Dans l’église lilloise Sainte Marie Madeleine, le studio de design hollandais Daan Roosegaarde a fait une installation de lumières en forme de dôme composé de centaines de lumières-lotus métalliques sensibles aux mouvements corporels. Une sculpture interactive et organique à découvrir dans la suite.
French architect Emmanuelle Weiss has added a contrasting dark brick extension to a red brick house outside Lille (+ slideshow).
Weiss wanted to create a contemporary extension, but also respect the traditional materials palette. “The chosen materials are an homage to the existing house, but stay in a modern urban context,” the architect explained.
Unlike the original building, which has a vernacular roof, the extension features an asymmetric roofline that slopes upwards at two opposite corners of the building to form a butterfly shape.
The two buildings barely touch, so only a single doorway connects to the existing hallway from a new open-plan living and dining room, while two patios slot into the spaces between.
A new staircase leads up to the first floor, where the irregular shape of the roof provides a faceted ceiling over the extra bedroom and dressing room.
There is no connection to the main house from these rooms, but a doorway leads out to a small terrace on the roof.
See more residential extensions on Dezeen »
See more architecture in France »
Photography is by Julien Lanoo.
Here’s some more information from the architect:
Maison D – Emmanulle Weiss
House D (Maison D) is an extension of a family home in the middle of an urban area on a parcel of land twice as wide as the existing house.
The house doubles the linear qualities of the existing house façade, thus unifining a roadside landscape that was deconstructed before. The extention also doubles the importance of the private family garden.
The House D extension welcomes all the important living functions, private income patio, kitchen and living room, the architect (Emmanuelle Weiss) chose to incorporate on the first level of the extention an equipped sleeping quarter, with bathroom and a well organised dressing room.
The result of this exercise frees up the existing house, wich has mainly become the children’s territory. Also now, the complementation of House D makes room to add a large office area in the existing house, addapted to the professional life of its inhabitants.
The volume, high levels, low levels: “zones” create a dialogue with the existing typical style house. All the volumes in House D translate into its roofline, bringing a richness to the space. Natural light embraces the volume, sometimes directly, sometimes reflected, it fills the complete project and living quarters.
House D is an answer to the existing devision of the main house. Its functional properties talk directly to the vertical circulations of the existing house, it opens up living space.
To link the old and new together, the architect chose to use a minimal contact between both architectures. The new differentiates itself on the outside by two little patios, only linking itself to the old on the interior where the new encroaches into the hallway.
The chosen materials are an homage to the existing house, but stay in a modern urban context. Dark bricks (reflecting back on a modern way to the dark old red bricks typical for this area) and aluminium detailing show subtle hints to thier surroundings.
Above: ground floor plan
Above: first floor plan (extension only)
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Emmanuelle Weiss appeared first on Dezeen.
Dutch design lab Studio Roosegaarde has built a dome of metallic flowers that appear to come to life as they sense the presence of visitors inside a church in Lille, France (+ movie).
Lotus Dome is constructed from hundreds of light-sensitive flowers made from ‘lotus foil’, a material developed by the designers using several thin layers of polyester film.
Sensors are used to detect human movement and trigger the dome’s internal lights to shine towards people moving around the space. The light causes the flowers to open up so that they appear to be responding to visitors’ behaviour.
The dome sits idle when the space is empty but becomes increasingly animated as it detects more people. “It’s sort of an animal in that way,” artist and designer Daan Roosegaarde told Dezeen. “We call it a soft machine, with half animal qualities and half technological qualities.”
The installation was commissioned by arts organisation Lille 3000 for Fantastic 2012, a festival of futuristic concepts in design and the arts. ”We were approached by the city to reconnect inhabitants with their town again,” said Roosegaarde, who found the “beautiful but deserted space” of Sainte Marie Madeleine Church on a walk through the town.
Lotus Dome will be open to visitors until 13th January 2013.
We recently featured another project at Fantastic 2012 – Ross Lovegrove’s silver spaceship in the rafters of the city’s railway station.
Another Studio Roosegarde project we’ve featured is a dress that turns see-through when its wearer becomes embarrassed or excited.
