BIARRITZ, FRANCE
The above-ground glass structure allows light to flood down into the museum’s expansive underground spaces
What element of the design are you most proud of? I think it’s the public plaza on the roof and that connection to the sea – this is some- thing we were able to accomplish which was not on the brief. It frames the sky and the sea in such a dramatic way. As you walk in on this space, it’s so powerful that you really forget about anything else.
What were the biggest challenges? The biggest challenges came during the construction phase. The approach to con- struction in France differs from the US. Also there was a language barrier. I real- ised that I couldn’t expect the whole team to speak English because I couldn’t speak French, so I went back to school to learn French. By the second meeting I was already speaking French and they were very receptive to the effort I had made.
THE BIG BLUE Biarritz Océan comprises two main projects: The Cité de l’Océan et du Surf and the Aquarium at the Musée de la Mer. The original aquarium has been doubled in size (an extra 3,500sq m), with more exhibits added, such as the journey along the Gulf Stream and an 11m Caribbean
lagoon. The ocean museum is an educational site, aimed at showing the complexity of the living ocean and raising awareness about its protection.
The new building – designed in collaboration with Solange Fabiao – includes: n a vast 2,000sq m hall with ceiling heights ranging from 6m to 13m, for permanent exhibitions n a 120-seat auditorium
n a 600sq m underground annex for temporary exhibitions n reception areas and multimedia rooms for education n a restaurant with a panoramic terrace, and a café n a shop
What was the best part about this project? This has been the most intense two years of my life and the first time that I had been the lead architect on a construc- tion site, so it was great to get people engaged with the project ambitions. I loved the way that the whole team was so ambitious and really pulled together to create something that is really amazing.
For example, we had the idea that the ceiling should be
pure and white and clean. To start with they thought this was insane, but at the second meeting a new person sug- gested putting something on the ceiling and the entire team looked aghast at this guy and said: “But there’s nothing on the ceiling, don’t you know this?!”
ISSUE 4 2011 © cybertrek 2011
So, have you created the ‘Bilbao effect’? I think we produced an exquisite piece of architecture, which will certainly be recognised by the public. The opening was in June and it was incredible to see the reception of the public, the plaza was packed. l
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What eco features does it have? The main one was what I already referred to - the half-buried exhibition room, in addition to a natural ventilation overnight which eliminated the need for any air conditioning in the open gallery space/lobby. This was a big challenge. The use of operable windows and skylights in the restau- rant/cafeteria and surfer kiosk will also reduce the use of air conditioning in these areas.
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