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Galeries Lafayette Department Store

Galeries Lafayette Department Store

27 June 2016 The renewal of a department store in the heart of Metz Located Place de la République, the Galeries Lafayette building has undergone a real transformation, symbol of the city center’s metamorphosis in Metz and realized by architect Manuelle Gautrand. Reflecting the economic and social changes of the 19th century, the Department Stores, through their commercial and architectural boldness, are a part of the history of a city. In Metz, the Galeries Lafayette have then been a vector of the city’s image, contributing to its touristic and commercial dynamic and successively reflecting its different times.


Built in the 1980’s, the building – a true landmark in Metz – had to evolve in order to adapt to the new values of the Galeries Lafayette and to become a reference, both on the commercial and on the architectural level. Singular and remarkable element in the urban landscape of the city, the architect has focused on this urban scale of the building and referred to the symbolic aspect of Department Stores to give it a new image and identity.


Clothed in a stone facade, relaƟ vely cold and without any window or opening - except in its lower part – the exisƟ ng building had entrances and vitrines that were not very generous. In order to transform the image of this building, visible from the other side of the square and to turn it into a signal or landmark for passersby, the architect decided to preserve the stone façade, with interesƟ ng classical ornamental features and to concentrate on its lower part, space where the public circulates.


A canopy revisited like an origami With the objective to reconnect with the history of the Galeries Lafayette, Manuelle Gautrand chose to create a canopy as a reference to the exceptional glassworks that were built in the early 20th century. The project has been organized around this overhanging façade that revisits in a contemporary manner a strong symbol of the Department Stores. In a large ethereal movement of pleated glass, the canopy runs along the three facades of the building, on a total length of 120 meters. To echo the stone that it enhances and to refer to the Galeries Lafayette, the architect chose a red colored canopy which width varies from 2.30 meters to 5.30 meters, using a canƟ lever of 7.40 meters at the angle of the building; the height from the ground varies from 3.50 meters at its lowest point, to 11 meters at its highest.


Made of two tempered and laminated glass, in between which are enclosed four layers of red film – necessary to obtain the intensity of red desired – the canopy, 22 millimeters thick overall, fi nds a rhythm through a series of folds that are assembled with one another in a large wave-like movement. This long flight of glass starts at one side of the store, on Winston Churchill Street, then rises gradually up to the angle and main entrances of the building, to lower down along Clercs Street, and rise up again when approaching the following entrance on Poncelet Street. Technical achievement, the concepƟ on of the canopy was realized by TESS Ingénierie. The canopy is held by a metal structure made of triangular brackets that accompany each fold on its length and diagonal, in an almost chiseled manner.


The large folding of this canopy, which gives more height and breathing to the lower facades, allows balancing the general proporƟ ons of the building. The stone is now displayed in more reasonable proporƟ ons. The more the glass folds approach the angle of the building, the more they expand, as if they were trying to reach passersby on the Republic Square. The stone is now seen through the glass fi lter, becoming the seƫting of a new modernity.


Larger and more generous vitrines The building now exists on two scales: that of the square, off ering a landmark from afar, and that of the passersby, off ering now visible and generous entrance gates. The whole lower part of the building, situated under the canopy, is reconstructed in glass alternaƟ ng between large vitrines and entrance gates. The verƟ cal windows are screen- printed with a white poinƟ llism paƩ ern that comes to highlight them a delicate frame. In this way, they are displayed next to each other along the facades, like frames or pictures that are exposed to the public on the square.


The architect wanted the windows to refl ect and mulƟ ply the red color of the canopy, so as to give the impression that the canopy would extend endlessly into the lower façade of the building. These windows also refl ect the surroundings made of Jaumont stone. Whereas the upper facades of the Galeries Lafayette are made of a maƩ stone, the lower facades refl ect the golden stones of the surrounding buildings.


A lighting enhancing the new canopy A project of lighƟ ng and illumination of the façade was specifi cally developed with the light concepƟ on agency ON. At night, the light design reinforces the red color of the canopy that assures its nocturnal presence in the landscape of Metz and goes far beyond a simple “staging”.


The light continues the architectural gesture when the night falls. Completely intertwined with the structure, it offers new interpretations of it: -radiant, it shows the opalescence of the suspended glass under different angles; -graphic, it underlines the folds that are refl ected in the lower windows, emphasizing the eff ect of a suspended veil; - dynamic, it seems to make the canopy breathe in a slow beat. This quietness is at Ɵ mes disturbed by a vibraƟ on of the light that comes to deconstruct the original drawing of the canopy.


The technology used is inspired from that of the neon that has been representaƟ ve, for many years, of the “commercial and adverƟ sing nights” in large cities and metropolis. The neon celebrated its centenary in 2010. About 500 meters of electroluminescent tube were installed on the canopy. A specifi c coloring has made it possible to fi nd a perfect combinaƟ on between the shade of the glass and that of the neon. Equipped with transformers and used at slightly under 30% of their capacity, the energy consumpƟ on is completely controlled.


26 Sept 2015 The renewal of a department store in the heart of Metz. Located Place de la République, the Galeries Lafaye

Brand description
MANUELLE GAUTRAND ARCHITECTURE is a Parisian based architecture firm founded by Manuelle Gautrand in 1991. Manuelle Gautrand is the principal architect and director of the agency. Marc Blaising, partner, financial and administrative director has been involved in the general management of the agency since 1992. The team of over 15 architects develops projects for public contracting authorities as well as private firms both in France and abroad. Under the leadership of Manuelle Gautrand, each architect-project manager is in charge of a project. The two-level 350 sqm office is located in the Bastille neighborhood of Paris. The firm’s poetic architecture embraces the endless variety of forms and colors, using the most contemporary methods of planning in a variety of areas ranging from cultural facilities to residential, commercial and office buildings. The current projects in progress or on site are Cultural and Sport Center in Saint-Louis, a mixed-use building in Montpellier, Music and Dance Center in Ashkelon, urban complex (housing, hotel, offices) in Ouagadougou, etc… Among the firm’s recent completed projects are the “Origami” office building on Friedland Avenue in Paris; La Gaité Lyrique, an old Parisian theater transformed into a center for contemporary and digital arts and music; The Lille Museum of Modern, Contemporary and Outsider Art; La Cité des Affaires in Saint-Etienne, an administrative and office building. To “Re-enchant the City” and thus to bring emotion, to reinvent, to renew, to innovate and to propose the unexpected answers, to be bold and plural are the founding principles of the architecture of Manuelle Gautrand. The architecture, her architecture is what poetry was to Saint John Perse: “the luxury of being unaccustomed”. At the core of the process of creativity lies the approach to each new project through the spirit of “blank page”, with no à priori. Yet all her projects express a specific relationship to the site: a desire to revive it and enchant; a deep commitment to working on the programs entrusted to the firm, make them even more efficient, more malleable and more unexpected… The project must each time become a unique and symbolic encounter between the site and the program.
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