See all our stories about Studio Roosegaarde »
See all our stories about installations »
Here’s some further information from the designers:
This weekend interactive artwork Lotus Dome by artist and architect Daan Roosegaarde was opened in Sainte Marie Madeleine Church in Lille, France. Lotus Dome is a living dome made out of hundreds of ultra-light aluminium flowers that fold open in response to human behaviour.
When approached, the big silver dome lights up and opens its flowers. Its behaviour moves from soft breathing to dynamic mood when more people interact. The light slowly follows people, creating an interactive play of light and shadow. The graphic representations of the lotus flower on the walls, and the deep bass sound, transforms the Renaissance environment into a ‘Techno-Church’.
The smart Lotus foil is specially developed by Studio Roosegaarde and their manufacturers, and is made from several thin layers of Mylar that fold open and close when touched by light. This high-tech craftsmanship is similar to the innovative thinking of the church’s architecture of the 16th century.
Lotus Dome is created for the city of Lille and its locals. The purpose was to activate the beautiful but deserted Renaissance building, and make the architecture become more alive and contemporary. This dynamic relation between people and technology is what Roosegaarde calls ‘Techno-Poetry’. “Lotus Dome functions as a mediator, connecting elements of architecture and nature, of the past and the future,” he says.
The post Lotus Dome by
Studio Roosegaarde appeared first on Dezeen.
British designer Ross Lovegrove has installed a silver spaceship in the rafters of a railway station in Lille, France.
UFO was commissioned by arts organisation Lille 3000 for Fantastic 2012, a festival of futuristic concepts in design and the arts.
In addition to the ring of LEDs around its perimeter, the aluminium spaceship intermittently sends a central shaft of light down to the ground, where it appears to select a passenger to beam up into the craft.
“Giving people a chance to see at first hand an alien craft, designed albeit by a human being and in decidedly Earth-based terrestrial materials, will be an instant shock,” explains Lovegrove, “showing us how primitive, oily and unimaginative we are.”
This isn’t the first UFO we’ve featured on Dezeen – we also reported on a ball of light over Gdansk in Poland created by artist Peter Coffin and lighting designers Cinimod Studio.
See all our stories about Ross Lovegrove »
See all our stories about installations »
Photographs are by Simona Cupoli.
Here’s a statement from Lovegrove:
For Fantastic 2012, the most advanced presentation of futuristic concept in design, art, cuisine, literature, dance, clubbing and much more, Lille3000 has commissioned a brand new work by British designer Ross Lovegrove to be experienced at the Lille Flandre Station, directly on the tracks, opening on October 5th.
Ross Lovegrove, at ease with questions and dilemmas about our own future – he was for example the host of CNN Just Imagine documentary presenting a vision of the world 2020 – has challenged himself to create an innovative, and yet modernistic archetypical, means of transport. The visitors and travellers gathering at the Lille Flandre Station will find on the trails a shocking surprise: a UFO has just landed on the sidewalk and it is able to transport human beings from Lille to Paris in as little as 30 seconds.
This unexpected machine, shaped like an organic dish, is conceived with terrestrial materials and yet delivers an unprecedented imaginary form. Ross Lovegrove’s UFO was born through a speculation on our own identity. This pure and pristine object destroys the boundaries between art and design, technology and science, spirituality and physics, nature and religion. Ross Lovegrove has realised this new vehicle following his instinct: the inhabitants of our planet do not have any clear idea on how these objects are realised, or if they even exist.
Lovegrove explains his inspiration for this recently landed U(nidentified) F(lying) O(bject): “Blurry photos and obscure film footage is all we have, along with interviews from Area 51 scientists assigned to analyse propulsion systems and materials previously unknown to man. Can all these people who talk so matter of fact all be part of some broader conspiracy to act it all out? The mystery remains as a discourse between imagination and reality, people divided and derided on a subject that could be so profound and life changing for the whole of humanity if one day there will be a clear visitation to experience in the clear light of day the wonders that we are being slowly primed for.”
To visit to the Lille Flandre Station can explain some about these universal mysteries through the visions of one of the most innovative designers or our time.
