파리 도심 속 자리한 동물원 리노베이션의 주안점은 지속가능한 생태환경을 구축을 위한 자연복원으로 그곳에 어울리는? 자연환경을 재구성한다. 이를 위해 능선은 새롭게 구축되었고 돌과 나무는 원래 그곳에 있었던 것처럼 자리에 배치된다. 도시로 부터 이격된 자연은 이제 동물원을 경계없는 공원으로 파리를 위해 제공되어 진다.
Cinema and theater: the reference to mise en scène is everywhere in the new landscaped spaces designed by Atelier Jacqueline Osty & Associés.
Five “biozones” succeed one another along a four-kilometer tracking shot, starting with Patagonia, then on to the Sudanese Sahel, Europe, Guyana and Madagascar.
From on- to off-screen, scenes from the wings, foreground and background, the eye is guided, and the views are infinitely receding, scripted meticulously in composition and framing.
Continuing this metaphor, Atelier has created successive visual frames that enlarge the dimensions and break down distances between humans and animals. Time as a fourth dimension has been added to 2D and 3D. It becomes a part of how one perceives the zoo with permanently changing landscapes as we move through the seasons and years. And lastly, imagination acts as a fifth dimension where suggestion completes the mental landscape and rounds out this multiscale composition.
Paris Zoological Park (Vincennes Zoo), Paris
Program: zoo
Project Management: Atelier Jacqueline Osty & Associés
Research adviser: Mikaël Mugnier
Project Manager: Camille Piot (Architect) and Renaud Riboulet (Landscape architect)
For the 5 aviaries: Lionel Orsi Architect,
Architectural design of new buildings: Bernard Tschumi urbanistes Architectes with Véronique Descharrières
Architectural design of the technical and renovated buildings: Synthèse Architecture with Bernard Hemery
Scenography of the vivariums and the Park’s educational and directional sign-posting: El Hassani & Keller
Technical fluids excluding the pond-water treatment: SETEC Bâtiment
Technical areas: Bouygues Bâtiment-Île-de-France
Area: 34,5 acres
Completion: 2014
al references – colors, matter, levels and surfaces – to steep visitors in the appropriate atmosphere. Landscapes have been completely invented with the original sites’ essential features and relief being suggested.
Thus the expanses of the Sahel and the empty plains of Patagonia are evoked by folding the ground and deploying the colors and matter specific to each place, the forests of Madagascar by the density and heights of its plant life. This dissimulation of tracks has led to the design of unique places through their landscapes, their spaces and their diversity. Visitors are neither “here” nor “there” but in an in-between world that generates a troubling disorientation.
This disorientation is augmented by occasional views outside the Gardens, i.e. the fringe of buildings lining Avenue Daumesnil, the lake in the Bois de Vincennes, etc. On the other hand their appearance reinforces the feeling of being in a singular place, inside a jewel box in the heart of the city. As for the rest, all references to an urban milieu have vanished. There are no streets or sidewalks to hinder one’s wanderings.
Here the zoo recovers the “above-ground” feeling of the great European zoos (Berlin’s Tiergarten or the London zoo in particular), playing the same role of a green enclave in a context of high-density building. As the zoo’s iconic symbol, the Great rock is a milestone on the historical Parisian north-south corridor.
The Vincennes Zoo is part and parcel of Parisian collective memory. Atelier’s proposal consists in preserving the symbolic elements to counteract any temptation for nostalgia. The zoo has been organized around the Gardens’ flagship landmark, the Great Rock. This was one of the brief’s specificities and a strong point in Atelier’s proposal.
Renovated in the 1990s, it could be preserved as such, like certain other isolated rocks, ponds and trees. On the other hand, rather than “sticking to the past”, Atelier suggested a total remake of the landscaped spaces.
from domusweb