Auditorium and open air amphitheater. Domaine de Bayssan by K Architectures Sigwalt Herman
22/09/2021.
[Béziers] France
metalocus, VALERIA OZUNA
metalocus, VALERIA OZUNA
The Domaine de Bayssan theater designed by Architectures Sigwalt Herman is a project that has preserved its historic circus soul, which corresponds to its cultural vocation, in both form and substance. For this reason, the proposal is largely inspired by circus architecture.
The concept is divided into three distinct architectural entities. The "small tent" houses the reception facilities, a space shared by the auditorium and the amphitheater. As a backdrop to the auditorium, the "big top" is the rehearsal and performance space. The "big open-air arena" or amphitheater completes the configuration.
The concept is divided into three distinct architectural entities. The "small tent" houses the reception facilities, a space shared by the auditorium and the amphitheater. As a backdrop to the auditorium, the "big top" is the rehearsal and performance space. The "big open-air arena" or amphitheater completes the configuration.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Marc Dunile.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Marc Dunile.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Marc Dunile.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Marc Dunile.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Domaine de Bayssan by K Architectures Sigwalt Herman. Photograph by Sophie Oddo.
Site plan. Domaine de Bayssan by K Architectures Sigwalt Herman.
Ground floor plan - phase 1. Domaine de Bayssan by K Architectures Sigwalt Herman.
Ground floor plan - phase 2. Domaine de Bayssan by K Architectures Sigwalt Herman.
Section - phase 1. Domaine de Bayssan by K Architectures Sigwalt Herman.
Section - phase 2. Domaine de Bayssan by K Architectures Sigwalt Herman.
Facade detail. Domaine de Bayssan by K Architectures Sigwalt Herman.
Like a circus camp, the Domaine de Bayssan by K Architectures Sigwalt Herman is in perpetual motion and reconfigures itself according to the cultural program and events. The architectural bodies of the Bayssan stages form a physical boundary separating the public area from the technical courtyard, which is restricted to the public.
"The threod running through work should not be sought in dogmatic writings, less still in on architectural trend. Here, the depth of lines is a question of stratified stories. Never gratuitous, shape arises from a quest for meaning or, quite simply, the naked outline of function. Or when architecture is frank, while waiting to find its essence. lt is a moving start."
The park of the Domaine de Bayssan is structured by an avenue protected by century-old plane trees and borders the large mineral plaza that connects the performance halls. The stage of the show hall, located in the center of the marquee, is surrounded by private areas dedicated to artists, technicians, and logistics.
In the amphitheater, the seating area is in the form of a circular hemicycle, in the image of the ancient amphitheaters, and has a capacity of 965 seats.
Description of project by K Architectures Sigwalt Herman
Context
The deep-rooted origins of the Domaine de Bayssan still remain a mystery, but its toponymy plunges us into the Gallo-Roman period which contributed strongly to the city of Béziers identity, its economic expansion and emergence in the history.
Today, it is a place of cultural freedom that holds its own on the cultural scene. The former "Sortie Ouest" theatre already had a noble vocation, much broader and more generous than the performing arts as simple entertainment. Sortie Ouest imposed a demanding and diversified programme, not only to satisfy the small circle of an informed public but also orientated towards «general education». It seeks to provide opportunity for sometimes unexpected artistic encounters, the inexhaustible source of rich and contrasting emotions.
Objetives
The theatre wanted to preserve its circus soul which corresponds to its cultural vocation, both in substance and in form. Consequently, the project largely draws its references from circus architecture.
Just as a circus encampment, the Domaine de Bayssan is in perpetual movement and reconfigured according to the cultural programme and events. Caravans, stages, banquets, barnums and all the other event facilities find their place, in both the public space as well as the support facilities. To respond to this great freedom in use, the landscape provides large esplanades devoid of permanent buildings, with the exception of the technical plant for the reception facilities.
Design intent
Reminiscent of the three canvas tents of the Théâtre Sortie Ouest, the project is divided into three separate architectural entities. The «small tent» houses reception facilities, a space shared by the auditorium and amphitheatre, that nourish and relieve us before and after, during interval. A backdrop to the auditorium, the «big tent» is the space for rehearsals and performance. The very «large open-air arena» or amphitheatre completes the configuration.
Borrowing from the archetypal form of the first «fixed» sedentary circuses, the auditorium and the lobby restaurant architecture are developed from a modular construction system. The moulding of the envelope is an architectural reinterpretation of the motifs that adorn circus tents. It adopts the radiant corolla pattern around the central mast which emphasises the canvas stitching.
Due to the bulk generated by its context and function, the open-air amphitheatre is unique in terms of its architecture. Unlike the amphitheatres of ancient Greece, its tiered seating is not inclined against a natural embankment, blending into the topography of the landscape to adopt its raw material.
It also expresses a circus style architecture, a somewhat strange tent whose canvas awning over the seating can be removed on sunny days. Only the stage remains under the pleated canvas cover, an opaque and dark veil over the mysteries backstage.
More information
Architects
Collaborators
Project architect.- Thomas Ehrhardt. Scenography.- Changement a Veu. Landscape architect.- Atelier Volga. Structural engineers.- Batiserf. Services engineer.- Bet Choulet. Building economist.- BMF. Acoustical consultant.- Altia. Civil engineer.- Ateve. Construction manager.- Apia Management.
Area
Phase 1.- 1770 sqm. Phase 2.- 2000 sqm.
Dates
2021.
Location
Béziers, France.
Photography
Sophie Oddo, Marc Dunile.
Karine Herman, Jérôme Sigwalt. K Architectures Sigwalt Herman
K Architectures Sigwalt Herman, a firm founded by Karine Herman and Jérôme Sigwalt. Throughout 2001, the agency's work was deployed in the Pavillon de l'Arsenal in Paris. In 2002, K Architectures led the "Museum of the Dunes" team in the final phase of the international competition to design the future Grand Egyptian Museum.
In 2004, Karine Herman won the AJAP (Albums of Young Architects and Landscape Architects) and part of the agency's work was exhibited at the Palais de la Porte Dorée. Since 2005, K Architectures associates and their team have taken on a wide range of projects of different sizes and types: housing, public cultural buildings (theaters, multimedia libraries), educational institutions (colleges, schools), urban, rural, or heritage sites.
Although the activities have so far been developed exclusively in France, the partners of K Architectures intend to export these principles. For the moment, they can't get enough of the diversity of national environments. Harmony matters little to them if the context is eloquent.
In 2004, Karine Herman won the AJAP (Albums of Young Architects and Landscape Architects) and part of the agency's work was exhibited at the Palais de la Porte Dorée. Since 2005, K Architectures associates and their team have taken on a wide range of projects of different sizes and types: housing, public cultural buildings (theaters, multimedia libraries), educational institutions (colleges, schools), urban, rural, or heritage sites.
Although the activities have so far been developed exclusively in France, the partners of K Architectures intend to export these principles. For the moment, they can't get enough of the diversity of national environments. Harmony matters little to them if the context is eloquent.
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