PROJECT PRESENTATION

LASCAUX IN 6 DATES:

1940: discovery of Lascaux

4 teenagers (Marcel Ravidat, Jacques Marsal,

Simon Coencas and Georges Agniel) set out on

an adventure on September 12th 1940 on the hill

overlooking the village of Montignac. It led them

to make one of the greatest archaeological disco-

veries of the 20th century.

The cave was listed as an Historic Monument in

December 1940.

1963: closure of Lascaux

The Minister for Cultural Affairs, André Malraux,

announced the closure of the cave on March 20th

1963.

1979: UNESCO listing

Lascaux was listed as a World Heritage site and

received the UNESCO award.

1983: opening of Lascaux 2

The first tourist entered Lascaux 2 on July 18th

1983.

Lascaux 2 is buried into the same hill as the

original cave. It houses a replica of the Hall of

the Bulls and the Axial Recess which account for

90% of the original’s paintings.

Two “exhibition chambers” tell the story of the

cave and describe the artistic techniques.

Almost 10 million people have visited Lascaux 2

since it opened.

Lascaux is the setting for a cave art masterpiece in the Dordogne,

in the Montignac area in the heart of the Périgord Noir.

This timeless and universal work is among the greatest creations in

Humanity.

The cave complex covers approximately 200m and is made up of round

rooms and galleries.

Research carried out in recent decades has found that Lascaux iconogra-

phy dates back to between the Solutrean and Magdalenian periods

around 20,000 years ago.

Frescoes represent many animals: horses, bulls, cows, a deer, feline

animals, a bear and even a weird unicorn.

These representations are accompanied by engravings and several

mysterious symbols.

© Larivière

© Semitour Périgord

© CG24

© Semitour Périgord

2012: start of the Lascaux

International Exhibition tour

This huge exhibition uses new moulding and mi-

neral wall recreation technology (patented “veil

of stone” technology) to reconstruct parts of

the original cave which were not reproduced in

Lascaux 2: the Nave (the Great Black Cow, the

Swimming Stags, the Panel of the Imprint and

the Back-to-Back Bisons) and the Well.

The grand tour of the exhibition aims at sharing

the heritage of humanity’s very first artists with

the world.

After Bordeaux (Cap-Sciences) in 2012, Chicago

(Field Museum) in 2013, Houston (Houston Mu-

seum of Natural Science) in 2013-2014 and

Montreal (Centre des Sciences) in 2014, the exhi-

bition returned to Europe in Brussels (Musée du

Cinquantenaire) from November 2014 to April

2015. After Belgium it will be Paris’ turn (Parc

des Expositions Porte de Versailles) to host the

exhibition from May to the end of August 2015

before it heads to Switzerland (Geneva) from

October 2015 to the end of January 2016;

then Asia: South Korea in 2016 and Japan

2016-2017.

2016: The Centre International de

l’Art Pariétal Montignac-Lascaux

The Lascaux cave in its entirety will be the

beating heart of the Centre International de l’Art

Pariétal in Montignac. The future complex will

focus on the entire reconstruction of the Lascaux

cave and the use of new imaging and virtual

technology for interpretation purposes.

The Cent re In ternat ional de l 'Ar t Par ié ta l

Montignac-Lascaux will be a reference for tourist

and cultural settings showcasing the popularisa-

t ion of cave ar t thanks to pain t ings and

engravings from the Lascaux cave.

20,000 years ago…

Man printed i ts mark on LascauxTHE DAWN OF ART

What does the Dordogne owe its status as the home of prehistory to?

Not only to the fame of exceptional sites such as Lascaux and Les Eyzies, but also our land gathers

testimonies of almost 450,000 years of human life which is the equivalent of the most recent quarter of

humanity.

Among the many sites, there are the deposits what focus is on the materials (tools, bones, burial places,

ashes etc.) that were kept in them and the fascinating caves which our ancestors decorated with

drawings, paintings and engravings.

The sheer number of these sites in the Périgord made our region a hotspot at the turn of the 19th and

20th century for the founders of prehistoric science led by Abbé Henri Breuil.

Certain periods, cultures and human types are even named after some of our sites. Aside from Lascaux,

the Dordogne has a multitude of painted caves and shelters which embody our ancestors’ first artistic

expression.

