The Nantes School of Architecture as a Commentary on the Connective Uncanny

1The Nantes School of Architecture as a Commentary on the Connective Uncanny

2The Nantes School of Architecture as a Commentary on the Connective Uncanny

The Nantes School of Architecture as a Commentary on the Connective Uncanny3

Lacaton and Vassals Nantes School of Architecture indirectly engages with the concept of the uncanny as defined by Sigmund Freud. Under the pretext of an unpolished, honest work, the architects engage in a design with organically connected spaces that give focus to the human element. This element draws parallels with Sigmund Freuds 1919 paper The Uncanny, which explores the role of the uncanny as a process of revelation. Professor Nicholas Royles following critical analysis of Freuds work in his own book further explores aspects of his paper involving the cyclic nature of the double, reinforcing the previous ideas. Since the Nantes School of architecture utilizes a visual approach to explore many of the same complex devices studied by Freud, it can be regarded as an architecture of the uncanny.

Lacaton and Vassals 2009 refurbishment of an old architecture school was designed around a highly expressive and flexible programmatic structure in a permanent state of transition that morphs to suit the needs of the end user. The architecture school is well known for its generous floor space and open plan system, creating an incredibly flexible educational lifestyle for students. This highly expressive approach has been noted by critics, who have heralded the architects design philosophy as being provocatively at odds with the more polished work of their French compatriots[endnoteRef:1], with the grungy concrete exterior and visible steel framework acting as a contrast to standard Modernist French designs. Ultimately, the lack of distinction between areas means the school of architecture is open in more than a literal sense through a visual connection. (fig 1.1). Since the building abandons the concept of a finished building in favor of a flexible arrangement, this creates a highly versatile user experience, while simultaneously giving rise to the uncanny. [1: Catherine Slessor, Nantes School of Architecture by Lacaton and Vassal, Nantes, France, The Architectural Review, 1 June 2009, http://www.architectural-review.com/buildings/nantes-school-of-architecture-by-lacaton-and-vassal-nantes-france/8601117.article (accessed 20th March 2014)] Fig 1.1 Construction diagram. Note the amount of open space maintained through each stage of the building process.

Sigmund Freuds 1919 paper explores the uncanny phenomenon by suggesting that it is that class of the terrifying which leads back to something long known to us, once very familiar[endnoteRef:2], elaborating on Ernst Jentschs work in the early 20th century. According to Freudian theory, the uncanny is a sensation of something being simultaneously familiar and foreign, leading to revulsion towards said object. This revulsion derives from confusion in attempting to rationalize the paradox, eventually leading to rejection. Freud explores the origins of this sensation in his analysis of Hoffmans The Sandman, where he comments no bodily injury is as much dreaded by them as a bodily injury to the eye[endnoteRef:3], meaning the visual sense is considered to be one of the most important connections to the human world. The loss of this connection is associated with a base childhood fear, drawing references to visual suspension, darkness and cyclic terror as the key components of the uncanny. The term of the uncanny becomes analogous to a hidden or denied connection from the re-emergence of something long familiar. In a similar fashion, Nicholas Royles 2003 analytical text explores the looming presence of darkness within Freuds work. He defines the uncanny presence as the process of seeking the light of truth from the darkness, a visual metaphor that can be traced back to Freuds own analysis of the Sandman. He also notes that the uncanny seems to be about a strange repetitivenessthe return of something repressed, the constant recurrence of the same thing[endnoteRef:4], reinforcing Freuds concept of recurrence and the cyclic double. Such parallels can be drawn along Lacaton and Vassals own transitional design philosophy. [2: Freud, Sigmund, The Uncanny, published in 1919, date accessed 11/04/14, http://web.mit.edu/allanmc/www/freud1.pdf, p. 1-2] [3: Freud, Sigmund, The Uncanny, p. 7] [4: Nicholas Royle, The Uncanny, (Manchester University Press, 2003), p. 84]

When the design of the Nantes School of Architecture explores the melding of spaces it relates with the Freudian uncanny through the process of revelatory connection. For architects Lacaton and Vassal, architecture that can readily adapt to changing needs and has spaces that encourage community growth and interaction instead of segregation can be considered connected, creating a contrast to contemporary architecture that focuses on aesthetic form. This process of revelation parallels Freuds theory, specifically how the uncanny emerges from the darkness[endnoteRef:5], as noted by Royle where he states It is not so much darkness itself, but the processof revelation or bringing to light, that is uncanny[endnoteRef:6]. For the Nantes School of architecture, the revelation is the process of linking free-form spaces, and the related effects within a greater context. It distinguishes itself from its peers by leaving a vast swathe of open space in addition to the established programs, allowing functions to blur over each other or create opportunities for new spaces. The process of forming these connections can be considered an aspect of the uncanny, since the user is moving from the darkness of disconnect to a more integrated situation. [5: Nicholas Royle, The Uncanny, p. 108] [6: Nicholas Royle, The Uncanny, p.108] Fig 1.2. Ceiling-high windows and sliding doors breaking down the distinction between internal/external space. Also note the large amount of open area.

