*이종접합 뮤직 스쿨 글래스 박스 [ Opus 5 ] Music School Louviers Extension

프랑스 북부에 위치한 수도원에 새롭게 덧붙진 글래스 큐브는

뮤직스쿨의 이미지를 새롭게 정의하는 수단으로 활용됩니다.

내부의 커다란 중정을 중심으로 연속적인 긴 회랑을 갖고 있는 수도원은

재판소와 교회 그리고 교도소로 이루어져 있습니다. 여기에 새롭게 증축되는

글래스 큐브는 과거의 유산을 투영하여 연결하는 동시에 물리적으로는

수도원 공간과 과거의 교도소 공간을 분할합니다.

그것은 1990년도 부터 뮤직스쿨로 활용되는 수도원의 클래식한 공간에

대비되는 이질적인 현대적 공간의 삽입을 통하여 과거와 현재를 합성하는

이종접합을 보여줍니다.

여기에 참 재미있는 것 중 하나는 이전 재료와 새로운 재료의 접합인데, 마치 우리 전통건축의

그렝이와 같은 접합 방식을 보여줌으로써 과거를 단순히 옛것으로 보지 않고

자연의 일부분으로 우리가 존중하고 계승해야할 유산으로 지키는 건축적 의도를

담고 있습니다.

reviewed by SJ

A convent in northern France has been given a new look by Opus 5, who have expanded the existing music school by adding a glass face to its south side. Successive constructions have turned the structure from a monastery to a prison, tribunal court and church; eventually the building was converted into a music school in 1990. In its most recent renovation, the architects sought to reflect the building’s heritage while inserting a functional new orchestral space. The design was carefully constructed to dismantle any associations with the site’s prior connection to the prison – both in a psychological and physical way. The clients wanted to expose the rich cultural heritage on site, without any negative musing of past programs.  

Due to the compressed nature of the site – having gone through numerous interventions – it wasn’t possible for the architects to build around the existing. What resulted was a large box (made of glass and concrete) which sits atop the antiquated structure. Exposed to the water and city, the entire new building is connected to the existing through the façades’ reflective qualities; they are made of laminated glazed panels which are coated in a mirror finish. ‘Non-crossing’ fixtures hold the glazed panels together from the inside, creating a continuous exterior surface.

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Meanwhile, reinforced concrete panels are cut to follow the surface of the dated masonry, connecting to the new building’s main structural metal frame. Three sides of the new building follow its ancestral base through these concrete panels, creating a more solid physical connection to the existing. The juxtaposition of old and new is clearly recognizable in the envelope. Modern structural and material possibilities, shown through an acute geometrical form, permit the reflection of historical elements in the new addition. What’s more is the architect’s play on direct and indirect associations of time – on one hand the new building is literally placed on top of the old; on the other hand it is more symbolically connected through reflective, almost picturesque qualities.

Internally, curvaceous mirrored ceilings create interesting spaces which can be distorted further by adaptable furniture. At night, internal spaces can be fully realized through the transparency of the facade and intelligent lighting structure.  Along with this, the architects distinguish day and night traits – envisioning ‘sweetness and creativity during the day, warmth and glow at night.’ The architects describe this as an ‘intimate’ project, where ‘the new parts dominate the ancient elements but the historical construction is still governing.’

from  yatzer