THERE IS ONE SPACE IN THE NOUVEL OPERA WHERE DISORIENTATION WAS NOT THE GOAL- THE DANCE STUDIO ON THE TOP FLOOR.
WHERE MEANING IS ARRIVED AT THROUGH OCCUPATION RATHER THAN THE BUILT FORM.
MIEUX FAIRE CIRCULER LES GENS POUR MIEUX FAIRE CIRCULER LES IDÉES.
REFERRED TO INTERCHANGEABLY AS THE “DOCKS DE PARIS” OR THE “DOCKS EN SEINE,” THE BUILDING’S MAIN TENANT IS A FASHION ACADEMY, L’INSTITUT FRANÇAIS DE LA MODE.
THE KING ATE LOCALLY AND ORGANICALLY, BEING A REAL FORWARD-THINKER
LE RÔLE DE LA PUISSANCE PUBLIQUE, C’EST D’ACCOMPAGNER LES MUTATIONS, PAS DE SE SUBSTITUER AUX ACTEURS.
AT ONCE COSMOPOLITAN AND PROVINCIAL, URBAN AND ‘VILLAGED’, NATIONALIST AND TOLERANT, VANGUARD AND ARCHAIC, MARSEILLE’S PARADOXICAL CHARACTER HAS PERSISTENTLY SERVED AS THE SUBJECT OF CULTURAL AND HISTORIC INVESTIGATION.
ON PEUT ÊTRE PAUVRE ET GÉNÉREUX, ET SOLIDAIRE. ON PEUT AVOIR PEU DE CHOSE ET LES PARTAGER. L’ARCHITECTURE DU CHANNEL EST ÉGALEMENT PAUVRE ET EN MEME TEMPS GÉNÉREUSE, PARCE QUE LE PEU QU’ELLE A, ELLE LE DONNE.
COMBES SHOOTS HER ARCHITECTURAL SUBJECTS IN WHAT SHE TERMS “A NON-HIERARCHICAL RAMPAGE”
SITED IN A FORMER ARMS MANUFACTURING COMPLEX KNOWN AS “LA MANUFACTURE”, THE CITÉ DU DESIGN SUGGESTS THAT THEMATIC INSPIRATION, RATHER THAN PURE VISUAL VANGUARD, MIGHT SERVE AS THE DRIVER FOR MANUFACTURING ATTRACTORS.