Fondation CAB in Saint-Paul-de-Vence

Building design

The Fondations CAB in Saint-Paul-de-Vence is a unique accommodation experience.photo: Antoine Lippens

Many artists and architects fell for the charm of these buildings from the 1950s before art from the Brussels-based Fondation CAB collection was exhibited in them. There are also four guest rooms and the “6 x 6” cottage by Jean Prouvé, which can be booked between spring and fall. The exhibition spaces, bookshop and guest rooms were carefully renovated by Parisian architect and designer Charles Zana in 2021.

No, Teddy Roosevelt does not come to life, nor does Amelia Earhart. Instead, the capuchin monkey Dexter is not up to any mischief, and the tyrannosaurus Rexy is not screaming for a bone to retrieve like in the movie “Night at the Museum”. After all, Saint-Paul-de-Vence is not Hollywood and the Fondation CAB is not the American Museum of Natural History. Nevertheless, a night at the museum on the Côte d’Azur is magical.

The collection rooms are closed in the evening. But the stone circle “Along the Way” by Richard Long belongs to the overnight guests alone. And the museum residents eat their breakfast exclusively before the museum visitors in the SOL café-restaurant under Sol LeWitt’s “Wall Structure” at pentagonal tables – designed by Charlotte Perriand for the Les Arcs winter sports resort. You don’t have to become a museum night watchman like Ben Stiller in the film; the four guest rooms are easy to book online via the museum website.

The Fondation and Café – Restaurant SOL are closed between November and February and offer an artist a place to live and work. The four guest rooms can be booked all year round from 200 euros per night; a night in the “Maison Démontable 6 x 6” costs 600 euros.

In 2021, Belgian art collector Hubert Bonnet moved some of his exhibits from the Fondation CAB in Brussels, founded in 2012, to Saint-Paul-de-Vence in the south of France. He had commissioned Charles Zana to renovate the elegant building complex from the 1950s. Bonnet, who primarily collects and exhibits minimalist and constructivist art from the 20th and 21st centuries, was not the first to fall under the spell of this location: Pablo Picasso, Georges Braque, Joan Miró and Alexander Calder immortalized themselves in the Hotel La Colombe d’Or in the 1920s.

Marc Chagall has been buried in the small cemetery since March 1985. In addition, the gallery owners Aimé and Marguerite Maeght opened their Fondation in the magnificent rooms of Josep Lluís Sert at the same location in 1964, expanded last year by the Parisian architect Silvio d’Ascia.

The rooms are between 24 and 40 square meters in size; two of them open onto terraces, all are furnished with art and furniture by Alvar Aalto, Paolo Buffa, Poul Kjaerholm, Max Ingrand or Hans J. Wegner. Sitting on them, putting them in, putting them away and touching them is not only allowed, but necessary – how else can you fit your wardrobe into the room divider for the “Maison du Brésil”, designed by Le Corbusier and Charlotte Perriand in 1959? Where better to relax than on the “Scissor Chair” by Pierre Jeanneret or on a Fritz Hansen sofa from 1938?

The Fondation CAB has also been expanded: the garden is home to Jean Prouvé’s famous “Maison Démontable 6 x 6”, which the designer and blacksmith developed in 1944 as a temporary refuge for the homeless. Once divided into three rooms, the wooden house with its original furnishings is now a spacious sleeping and living area and can be booked in summer. Electricity and air conditioning have now been installed. The bathroom is accessed through the garden. At 600 euros, the stay is not cheap. But a night in this wonderful museum is priceless anyway.

Click here to book! Have a nice vacation, Baumeister.

This is an article from the March 2025 issue of Baumeister. You can find out more here.

POTREBBE INTERESSARTI ANCHE

Sebastian Stettner – Work assignment successful

Building design

From 1995 to 1999, the author restored five paintings from the main altar of the Franciscan church in Subotica (Hungary). The archive material available there already provided indications of the authorship of Sebastian Stettner (1699-1758). The documents in Subotica describe, among other things, the execution of the commission. According to them, Sebastian Stettner painted St. Michael “with extraordinary skill and expertise” in such a way that he […]

From 1995 to 1999, the author restored five paintings from the main altar of the Franciscan church in Subotica (Hungary). The archive material available there already provided indications of the authorship of Sebastian Stettner (1699-1758).

The documents in Subotica describe, among other things, the execution of the commission. According to them, Sebastian Stettner painted St. Michael “with extraordinary skill and expertise” in such a way that he steps on the devil. However, the client criticized the number of devils: “Why so many devils?” (Archivium 1751: 30). The artist therefore had to make changes to his painting and probably painted a completely new picture, as X-ray examinations showed no traces of overpainting. As things stand at present, he probably only submitted an oil sketch to the director of the House of the Order and chose the current iconographic concept before executing it. Unfortunately, these or other sketches by Stettner have not survived. They would have provided a better indication of his drawing skills and would have brought us closer to the art workshop where he studied.

