From the very start of his career, Vandenhove has recognised the value of surrounding himself with renowned artists and intellectuals. With close ties to the publishing world \u2013 which regularly contacts the agency to publish his latest work \u2013 the architect maintains close relationships with several internationally renowned critics, including Geert Bekaert and Fran\u00e7ois Chaslin.<\/p>\n
It was through the latter that he was commissioned to undertake a major urban regeneration project involving two blocks situated on either side of the Place des Abbesses, combining public facilities (a theatre, a dance centre and a cr\u00e8che), housing and retail outlets. It is also likely that the reputation he had built up through the Hors-Ch\u00e2teau project led the City of Paris to entrust the project to the Belgian architect.<\/p>\n
Although planned at the same time as the commission for a nursery in the same neighbourhood, the project for the theatre and dance centre to be built on Montmartre Hill will be delayed by a few years due to a problem with land acquisition.<\/p>\n
The proposal submitted to Vandenhove is particularly ambitious and concerns the block bounded by Rue des Abbesses, Rue Germain Pilon and Rue V\u00e9ron. It involves the construction of a 400-seat theatre, a dance school, 25 flats, ground-floor retail units and a public space, all situated above an underground car park accessible from below. The project proposed by Vandenhove is highly logical. Making the most of the difference in level, the auditorium extends along Rue Germain Pilon. Beneath the Italian-style auditorium, several levels house the dance school and the underground car park, which opens onto Rue V\u00e9ron.<\/p>\n
Another key feature of the scheme is that the residential units and retail premises are grouped within several buildings surrounding a small inner courtyard. Breaking with convention, Vandenhove chose to orientate the theatre\u2019s main fa\u00e7ade towards this courtyard rather than the street, allowing its classical style (pediment, fluted columns, architrave, etc.) to be fully expressed. The bold red render covering the fa\u00e7ade anchors the theatre in its time thanks to Robert Barry\u2019s \u2018words\u2019. The visual artist\u2019s contribution can also be seen on the sandblasted glass balustrades in the theatre auditorium. Barry is not the only artist involved. For several years now, Vandenhove has demonstrated the strength of his artistic vision. As with several previous projects, he intends to collaborate with a number of visual artists. Daniel Buren has created geometric patterns on the sandblasted glass balustrades on the fa\u00e7ade but, more importantly, outside, a mural on a party wall signals that something is happening there, at the rear of the buildings. As at the CHU or Torrentius, the enamelled sheet metal panelling serves as a canvas for several artists (Jean-Charles Blais, Patrick Corillon and Lo\u00efc Le Groumellec). But the most striking contribution remains that of Olivier Debr\u00e9, whose work covers all the walls of the theatre auditorium and the stage curtain.<\/p>\n
Guest artists: Robert Barry, Jean-Charles Blais, Daniel Buren, Patrick Corillon, Olivier Debr\u00e9, Lo\u00efc Le Groumellec.<\/p>\n","protected":false},"featured_media":844,"template":"","collection_type":[31],"class_list":["post-8702","collection","type-collection","status-publish","has-post-thumbnail","hentry","collection_type-archives-en"],"acf":[],"yoast_head":"\n