The landscape of Liévin is dark, almost black, having once been a prosperous coal and anthracite mining centre. Indeed, next to the site stand two sturdy coal chimney stacks as visible witnesses to that past and symbols of the surrounding area.
The function of the new building is basically that of adequately storing the huge amount of valuable artworks, around 250,000, which are currently kept in the vast basements of the Louvre. The need to provide suitable facilities for all these treasures is what prompted the directors of the Louvre and the French state to hold this major competition.
The success of the construction of the first extension of the Louvre by SANAA in Lens led to the decision to build this second extension in Liévin, in the immediate vicinity of Lens.
The building of Campo Baeza and Gabrion appears on the landscape like a great ship, very horizontal and dark, conjuring up the idea of a fortress capable of securely guarding those treasures. The motto with which they won the competition was le bateau ivre (the drunken boat), echoing the title of the well- known Rimbaud poem as well as the precision of its poetic ABAB rhythm.
A large, dark podium housing all the workshops and services, with the cubic part of this great warehouse emerging like the chimney of a great boat. While the image of the boat is appropriate, even more so is the dry dock element, because that is precisely how it appears: a boat being repaired in dry dock. Repairing the works of the Louvre.
In functional terms, the spatial structure created by Campo Baeza and Gabrion is one of extreme rigor and precision, just like Rimbaud’s poem.
All the requirements of the complicated program have been carefully fulfilled and everything placed in order.
An order that these architects defend as one of the essential characteristics of Architecture. Campo Baeza recalled with emotion the story of Bernini and his trip to Paris to see the Louvre being built- a journey wonderfully described by Chantelou in a highly recommended book for all architects.
And how, after three projects, the building was finally constructed by Perrault. There is merit in looking again at Bernini’s beautiful drawings for Paris. And as Campo Baeza explains, had they won the competition, this possibility of building the new Louvre, it would have somehow or other removed the thorn from the side of the great maestro. And, while it will not come to fruition, its authors have dedicated their project to Bernini.
C.J.
Title: Centro de conservación y restauración para las colecciones del Museo del Louvre.
Location: Liévin. Región Nord-pas-de-Calais. Francia.
Architects: Principal Architect: Alberto Campo Baeza
Associate Architect: Raphaël Gabrion
Collaborators: Elena Jiménez, Tommaso Campiotti, Imanol Iparraguirre, María Pérez del Camino, Ignacio Aguirre, Alejandro Cervilla.
Landscape: Emma Blanc
Structure: Bollinger-Grohmann
Economy / Systems: SAS Mizrahi
Environmental engineering: RFR Elements - Security: Gevolys
Client: Musée du Louvre + Région Nord-Pas de Calais
Dates: Redacción de la fase Concurso: Noviembre 2014 – Febrero 2015
Redacción de la fase de Negociación: Mayo 2015 – Julio 2015
BUDGET: 35.000.000 Euros
Area: Building: 17.342 m2
Urban development: 40.000 m2
