Vitrômusée

Vitrômusée Romont2010

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Con­ver­sion of a Glass Art Muse­um, devel­op­ment of an exhi­bi­tion for reverse paint­ing on glass.

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Sit­u­a­tion

Romont Cas­tle is part of the medieval urban struc­ture. It is sit­u­at­ed on the break­ing edge of a hill and majes­ti­cal­ly, yet nat­u­ral­ly dom­i­nates the Romont land­scape. The com­plex was con­struct­ed on a for­ti­fi­ca­tion wall with a square ground plan. It includes a 13th Cen­tu­ry build­ing wing, known as the Savo­yarde’, anoth­er wing from the 16th Cen­tu­ry, Fri­bour­geoise’, which both face south towards the Apls, and a for­ti­fi­ca­tion tow­er in the west­ern cor­ner. Until­re­cent­ly, the two wings were sep­a­rat­ed from each oth­er. A glass wal­way now con­nects them and draws atten­tion to the loca­tion of the entrance. Beneath a cov­ered area along the Savo­yarde’. A new exhi­bi­tion area is enclosed behind glass. The back light pro­vides ide­al con­di­tions­for exhibit­ing largr glass items, while ful­ly glass­walled room can also be used as an orangerie. At night, the orangerie trans­forms into a large, coloured lantern that floods the cas­tle court­yard with a fas­ci­nat­ing aura. The addi­tion­al room also allows bet­ter con­nec­tion for the entire wing. Con­gress­es and events can be held with­out dis­rupt­ing the muse­um’s oper­a­tions. The glass walk­way along the for­ti­fi­ca­tion wall pro­vides a direct path to the Piano Nobile’ in the Fri­bour­geoise wing. The pas­sage pro­vides a won­der­ful view of the Roment coun­try­side and rep­re­sents the the­mat­ic tran­si­tion of exhi­bi­tion from glass art to reverse paint­ing on glass. In a way, the glass sky­walk is nes­tled into the exist­ing struc­ture and strength­ens the new iden­ti­ty of the muse­um, as the glass shell oscilates between reflec­tion and trans­paren­cy. Inside, all rooms are direct­ly acce­si­ble via the new ver­ti­cal con­nec­tion for the Savo­yarde’ so that all rooms are wheelchair-friendly.

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Le périmètre du château.

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Vue d’en bas.

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Rez

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1er

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Coupe

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Le corps de verre.

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La nou­velle orangerie en verre, sus­pendue comme un pont entre les deux ailes historiques.

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Un pont / orangerie en verre

Le vit­rail prend place dans l’aile savo­yarde, prof­i­tant de la trans­parence & de la lumière traversante.

Babl Cav 050
Babl Cav 041
Babl Cav 010

La man­u­fac­ture de la façade: La struc­ture en aci­er, le verre étiré, les rac­cords hor­i­zon­taux en plomb et le mas­tique à base d’huile de lin.

Orangeries we looked at

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Berlin

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Paris

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Lon­don

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Lon­don

Une vieille machine pour tir­er le verre de Elec­tro­verre à Romont remie en fonction.

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Etirage Fourcault Aniche
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Babl Cav 013
Babl Cav 008
Babl Cav 017
Babl Cav 012

Depuis la toi­ture, le nou­v­el escalier et l’as­censeur en métal se glis­sent, comme une armure de cheva­lier, entre les murs de molasse. 

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La nou­velle cage d’escalier.

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La nou­velle cage se glisse à l’in­térieur du château depuis la toiture .

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La pein­ture sous verre prend place dans l’aile Fribourgeoise.

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Babl Cav 028
Babl Cav 031

La pein­ture sous verre…

… est une pro­jec­tion ren­ver­sée, à l’in­verse des images dessinées.

En tout pre­mier, on appliqué la lumière: l’ét­in­celle dans les yeux, puis l’on peint les yeux, le vis­age, le corps et enfin le con­texte et l’ar­rière plan. 




