1 millimeter tolerance. The 35-pound segments are approximately 4.9 feet long by 1.3 feet high, and less than an inch thick. Because no two are alike, they are cast with a number and a radio frequency ID chip to ensure each can be traced throughout the installation process, which began this spring, and for maintenance in the future.
New York vs. Paris. It seems that the Big Apple and The City of Lights are forever battling over design, architecture, fashion, and film. A Parisian graphic designer decided to take matters into his own hands, creating a website to display his witty color-block graphics that juxtapose these iconic cities. Topics are eclectic, ranging from landmarks (the Empire Sate vs. the Eiffel Tower), to architecture (5th Avenue Apple Store vs. Musée du Louvre), to food (cupcakes vs. macarons), to even car parking styles (parking lot towers vs. double parked). More at the NY Times T Magazine. Oil from plastic. Energy company Vadxx has invented reactors that can transform plastic scraps that can’t be recycled into crude oil with the lowest sulfur content in the world, says Good Magazine. The first reactors are slated for a recycling plant in Akron, Ohio. However, this begs this question: will the amount of crude oil created offset the amount of energy needed for the conversion process? Basket lights. A New Zealand designer, David Trubridge, has infused his lighting with the spiritual--looking to a Maori creation myth for design inspiration, writes Contemporist. The Maori believed gods gave humans three baskets of knowledge. Trubiridge designed three corresponding teardrop ceiling “baskets”: the bamboo light represents knowledge of the natural world, the polycarbonate light symbolizes knowledge of the spiritual world, and the aluminum basket signifies knowledge of the rational world.