ATELIERS PIERRE LAFON

Architecture - Landscape - Civil engineering

10.0
Pont autoroutier en entrée de ville
Highway overpass on city outskirts
Date: 
1993
Site: 
Bain-de-Bretagne / R.N.12 / France
47°51'02,39"N - 1°41'41,50"O
Client: 

Conseil Général 35

DRI

Team: 

Marion Faunières : Architecte co-concepteur 

D.R.I : B.E.T. Structure

Cet ouvrage en béton post-contraint avec deux travées d’équilibre situé sur l’axe Rennes-Nantes participe à la réflexion générale sur l’arc atlantique. La matière brute du béton est localement échancrée là où l’ouvrage nécessite moins d’inertie. Des fibres optiques intégrées dans la masse témoignent des forces et contraintes qui traversent la structure.

Dictionnaire de l'architecture du XXè siècle, Pierre LAFON, Marion FAUNIERES, Hervé REGNAULT, éditions Hazan, Institut français d'architecture, France, 1996

«The juxtaposition of differing materials, each with their specific physiological properties, bring to the fore a series of movements of attractions, repulsion, and indifference. These interactions initiate the action of chance : a-causal relations ultimately come to constitute a distinct entity.»

Art Press n°213, Sur le sol du monde sensible, Rooted in the soil, Philippe RAHM, France, 1996

«First of all, it is a scission between the intimacy of the material and its use. For example, the inherent tendency of steel to oxidize, as brought out by Richard Serra and Robert Smithson, is incompatible with the aestheticized use of this material in a purely technological plastic form, when it is coated with zinc… Likewise, reinforced concrete, when envisioned at a material that makes it possible to emancipate form from gravity (shell, absence of walls and articulations between the bearing structure and the load) is in reality undetermined by carbonization and creep… There will be no mention of finality or cause where this architecture is concerned. The point is to grasp the interaction between the artifact and sensuous experiences in order to reactive an art on basis of primordial realities, of necessity. There is no posturing in this refusal of cultural determination. For gravity and climate determine form, geology decides space, and matter provides material and air and rain provoke oxidation of the artifact. We can understand the interest architects take in «earthworks», in Arte Povera, in anti-form. It is not a question of architecture abandoning its milieu, as it once with Neo-Plasticism and still doing now with minimalism. »