Christian Pottgiesser Architecturespossibles - Galvani

7/29/2019 Christian Pottgiesser Architecturespossibles - Galvani

1/8


2/8

text : M Ct LTechniques et Architecture

n472, Jean-Michel Place, Paris,

France 2004, pp. 94 97

foto : Gt Bwtz,

Pcl Tm

ProieCT | ProjeCT: GalvaniProGraM | ProGraM: locuin | residenceBenefiCiar | CLienT: privatearhiTeCT | arChiTeCT: christian pottgiesser architecturespossibles | 8, rue du Pr aux Clercs, 75007 PariseChiPa de ProieCT | desiGn TeaM: Christian Pottgiesser (arhitect | architect) , Alejandro Ratier (designer), PascalePottgiesser (artist)inGiner | enGineer: Jol BetitoasisTenT | assisTanT: dr. Florian Hertwec

desiGn MoBiLier | furniTure desiGn: arh. | arch. Raphael Budin (mese joase i de sufragerie | low + dining table)ContraCtani | ConTraCTors: ERCN (construcia principal | main construction), Carrires du Bassin Parisien(zidrie | masonry), Menuiserie du Val de Loire (dulgherie | carpentry), ATN (peisagistic | landscaping), CMBR (ferestre |windows), Miroiterie MARUT (oglinzi | mirrors), ESBEI (hidroizolaii | waterproong), EGEBAT (sanitare | plumbing), SAP/ABD(vopsotorii | paintwor)ProieCTare | desiGn year: 2002ExECuiE | ConsTruCTion year: 2003Suprafaa ConStruit | ConsTruCTed area: 140 m2 extindere | extension, 40 m2 intrare + grdina de iarn |entrance + winter garden, 160 m2 terase + grdin | terraces + garden, 160 m2 casa existent | existing houseBuGeT | BudGeT: nespecicat | unspeciedfotografii maChEt | PhoTos ModeL: Pascale ThomasfofoGrafii | PhoTos: Gert von Bassewitz (Hamburg)TXT:

T l m

This house risen between two adjacent Parisian houses of bourgeoisie appearance is playing by the rules bacwards. With anexisting but rearranged garden where no tree was cut, this house gathers elements of the extraordinary. The house itself standsfor the possibility that nothing could be banal or unnecessary, especially thans to the rigorous obstinacy of its architect Chris -tian Pottgiesser. He proved that the Parisian urban rules here could allow the unexpected provided that the imagination ndsit, while analysis and constructive solutions meet all challenges. And of course, that there should be a command, as in this case.

In the beginning, there was a romantic and quite unpractical manor at the bac of an urban garden, with two oors of smallrooms, a vast low and somber ground oor. The new owners wished for more space but not a smaller garden. And thus, a newconcrete abstract faade came to ll in the space by the street, above ground oor, between the two neighboring buildings.

At the ground oor level the present terrain level a garden follows the double curvature of a reinforced concrete plate andspans to the street from which it is physically but not v isually separated by a wall made entirely of glass with no join elements.

A real garden with living plants and moss, through which raises the trun of a large tree that was preserved by the new build-ing. An uncertain path, a sort of opus incertum leads from the street entrance either to the lower level, or to the new aboveconstruction, a place where one discovers a large room with tea wood oiled lining oor, with openings cut as paintings thatallow the view towards the city and the interior court.

A stair made entirely of wood leads to a large green terrace arranged on the roof of the new building. In the same time, apatio was cut in the existing garden, surrounded on three sides by glass panels. On one side, a connection is made betweenthe living room in the old building - a room with rococo ornaments and the lower level of the new building where a largeitchen and dining room are to be found.To describe the special functionality of this place is neither enough for evoing the strange and disorienting impression, northe rooting of the place in this special logic. Few materials: concrete apparent or covered with plaster, paints in warm colorsin the manner of Barragan, stone, wood oors, large frames of Iroo wood for sliding and revolving doors and windows.Everything is designed in order to be forgotten. The details are evident through their absence. The suspended stairs, nottouching the oor from which they rise, have the rst step made of concrete material, while the second is immaterial avoid, and only then does their ight begin. An exemplary detachment.