The architects further emphasize these qualities through an integrated structural narrative, in a similar fashion to Sigmund Freuds literary analyses. The buildings interiors with ceiling-high windows and sliding doors immediately introduce an illuminative quality; the latter serving to break down the distinction between the interior and exterior to bring the light from darkness, while the ground floor utilizes the same material as the asphalt street, so there is no longer a division between the institution and the city. Despite the concrete framework, the large open spaces and wall-height windows give the architecture a bright and public atmosphere that encourages communication (fig 1.2). The architecture is actively moving away from a disconnected, linear form, away from the conceptual and visual terror of darkness illustrated by Freud towards a more pleasurable, well-lit floor layout. The concept of connections is heightened through the introduction of in-between spaces of the building; thanks to the double-height volumes from the 2 main structural systems large intermediary spaces are created, becoming free multi-use areas (fig 1.3). As noted by the World Architects review, a supporting secondary structure organizing the height of the main decks enables the programmed spaces to be installed completely independently of the superstructure[endnoteRef:7], creating many areas with no established function. When Sigmund Freud expresses that damaging or losing ones eyes is a terrible fear to childhood[endnoteRef:8], the well-lit, visual design works as an inverse to that concept, yet the mere act of doing so can be considered a recalling of that memory and hence the uncanny connection of the Nantes School of Architecture is given presence. [7: World Architects, Nantes School of Architecture, author unknown, published 2009, last accessed 24th April 2014, http://www.world-architects.com/en/projects/33886_Nantes_School_of_Architecture] [8: Freud, Sigmund, The Uncanny, p.7] Fig 1.3 Spatial layouts showing lack of walls, so spaces can blur over each other. There is also a generous amount of in-between/transitional space.

Nicholas Royles proceeding analysis of the Uncanny text furthers these ideas by suggesting that blindness and insight mirror each other where moments of greatest authoritorial insight are characteristically moments of blindness, or vice versa[endnoteRef:9]. The associated concept of repetition that is seen when Royle states that, darkness is repeatedly mentioned, implied evoked[endnoteRef:10], suggests the reiteration of the double into a cycle. This interpretation can be applied not only to the structure of the architecture school, but also the greater cultural context and the corresponding role of the design. [9: Nicholas Royle, The Uncanny, p. 109] [10: Nicholas Royle, The Uncanny, p.110]

One way the concept of the conflicting cycle is suggested in the design is through the external ramp running through the 3 main building decks (fig 1.4). While the school of architecture does explore this perspective, it initially subverts this terror by appealing to the humanistic ego through repetition and connection. However, by constantly returning and re-emerging from Freuds notion of terror, the ramp becomes an uncanny architectural element. The ramps connection progressively puts the ground surface of the city in touch with the sky overhead[endnoteRef:11], as expressed by ArchDaily, yet simultaneously it moves in and out of the building, spatially shifting between lighter and darker areas. It constantly doubles back on itself, thereby resolving itself as a cyclic element. The architecture directly engages with growth and regression illustrated by Freud by incorporating it into its spatial structure. This clashing statement fits neatly with Royles own statements that the two poles of apparent opposition (blindness and insight) merge into one another[endnoteRef:12]. [11: Archdaily, Nantes School of Architecture/Lacaton and Vassal, author unknown, last updated 16 July 2014, accessed 24 April 2014, http://www.archdaily.com/254193/nantes-school-of-architecture-lacaton-vassal/] [12: Nicholas Royle, The Uncanny, p. 107] Fig 1.4 The ramp that progressively puts the ground surface of the city in touch with the sky overhead.

Within the larger cultural context of Nantes and its cultural revival, the School of Architecture reinforces Freuds idea of the double and the cycle in a greater conceptual sense. If one were to adapt Sigmund Freuds ideas of the double being a creation dating back to a very early mental stage,[endnoteRef:13] then the School of Architecture is the cyclic mirror or double of Nantes, reflecting the islands rapid cultural revival and revitalization of historic buildings and art scene (fig 1.5) while reminding people of its industrial past. The school of architecture acts as a constant reminder of this history through its concrete faade, retained from its earlier structure. This constant shifting between past and present is a key quality of the uncanny, acting as a constant reminder of the need to engage in the human element. Repressing such an aspect is to deny its connection as an uncanny architecture, creating the vision of terror[endnoteRef:14] described by Sigmund Freud. By extension, the theory can be connected back towards the idea of cycle postulated from Royles interpretative text in how the past and present mirror each other. [13: Freud, Sigmund, The Uncanny, p. 10] [14: Freud, Sigmund, The Uncanny, p. 7] Fig 1.5 Evidence of the revived culture and art scene in Nantes, where disused buildings are repurposed with new functions.