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Devant

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Der­rière

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Vue sur le tré­sor de 1300 pièces de pein­ture sous verre. 

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Babl Cav 006

Con­ver­sion of a Glass Art Muse­um, devel­op­ment of an exhi­bi­tion for reverse paint­ing on glass.

Babl Cav 004

Romont Cas­tle is part of the medieval urban struc­ture. It is sit­u­at­ed on the break­ing edge of a hill and majes­ti­cal­ly, yet nat­u­ral­ly dom­i­nates the Romont land­scape. The com­plex was con­struct­ed on a for­ti­fi­ca­tion wall with a square ground plan. It includes a 13th Cen­tu­ry build­ing wing, known as the Savo­yarde’, anoth­er wing from the 16th Cen­tu­ry, Fri­bour­geoise’, which both face south towards the Apls, and a for­ti­fi­ca­tion tow­er in the west­ern cor­ner. Until­re­cent­ly, the two wings were sep­a­rat­ed from each oth­er. A glass wal­way now con­nects them and draws atten­tion to the loca­tion of the entrance. Beneath a cov­ered area along the Savo­yarde’. A new exhi­bi­tion area is enclosed behind glass. The back light pro­vides ide­al con­di­tions­for exhibit­ing largr glass items, while ful­ly glass­walled room can also be used as an orangerie. At night, the orangerie trans­forms into a large, coloured lantern that floods the cas­tle court­yard with a fas­ci­nat­ing aura. The addi­tion­al room also allows bet­ter con­nec­tion for the entire wing. Con­gress­es and events can be held with­out dis­rupt­ing the muse­um’s oper­a­tions. The glass walk­way along the for­ti­fi­ca­tion wall pro­vides a direct path to the Piano Nobile’ in the Fri­bour­geoise wing. The pas­sage pro­vides a won­der­ful view of the Roment coun­try­side and rep­re­sents the the­mat­ic tran­si­tion of exhi­bi­tion from glass art to reverse paint­ing on glass. In a way, the glass sky­walk is nes­tled into the exist­ing struc­ture and strength­ens the new iden­ti­ty of the muse­um, as the glass shell oscilates between reflec­tion and trans­paren­cy. Inside, all rooms are direct­ly acce­si­ble via the new ver­ti­cal con­nec­tion for the Savo­yarde’ so that all rooms are wheelchair-friendly.

Babl Cav 039
Babl Cav 007
Babl Cav 038
Babl Cav 035
Babl Cav 036
Babl Cav 040
Babl Cav 030
Babl Cav 033

Le vit­rail prend place dans l’aile savo­yarde, prof­i­tant de la trans­parence & de la lumière traversante.

Babl Cav 050
Babl Cav 041
Babl Cav 010

Orangeries we looked at

Babl Cav 026
Babl Cav 025
Babl Cav 023
Babl Cav 029

Une vieille machine pour tir­er le verre de Elec­tro­verre à Romont remie en fonction.

Babl Cav 027
Etirage Fourcault Aniche
Babl Cav 001
Babl Cav 013
Babl Cav 008
Babl Cav 017
Babl Cav 012

Depuis la toi­ture, le nou­v­el escalier et l’as­censeur en métal se glis­sent, comme une armure de cheva­lier, entre les murs de molasse. 

Babl Cav 037
Babl Cav 009
Babl Cav 016
Babl Cav 021
Babl Cav 011

La pein­ture sous verre prend place dans l’aile Fribourgeoise.

Babl Cav 044
Babl Cav 028
Babl Cav 031

La pein­ture sous verre…

… est une pro­jec­tion ren­ver­sée, à l’in­verse des images dessinées.

En tout pre­mier, on appliqué la lumière: l’ét­in­celle dans les yeux, puis l’on peint les yeux, le vis­age, le corps et enfin le con­texte et l’ar­rière plan. 




Babl Cav 048
Babl Cav 049
Babl Cav 003
Babl Cav 005
Babl Cav 022
Babl Cav 019