The post UFO by
Ross Lovegrove appeared first on Dezeen.
Tread-like indents in the concrete facade of this rock-climbing centre might encourage visitors to scale the walls (photos by Julien Lanoo).
Designed by French architects Béal & Blanckaert, Le Polyèdre is situated outside Lille and houses a gym as well as a rock-climbing hall.
The roof the centre slopes upwards at one end to accommodate the faceted climbing wall, which has both white and bright orange surfaces.
Timber frames the building’s doors and windows, most of which are trapezium-shaped.
This is the third building we’ve published this month by Béal and Blanckaert, following a Corten-clad library and a nursery with a colourfully striped facade – see all our stories about the architects here.
Here’s some more text from Antoine Béal and Ludovic Blanckaert:
Salle d’escalade de Mons-en-Baroeul
Within a larger restructuring of the 70′s modernist city center by the urbanization office FX Mousquet, the city of Mons-en-Baroeul decided to create room for a rock climbing hall and a gym space.
The project finds it’s place on a topographical spot within the urban architecture.
The building unites the two functions (rock climbing & gym) in one hexagonal ground plan; a form dictated by the rock climbing wall and its surrounding function.
Rock climbing in the north of France remains artificial; so is the architecture of the project.
The materials chosen decompose the hilly landscape.
The concrete wall rises up as an artificial rock; this dividing structure embraces the functions of a sporting facility.
The vegetal roof, with both winter and summer vegetation, artificially reflects the alpine landscapes within the equally artificially constructed urbanism of Mons-en- Baroeul.
The interior has two well defined spaces. One space, the rock climbing hall, mimics a theatre atmosphere to maximally embellish the sport of rock climbing.
The second space encloses the gym quarters in an uncommon wooden atmosphere, a characteristic of the chosen OSB material.
Wooden window frames unite this uncommon architecture to the many different buildings and to the topographically interesting garden surrounding the building.
Click above for larger image
Click above for larger image
Name of the project: le polyèdre
Address: Mons en Baroeul
Architectes: Antoine Béal et Ludovic Blanckaert
Collaborateurs: T .Foucray – J.Ramet
Client: Ville de Mons en Baroeul – France
JDS Architects have won a competition to design a youth centre for Lille, France.
The Lil/Euralille Youth Centre will comprise a contorted triangular building, housing a youth hostel, a kindergarten and offices within its three corners.
These three blocks will each feature cantilevered corners and are to surround a central triangular courtyard.
This courtyard will slope up to a roof garden above the kindergarten and step onto decks above the youth hostel.
This will be the first project in Lille by JDS Architects, who previously designed a cantilevered ski jump in Norway – see all our stories about the firm here.
Here’s a little more information from the architects:
JDS Architects have just signed the contract to execute their first French project for the city of Lille.
Over the past twenty years Lille has become a European hub; a destination for business and congress, a great place to study and live and also a tourist destination.
It is a city with a turbulent history of conquest and reconquest, a heritage as an important medieval city and later on enjoyed and sometimes suffered the title of Northern France industrial capital.
Our project emerges from the idea of creating an urban catalyst, accommodating three distinct programmes on a triangular site.
By placing a program in each point of the triangle we offer maximum privacy while allowing them a closeness and continuity of space, organised around a garden, like a cloister of calm in the center of the city.
The lifting of the mass of the programme at the corners illuminates and activates the adjacent public spaces and creates a continuity from outside to inside of the building.
Project: youth hostel, kindergarten, office
Budget: 12.150.000 EUR
Type: Invited Competition
Size: 6.980 m2
Client: SAEM Euralille
Status: 1st Prize 2011
Location: Lille, France
JDS Partner in Charge: Julien De Smedt
Project Leader: Renaud Pereira
Team: JDS, EGIS, Agence Franck Boutté Consultants, SL2EC
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| Casal de la Juventud by CrystalZoo | Youth centre by Mi5 Arquitectos | Factory by Marks Barfield Architects |
Visitors can climb a staircase over the roof of this spiralling community centre in Lille by French architects Colboc Franzen & Associés.
