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Lycée A. Daudet
Lycée A. Daudet
Boulevard Jules Ferry, Tarascon, France
Project Featured on Oct 09, 2016
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Other Projects by Gulizzi
Lycée A. Daudet
Boulevard Jules Ferry, Tarascon, France
Project Featured on Oct 09, 2016
Firm
Type
YEAR
2009
SIZE
300,000 sqft - 500,000 sqft
BUDGET
$5M - 10M
Bunker and Tradition.
The double extension of the Alphonse Daudet Lycée in Tarascon raises the
question of responsibility when building on a remarkable site
- Lycée built in 1933 by Gaston Castel (Grand Prix de
Rome), listed as a historical monument;
- Kilmaine barracks, site listed as a historical
monument, built in 1718, by the architect Desfour.
The building operation considers the memory of the site and territorial
identity as narrative elements, as an extension of its morphology.
In a site steeped in history, within a team whose role is to pass on our
secular and republican values, there is no room for arrogance and pompous
architectural features.
Spatial order is
achieved by incorporating programmatic and contextual constraints, within a
unique process of shape generation.
The facades comply
with the laws of barrack composition: podium, buttress, minerality, succession
of sober openings, following a repetitive cutting module, in a subtle allegory
of the loophole.
Pitted, coloured
concrete, deployed over the entire construction, betrays the vanity of the
artifices of architectural design and
pays homage to traditional military constructions, massive, robust, sober and
efficient.
No plastic feats or
material preciosity.
The buildings, armed
with abstraction, turn towards the only permanent elements of the site.
Only tactics,
specific devices, no feigned mannerisms.
Two considerations
have given rise to the building’s design:
-one involves the
status of image and its symbolic efficiency in space mastering and in crystallising
intentions;
- the other concerns
the secular tectonic tradition and semantic use of construction as a vector of
cohesion and readability of the constructed object.
All is played out in
the ambivalent perception of the buildings.
Spelled out in a
singular, monolithic and mineral shape.
Their billhook
fashioned geometry fulfils their silent forms, proclaiming them as a system, in
perfect symbiosis with the site.
How to make a
building credible in an era flooded with icons, counterfeits, as in the Ventimille
market?
Not in the art of
cloning erected as a communications strategy.
Not by using and
abusing architectural processes where conventional architectural writing is
enough to belong, the implication and recognition of an egocentric cultural
system void of meaning.
The architectural
project is like a beautiful woman, invention keeps the flame alive.
It is commonplace to
say that the building is LEB.
Nowadays, there
are OCDs (obsessive compulsive disorders)
in our profession, if you throw LEB at an engineering office, they will
generally answer “external insulation, cladding and wood boiler”
Can you imagine the
damage done by the biblical responsibilities now weighing upon the shoulders of
the EOs? ?! Save our children !
Never fear, concrete
still has a wonderful future ahead.
“Daytime, is for everyday living things, night-time is
for strange unknown things». Alphonse
Daudet, Letters from my mill
The double extension of the Alphonse Daudet Lycée in Tarascon raises the
question of responsibility when building on a remarkable site
- Lycée built in 1933 by Gaston Castel (Grand Prix de
Rome), listed as a historical monument;
- Kilmaine barracks, site listed as a historical
monument, built in 1718, by the architect Desfour.
The building operation considers the memory of the site and territorial
identity as narrative elements, as an extension of its morphology.
In a site steeped in history, within a team whose role is to pass on our
secular and republican values, there is no room for arrogance and pompous
architectural features.
Spatial order is
achieved by incorporating programmatic and contextual constraints, within a
unique process of shape generation.
The facades comply
with the laws of barrack composition: podium, buttress, minerality, succession
of sober openings, following a repetitive cutting module, in a subtle allegory
of the loophole.
Pitted, coloured
concrete, deployed over the entire construction, betrays the vanity of the
artifices of architectural design and
pays homage to traditional military constructions, massive, robust, sober and
efficient.
No plastic feats or
material preciosity.
The buildings, armed
with abstraction, turn towards the only permanent elements of the site.
Only tactics,
specific devices, no feigned mannerisms.
Two considerations
have given rise to the building’s design:
-one involves the
status of image and its symbolic efficiency in space mastering and in crystallising
intentions;
- the other concerns
the secular tectonic tradition and semantic use of construction as a vector of
cohesion and readability of the constructed object.
All is played out in
the ambivalent perception of the buildings.
Spelled out in a
singular, monolithic and mineral shape.
Their billhook
fashioned geometry fulfils their silent forms, proclaiming them as a system, in
perfect symbiosis with the site.
How to make a
building credible in an era flooded with icons, counterfeits, as in the Ventimille
market?
Not in the art of
cloning erected as a communications strategy.
Not by using and
abusing architectural processes where conventional architectural writing is
enough to belong, the implication and recognition of an egocentric cultural
system void of meaning.
The architectural
project is like a beautiful woman, invention keeps the flame alive.
It is commonplace to
say that the building is LEB.
Nowadays, there
are OCDs (obsessive compulsive disorders)
in our profession, if you throw LEB at an engineering office, they will
generally answer “external insulation, cladding and wood boiler”
Can you imagine the
damage done by the biblical responsibilities now weighing upon the shoulders of
the EOs? ?! Save our children !
Never fear, concrete
still has a wonderful future ahead.
“Daytime, is for everyday living things, night-time is
for strange unknown things». Alphonse
Daudet, Letters from my mill
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