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reopened Tuesday 18 January at 2 pm, the post of the Louvre came out of seven years of hibernation. The building, created in 1886 by Julien Guadet, was renovated by the French architect Dominique Perrault in a style both Haussmann, industrial and contemporary. Interview. © Provided by FranceInfo
Winner of the Grand Prix Praemium Imperiale and member of the Academy of Fine Arts, Dominique Perrault has made several great works in Ile-de-France: the National Library of France (BNF) in 1995, the redevelopment From Dufour Pavilion to the Palace of Versailles in 2016 or the transformation of the longchamp racetrack in 2018. But it is especially abroad that it is a real success. He is the author of the Berlin Velodrome of Ewha University in Seoul but also extensions of the Court of Justice of the European Communities in Luxembourg. In 2012, it is chosen to take control of the renovation of the Louvre post, emblematic place for Parisians. In the aftermath of the opening of the post office, we asked him a few questions about this project.
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FranceInfo Culture: In 2012, La Poste launches a European architecture contest for the renovation project "La Poste du Louvre" you won. How was your proposal different from those of other architects?
Dominique Perrault: Already, this building had, until then, always occupied by mail. There were wickets, a sorting center and that's all. It was therefore difficult not to have an industrial reading. That's why I decided to respect the legacy of the building, without it being contradictory with the new direction that we wanted to give. I thought of a horizontal organization: each floor has its function. In this way, I could preserve the heritage without breaking anything. During renovation, we made discoveries as ceilings painted at the time of its construction. We kept everything. I wanted to infiltrate me, flow in the initial industrial structure and I think that's what liked.
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This building is Haussmannian and industrial style. Now there is also contemporary, quite geometric. Did not you afraid a result a little "patchwork"?
No, because I really tried to follow the radicality between the exterior and interior architecture of the building as its architect, Julien Guadet, had wanted him. The building is summed up in two gestures: a peripheral gesture with this large stone wall that is autonomous, which holds itself. And inside an architecture composed exclusively of metal. To make the link between these different architectural styles, I used the black as monochrome. It helps to accompany Julien Guadet's work and harmonize mine. What I like in this position is that we do not know very well where Guadet stops and where Perrault begins.
Exactly, the black color is ubiquitous in the Louvre post. Why did you choose this color specifically for a place that wants to be bright?
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The black is not dark. This is the color that catches the light most. What is interesting with the notion of monochrome is the application of the same color on different materials. In this way, black never has the same hue. Sometimes it is matte, sometimes brilliant. The painting is not used to hide but to reveal the different materials and architectures of the late nineteenth century. The black has this quality of being very elegant, very French and it also puts in light, without bad word game, all the openings of the building, large windows and bay windows.
Did you know Julien Guadet before being on this project? What do you like in his work?
Guadet is well known in the architects. He left an indelible trace since he wrote an architectural manual. He was before everyone professor and theorist. When I was studying, among students were always saying "pass me your guadt", "I forgot my Guadet". His vision of architecture is very interesting. So for me, it's an incredible chance to find it in this building after reading it when I was a student. He was very early on his time: he said, for example, in his writings, which he wants to make a wall with holes, which is one of the credo of the modern movement in the first half of the twentieth century. Julien Guadet was visionary. It is a real pleasure that our two architectures can now interfere and merge.
The Lost Leonardo: The Salvator Mundi, True-False Vinci and Big Scam .
© AFP / Ilya Savenok / Getty In 2017 The Salvator Mundi, awarded to Leonardo da Vinci, was sold $ 450 million. How the Salvator Mundi , the most expensive painting in the world, maybe painted by Leonardo da Vinci but never authenticated, could be sold $ 450 million in 2017? It is the lighting proposed by a new documentary, in theaters since Wednesday, January 26th.