The aluminium-clad building has a jolting helical shape that wraps around a central glass atrium.
External staircases connect landings and terraces on each of the four storeys.
The first three levels contain community facilities for different age ranges while the top floor comprises staff offices and accommodation.
More stories about projects in France »
Photography is by Paul Raftery.
Here are some more details from the architects:
L’Arbrisseau Neighbourhood Centre, Lille
A multi-facetted building for every generation
It’s impossible not to notice the L’Arbrisseau neighbourhood centre in the southern suburbs of Lille. Its helical shape, the staircase that winds itself up around the sides of the building and its aluminium cladding, like a space vessel’s, all make it stand out. They create a contrast with a rather disjointed and sometimes deprived urban environment that nonetheless holds some pleasant surprises, including a sunflower swimming pool around the back that is straight out of the Seventies.
However incongruous it might seem, the building was indeed built and designed together with local people and the city council. Users came up with ideas – ranging from the most trivial to the most metaphorical – that were included in the final project. They wanted an aquarium; they’ll find it behind the reception desk. They wanted a library; it’s there all right. But they also wanted a tree to make sure there was the symbol of their neighbourhood, which is called l’Arbrisseau (‘arbre’ is French for tree). And so they got a tree – a 12-metre tree of life with a terrace nestling on each level and a panoramic viewpoint at its tip.
It was Lille City Council’s ambition to create something ‘beautiful’ and ‘high quality’ in the ‘suburbs’. L’Arbrisseau is in the south of Lille, an area that is undergoing radical redevelopment after years of social and economic decline. There is clear political ambition and varied urban landscape offers great potential. This is a tight-knit community: people born in L’Arbrisseau often spend their whole lives here. The challenge for this project was to embody this sense of renewal as well as a certain community spirit.
The building is arranged in a spiral around a central atrium. This means that it faces no particular direction but instead speaks to everyone equally. The plain untreated aluminium cladding of the façade underscores this desire to standardize the sides of the building and adds to its magnetism; the building catches the light and focuses the sun’s rays to form an attractive, shimmering whole.
The project’s distinctive characteristic is that it is open to people of all ages. The tiny tots are on the ground floor, with a mother and child care centre, and a space to receive several groups of 0-4 year olds. Small and slightly older children are accommodated on the first floor, where there is an infant day centre (3-6), a ‘little wings’ area and activity rooms for 6-12 year olds as well as a reading corner. The second floor is the domain of the older generations. There is a multi-purpose hall (intended for weddings and other private and public celebrations) as well as an area used especially for adult integration courses such as cookery and computing. The third floor contains administrative offices and a four-room, on-site staff flat that includes a south-facing terrace. The building’s layout allows each age group to relate directly to the one below it and the one above. This is what makes it unique.
The mother and child care centre is linked to the first-floor centre for 4-12 year olds by a split-level garden. The tiny tots have direct access to the garden. The first floor in turn connects with the teenage and adult floor via the double-storey library. It also enjoys a terrace overhanging the garden. The teenage and adult floor offers a variety of activities ranging from the multi-purpose hall for concerts or weddings to cookery and sewing workshops. A terrace acts as a continuation of the hall and looks out over the grounds to the north. This floor communicates with the top storey of the building. The aim of superimposing the various schemes was to free up the greatest possible space for a garden around the bottom of the building. Stretching the building vertically increases its visibility and its prestige.
All of the different schemes are united around a common atrium. A concrete tower houses the facilities, staircases and lifts, as well as supporting the building. The design of this tower articulates the structural forces acting upon it and the toothing of the girders holding up the floors on either side. The solid, mineral mass and its extruded appearance also bring to mind the region’s characteristic underground chalk quarries (there is one behind the building).
The inside staircase echoes the cut-out façade of the building, allowing the light captured by the terraces filter through the tower like tree branches to produce complex and changing patterns of shadows in the atrium.
