Patrick Jouin and Sanjit Manky is a design tandem whose works meet at the crossroads of industrial production and craftsmanship. In all their projects they seek to maintain a balance between innovation and grace. Their latest project is a fine example of this rule. The designers rearranged the interior of an old Saint-Lazare priory to host a hotel and a restaurant. Over the centuries the building had served monks and nuns, been used as a hospice and at one point even a prison. In 1980s it was first transformed into a hotel. The project reinterprets the story of Saint-Lazare for the future. Corresponding with the space which avoids unnecessary stylistic effects, the designers introduced their own pared-down and elegant style. This resulted as a sensual and refined interior of a mystical, ancient monastery.
„We quietly slipped into the Saint-Lazare priory, immersing ourselves in its history and its uniqueness. We tried to capture its essence, from its monastic simplicity to its prison austerity via the wisdom and philosophy of those who built and lived here. Then we had to fine-tune our approach, to give life to a contemporary vision that would respect and preserve the spirit of the building. We didn’t want the visitor to forget where they were. On the contrary, we wanted to assure an intimate experience of the site, allowing the visitor to appropriate fragments of the past in comfort. Achieving this also meant rising to the challenge of the constraints imposed by the building’s classification as an historic monument, notably that we were not permitted to touch the ceilings and the walls. The best approach was to find a way to turn these constraints into opportunities.”
Photography: Nicolas Mathéus
The design evolved from the local warehouse history, materials, and forms of the existing spaces. Materials were selected that have age or been aged. Materials such as: chemically aged steel wall panels, zinc, new steel baseboards to reflect existing metal capitals, custom metal lighting at vaulted ceilings, wired glass at bath door/partition, and stained fumed oak.
Via ~ http://schappacherwhite.com
Shinichi Ogawa & Associates. Floris House. Mie Prefecture, Japan.
NON_SEQUITUR: A Neighbourhood
Anthony Morey / B.Arch / Southern California Institute of Architecture / Los Angeles, US / Advisors: Dwayne Oyler, Thom Mayne / August 2014
The Surrealist, early in the 1900’s, found themselves ready to clear the table, finding artist leisure in the process. They wanted nothing more than to create, flourish, but they understood that the tools at hand were not ready, not open to such a process, such an idea. They were limited by the current. They saw, that for the moment, the goal should not be to build, but to destroy, in order to one day rebuild. They needed to show the weakness, the choices, the ideas that were being lost, hidden in the shadows. Of course the political connections are more than plentiful, but their approach, their willingness to question, their mastery of the craft in order to know how to/ and where to experiment is the true power of the surrealist thought.
Series of Plans and Sections // Series one takes on the qualities of Plan and Section. There is an immediate knowable quality to the drawings, grasp-ability. Focusing on the tools that allow for such constant common readings to occur. Classic tools were at use, poshe, gestalt, hard lines, flattening of shapes, interior, elevation, proximity, movement. Allowing for the signifiers of plan and section to be called into question, allowing these to themselves allow for new associations, ones only possible when teased in the mind. There is no stair, elevator, steel column detail, and there shouldn’t be. Calling attention to moments, implying movement, not direction. Showing volume, but no scale. All these were understood to their fundamentals and then turned to cast doubt on themselves. Allowing for choice in the reading, unraveling.