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Paul Belmondo Museum
Paul Belmondo Museum
Boulogne-Billancourt, France
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Other Projects by Chartier - Corbasson
Paul Belmondo Museum
Boulogne-Billancourt, France
The project: a work, a settingThe exhibit: the work of Paul Belmondo“Through the extreme precision of his chisel strokes - which makes him one of the best representatives of the classic movement - Paul Belmondo creates a tranquil, serene world, where no-one is challenged, neither the people caught in stone nor the onlookers. No tumult, no conflict, everything just harmony and balance. His people are static. Paul Belmondo’s art is beautiful, it does not disturb or shock.” Bruno Vincens (in l’Humanité, "Paul Belmondo: dans les règles de l’art")Architects Thomas Chartier and Karine Corbasson began by getting to know and understand the work of Paul Belmondo, then set out to explain it through their project. It was a question of suggesting ways of seeing and living the work, creating a deep interaction between the work, the medium and the spectator.A question of strengthening the links between the works of other artists (Antique Greece, Renaissance, Donatello etc) and evidence from his day to illuminate the artist’s work and help it be better understood. Of bringing it into the public eye, making it known to the public. A project serving a work ...Once the vital issue of understanding had been achieved, the works could be displayed in the setting most appropriate to them. The collection consists of a series of busts, sculptures, medals and drawings: work suited to being viewed head-on, that does not always need the viewer to move around it ... It expresses an ideal of beauty that finds its sources in harmony and balance, and demands a neutral, calm and serene setting.The architecture: a treatise on movement and pathways“We must adopt a construction policy that enables contemporary sculpture to ally itself closely to our architectural art.”Paul BelmondoBuilt in the 18th century, the Chateau Buchillot at Boulogne-Billancourt consists of a main building with two wings opening onto a main courtyard. It is a historic monument, located in Edmond-de-Rothschild Park, which is itself listed. The work of Paul Belmondo is not well-known, so must be revealed, unveiled, explained through sketches, references, and the techniques used. The architects’ work develops two types of ambiance:- Displaying the works in the most serene setting possible, white. The architecture is persuaded to incorporate the works: niches, windows, upthrust floors and soaring ceilings are all elements that help to set the scene, framing the works and providing multiple points of view and opportunities for discovery. The works inhabit the setting in the same way as the visitors, works and spectators on the same plane.- Moving around within the walls. This space is evocative of the wings of a stage, storerooms, the artist’s studio, memories, references to other ages and artists. Like a cabinet of curiosities, this section contains all Belmondo’s drawings and a large number of his medals - the pot of gold at the end of the rainbow.These areas incorporate the idea of modulability: they can be used as storerooms or a stage. Their use can vary over time, the systems are simple and can be dismantled or adapted as required.Bringing these two spatial typologies into proximity creates a richness, a flexibility of usage. Links are created without disrupting a neutral, more classic vision of the work, but the system does facilitate an understanding of Belmondo’s work. The pathwayThe two spaces are linked by a single path, almost a guideline.The very structure of the building contributes to this concept: it has two faces, overlooking both the courtyard and the garden, and a number of different levels depending on the orientation.Staircases and lifts have been included to enhance the flow of movement, and always enrich the setting.In the same way, service areas (reception, cloakrooms etc.) have been designed to be part of the staging: the architects believed it was important to make the practical aspects of the building resonate with the discovery of the works.The whole building, its entire architecture, serves the works: there are no serving or served areas, the building listens to the works, listens to the art ...The environment: landscape and sculpturesThe external layout is designed to be consistent with the interior. A single, bronze-like material expresses the contemporaneity of the construction and extends the internal layout to the exterior. It is used for a number of purposes: in pedestals for the works, seats for the public and planters for vegetation, and to give a technological feel.The boundaries of the park have been made denser to filter the views, particularly from the museum floor. Large trees have been preserved and made into features.Several bronze-coloured plaques on the facade of the existing building serve as signage. A kakemono system, incorporated into a panel on the facade, unfurls to present temporary exhibitions.The forecourt retains its original octagonal form: a fourth volume is attached symetrically to those already existing, serving as a screen in which one of the works is displayed. It is in fact a green wall incorporating a bronze alcove in which nestles a carefully lit sculpture. Behind it is a parking area for cycles.The main courtyard contains giant pedestals similar to those on which the works are displayed inside. These pedestals are orientated along the imaginary axes of the existing building and create a false perspective through a slight shifting of the original lines. The pedestals serve a number of purposes: air vents, seats for the public etc. The lighting is focused more on the works than the facades of the building.The garden receives similar treatment: a single material is used to create the setting for a sculpture garden. Belmondo’s works are accompanied by large-scale pedestals that help to re-establish the framework of the setting.On the northern boundary - which runs along the motorway wall - a plinth incorporating sound diffusers is set widthways across the space, screening the traffic noise and providing a visual background for one of the works.In the main axis of the building a bronze sculpture is set in a bronze alcove in a line of bamboos that mask the neighbouring buildings. This “zen garden” faces the “romantic garden”, and has been created from piles of stones found on the site, from which sculptures suddenly loom up. A large lawn means that visitors can walk around freely.Architecture and disability: a museum for all- a museum suited to children because it contains pedestals of different heights- a route accessible to all thanks to the transparent lift: the cabin has a glass floor, giving a view of the works- a tactile gallery with marked contrasts particularly suited to the visually impaired- particular attention has been paid to providing diffuse, indirect lighting in order to avoid any kind of dazzle- an acoustic treatment helps to prevent parasite noises, which can cause problems for the hard-of-hearing. Reverberations and the transmission of sounds and machine noises are minimized.- benches and half-landings are provided for the comfort of disabled people.
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