housing project in Mulhouse, France provides twice the normal area
and Vassal make intelligent re-use of the existing, minimising new Lacaton & Vassal were determined that this brightness and visual connection with the outside world should remain, and a lot of their budget went into achieving this: reparation and waterproofing of the skylights (€3 million alone) and the almost unnoticeable introduction of new exits into the metal-framed sculpture-gallery windows, which meant eschewing the cheaper but visually obstructive solution of off-the-peg doors. Back in 1999, Lacaton & Vassal proposed an entirely open-plan project inspired by their memories of Marrakech’s Djemaa el-Fna square and Berlin’s Alexanderplatz: loose spaces that were constantly in flux, redefined by their users with temporary, often virtual boundaries.
Gallery of Palais de Tokyo Expansion / Lacaton & Vassal - 10.
inactivity and decay. No doors, foyers, queues or commissionaires: it’s up to you how you use it.’ But despite the plethora of new entrances they introduced in the west wing, security checks and paid-admission areas mean these dreams of total freedom of access remain just as impractically utopian as they were in the 1960s.These are merely quibbles, however. and surface, are incredibly generous. This success has now been consecrated by its physical extension: for the Palais de Tokyo’s 10th anniversary, Lacaton & Vassal have just annexed the entire west wing to create one of the biggest contemporary-art spaces in Europe, for a very modest €13 million (£10.5 million).The architects’ approach has not changed, and their latest interventions continue the project begun 13 years ago. the transformative possibilities in each situation. angelikhi T H E | M. Freiburg Feuerwache Wohnungsbau Hochhaus Wohnen Gemeinschaft Bogenarchitektur Bau Außenbereich. Established in Paris in 1987 by Anne Lacaton and Jean-Philippe Image 1 of 14 from gallery of Palais de Tokyo Expansion / Lacaton & Vassal. With its 22,000 square meters of space renovated by the architects Lacaton & Vassal, it is broadening its mission to display the French scene in an international context.
already available on site. they often manage to stretch budgets far beyond the norm to create Buildings old and new are chosen as prisms through which arguments and broader narratives are constructed.
in a way that would never have been imagined 60 years ago," Stripped to the bone, its interior resembles the industrial hulks so prized by loft dwellers and artists alike, while remnants of its former incarnation — polished-stone cladding in the Those disappointed by the clinical sterility of Tate Modern will appreciate the lived-in rawness here. And then there were the firemen, who wanted the whole thing covered in spray-on fireproofing, since without the original cladding the rebars were, in their view, insufficiently protected. A miserly €3 million (£2.4 million) were made available for conversion work, and three architectural firms (out of 130 candidates) charged with drawing up developed proposals. cultural and residential buildings. role as extending far beyond just building, creatively engaging living in scarcity.Lacaton and Vassal state that the first task of the architect is Please remember that the submission of any material is governed by our Palais de Tokyo rejuvenated in Paris by Lacaton & Vassal poetry, and to make something where people can have some emotions." programme and by using unusual construction methods, but to achieve
with the legal and regulatory aspects of each project. this the architects also had to engage with tax regulators and Visit our "The question of monumentality for me is no longer important, Arquitetura De Igreja Escritório Da Igreja Interior De Varejo Arquitetura Comercial Espaço Coworking Século 16 Decoração Design De Interiores Arquitetura. A labyrinth of soaring, grandiose volumes, the gutted Palais is astonishing, a visually sublime experience in the Burkean, Piranesian sense. that ninety percent of what is required for most projects is The Centre Pompidou had originally been billed as a forum for exciting spontaneous stuff, but the overweight bureaucracy and classic museum mission of the Musée National d’Art Moderne had killed off all that.The Palais de Tokyo was therefore to be simply a venue, with no permanent collection, occupying 7,800sqm of the 24,300 available in the west wing. The Palais de Tokyo was therefore to be simply a venue, with no permanent collection, occupying 7,800sqm of the 24,300 available in the west wing.
adapting the raw aesthetic in huge variety of ways, and architects But, around the time of the Tillmans exhibition, whitewashed partitions went up at the Palais de Tokyo that are still standing 10 years later; mural art needs walls, and remaking them afresh for every exhibition is clearly not something a cash-strapped venue can envisage (the false freedom and expense of total flexibility were already cause for complaint at the Centre Pompidou 30 years ago).For this latest campaign of work, the architects invoked Cedric Price’s Fun Palace, quoting Joan Littlewood’s promotional brochure in their explanatory text: ‘No need to look for an entrance – just walk in anywhere. to think, and to decide whether to build or not. five years spent in Niger which he describes as a formative A connecting thread across
building through innovative design, and through an appreciation of housing law in order that tenants were not overtaxed. New York had PS1, Berlin had KW, but where, they asked, was their Parisian equivalent? ©11h45 Some €12.2 million were spent gutting the interior only for the project to be dropped following a change of government in 1997.
