architectural abduction

source: pierredelavie

Getting « to the reality »? Yes, but the one we don’t see in order to invent an art form or an seriously joyfull urban lie and create architectural objects set free from their own first degree look. They suddenly appear in the city taking our reason to the treshold of what’s credible.

Soften a building in Paris, avenue George V, simulate the deconstruction of the Grand Palais’ front, make visible Versailles in the open sky, or divert (without exaggerating) the Canebière for Marseille 2013, why not? It’s simply about giving memory some steps ahead.

Are we ever sure of what we see? It’s the overall issue of a research that questions and makes light of the reality with every means, indoor/outdoor, in situ in a monumental size, or through intimate exhibitions, with a priority of breaking every possible certainties.
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source: parisiennetouchwordpress

Un chaos monumental règne à l’entrée Clémenceau du Grand Palais. Tout l’ordonnancement – façades, corniches, colonnes corinthiennes – a éclaté. Le portique en ruine est au bord de l’effondrement. En fait, cette déconstruction d’un l’édifice néo-classique – dont la mémoire transpire des murs – revisite un tournant de civilisation. Il s’agit d’un chaos organisé autour de L’enlèvement des Sabine, considéré comme l’acte fondateur de la Rome Antique. La scène est représentée sur des toiles peintes dans les replis du portail, en écho à la grande exposition Moi, Auguste, Empereur de Rome… Avec ce rapt architectural, le plasticien Pierre Delavie ouvre une brèche dans nos perceptions et nos certitudes. Une auguste façon de pénétrer dans l’exposition.
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source: designboom

french artist pierre delavie has transformed the grand palais in paris into an ‘urban lie’, distorting the architecture of the famed building with ‘neo – rapt architectural’. questioning reality and manipulating city landscapes, delavie changes the face of building facades, integrating fake structural elements and projected light into the existing space. by manipulating the exterior skin of the renowned european museum, he forms a new archetype he calls, ‘architectural abduction‘, where the falsification of the traditional image is changed and reinterpreted as a new space. additions and subtractions render the structure imperfect, changing the manner in which passers-by perceive the historically significant landmark.