Project Development and Management

FRAC Nord-Pas de Calais

Between Philosophy and Economy?

Muresan Anca-Maria
Erasmus student, Romania
Coordinator Wim Wambecq

Abstract
As the cities are trying to regain their connection to the sea, the remaining bits of the ports are being
rethought and gradually integrated into the planning scheme. The same happened in Dunkerque, a port
in France, at the North Sea. Trying to revitalize the area and making it more appealing to both tourists
and cultural events, the idea of an industrial building turned into a museum came up. Eventually a great
critical success, the FRAC Nord-Pas de Calais was refreshed by a famous team Lacaton & Vassal that
took the competition to another level, leaving architectural critics around the world stunned at its inner
force and deep meaning. While expecting its visitors, arts and especially experimental arts lovers, one
might wonder: Was this 11129 sqm building really necessary in a 70000 inhabitants city?

Introduction
The museum was built to guard (exhibit, conserve, archive) the
Frac Nord-Pas de Calais collection of approximately 1500 works of
contemporary art belonging to both local and international artists.
The general idea of Frac (Fonds rgionaux dart contemporain) is to
gather art works into a comprehensive collection and then diffuse
it through both museums belonging to the group and nomadic
presentations, using peculiar broadcasting and educating tools1 in
order to move people. Established during Franois Mitterands
term of office, this initiative, along with his so-called Grands
Projets tells us something about the French political involvement Figure 1. AP2
(conseildesages.free.fr)
in culture and arts. This will make a point further in the paper.

History
Opened in 1949 as the Chantiers de France, the building to be transformed served as a shipbuilder,
dispatching all manner of great vessels until 1988.2 Its imposing silhouette against the sky and its vertical
rhythms on the facades have earned it the local name of The Cathedral (fig.1), playing an important
structuring role of the territory, as it kept alive the economical mechanisms. After its closing, it not only
left a profound social injury, but also a deep urban scar3.

Frac Platform - http://www.frac-platform.com/en/les-frac

Wright, Herbert Two of a kind, Blue Print 332, Jan/Feb 2014, p.193
3
Larchitecture du FRAC Nord Pas de Calais. Dossier pdagogique, p.8
2

Context
Accordingly, the choice of the site is not arbitrary and the
function of the building is meant to consolidate the
redevelopment of the Port of Dunkirk, probably also inspired by
the global tendency to preserve industrial wasteland, especially
if it has esthetic potential and emotional value.
The urban redevelopment began in 1989 with the launch of the
Neptune Project initiated by the Dunkirk Urban Community and
meant to limit suburbanization trend, and to re-orient the city
growth towards the inner docks. In 1991, the S3D (Socit de
Dvloppement de Dunkerque) gives the go-ahead to the
Richard Rogers masterplan.4(fig.2)
The plan, a comprehensive one, links the derelict industrial site
to the city center by an armature of routes, streets and public
spaces, *+ restoring this citadel island as an integral and Figure 2. 1991 Richard Rogers Masterplan
(www.richardrogers.co.uk)
dynamic part of the city. 5
Further in the development, in 2005, the Michelin offices design the Grand Large housing buildings, a
new neighborhood based on ecological principles and social and generational mix, so the architectural
project of Lacaton & Vassal comes as an urban extension to it.6 The connection to the other side will be
made, in the near future, by a bridge that will also cross the museum, making it part of the city.
Besides the urban context that is beginning to take shape, the political one was very favorable, with the
veteran socialist mayor and member of the Senate of France, Michel Delebarre, being also the founding
president of the Frac Nord-Pas de Calais. So it is easy to assume that the project highly benefited of this
mans personal ambition to establish this institution in a small city with no previous history of
contemporary art engagement, representing one of the braver campaigns in Frances crusade to
disseminate culture across its regions.7 With this acknowledgement, we are beginning to crack the
answer to our initial question Was this investment truly necessary?

