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New French National Archives
New French National Archives
Pierrefitte-sur-Seine, France
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Other Projects by Massimiliano and Doriana Fuksas
New French National Archives
Pierrefitte-sur-Seine, France
Type
YEAR
2013
SIZE
1,000,000 +
The
project of the New National Archives
of France draws its inspiration from the surrounding reality, from the city
seen as coexistence of chaos and order. The concept is born and takes place
from this duality which is reflected in the organization of the complex.
The
initial choice was to investigate the site and its characteristics in both territorial and socio-cultural contexts to reveal an unique identity. The work has
therefore been thought following
a cardinal principle of
architecture to create spaces according
to the needs of the communities
that populate them.
The design
of the New National Archives of
France has followed the intent of enhancing the geographical and
architectural landscape of the area Pierrefitte sur-Seine
Saint Denis, where the building inserts itself.
The
complex has not been designed as a self-referring architecture, but as a
work that could hold the memory and
the collective identity, at the same time open to contemporary artistic expressions. It has not been thought in a contemplative perspective, but in a perspective of discovery, research and participation for the audience.
The
project is composed of two main “bodies”: one that extends horizontally,
“suspended, lightweight, transparent”; the other with a tension in
height, “anchored to the ground,
imposing, reflective”.
The
first, stretching out towards the city, consists of cantilevered
volumes called “satellites” that accommodate the offices, the conference room and the exhibition room.
The facades, mostly glazed, give lightness and transparency to the
volumes of different proportions,
that follow each other and overlap
in “suspension” on the surfaces of the
water.
The
building that accommodates the Archives is an imposing monolith thought as a
place dedicated to memory and research. It houses the archival documents
and the reading room. The facades of the monolith
are coated with aluminium “skin” that runs throughout the volume, except for some glazed insertions that allow the
amount of natural light in the reading
room and the entry route. The “noble” sculptural
building, with a basin in part lapped against
it, reminds the idea of a precious object, a treasure
chest, that is reflected in the water
veil.
The
basins insert themselves between the building of the Archives, the “satellite”
volumes and at the foot of the
satellite volumes. Walkways above
them create a connection both
between the cantilevered volumes and the two “bodies”.
The water veil becomes a vehicle of
change for the architecture, designing
voids and new spaces, thanks to the reflections and the play of natural light created by
the cuts of the suspended volumes and the “skin” of the
monolith.
The
facades of both “bodies”
follow a lozenge geometry that is repeated both in the aluminium cladding of the building of the Archives and in the glass facades of the “satellite”
volumes.
Between the monolith and the “satellite” volumes stands the artwork by
Antony Gormley. A precious sculptural object that rises from the veil of the water
below, like to draw strength from it. This redesigns the spaces in a contemporary way,
winding along the facades of the architectural complex. The geometric faces
articulate the artwork along its passage and give life to the structure of a
chain of dodecahedra, which reflects and projects itself between the basin of
water and the mirror surfaces of the volumes.
The link
with the memory is symbolically
traced in the work of Pascal Convert, a series
of concrete “strongboxes” set in the area in front of the “satellite” volumes. These show in relief the faces of
some personalities that left their mark on the collective
memory. The art installation is tightly anchored to the ground, as well as the volume of the monolith, like roots sinking into the
depths of memory.
A
double-height hall welcomes the visitor.
The “suspended” effect of the “satellite” volumes is highlighted by
the art intervention by Susanna Fritscher
which, through a minimalist touch
that consists of
the realization of false ceilings as stainless steel “sheets” shaded in red, emphasizes the interaction between the architecture of the complex and the lines
of the “satellites” volumes. The red colour gives
depth to the volumes that stand out horizontally at different heights, creating
at the same time a play of solids
and voids, between material
and immaterial.
The
entrance leads to
areas dedicated to the public: the reading room, the exhibition
room and the conference room.The seat for the conference room,
"Carla" for Poltrona Frau, realized in red colour textile is by Fuksas
architects. The chair is formed of two planes that intersect and rotate their
way into the back, chair and armrests, just like a flower. A measured, minimalist
shape.
The
interiors are characterized by large spaces that
give an overview that makes immediately perceive the importance and the
uniqueness of the place.
The importance of context, and therefore the importance of the territory,
assumes concrete form in the landscape intervention by Florence Mercier. His
design of green spaces has created a real interaction between nature,
architecture and the audience. The green walk that introduces and takes the
visitor to the complex is like a stage that alternates geometries, shapes, colours
and shades.
A
project that aims to give emotions.