The model accompanying this paper visually resolves the above ideas by representing the spatial connections in the layout of the building, specifically in how the blurring and melding of traditionally segregated spaces gives rise to the uncanny. Established spaces are blocked out in white, while open spaces are mapped out with transparent pieces. The spaces initially appear chaotic but are in actuality given definition by users in their own transparent, but free-form personal spaces. The potential for spatial connection and overlap is made clear through the use of clouded pieces, which radiate out from the main blocks as if to blur over other areas. The use of the floor layout shape to base the Perspex grid also recalls the proceeding analysis of the role of the double in the uncanny.

The strength of Lacaton and Vassals work in the Nantes School of Architecture resides in its spatial exploration of the uncanny and linking them back to fundamental concerns that are given standing through Sigmund Freuds exploration of the uncanny concept. The design of the building ultimately stands as a successful example of architecture of the uncanny as well as uncanny architecture.

Sources

Books

1. Vidler, Anthony, The Architectural Uncanny: Essays in the Modern Unhomely, published in 1994 by MIT Press, P5-152. Royle, Nicholas, The Uncanny, published in 2011 by Cambridge University Press, P108-111

Online PDFs

1. Freud, Sigmund, The Uncanny, published in 1919, date accessed 11/04/14, http://web.mit.edu/allanmc/www/freud1.pdf2. Bresnick, Adam, Prospoetic Compulsion: Reading the Uncanny in Freud and Hoffman, published in 2001, accessed 11/04/14, http://faculty-web.at.northwestern.edu/german/uncanny/Bresnick_Prosopoetic%20Compulsion.pdf3. Holcim Foundation, University Building in France, published in 2009, accessed 14th April 2014, http://src.holcimfoundation.org/dnl/9f6b15d0-7219-4d2c-bb67-ca9661c8aa51/Nantes.pdf

Book Reviews

1. Liz Allison, Reading the Uncanny, review of The Uncanny, by Nicholas Royle, Cambridge Quarterly, 2004, http://camqtly.oxfordjournals.org.ezproxy1.library.usyd.edu.au/content/33/3/277.full.pdf+html

Websites

1. Wikipedia, The Uncanny, author unknown, last updated 11/02/14, date accessed 11/04/14, http://en.wikipedia.org/wiki/Uncanny2. Philosophical Eggs, 19. The Uncanny, Part 1, by Dwight Goodyear, last updated 5/12/12, date accessed 15/04/14, http://www.philosophicaleggs.com/?p=3083. Archdaily, Nantes School of Architecture/Lacaton and Vassal, author unknown, last updated 16 July 2014, accessed 24 April 2014, http://www.archdaily.com/254193/nantes-school-of-architecture-lacaton-vassal/4. MIMOA, Nantes School of Architecture, Author unknown, last updated unknown, accessed 13th April 2014, http://www.mimoa.eu/projects/France/Nantes/Nantes%20School%20of%20Architecture5. 032c, Lacaton and Vassal: Game Changer, Carson Chan, published Winter 2012-2013, last accessed 20th April 2014, http://032c.com/2013/o-architects-where-art-thou-game-changer-lacaton-vassal/6. World Architects, Nantes School of Architecture, author unknown, published 2009, last accessed 24th April 2014, http://www.world-architects.com/en/projects/33886_Nantes_School_of_Architecture

Presentation

1. Anthony Vidler, Fantasy, the Uncanny and Surrealist Theories of Architecture, presented at the conference Fantasy Space: Surrealism and Architecture, Manchester, Whitworth Art Gallery, 12/09/03

Picture References

1. Fig 1.1: Holcim Foundation, University Building in France, published in 2009, accessed 14th April 2014, http://src.holcimfoundation.org/dnl/9f6b15d0-7219-4d2c-bb67-ca9661c8aa51/Nantes.pdf2. Fig 1.2 Holcim Foundation, University Building in France3. Fig 1.3 Holcim Foundation, University Building in France4. Fig 1.4 Holcim Foundation, University Building in France5. Fig 1.5: Muskiebait adventures, http://muskiebaitadventures.blogspot.com.au/2010/09/a-whirlwind-in-europe-nantes-day-13.html

ENDNOTES