© CG24 © SNOHETTA - Duncan Lewis

Overview

The plot for the Centre International de l’Art Pariétal

Montignac–Lascaux covers a 6.5 hectare area in

total. The building unfolds at the foot of the hill

on a 11,400m² (1.14 hectare) area with a total

floor area of 8635m².

The land opposite the Centre (on the edge of the RD

704 road) is to be used as a car park (168 spaces)

and an additional ticket office for the busy summer

period.

The building is an average of 8m tall, approxima-

tely 150m long at its longest point and up to 70m

wide at its widest point.

The roof is softly jagged to reflect the movement of

the hill. The roof design is a key part of the project

as it brings to life the sense of a rift or crack in the

landscape which is also portrayed by the site’s

architectural style.

The building plays on the site’s layout and puts its

roots down in the hill where it harvests a sort of

organic continuity. The roof to the right of the back

wall is actually level with the ground.

The hal f -bur ied bui ld ing thus merges in to the

landscape. The back disappears into the hill and the

forest whilst the transparent front opens up wide to

the valley.

The choice of material is consistent with the notion

of a landscape building which is part of the geogra-

phy yet cuts through it. The flooring (indoor and out-

door), walls, roof and façade strip are made of the

same architectural concrete which makes the whole

building look like solid rock. The raw material

brings to mind the mineral world and the rocks in

the hills and caves. Concrete itself is a blend of

natural elements and human technique reminiscent

In order to secure the cave’s preservation conditions and its long-term longevity,

the Science Committee in charge of the site has recommended a complete

sanctuarisation of the Lascaux hill. This recommendation dictated the guiding

principle of the project which has just launched at the foot of the hill.

The Centre International de l’Art Pariétal Montignac-Lascaux site in Montignac-

sur-Vézère is between the Vézère Valley and Lascaux hill. It therefore unfolds on

the edge of farmland bearing the mark of human life and a dense forest whose

thick and tall vegetation plunges the undergrowth into darkness. Nestled between

these two contrasting landscapes, the project takes advantage of the geography

and of the hilly area. It is a landscape building which gives a sense of an incision

and underlines the border between the valley and hill. Based on contextual logic,

the Centre International de l’Art Pariétal Montignac-Lascaux is designed in keeping

with existing forces, natural irregularities and the site’s lumps and bumps.

In a way, the spirit of Lascaux also guided the architectural vision for the project.

It helped create an architectural project that is understated, that doesn’t overdo it

in terms of shape and material yet exudes real power namely in its relation with

the elements: the relief, forest, rocks and light.

PROJECT

DESCRIPTION:Vision

© SNOHETTA - Duncan Lewis

of Lascaux where cavities sculpted by nature were

the canvas for man’s thoughts and movements.

The project’s second material is glass which

dominates the façade and the cover of the orienta-

tion area. It produces a series of contrasting effects

with the concrete: obscurity/transparency; dark-

ness/light; raw/sophisticated; rough/smooth. Their

balance helps characterise the features of a unique

and modern setting.

In terms of use and function, the Centre International

de l’Art Pariétal Montignac-Lascaux is a visitor in-

terpretive centre. Unlike regular museums, a visitor

interpretive centre doesn’t exhibit collections of

items but instead showcases and describes a site

and its treasures. That’s why architecture, the site

and its educational vocation are intrinsically

connected here. The project has been designed

using an approach whereby the landscape, archi-

tecture and staging are considered one and the

same with a direct connection to the visit’s narrative

and scenario. Digital and interactive installations

play a key role.

A bespoke device using RFID technology and Wi-Fi

acts as a true tour companion. Throughout the visit,

everyone can collect content and information for

their age and level of knowledge to suit themes that

capture their attention.

In terms of the project as a whole, visitors can easily

distinguish between the areas due to the clear and

simple pathway and the connection of certain set-

tings to functions or services. Each setting has a

meaning in line with the content provided to the vi-

sitor. For example, the exhibition areas tend to be

deep in the hill and in the dark whilst reception,

transition and dining areas are bathed in natural

light. These variations in setting and light along

with the contrasts between ascent and descent,

indoor and outdoor, land and sky, nature and

culture are all reminiscent of the analogy with the

cave experience in its broadest sense.

The visitor journey

Vis i tors are gree ted by the Mont ignac - fac ing

façade of the Centre International de l’Art Pariétal

Mont ignac - Lascaux. I t s t ransparency creates a

visual connection between the indoors and outdoors.