The spiral staircase that curls around the outside of the building has a landing – or terrace – on every level, each connected to the next by stairs. Users can get to their activities from outside and also climb up onto the roof of the structure. Here there is a panoramic viewpoint overlooking the L’Arbrisseau neighbourhood with the belfry of Lille City Hall in the distance. This reintegrates the L’Arbrisseau area into the fabric of the city of Lille as well as strengthening its local roots.
Last but not least, the fact that the building’s key elements – the libraries – are two storeys in height creates interesting spatial and visual effects as well as allowing the installation of raked seating. This encourages flexible and improvised use of the space, as befits a neighbourhood centre. It is easy to organise lectures, show videos or arrange reading corners on a particular theme; the terraces can be turned into a children’s playground at one moment and an area for adult activities the next and can also host film screenings, exhibitions and even open-air theatre.
The very particular volume distribution of the L’Arbrisseau neighbourhood centre is emphasised by its untreated aluminium and glass sheathing. There are openings here and there for plate-glass windows that afford different views and let in light. These are covered in materials (metal cladding, mirror glass) selected in accordance with the principles of eco-design and to guarantee users optimum visual and thermal conditions in both summer and winter.
Contracting authority: City of Lille
Architects: Colboc Franzen & Associés, Paris
Cost of construction: €4,076,000 excluding all tax
Area of the plot: 2,030 m2
Usable area: 1,190 m2
Net floor area: 1,779 m2
Gross floor area: 2,927 m2
Location: Crossroads of the future extension of rue de l’Asie and rue Vaisseau le Vengeur, 59000 Lille
Project management: Colboc Franzen & Associés
Project manager: Arnaud Sachet
Team: Ulrich Faudry, Malik Hammadi, Kerstin Heller, Bruno Sarles, Emmanuel Villoutreix, Lena Weis.
Research consultancy: INEX (fluids), C&E ingénierie (structure), JP Lamoureux (acoustician), BM Forgue (economist), PBP (OPC).
Beginning of studies: October 2007
Date of delivery: May 2011
Program
Sustainable development
Together, these technical choices allow for energy consumption in line with French regulation RT 2005 and beyond the requirements for a low-energy house. L’Arbrisseau neighbourhood centre has primary energy consumption of 48.68 kWh/m2/year of primary energy, or primary energy consumption = standard consumption – 58.4%.
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| Community Centre by Dierendonck Blancke | Community Centre by Adamo Faiden | Stephen Lawrence Centre by Adjaye Associates |
Beneath a wide skylight, a white spiralling staircase descends the three storeys of this high school in Lille by French architects Tank.
Although constructed entirely from brick, the College Levi-Strauss has no corners, only curved edges.
Three kinds of brickwork are used to create a facade that varies in colour.
Square windows of different sizes are scattered across the elevation and at lower level occasional bricks are painted in yellow, green and blue.
The building surrounds an enclosed courtyard playground, but classrooms face outward towards the city.
More stories about schools on Dezeen »
Photography is by Julien Lanoo.
The following information is from Tank Architectes:
College Levi Strauss, Lille
The college Levi Strauss is settled in the heart of a urban growth district, between its ancient housing, warehouses and the port district of Lille, North of France.
The main building’s settled on the urban boulevard, the main hall, highly transparent, is opened on the front square, this gives an institutional feature to the high school playing a major role within the district.
The main entrance is through a porch at the intersection of Boulevard de la Lorraine and Rue Lestiboudois.
Very sunny and sheltered from the winds, the playground’s mainly mineral and generously planted.
Opened on the playground, the entrance of the dining hall and club. Dedicated to the pupils facilities, those spaces have been thought like spaces in the bricks oriented towards the trees of the playground.
Click above for larger image
On top of the covered playground situated on the southern side, the scientific classrooms offer a large view on the nearby urban environment. Connecting to these specialised classrooms, the library’s occupying a central position on the first floor with direct access to the school hall.
Click above for larger image
The asymmetrical alignment of the variously sized square windows bring light into the classrooms and offer pupils large views of the city. On the southern part of the site outdoor sporting facilities and a gymnasium operate independently.
