재탄생 되었다.
전원지역의 재생프로그램 일환으로 시작된 프로젝트는 지역주민에게
문화생활을 즐길 수 있는 공간을 제공함으로써
다양한 문화컨텐츠를 통한 커뮤니티가 일어나도록 도와준다.
이와같은 문화프로그램의 일환으로 리뉴얼된 농장 창고는
기존의 구조물과 공간을 최대한 이용함으로써 비용절감과
시간이 디자인한 역사성에 대한 존중이 조화롭게 구성되었다.
하지만 적은 예산은 건축물을 완성시키지 못하고 디테일적인
측면을 떨어뜨리는 결과를 나았지만, 그 또한 오래된 돌과 나무 속에 숨겨지며
하나의 성숙된 공간으로 연출되었다.
지역성을 존중하며 그들이 살아온 시간을 존중하는 일들은
그들의 시간이 담겨져 있는 공간을 보존하고, 진정성을 바라보는 해석으로
공간을 재구성하여 다시 그들에게 돌려주는 것이다.
reviewed by SJ
The farm, composed of dwelling places, barns, stables, ovens, gardens and orchards, became Voltaire's property in 1759; the latter undertook improvements in order to house there the domestics of his nearby castle.
Requisitioned by the army during the Revolution , the buildings were used as a guard-room and a bakery.
During the 19th century, the farm went back to its agricultural purpose, until it stopped its activity in 1988.
In
1991, the Theatre du Châtelard was created and set up inside the main
barn ; it was then closed in 2001, for security reasons. A project was
launched in order to entirely restructure the theater.
The project
respects – and takes advantage of – this witness of the local farm
architecture. But it is also a modernly equipped facility, in order to
face the constraints and the rules of our time.
Because of the
operation's very tight budget (643 000 euros without taxes), the
structure plays an important aesthetic role; the materials are often
left unfinished, as well as the technical equipment.
The project was
conducted by the desire to preserve the building's identity and to
minimize the interventions on the outward appearance.
Originally
composed of a single wide volume, the space was divided in order to
create in the attic a thermal and sound insulator (the building is very
close to Geneva's airport).
An unfinished aspect was intentionally
preserved. The existing walls keep the marks of the different
interventions (lintels, openings). The original frame and the new floors
are also left unfinished, each one expressing its own time and being
juxtaposed to the other one without any concerns of camouflage or
“harmonization”.
Partitions and insulation were painted in dark brown
in order to provide an appropriate setting for the performances. As a
counterpoint, the ceilings are blood-red, in order to structure the
space and to emphasize the visual effect of the ceiling joists.
The
modularity of the space was particularly studied, the theater structure
thus being able to vary depending on the different shows and the purpose
of the staging.