It invites the general public to come in and provides

glimpses of what sort of thing happens in the

building. From the entrance, the notion of both phy-

sical and material accessibility is at the heart of the

project. The façade acts as a signal delivering a

simple initial message to visitors. It lights up at night

to embody the influence of the Centre International

de l’Art Pariétal Montignac-Lascaux. The reception

is where the general public gets individual informa-

tion equipment and begin their journey punctuated

by different sequences (zones 1-7 and intermediary

spaces).

Visitors can take the lift platform up to the observa-

tion deck on the building’s roof.

Visitors can enjoy expansive views and soak up

Lascaux’s surroundings from the observation deck

(zone 1). Visitors walk along a slightly sloped path

on the roof’s incline. Visitors walk outdoors on the

edge of the forest until they reach the entrance to

the Lascaux cave replica. Just like an open-air

tunnel, this landscaped path is designed to put the

general public in a setting similar to what cave’s

“discoverers” experienced in 1940. The tunnel goes

down and has retaining walls on either side against

the varied sloping land. The scene is set in the

space (atmosphere, narrative features etc.) to help

visitors to explore the replica.

© Casson Mann

© Casson Mann

The replica entrance has a contemporary look:

visitors know they are in the presence of a replica

despite the entire project being carried out by a

panel of prehistory experts to recreate a spatial

experience as close as possible to the original.

Inside the replica (zone 2), it is dark, damp and

sound is muffled, like in a real cave. This sequence

is above all dedicated to contemplation.

Upon leaving the replica, visitors enter a transition

space: a patio called the “Cave Garden.” The bond

with the sky, the vegetation and the bubbling water

characterise this setting which is meant to help visi-

tors adapt to the outdoor area after the moving and

emotional experience they had in the replica.

The next sequence, “Understand Lascaux” (zone 3),

is dedicated to deciphering the works in the cave

to help visitors realize and grasp the historical,

cultural and symbolic value. It is an informative and

educational exhibition area where digital devices

have a strong presence. Interactive tables provide

an opportunity to delve deeper into Lascaux.

The orientation area is an expansive central area.

It is the meeting point for the exhibition’s different

zones and is thus essential to traffic flow.

The Centre International de l’Art Pariétal Montignac-

Lascaux then offers visitors the chance to explore

different areas of expertise. The Cave Art Theatre

(zone 4) addresses historiography issues by looking

at the work of pre-historians from the 19th century

to the present day. The Cave Art World Tour gallery

(zone 5) has interlocking domes which screen

projections about painted caves all over the world.

The Two Avant-Gardes Area (zone 6) explores

the links between cave art and modern art in an

interactive digital gallery.

A seventh zone hosts temporary exhibitions.

Project data

Location :

Avenue de Lascaux, La Grande Béchade,

in Montignac (24290), France

Surface area : 53,065m2

Total floor area : 6307,70m2

© SNOHETTA - Duncan Lewis

PARTNERS AND FUNDING

At the request of Dordogne Department, Europe, French State and Aquitaine Region joinedforces for the project.

They are committed to several goals:- sanctuarize Lascaux hill to improve the cave’s preservation conditions to secure its long-term longevity

- bring heritage to the masses as the general public no longer have access to this monument

- promote technological innovation and expertise

- draw on the most cutting-edge virtual and augmented reality technologies to understand Lascaux paintings

- create an incredible facility with a unique expert technique to reconstruct painted rock

- pursue the ambitious policy to showcase prehistoric heritage

- bridge the gap between cave and modern art

- boost the region’s economic growth by focusing on high level cultural tourism in line with the natural and historical environment and contributing to the international reach of Lascaux and Vézère Valley.

PROJECT COSTS

The Centre International de l’Art Pariétal Montignac-Lascaux costs 50 M€ (exc. VAT) + 7 M€(exc. VAT) for outdoor work

Funding: Department (16.6 M€), Region (16.6 M€), Europe (12 M€), State (4 M€), Operator (2 M€)

Financial support from individuals and companies is required for the remaining 5.8 M€.

The Department has therefore joined forces with the Fondation du Patrimoine (non-profit organisation working

to protect and promote heritage) which has launched a subscription for the public and companies through the

Aquitaine Chamber of Commerce and Industry: www.fondation-patrimoine.org/don-lascaux4

The Department is also in contact with major national groups for patronage.