Click above for larger image
Click above for larger image
As in many regions of northern Europe, the brick is the only material used for the facades. The architects wanted rounded corners, so that the high school looks soft, there’s no sharp angle. The bricks are rendered in 3 stratums corresponding to the 3 shifted levels of the building which create open spaces and identify the entrance of the pupils.
Click above for larger image
Project managers:
Architects: TANK ARCHITECTES, Olivier Camus & Lydéric Veauvy
Mathieu Berteloot, collaborating architect
Engineering studies:
Structures, fluids, kitchen Pingat Ingéniérie,
Sustainable development Etamine
Road works Best VRD
Landscape : Paysages
Outdoor design : Atelier Télescopique
Client: Conseil Général du Nord
Total cost: 13 158 000 € ht
Area: 8 200 m2 SHON
Calendar: studies: june 2007-oct 2008
building: nov 2008-nov 2010
delivery: november 2010
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| Primary school by Pereda and Pérez | The Sackler Building by Haworth Tompkins | County Elementary School by Vector Architects |
Une vidéo originale afin de mettre en avant la nouvelle trottinette Stunt de la marque Oxelo. Un shooting nocturne à Lille par Studio Ores, en Canon 1D Mark IV et 5D Mark II avec les trois riders Morgan Delhaye, Antoine Delcampee et Lambert Judith. Bande son signée par Pornophonique.
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French architect Manuelle Gautrand has completed an extension to the Lille Métropole Musée d’art moderne, d’art contemporain et d’art brut at Villeneuve d’Ascq in France.
The project comprises five snaking volumes wrapped around the north and east sides of the existing building, which was originally designed in 1983.
Above photo by Vincent Fillon
On the north side these “ribs” house a restaurant opening onto a central patio, before fanning out on the east side to accommodate five galleries showing European art brut.
The new structure is punctured with an irregular pattern to restrict light levels within the galleries while affording views of the surrounding park at the end of each corridor.
This perforated design is repeated on display stands inside.
Photographs are by Max Lerouge except where stated otherwise.
The following information is from Manuelle Gautrand:
The project concerns the refurbishment and the extension of the Lille Modern Art Museum in a magnificent park at Villeneuve d’Ascq. The existing building, designed by Roland Simounet in 1983, is already on the Historic monuments list.
Above photo by Philippe Ruault
The project aims at building up the museum as a continuous and fluid entity, this by adding new galleries dedicated to a collection of Art Brut works, from a travelling movement that extrapolates existing spaces. A complete refurbishment of the existing building was next required, some parts were very worn.
In spite of the heritage monument status of Simounet’s construction, rather than set up at a distance, we immediately opted to seek contact by which the extension would embrace the existing buildings in a supporting movement.
I tried to take my cue from Roland Simounet’s architecture, ‘to learn to understand’, so as to be able to develop a project that does not mark aloofness, an attitude that might have been seen as indifference.
The architecture of the extension wraps around the north and east sides of the existing arrangement in a fan-splay of long, fluid and organic volumes. On one side, the fan ribs stretch in close folds to shelter a café-restaurant that opens to the central patio; on the other, the ribs are more widely spaced to form the five galleries for the Art brut collection.
The Art brut galleries maintain a strong link with the surrounding scenery, but they are also purpose-designed to suit the works that they house: atypical pieces, powerful works that you can’t just glance at in passing. The folds in these galleries make the space less rigid and more organic, so that visitors discover art works in a gradual movement.
The architecture is partly introverted, to protect art works that are often fragile and that demand toned down half-light.
At the extremity of the folds – meaning the galleries – a large bay opens magnificent views onto the surrounding parkland, adding breathing space to the visit itinerary. These views make up for the half-light in the galleries: the openwork screens in front of the bays mediate with strong light and parkland scenery, a feature that recalls Simounet’s generous arrangements in the galleries that he designed.
Envelopes are sober: smooth untreated concrete, with mouldings and openwork screens to protect the bays from too much daylight. The surface concrete has a slight colour tint that varies according to intensity of light.
Click for larger image
Click for larger image
Click for larger image
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| Conceptual extension by Axis Mundi | National Glass Museum Holland by Bureau SLA | More architecture stories |
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