Barelier, Laurent Dunkirk: A Green Alternative to Suburbanization, DAC&Cities, 19.04.2011

Richard Rogers site - http://www.richardrogers.co.uk/work/all_projects/dunkirk_masterplan
6
Larchitecture du FRAC Nord Pas de Calais. Dossier pdagogique, p.8
7
Woodman, Ellis Frac Nord-Pas de Calais, Dunkirk, by Lacaton & Vassal, Building Design, 27.11.2014
5

Concept
Architectonic twin8, Two of a kind9, Deux halles nes sous le signe des Gmeaux10 (Two halls born under
the sign of Gemini), these are the names given by publications to the Frac Nord-Pas de Calais building.
But what is its story?
Competition brief: to take the vast deserted shell of a ship-repair facility called AP2 and make a new art
centre.11
Unlike the other four finalists, Lacaton & Vassal thought of a way to save the initial building, as Anne
Lacaton said in her own words:Its a pity to sacrifice the volume12. By challenging the brief, they also
helped with the decision-making (one that saved AP2 from being crowded with different volumes).
Although risky, it was definitely worth it. The project is one of those where you can really feel the
protective hand of the architect, however you look at it, as we will also see in the next surprising
decisions related to cost efficiency and ecological considerations.
The firm decided to undertake a light-touch refurbishment of the structure13, their project costing,
shockingly, 1 mil. below the budget. This throws another light on the usual bargaining between the
architects and the investors, showing their consciousness at work: We must defend the idea of public
spending (Anne Lacaton), in line with the definite political dimension to practices ethos14.
Looking now further at the building, one should ask: what does it have to offer?
First of all, the sheer empty space of the industrial building
(fig.3), left for the imagination of the artists, has such
flexibility, it allows work on different scales (helped by the
new overhead bridge crane).15 It also goes well with Fracs
philosophy developed since 1998: the accent was set on the
interaction art and design and reconciliation of the art with
the real, essentially through relational aesthetics.16 So it
really doesnt surprise us the comparisons that have arisen
since its opening with Cedric Prices unrealized Fun Palace Figure 3. Interior space of Frac Nord-Pas de Calais
and Piano & Rogerss Centre Pompidou, both framing, as (Philippe Ruault)

Vielhauer, Von Cordula Architectonic Twin: FRAC Nord-Pas de Calais by Lacaton & Vassal, Detail, 14.03.2014
Wright, Herbert Two of a kind, Blue Print 332, Jan/Feb 2014, p.188
10
Guidain, Margot Deux halle nes sous le signe de Gmeaux, Le Moniteur no.5753, 28.02.2014, p.26
11
Wright, Herbert Two of a kind, Blue Print 332, Jan/Feb 2014, p.193
12
Ibidem, p.193
13
Woodman, Ellis Frac Nord-Pas de Calais, Dunkirk, by Lacaton & Vassal, Building Design, 27.11.2014
14
Wright, Herbert Two of a kind, Blue Print 332, Jan/Feb 2014, p.202
15
FRAC Dunkerque / Lacaton & Vassal, Architecture and Urbanism nr. 521, p.29
16
Les collections des frac site: http://lescollectionsdesfrac.fr/les-23-fonds-regionaux-d-art-contemporain
9

Lacaton & Vassals building does, the kind of experimental

and progressive public milieu that Price had in mind,
although not for a moment presenting itself as a monument.
There is a high level of theatricality at play in its conception,
certainly, but a profound and very radical worldliness too.17
Second of all, functionally speaking, it presents an array of
spaces both public (exhibition hall, welcome/information,
additional spaces, experimentation/meditation, laboratory,
administration) and reserved for the work of art (goods
receipt
loading/preparation
room,
storage,
logistics/equipment room). This may prove extremely helpful
as the collection grows larger.
Third of all, and now back to its true ingenuity, it offers a
doppelganger volume of a former shipyard hangar.18 Despite
all the drunken jokes the project might get, it juxtaposes
delicately without competing or fading, an attentive response Figure 4. Functional axonometry
(www.lacatonvassal.com)
19

to the identity of the old building .

