The architect, Henri Chauvet, designed a unique building in 1986 to fit the cinema “Le Scarron” and the theatre “Les Sources”. Our analysis of the current building showed that the public and the pedestrians don’t notice these facilities mainly due to the architecture.
Integration, visual balance, and ratio of scale are the hallmarks of this housing project that is rooted in the establishment of a garden and orchard. Cedars, poplars, and Mediterranean plant species form a palette of greenery that is used to add a lively, organic flair to the grounds, as well as the facade.The plot is currently occupied by an old house that is to be demolished along with a handful of out buildings. The stone facades of the buildings that line the street will be conservedand reutilized in the design proposal.The volume of the building exactly matched the property bounds of the eastern and western portions of the site. The parapet along the full levels will have a limited impact when seen from the street, since the existing buildings will be conserved. The project’s limits will be particularly cherished, as the intention was to intervene in the most discrete manner possible in order to maintain the neighborhood’s intimacy. A secret island, hidden behind a planted screen and a stone wall.
Sammode – Société d’Application des Méthodes MODernes d’Éclairage électrique – is a French family lighting company founded in 1927, historically located in the Vosges and whose head office is in Paris, largely known and recognized for its ultra-resistant light tubes.
In order to support the company in the development of its research activities, a third site has just opened within an old printing warehouse in Lamotte Beuvron, south of Orléans.
The Sammode Research and Innovation Center is a research and development center completing the marketing and sales offices located in Paris and the manufacturing division in the Vosges.
Initiated in 2008, this city planning project for a new business district aims at reuniting the southside of Rennes with the historical city center. By 2025 the area will total 300 000m² of offices, housing, shops and other services.
As a part of this urban development that includes the transformation of the multimodal hub around the train station, a group of three buildings known as “Identity” emerges on top of the railroad on the Feval block. Jean-Paul Viguier et Associés signs the architecture of one of the buildings, Identity One, and is in charge of the project coordination for the entire area. The architecture firms Architecture Blanchard Marsault Pondevie and Maurer et Gilbert Architectes have respectively designed Identity Two and Three.
The placement of the project contributes to create a new urban network while interrogating the mutation of the large sites left by the ancient industrial activities. To contribute to the new identity of the neighborhood, we proposed a unitary block, aligned on its 4 sides around an open, airy and diversified central garden.
The project is divided into 4 entities: 3 residential buildings and one office building. On the south-east corner, a 27 units building makes the transition with the office building. The apartments are put away from the noise by a thick facade made of loggias. This building is served by a dual-aspect hall connected to the central garden.
The project’s objective was to propose a presentation space largely glazed and open to the outside, in a place of activities usually occupied by parallelepipedic and opaque buildings. The new Porto Venere showroom, which presents a wide range of interior materials and furniture, should reflect a clean and contemporary image, just like the products sold by the brand.
Facing justice is an experience that disconnects us from the usual discourse of life. How and to what extent can architecture affect our behavior, soothe or exacerbate our feelings? What is conventional is that the solemnity, the order and the rigor of architecture are there to signify the authority of Justice. For the litigant or for the one who demands justice, subjected to the test of his vulnerability, shouldn’t we expect architecture to be welcoming, soothing the effects of a suffered violence?
Architecture must have meaning. It must speak, tell stories and make us question: a site, a program, a group of people and a story. It is a matter of specificity since architecture is the art of conjunction.
Le Corbusier described Notre dame as a ‘pure creation of spirit”. The new extension roof is white, recalling the le Corbusier titled one of his books: “When the cathedrals were white” and addressing the original aim of the cathedral builders when used marble for creating a white construction. The white color restores the ancient imagination of cathedrals. The new extension is in line with the traditions of Gothic cathedrals: rising up the building towards the sky for reinforcing the sense of verticality. The roof rises gradually in the middle creating a curved skyline for the cathedral as Antoni Gaudi said.
Belaroia Hotel and Apartments is an important project for the City of Montpellier and its development agency, the SERM, as it holds a strategic position between the city’s hyper-centre, characterised by its escutcheon form in plan, and new surrounding districts that have appeared in succession.
Its particular position is in fact on the prow of the Nouveau Saint-Roch development zone, and the first of the zone’s projects to be completed. To characterise this zone, the city highlighted the importance of a diversity of programmes, which our team interpreted as a hybrid project, interweaving two hotels, apartments, a seminar venue and an independent restaurant.
The site – the context
The site is right opposite Montpellier’s central Gare Saint Roch train station, and the BELAROIA is the fi rst building you see as you come out of the station. The north terraces of the station overlook the project.
The small site led Manuelle Gautrand to stack up the functions, literally one on top of another, sharing some of the vertical circulation between different elements of the programme.
