Music and Dance Conservatory
Nadia and Lili Boulanger Conservatory
The music school in the southeastern suburbs of Paris is named after the composers Nadia and Lili Boulanger. The architects Jakob+MacFarlane approached the brief as a "strange musical instrument" that would be functional, pleasant, and simultaneously inspiring. The building faces the adjacent streets with smooth walls of exposed concrete. In contrast, the northern entrance façade organically flows with the help of a bright green steel shell. From an urban planning perspective, the structure closes the city block while simultaneously opening up to the tranquil street Rue du 19 Mars 1962. The internal circulation, on which the music classrooms, dance studios, recording studios, changing rooms, and offices are suspended, maintains a dynamic appearance. The generously designed three-story stairwell is illuminated by triangular windows facing the entrance courtyard. The house, with its shape, invites passersby to visit. In addition to the teaching rooms, a multipurpose hall for 195 spectators occupies a whole third of the building, where music concerts and dance performances by conservatory students can take place.
Brendan MacFarlane justified the dynamic façade as follows:
“The structure has become animated, similar to dancers; the diagonal has become a tool that captures the dynamic nature of dance and music in relation to architecture.”
The context of Noisy-le-Sec is complex. It is a site that emerged from the Grand Paris initiative announced ten years ago. The location is near the city, but a bit further away is a forest. It is a difficult neighborhood to grasp. Our response to how to face this reality is a formal and colorful experience. On the metal panels with powder coating, orange, gold, and yellow pigments were mixed into the green color, giving the façade a chameleon-like hue that changes throughout the day. Although funding for public buildings is challenging, we kept the final appearance in mind throughout the three-year implementation. The project should not be viewed as an external initiative of Grand Paris, but rather as a necessity. The result is exciting, as it immediately received positive feedback from within the local community after completion.”
Brendan MacFarlane justified the dynamic façade as follows:
“The structure has become animated, similar to dancers; the diagonal has become a tool that captures the dynamic nature of dance and music in relation to architecture.”
The context of Noisy-le-Sec is complex. It is a site that emerged from the Grand Paris initiative announced ten years ago. The location is near the city, but a bit further away is a forest. It is a difficult neighborhood to grasp. Our response to how to face this reality is a formal and colorful experience. On the metal panels with powder coating, orange, gold, and yellow pigments were mixed into the green color, giving the façade a chameleon-like hue that changes throughout the day. Although funding for public buildings is challenging, we kept the final appearance in mind throughout the three-year implementation. The project should not be viewed as an external initiative of Grand Paris, but rather as a necessity. The result is exciting, as it immediately received positive feedback from within the local community after completion.”
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