Agreements have been signed with:

- MAÏSADOUR for a group contribution of up to 300,000 Euros

- The Crédit Agricole corporate foundation for a contribution of 700,000 Euros

- The EDF Foundation for 500 000 Euros (specifically for disabled facilities).

© Semitour Périgord

PROGRESS ON THE PROJECT

- January 24th 2014: issue of the building and car park construction permits.

- April 10th 2014: notice of award of contract

- Late April 2014: work starts

- April 24th 2014: launch ceremony attended by Mrs Aurélie Filippetti, Minister for Culture and Communication.

- Autumn 2014: choice of public service delegate to operate the Centre International de l’Art Pariétal Montignac-

Lascaux: SEMITOUR Périgord won the tender

- October 2014: Termination of scenography studies

- Late 2014 - early 2015: attribution of scenography plots

The project is on schedule.

Following PRO studies and before work started, members of

the project team decided to reshuffle the group’s organisation.

The result was a new project team following the withdrawal

of Duncan Lewis Scape Architecture that worked with

Snøhetta’s on the design work for the building, outdoor

facilities and replica (in the sense of the structure designed to

feature the veils of stone). Services were reallocated by the

new team. For the work stage, SRA ARCHITECTES were

tasked with coordinating project management and works

management studies for the Architecture – Outdoor and

Replica Facilities sector.

Presentation of Casson Mann,Scenography

Founded in 1984, Casson Mann is a design agency

that produces innovative projects for its clients.

The agency has worked with most of the UK’s top

museums and has designed some of London’s

benchmark galleries (Victoria and Albert Museum,

Science Museum and the Churchill Museum at the

Imperial War Museum).

It has also designed projects in Moscow, Italy,

New York and the United Arab Emirates and has

worked on a regular basis in Philadelphia, Bologna,

Bordeaux and Central Asia.

It has won several awards (the Churchill Museum

alone won 6) for the quality of its design work. It

has also been recognised by prizes awarded by

museum professionals and consumer groups.

In 2006, Dinah Casson and Roger Mann were both

named “Royal Designer for Industry.”

PROJECT TEAM

• Commissioned architect and Landscaper: Snøhetta, Oslo, Norway.

• Associate architect at design stage: Duncan Lewis Scape Architecture,

Bordeaux, France.

• Project architect: SRA Architectes, Châtillon, France.

• Scenography: Casson Mann, London, United Kingdom.

• Virtual Reality Specialist: Jangled Nerves, Stuttgart, Germany.

• Construction Economist: VPEAS, Bordeaux, France.

• Structure Engineering Firm: Khephren Ingénierie, Bordeaux, France.

• Utilities and External Works Engineering Firm: Alto Ingénierie,

Bordeaux, France.

• Façades and Glasswork Engineering Firm: RFR, Paris France

• Lighting Designer: 8’18’’, Paris, France.

• Acoustics Engineering Firm: commins dBlab, Paris, France.

Presentation of Snøhetta,Commissioned architect and landscaper

Snøhetta is named after one of the tallest mountains

in Norway. Founded in 1989, Snøhetta is managed

by Craig Dykers and Kjetil Trædal Thorsen and has

offices in Oslo and New York.

The agency brings together architects, landscapers,

interior designers and graphic designers. The result

is an all-encompassing architectural vision which

stands out for its proven multi-subject approach.

With 24 employees in Oslo and 40 in New York,

Snøhetta represents a total of 17 nationalities. Its

cosmopolitan image is another key feature of the

agency’s identity. Snøhetta has created an agency

culture where diversity is key: diversity of both skills

and cultures. In this sense, it is a structure with the

ability to think, design and produce projects in

touch with the world.

Generally speaking, Snøhetta adapts its architectural

approach to each project as it creates an intrinsic

bond to the site and context. A site’s features should

inspire specific and adapted solutions to enhance

its qualities, free it from restrictions and create rich

and diverse architectural experiences.

In terms of professionalism and cultural understan-

ding, Snøhetta has a fantastic relationship with

France as proven by a number of projects including

the Centre d’Art Pariétal Montignac-Lascaux in the

Dordogne and the Annecy Convention Centre.

The Société du Grand Paris selected the agency in

2013 to take part in the negotiated procedure for

the Noisy-Champs train station and was recently

involved in the competitive dialogue for the deve-

lopment of the Grand Palais des Champs-Élysées

in Paris.

© Casson Mann

Further information about the projectand track progress on the site:www.projet-lascaux.com