The complex triangular form of the site led us to design a continuous volume with a succession of folds that unfurl along the north and the east facades, topped by a wide bridge along the south facade.
At the middle of these folds is set a large hollow volume, orientated to the south and sheltered by the bridge that overhangs it. This magnifi cent conch shelllike form is an extra element, a meeting place for all the users of the different programmes, a café with a terrace looking out over the train station, which faces us.
A project designed around public space, and hollows rather than solids
In this particular project, the almost immediate aim was to create, to orchestrate, and to provide an external space for all the building’s users, from each of the different programmes but also from the entire neighbourhood: a neighbourhood characterised by the station and its thoroughfare, by the nearby historic city centre, and by the future programmes that will gradually appear within the development zone.
Providing this majestic communal space was a way of giving a magnifi cent ‘shared’ urban room in the very fi rst building constructed in the development zone, a way of positioning the level of engagement and ambition of this new neighbourhood.
Stretching and densifying a city does not happen without a trade-off, without providing, in compensation for space taken, new public places that constitute landmarks, places for meeting and amenities.
Our urban living room is the fi rst room of the project, a great unifying void around which all our solids will wrap, sitting on a podium that houses all the entrances, it is then surrounded by the two hotels and overlooked by the apartments which crown it. It becomes a sort of urban stage, framed by animated wings (the hotel rooms): it is the starting point and the heart of the whole project.
Around this void the solids are successively distributed on the site, successively defi ning the various surfaces of the void, including that of its roof, to create a half-indoor, half-outdoor space protected from the wind and rain, an open stage fanning out on the southern side, addressing the midday sun and the station.
The programme is both simple and rich: the breakfast room of the 4-star hotel, a place for eating at any time of day and a fantastic bar in the evening, lit up by the giant luminous letters of BELAROIA.
Around our ‘urban stage’, layers of different programmes
The ground floor of the project tucks in along the retaining wall of the Pont de Sète road bridge and aligns with the two other edges of the site. It is consequently partially below ground and enclosed along the bridge side, more generously open on the east and south sides, where it incorporates the entrances for each programme. Consequently, from north to south are the following: – On the north, the Campanile Hotel entrance and the entrance to the underground car park, – On the east, the Golden Tulip Hotel entrance and one of the two entrances to the restaurant, – On the south, the main entrance to the restaurant and the entrance to the apartments.
The first fl oor has a barely reduced perimeter, which, above the entrances to each programme, creates a base of communal spaces: a seminar venue with six meeting rooms, the bar with its magnifi cent terrace – where breakfasts are also served, and a spa and wellbeing centre.
Subsequently the two hotels are found on levels 2 to 7. They are integrated one after the other into a folded continuum, the first fold housing the 82 rooms of the Campanile to the north, the second the 105 rooms of the Golden Tulip. The latter are complemented by several suites over the next 4 fl oors, some of which are split-level.
In order to mutualise some of the vertical circulation, notably in case of fire, the circulation of the two hotels is inter-connecting in the middle in order to use the same fire escape. Everything in this project has been studied carefully in order to minimise the impact of each constraint, mutualising spaces and services, down to circulation and fire escapes. The project is a three-dimensional puzzle, where each square metre is precious, cleverly used and always assigned to prioritise quality spaces.
Finally, between levels 8 and 11, the last fold of the continuum houses the 12 one- to four-bedroom apartments. Four of the apartments, on the two top floors, are split-level: most of their rooms are on the lower level, with one room (kitchen or bedrooms, by request) on the roof, opening onto an open-air terrace with a swimming pool.
Because of their height (from 21 metres above ground level), the apartments have magnificent views over the city: to the north the historic centre of Montpellier, with the area inland from the Mediterranean in the distance. To the south is a more recent area of the city, with the sea in the distance.
These apartments were not actually part of the programme initially proposed by the City at the time of the competition. But the ambition for diversity mixed with that of creating a lively city block and a symbol of the regeneration of the neighbourhood incited us to incorporate some residential into the project. We didn’t want this project to be solely destined for ‘transient’ users. With the block so close to the station and the anticipation of exceptional views over the city and beyond, it seemed impossible not to give over part of the project to residential.
Certainly there wasn’t room for many apartments, but it makes it possible to incorporate long-term life and is a reminder that housing, in all situations, remains an essential component of the city: it needs to be everywhere, and should accompany almost any programme.
It is this permanent presence in the apartments, the programmatic Ariadne’s thread, that ensures the city’s success in meeting today’s demands: to be inclusive and accommodate new inhabitants with maximum generosity.
The facades:
With its great folds, the project does not have main front and back facades, but instead is a continuous loop of successive programmes, all enveloped in the same bright and homogenous material.