For the description of the building, we will mostly focus on its
cost efficiency and the environmental considerations, all
ruthlessly re-prioritized a process to which the Fracs brief
has been subjected to particularly dramatic ends.20, but we
will also depict, in concentrated amounts, its glorious poetry.
So, how did it manage to make savings?
A good mix of ferocious pragmatism, careful dimensioning
(wherever possible, the use of standardized products),
exposed concrete structure (plumbing and cabling surfacemounted included), cheap products, thermal efficiency is the
secret.
For the structure, they opted for a concrete frame with a 7,5
m grid resulting into 9300 m2 of space over five floors. For the
envelope, they used the double-skin ecological principle
(increasing the internal temperature with a consistent Figure 5. Interior, overlooking the sea
(Philippe Ruault)
17

Woodman, Ellis Frac Nord-Pas de Calais, Dunkirk, by Lacaton & Vassal, Building Design, 27.11.2014
Wright, Herbert Two of a kind, Blue Print 332, Jan/Feb 2014, p. 189
19
FRAC Dunkerque / Lacaton & Vassal, Architecture and Urbanism nr. 521, p.29
20
Woodman, Ellis Frac Nord-Pas de Calais, Dunkirk, by Lacaton & Vassal, Building Design, 27.11.2014 and Wright, Herbert
Two of a kind, Blue Print 332, Jan/Feb 2014
18

7C)(fig.5), with the outer skin largely made of transparent corrugated polycarbonate (25-30/sqm)
mounted on light metal frames in a fixed form as well
as in floor-to-ceiling sliding panels and the second
skin, placed 2 m behind the first one, is either floorto-ceiling glazing in the public area or insulated
sandwich panels (for the unlit art storage spaces)21.
Besides being incredibly effective, the polycarbonate
surface is also scenographic(fig.6), making out of the
space behind a spectacle of shadows and vagueness.
Also, the gap between the exterior skin and the
inner glazing accommodates stairs (making one Figure 6. Night view
think of Le Corbusiers architectural promenade) or (Philippe Ruault)
is spanned by floor to create passages along the facade.22 For the last two floors, the ones that make
out of the maritime landscape a work of art23, the envelopes polycarbonate starts to give way to the
glass and although the attic-like volume lacks the double enclosure, thus making the atmosphere cooler,
the temperature is moderated by the use of ETFE pillows.24
So I am sorry for overusing this phrase, but the building reminded me of the famous God is in the
details., as Jean-Philippe Vassal thought of another Mies van der Rohe catch-phrase, Less is more,
saying that today, he thinks this should also include the issue of economy, of materials price, of the
workforce and the fact that the ultimate material we are working with is the money.25
All these decisions that were made based on the cost efficiency issue make one think if Lacaton & Vassal
were not aware of the same question we asked ourselves. The necessity of such an investment in a small
city. But they beautifully dismissed the problem by seeing right at the core of their mission the public
access to different collections of art. As Anne Lacaton says, the project was very important for them
because its a public collection26.
Financed by ministre de la Culture et de la Communication, Region Nord-Pas de Calais, Communaut
urbaine de Dunkerque and Union europene (FEDER)27, all public institutions, this is when we ask
ourselves if those money were well spent in the city, putting in balance two things: one doesnt know
the outcome of it (it may not be such an attraction for people so one can call it educational) and what
one could have done with those money, socially speaking. The truth is - The building hits at Frances
largesse for publicly funded cultural citadels28.

21

Woodman, Ellis Frac Nord-Pas de Calais, Dunkirk, by Lacaton & Vassal, Building Design, 27.11.2014 and Wright, Herbert
Two of a kind, Blue Print 332, Jan/Feb 2014
22
Wright, Herbert Two of a kind, Blue Print 332, Jan/Feb 2014, p.193
23
Querrien, Gwenal Frac Nord-Pas-de-Calais, Archiscopie 127, jan.2014, p.15
24
Woodman, Ellis Frac Nord-Pas de Calais, Dunkirk, by Lacaton & Vassal, Building Design, 27.11.2014
25
Larchitecture du FRAC Nord Pas de Calais. Dossier pdagogique, p.21
26
Wright, Herbert Two of a kind, Blue Print 332, Jan/Feb 2014, p.202
27
Querrien, Gwenal Frac Nord-Pas-de-Calais, Archiscopie 127, jan.2014
28
Wright, Herbert Two of a kind, Blue Print 332, Jan/Feb 2014, p.202

Another problem that postpones the success of the centre is its

current isolation, making it difficult to reach. But there is a project
scheduled for 2015 that hopes to solve this problem a passarelle,
or raised pedestrian pathway that will continue east out of the
building, jump 111m across a canal and mount the great dyke that
protects the docklands from the sea. Already passed the competition
phase (won by Brigit de Cosmi), this link (fig.7-8) continues into the Figure 7-8. Bridge proposal
building, being the interface between the two sides, thus the ( brigitdekosmi.blogspot.be)
umbilical cord of two Siamese sisters.29 Although the bridge is now
crucial to make the building accessible, is this really the missing piece
that will turn this arts centre into a success or is it just another
investment to solve previously created problems? It is probably safe
to say that only time will tell.