Galvani

proiecte/projects

Ct Pttg ctctpbl

62 / 63


3/8

1 CurtE intErioarPATIO

2 tEraSTERRACE

3 Bovindou

BOW-WINDOW

4 Birou / reLaXareOFFICE / LOUNGE5 dorMiToare

BEDROOMS6 bi

BATHROOMS7 CaSa SCrii

STAIRCASE

PLan suBsoL | BASEMENT

SECiunE | SECTION

PLan eTaj 1 | FIRST FLOOR

1 CurtE intErioarPATIO

2 CamEr dE ziLIVING ROOM

3 sufraGerie

DINING ROOM4 buCtriE

kITCHEN5 Garaj

GARAGE6 toalEt

WC7 pmnt

EARTH8 SCar

STAIR

1

2

3 4

75

5

66

7

12

3

4

5

68

8

71

64 / 65


4/8


5/8


6/8


7/8

re s

Aceast cas rsrit ntre dou case pariziene adiacente cu aspect burghez, sejoac de-a-ndoaselea cu regulile.Cu o grdin existent, dar reamenajat, din care n-a fost tiat nici-un singur

copac, casa i trage condiia ei extraordinar. Demonstrnd, cu siguran, ceste posibil ca nimic s nu e banal sau nenecesar, i asta datorit ncpnriiriguroase a lui Christian Pottgiesser, arhitectul acestei case. Care a dovedit cregulamentul de urbanism parizian de aici 1 permite neprevzutul, cu condiia caimaginaia s-l gseasc, iar analiza i soluiile constructive s-i rspund.i, bineneles, s existe o comand.Ca n cazul de fa.

A existat ca dat iniial, n spatele unei grdini urbane, un conac romantic, dar puinpractic, cu dou niveluri de camere mici i un vast parter jos i ntunecos. Noiiproprietari au vrut mai mult spaiu, dar nu i mai puin grdin. i astfel o noufaad abstract din beton a venit s se arme la strad, la primul nivel peste par-ter, ntre cele dou cldiri nvecinate. n timp ce la nivelul solului nivelul terenuluiactual o grdin se muleaz pe o plac de beton armat cu dubl curbur i se

ntinde pn la strad, de care este separat zic, dar nu i vizual, de un perete nntregime din sticl fr prosuri.O grdin adevrat cu plante vii i muchi strbtut de trunchiul unui mare copacpe care construcia nou l-a prezervat. O cale nesigur, un soi de opus incertum 2,duce de la intrarea din strad e la nivelul inferior, e la construcia nou de deasu -

pra, locul unde vom descoperi o camer mare cu podea din ipci de tec uleiate, cudeschideri tiate ca nite tablouri ce las s se vad oraul i curtea interioar.O scar, n ntregime din lemn, duce mai departe de aici la o mare teras cuvegetaie amenajat pe acoperiul noi construcii.Totodat, n grdina existent a fost spat o curte interioar, un patio nconjuratpe trei laturi de vitraje, una din aripi conectnd camera de zi din cldirea veche o

ncpere cu ornamente n stil rococo cu partea de jos a noii construcii, unde segsete o mare buctrie cu sufragerie.

A descrie funcionarea spaial a acestui loc nu este sucient pentru a evocasentimentul de stranietate i dezorientare, nici pe cel de nrdcinare n aceastlogic aparte.Puine materiale: beton, aparent sau acoperite cu tencuial, vopsitorii n culoricalde la Barragan, piatr, podele din lemn, rame mari din lemn de Iroo pentruui i ferestre, glisante i pivotante. Totul este proiectat pentru a uitat, detaliilesunt evidente prin absena lor.

n special, scrile n suspensie care nu ating solul din care se nal, primul pasnd unul concret, din beton, apoi un vid, i mai apoi zborul scri.O detaare exemplar.

note:1 care obliga ca parcul existent la strad s e pstrat, iar construcia nou s nudepeasc un singur nivel peste parter2 opus incertum a fost o tehnic de construcie antic roman care utiiza formeneregulate i poziii de plasare a pietrelor netiate sau neprelucrate n mod alea -toriu ntr-un miez de beton roman. Iniial, ea a constat n plasarea ct mai atenta compoziiei din fragmente de roci i pietre mici amestecate cu beton pentru casuprafaa exterioar a zidurilor s e ct mai lis posibil. Mai trziu, acest lucru a fostrealizat prin reducerea betonului folosit i alegea de pietre mai mici i mai regulate.

68 / 69


8/8

Christian Pottgiesser Architecturespossibles - Galvani

Documents

Transcript of Christian Pottgiesser Architecturespossibles - Galvani