Located in Nice, France, the project aims to provide its swiftly growing neighborhood with a “new green lung” by mimicking the form of a vegetated hill and incorporating elements of classic Niçois architecture like white stone and wood. The reinvented stadium becomes a bridge between the urban and natural landscapes, linking new constructions of the Boulevard Gorbella with the new Ray Park.
The end of the First World War did not mark the end of struggle in Europe. France, as the primary location of the conflict’s Western Front, suffered heavy losses in both manpower and industrial productivity; the resulting economic instability would plague the country well into the 1920s. It was in the midst of these uncertain times that the French would signal their intention to look not to their recent troubled past, but to a brighter and more optimistic future. This signal came in the form of the Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exposition of Decorative Arts and Modern Industries) of 1925 – a landmark exhibition which both gave rise to a new international style and, ultimately, provided its name: Art Deco.
In this interview, presented in collaboration with PLANE—SITE, Frédéric Bonnet of Obras Architecture and Grichka Martinetti of PNG, curators of the French contribution to the 2016 Venice Biennale, discuss their commitment to celebrating meaningful architecture in various contexts, and the ways in which this passion was translated into their exhibition. The duo explains the concepts driving the exhibition design, including their choice to exhibit small-scale work from throughout France rather than focusing on the large, high-profile architecture found in the major cities.
French architect Patterlini Benoit has imagined a mixed-use building to be wrapped around one half of the Arc de Triomphe in Paris. Completed in 1836 as a memorial to the victories of the French armies under Napoleon, Paris’ triumphal arch is one of the most iconic and visited landmarks in France and the world over. But Benoit argues that its status as a tourist destination has removed it from the authentic cityscape that is used by everyday Parisians. His proposal attempts to reclaim the monument for the city by dividing the arch with an enormous mirrored plane – visually competing the monument from one perspective and providing new function from another. In this way, Benoit claims, the structure can be “brought into modernity without denying history.”
As part of an experimental ideas exhibition, Tomas Ghisellini Architects (TGA) have designed an extension to the Italian Institute of Culture in Paris. Nine Italian practices were engaged by a consortium of French and Italian institutions, and this cohesive union of cultures is mirrored in TGA's design. TGA's proposal plays with transparency and layering, with two large volumes of glass and steel referencing the "Parisian architectures of transparency," whilst displaying the excellence of Italian materiality and craftsmanship. The exhibition is being shown at the historical complex of the Hotel de Galliffet in Paris until December this year.