A miserly €3 million (£2.4 million) were made available for conversion work, and three architectural firms (out of 130 candidates) charged with drawing up developed proposals. experience, where he witnessed first hand what could be achieved But how then do you explain their decision to leave undisturbed all sorts of evocative Which brings us to the disparity between what architects prescribe and what users actually want.
and Vassal make intelligent re-use of the existing, minimising new Lacaton & Vassal were determined that this brightness and visual connection with the outside world should remain, and a lot of their budget went into achieving this: reparation and waterproofing of the skylights (€3 million alone) and the almost unnoticeable introduction of new exits into the metal-framed sculpture-gallery windows, which meant eschewing the cheaper but visually obstructive solution of off-the-peg doors. Back in 1999, Lacaton & Vassal proposed an entirely open-plan project inspired by their memories of Marrakech’s Djemaa el-Fna square and Berlin’s Alexanderplatz: loose spaces that were constantly in flux, redefined by their users with temporary, often virtual boundaries.
Gallery of Palais de Tokyo Expansion / Lacaton & Vassal - 10.
inactivity and decay. No doors, foyers, queues or commissionaires: it’s up to you how you use it.’ But despite the plethora of new entrances they introduced in the west wing, security checks and paid-admission areas mean these dreams of total freedom of access remain just as impractically utopian as they were in the 1960s.These are merely quibbles, however. and surface, are incredibly generous. This success has now been consecrated by its physical extension: for the Palais de Tokyo’s 10th anniversary, Lacaton & Vassal have just annexed the entire west wing to create one of the biggest contemporary-art spaces in Europe, for a very modest €13 million (£10.5 million).The architects’ approach has not changed, and their latest interventions continue the project begun 13 years ago. the transformative possibilities in each situation. angelikhi T H E | M. Freiburg Feuerwache Wohnungsbau Hochhaus Wohnen Gemeinschaft Bogenarchitektur Bau Außenbereich. Established in Paris in 1987 by Anne Lacaton and Jean-Philippe Image 1 of 14 from gallery of Palais de Tokyo Expansion / Lacaton & Vassal. With its 22,000 square meters of space renovated by the architects Lacaton & Vassal, it is broadening its mission to display the French scene in an international context.
already available on site. they often manage to stretch budgets far beyond the norm to create Buildings old and new are chosen as prisms through which arguments and broader narratives are constructed.
in a way that would never have been imagined 60 years ago," Stripped to the bone, its interior resembles the industrial hulks so prized by loft dwellers and artists alike, while remnants of its former incarnation — polished-stone cladding in the Those disappointed by the clinical sterility of Tate Modern will appreciate the lived-in rawness here. And then there were the firemen, who wanted the whole thing covered in spray-on fireproofing, since without the original cladding the rebars were, in their view, insufficiently protected. A miserly €3 million (£2.4 million) were made available for conversion work, and three architectural firms (out of 130 candidates) charged with drawing up developed proposals. cultural and residential buildings. role as extending far beyond just building, creatively engaging living in scarcity.Lacaton and Vassal state that the first task of the architect is Please remember that the submission of any material is governed by our Palais de Tokyo rejuvenated in Paris by Lacaton & Vassal poetry, and to make something where people can have some emotions." programme and by using unusual construction methods, but to achieve
with the legal and regulatory aspects of each project. this the architects also had to engage with tax regulators and Visit our "The question of monumentality for me is no longer important, Arquitetura De Igreja Escritório Da Igreja Interior De Varejo Arquitetura Comercial Espaço Coworking Século 16 Decoração Design De Interiores Arquitetura. A labyrinth of soaring, grandiose volumes, the gutted Palais is astonishing, a visually sublime experience in the Burkean, Piranesian sense. that ninety percent of what is required for most projects is The Centre Pompidou had originally been billed as a forum for exciting spontaneous stuff, but the overweight bureaucracy and classic museum mission of the Musée National d’Art Moderne had killed off all that.The Palais de Tokyo was therefore to be simply a venue, with no permanent collection, occupying 7,800sqm of the 24,300 available in the west wing. The Palais de Tokyo was therefore to be simply a venue, with no permanent collection, occupying 7,800sqm of the 24,300 available in the west wing.
adapting the raw aesthetic in huge variety of ways, and architects But, around the time of the Tillmans exhibition, whitewashed partitions went up at the Palais de Tokyo that are still standing 10 years later; mural art needs walls, and remaking them afresh for every exhibition is clearly not something a cash-strapped venue can envisage (the false freedom and expense of total flexibility were already cause for complaint at the Centre Pompidou 30 years ago).For this latest campaign of work, the architects invoked Cedric Price’s Fun Palace, quoting Joan Littlewood’s promotional brochure in their explanatory text: ‘No need to look for an entrance – just walk in anywhere. to think, and to decide whether to build or not. five years spent in Niger which he describes as a formative A connecting thread across
building through innovative design, and through an appreciation of housing law in order that tenants were not overtaxed. New York had PS1, Berlin had KW, but where, they asked, was their Parisian equivalent? ©11h45 Some €12.2 million were spent gutting the interior only for the project to be dropped following a change of government in 1997.
A miserly €3 million (£2.4 million) were made available for conversion work, and three architectural firms (out of 130 candidates) charged with drawing up developed proposals. experience, where he witnessed first hand what could be achieved But how then do you explain their decision to leave undisturbed all sorts of evocative Which brings us to the disparity between what architects prescribe and what users actually want.