High environmental ambitions, among other factors, led us to prioritise very compact volumes, reinforced by an envelope largely insulated on the outside.
All the volumes are covered with a single cladding system to ensure simplicity and unity of form. On the upper section, this cladding is partly made up of sliding panels to shelter the apartments’ terraces, and then on the top fl oor the generous open-air terraces of the split-level apartments.
The programmatic diversity and the particular density of the project helped us to design economically: everything contributed to minimising resources. Density and compactness helped us to minimise facade surfaces and their energy requirements. But even more important was the possibility of mutualising some of the services, the vertical fi re escapes, some of the plant rooms, and the underground car park.
The project has been cleverly assembled to minimise space required for services in order to provide more communal areas and functions for public use. In a fair exchange, it could be said to take surface area from the host city but to give some back as shared space. Even if these spaces remain ‘private’, as they are maintained by the management company, they are open and welcoming to the general public, reinforcing the attraction of the project and opening it to a broader public: not only the users of the building’s different programmes, but also all Montpelliérains.
The facades were designed so as to envelope the whole project in a homogenous cladding system, generally covering external insulation. This cladding was designed to cater for the different functions that it covers: opaque or micro-perforated over the solid areas, perforated with large round openings in front of the windows of the hotel rooms, and fi nally sliding to shelter the north- and south-side terraces of the apartments, providing privacy and shade. Their white colour minimises heat absorption.
The large urban living room is orientated to give onto the station and its own terrace, but also due south to benefit from the sun: the shape of a conch shell, it faces the sun at midday, which is suffi ciently low in the winter to benefi t from its warmth, and sufficiently high in the summer to avoid over-exposure.
In the summer months, the terrace is more protected from the overhead sun, with parasols and vegetation to come. At the back of the urban living room, the last fold formed by the volume of apartments leaves a welcome opening to the sky, allowing for natural cross-ventilation to help cool the space.
The building is divided into three structurally distinct parts: two concrete-structure blocks (housing the hotels) topped with a mixed concrete–steel structure forming a three-dimensional truss (housing the apartments on four levels).
The construction of this element involved assembling 80 tonnes of steel structure 21 metres above the ground. A steel structure spanning 25m, 16.3m wide and 9m high. This bridge forms a module slightly folded at its centre, into which are grafted the apartments and terraces.
A design that forbade the use of a classic truss, which would not have resisted in torsion. The bridge building is therefore made up of 72 interlocking joists, of which 15 cross the apartments obliquely.
Within the apartments, the future inhabitants have been able to choose whether or not to leave the large diagonals of the Warren trusses visible. Those that have been left visible create a ‘loft’ feel in the apartments.
On the north-east wall, the elements were fi xed by a spherical bearing to an insert embedded into the reinforced concrete fl oor slab. On the south-west wall, the lower joists slot into a 72cm deep recess, with a possible dilatation of up to 10cm. A solution that meets the seismic regulations of this zone classifi ed «low-risk».
Perpendicular displacement is blocked by bearings that can slide vertically, allowing for longitudinal dilatation.
The lower edge of the three-dimensional truss is dressed in steel tray, flocked on their underside and the covered in micro-perforated cladding with the same pattern as the facade. The upper floors are braced by a cross of St Andrew. Overall stability is reinforced by the concrete slab of the roof.
Confluence is one of the largest town centre expansion projects in Europe. Covering 150 hectares, at the end of the 1990s it was composed of 70 hectares of industrial wasteland and derelict logistics and port facilities at the confluence of the Rhône and Saône rivers, extending out from the core of the city centre thus doubling its surface area. Confluence was designed to allow Lyon to welcome 30,000 new inhabitants and workers into the city centre. In addition to its geographic location, the transformation of this district has been founded on decisions which aim to make it a showcase for the city of the future:
– A smart and sustainable city, exemplary in terms of energy
consumption
– A hub for new forms of mobility and a walkable city
– Striking architecture
– A city for all which encourages social diversity
Situated at the extremity of the Confluence district, the Halle Girard contributes to the urban regeneration model, combining industrial heritage and innovative construction in an eco-district rich in architectural and urban innovations. Urban planning, architecture, integrating nature… creativity is Confluence’s brand identity.
Photography: Kevin Dolmaire, Brice Robert, Kyle R. Brooks
Owner: SPL LYON CONFLUENCE
Tenants: Consortium composed of the SOS Group, specialized in social entrepreneurship (51%), the cultural enterprise Arty Farty (44%) and Axeleo start-up accelerator (5%) Subject mastery
Mandatory Architect: Vurpas Architectes
Electricity, SSI structure and coordinator: BET TCE, HVAC
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