Between two rivers, the renovation of those docks is starting a new story: the bank for arts. New programs dedicated to the culture, to relax and to walk, keeping the link and the imaginary with the industrial history of the site. Except the reconversion of the ancient building, the new one takes into account the aerial steel structures. In this context, the objective was to build an Offices Building including an exhibition space open to the public on the ground floor and the mezzanine, whilst the offices run from floor 1 to 4, ending at the top with a roof terrace partially accessible, and a basement car park on the lower level, all connected by 4 elevators and 1 central stares case. Suspended on huge double crossing beams on the fourth floor over three strong pylons in the atrium, the two parallelepiped volumes of the building are
shifted at 86°. The vertical atrium is senographying the internal movements through the whole building. Seen from underneath when passing by along the river, under the huge canopy of 28 meters long, its basement is lighted through a glass floor. In doing that, the inside is taking part of the outside and the vertical dimension of the inside building is connected with the horizontal promenade of the riverbank. The specificity of the glass facades results in the insertion in the laminated glass of four points of views to the city taken from the top of the building. These black and white photos play an ambiguous game between opacity, representation and transparency. The building strong point is also its energetic performance: most of the materials used in the buildings, glass and steel, are reusable. The façade has a double ven
tilated skin and the glass roof contains photovoltaics cells. The basic principle that has guided the interior design is the client’s demand for total transparency. Combined to the need for meeting rooms and some enclosed office spaces, this was the opportunity to develop rooms made of full glass walls. They are punctuating the open space floors around the atrium, creating subdivision inside a continuous space. On outer floor angles are dispatched the main meeting rooms. The second important feature is the singular red objects in space: the cafeterias on the 1st and 3d floor; the Chef’s kitchen on the 4th; the bar on the roof top… These contribute to social life inside the working space, in favour of informal encounters or meetings, such as in the specific open bench shaped meeting areas on each floor, at the angles of the atrium. The dominant colour for the interior design is red. Red happens to be the colour of the client’s logo. We declined it on the singular objects, on the cupboards and the mechanical archives, in contrast with the sober black carpet and chairs. Tabletops remained white due to working comfort. The people working now inside consider this environment being energizing and dynamic. Odile Decq Odile Decq set up her own office just after graduating from La Villette in 1978. In 1990 she won her first major commission: the Banque Populaire de l’Ouest in Rennes. She was awarded with a Golden Lion in Venice in 1996. She completed the MACRO in Rome in 2010, the Opera Garnier’s restaurant in Paris in 2011, the FRAC Museum in Rennes in 2012, the GL Events headquarters in Lyon in 2014 and has just completed the Great Site of Homo Erectus Fossil Museum of Najing in China and a start-up incubator building in Paris of 16000 m2 in 2015. Odile Decq’s various work of design were awarded in 2013 with the title of Designer of the Year Maison&Objet. as also awarded with the “Prix Femme Architecte” and the Médaille de Vermeil et d’Honneur from the French Académie d’Architecture. In addition to the studio, Odile Decq has been teaching since 1991. Her passion for teaching has brought her in 2014 to create the Confluence: Institute for Innovation Creative Strategies in Architecture in Lyon.