However, by examining the materials and production techniques and evaluating the sources, a total of 14 works could be attributed to this master. The painter and gilder, whose origins are documented as “Dorst, Baijern” but could not be verified, settled in Buda (Hungary) in 1727, where he was granted citizenship in 1736. The city fathers made their decision dependent on the consent of two painters in Buda: Georg Falkoner (1646-1741) and Kaspar Landtrachtinger (1670-1744). Around 1738, his marriage to Maria Theresia Seth (1716-1789) enabled him to acquire a house in which he ran his workshop. His wife was also a painter and continued to run the workshop after Stettner’s death.
You can find out more about Sebastian Stettner’s painting technique in RESTAURO 4 / 2014.

Adding a storey to a house using a 3D printer

Building design
PERI realizes the world's first residential building extension with 3D concrete printing technology in Lindau.

The PERI company is realizing the world's first residential building extension with 3D concrete printing technology in Lindau/Lake Constance. Photo: PERI

After the first residential building with 3D printing technology, PERI has now realized the world’s first residential building extension – also with a 3D printer – in Lindau. You can read all about the project here.

Following the first residential building with 3D printing technology, the company Peri has now realized the world’s first residential building extension – also with a 3D printer – in Lindau. You can read all about the project and its significance for contemporary urban development in terms of redensification here.

A few weeks after Germany’s first 3D-printed house was opened in Beckum, the Weißenhorn-based formwork giant Peri is once again making a name for itself with a project on Lake Constance. This time with the addition of a storey to a residential building in Lindau, Bavaria.

The planning architect André Baldauf is extending the residential building by one storey. What is unique about this residential extension is that the load-bearing wall structures of the new storey are applied to the existing load-bearing structure using a 3D concrete printer. For this purpose, the old roof is first removed and a concrete ceiling is placed on top. In contrast, the ceiling is still being produced conventionally, as current 3D printing processes are not yet suitable for ceilings.

This creates an additional storey on the house with a floor area of 120 square meters and a height of 3.70 meters. The insulation made of Neptune gas insulates the double-shell walls. A new timber folding roof completes the extension at the top. With this project, Peri wants to show how flexibly 3D printing technology can be used in building construction. A particular challenge in the extension project in Lindau was the slope of the property, which initially posed difficulties for those involved in setting up the 3D printer. Like the house in Beckum, the extension in Lindau is a prototype project for Peri, with which the company wants to demonstrate the possibilities of its technology.

Similar to a 3D printer for plastics, the 3D concrete printing process from Danish company Cobod used here involves applying layers of specially designed concrete on top of each other until the desired wall height is reached. This is because the printer is set up as a gantry printer. This means that the machine stands on a structure that spans the work surface. This allows the print head to move in the resulting space. The print head uses a nozzle to apply layers of concrete two centimetres high and five centimetres wide as standard.

Layer by layer, load-bearing walls are created that can follow almost any curves and curves. The layer structure creates the corrugated look of the walls that is typical of this 3D printing variant. According to the manufacturer, the printer used (BOD2) takes around five minutes to print one square meter of double-skin wall.

The concrete used is a special formulation. The manufacturer HeidelbergCement has developed this specifically for 3D printing and calls it “i.tech 3D”. It is designed for good pumpability and high green strength and allows fresh-in-fresh printing. The special concrete is said to be fully recyclable and its development focused on the lowest possibleCO2 footprint. According to the manufacturer, up to 50 percent ofCO2 emissions can be saved compared to conventional concrete construction.

The advantages and disadvantages of adding storeys to buildings using 3D printing are similar to those of 3D building printing in general. In terms of time, costs and manpower, the technology already has an advantage over molded concrete in certain areas of application. In addition, complex shapes can be realized without high additional costs. However, there is currently no way to print reinforced walls with increased load-bearing capacity. This is because the choice of materials for 3D printing of buildings is still very limited.

3D concrete printing could provide a significant boost to urban densification. Where possible, a 3D-printed extension can also be harmoniously added to complex building structures. Compared to traditional construction methods, the disruption caused to the surrounding residents by the construction work would ultimately be reduced, at least in terms of time. This could therefore pave the way for greater acceptance. In the near future, the method could also offer considerable cost savings in some cases compared to traditional formwork concrete construction.

The 3D printing of buildings is still in its infancy and is currently undergoing a rapid phase of development. We can look forward to many more innovations in this area before certain processes become established and suitable for the mass market.

You can find more information on Peri’s 3D concrete printing process on the manufacturer’s website.

Also interesting: In Hamburg, the urban real estate developer Sprinkenhof is planning an administrative building in timber construction together with ADEPT. This is set to become Germany’s largest timber building.