Two “bodies”, two “worlds”, symbolically connected by
walkways that, in a constant cross-reference, creates an identity that is rooted in the memory of the past with an eye to the contemporaneity and the future. The project reflects identity and memory that belong to
France and to all humanity.
project of the New National Archives
of France draws its inspiration from the surrounding reality, from the city
seen as coexistence of chaos and order. The concept is born and takes place
from this duality which is reflected in the organization of the complex.
The
initial choice was to investigate the site and its characteristics in both territorial and socio-cultural contexts to reveal an unique identity. The work has
therefore been thought following
a cardinal principle of
architecture to create spaces according
to the needs of the communities
that populate them.
The design
of the New National Archives of
France has followed the intent of enhancing the geographical and
architectural landscape of the area Pierrefitte sur-Seine
Saint Denis, where the building inserts itself.
The
complex has not been designed as a self-referring architecture, but as a
work that could hold the memory and
the collective identity, at the same time open to contemporary artistic expressions. It has not been thought in a contemplative perspective, but in a perspective of discovery, research and participation for the audience.
The
project is composed of two main “bodies”: one that extends horizontally,
“suspended, lightweight, transparent”; the other with a tension in
height, “anchored to the ground,
imposing, reflective”.
The
first, stretching out towards the city, consists of cantilevered
volumes called “satellites” that accommodate the offices, the conference room and the exhibition room.
The facades, mostly glazed, give lightness and transparency to the
volumes of different proportions,
that follow each other and overlap
in “suspension” on the surfaces of the
water.
The
building that accommodates the Archives is an imposing monolith thought as a
place dedicated to memory and research. It houses the archival documents
and the reading room. The facades of the monolith
are coated with aluminium “skin” that runs throughout the volume, except for some glazed insertions that allow the
amount of natural light in the reading
room and the entry route. The “noble” sculptural
building, with a basin in part lapped against
it, reminds the idea of a precious object, a treasure
chest, that is reflected in the water
veil.
The
basins insert themselves between the building of the Archives, the “satellite”
volumes and at the foot of the
satellite volumes. Walkways above
them create a connection both
between the cantilevered volumes and the two “bodies”.
The water veil becomes a vehicle of
change for the architecture, designing
voids and new spaces, thanks to the reflections and the play of natural light created by
the cuts of the suspended volumes and the “skin” of the
monolith.
The
facades of both “bodies”
follow a lozenge geometry that is repeated both in the aluminium cladding of the building of the Archives and in the glass facades of the “satellite”
volumes.
Between the monolith and the “satellite” volumes stands the artwork by
Antony Gormley. A precious sculptural object that rises from the veil of the water
below, like to draw strength from it. This redesigns the spaces in a contemporary way,
winding along the facades of the architectural complex. The geometric faces
articulate the artwork along its passage and give life to the structure of a
chain of dodecahedra, which reflects and projects itself between the basin of
water and the mirror surfaces of the volumes.
The link
with the memory is symbolically
traced in the work of Pascal Convert, a series
of concrete “strongboxes” set in the area in front of the “satellite” volumes. These show in relief the faces of
some personalities that left their mark on the collective
memory. The art installation is tightly anchored to the ground, as well as the volume of the monolith, like roots sinking into the
depths of memory.
A
double-height hall welcomes the visitor.
The “suspended” effect of the “satellite” volumes is highlighted by
the art intervention by Susanna Fritscher
which, through a minimalist touch
that consists of
the realization of false ceilings as stainless steel “sheets” shaded in red, emphasizes the interaction between the architecture of the complex and the lines
of the “satellites” volumes. The red colour gives
depth to the volumes that stand out horizontally at different heights, creating
at the same time a play of solids
and voids, between material
and immaterial.
The
entrance leads to
areas dedicated to the public: the reading room, the exhibition
room and the conference room.The seat for the conference room,
"Carla" for Poltrona Frau, realized in red colour textile is by Fuksas
architects. The chair is formed of two planes that intersect and rotate their
way into the back, chair and armrests, just like a flower. A measured, minimalist
shape.
The
interiors are characterized by large spaces that
give an overview that makes immediately perceive the importance and the
uniqueness of the place.
The importance of context, and therefore the importance of the territory,
assumes concrete form in the landscape intervention by Florence Mercier. His
design of green spaces has created a real interaction between nature,
architecture and the audience. The green walk that introduces and takes the
visitor to the complex is like a stage that alternates geometries, shapes, colours
and shades.
A
project that aims to give emotions.
Two “bodies”, two “worlds”, symbolically connected by
walkways that, in a constant cross-reference, creates an identity that is rooted in the memory of the past with an eye to the contemporaneity and the future. The project reflects identity and memory that belong to
France and to all humanity.
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