Comparison to other FRAC museums

To try and answer the question of whether the building is really
necessary, let us zoom out to the entire France and observe the other
Frac regions and their art centres. Out of 23 regions, only five of them
have, until this date, built architectural projects, with two expected
to open in 2015. The ones that have already opened are in Rennes
(Frac Bretagne, designed by Studio Odile Decq, fig.11), Orlans (Frac
Centre, designed by Jakob & Macfarlane Architects, fig.9), Marseille Figure 9. Frac Centre
(Nicolas Borel)

(Frac Provence-Alpes-Cte-dAzur, designed by Kengo Kuma and

Associates, fig.10), Besanon (Frac Franche-Comt, designed by
Kengo Kuma and Associates) and Dunkerque (Frac Nord-Pas de Calais,
designed by Lacaton&Vassal).
The table below introduces us to some of the basic numbers involving
the financial issues of the built Frac centres. Along the price and the
surface of each building, the table also contains the number of
inhabitants of each city involved, the price per square meter and the
price per inhabitant so that we can see the efficiency of each.
First of all, as we can see from the different timelines, there was a
massive investment in this kind of culture spreading buildings in more
Figure 10. Frac Provence Alpes-Cte
dAzur (Roland Halbe)

29

Guidain, Margot Deux halle nes sous le signe de Gmeaux, Le Moniteur no.5753, 28.02.2014, p.27

or less the same period, as In France, culture is historically tied to public institutions30. And although
we may link the Marseille building to its 2013 title of European Capital of Culture, the other ones seem
maybe a little out of the blue. Then, there is the matter of looks.
The Frac Nord-Pas de Calais seems like the less monument of them
all, trying to capture as much art, means of preservation and of
archiving as possible and being more of a place of real experiment
(think of the halls where experimental theatres take place) than a
show-off.
When we look at the data regarding the price per sqm, the best Figure 11. Frac Bretagne
business of them all was, as you might have guessed by now, the (Roland Halbe)
building from Dunkerque. This proves once more its cost efficiency as well as time efficiency, but it still
doesnt solve the problem of its location, resulting in the most expensive of them all per capita.

Frac centre*, architect

Price

Surface

Number of
inhabitants
70000
850000
113000
206000

Dunkerque
12 mil.
11129 m2
Marseille
21.5 mil. 5757 m2
Orlans
8.5 mil.
3400 m2
Rennes
12.2 mil. 5000 m2
*The Besanon centre is missing because the building is shared with Cit de la Musique

Price
/ m2
1078
3734
2500
2440

Price
/
inhabitant
171
25
75
59

Timeline
2009-2013
2007-2013
2006-2013
2005-2012

Facing the same criticism we are arguing about concerning Frac Nord-Pas de Calais, the centre of
Marseille responds, through the president of the Provence Alpes-Cte dAzur Region when asked by
FranceTV about such an investment in a city known to be facing a challenging social juncture, When
there are social problems, culture mustnt be neglected. *+ here we support young artists, the culture
of today and of tomorrow. We are not just the region of Cezanne and Van Gogh.31

Bilbao effect?
The question we asked ourselves is not necessarily a problem of money, but of what effect will this
investment produce? Besides sensitizing people, of course. Can we talk about a Bilbao effect in this
case?
Although Frank Gehrys museum revitalized the economy of Bilbao, it was a really insane project to
build, especially moneywise. And as an economist was saying in 2007, 10 years after its opening, The
30
31

Davis, Sylvia The New Frac Marseille, France Today, 23.03.2013

Davis, Sylvia The New Frac Marseille, France Today, 23.03.2013

Guggenheim Museum Bilbao was a very risky project, but it is on the right track to being worth the huge
risk and investment.32 Could the same results be true in the case of Dunkerque, only shrunk to size? As
the same economist, Beatriz Plaza, further discusses, besides from the activity of visiting the exhibits,
the Guggenheim Museum Bilbao adopted market-oriented budgeting with parallel commercial
activities such as image copyright usage management, cafes, a high-end restaurant and a large museum
store all aimed at making the museum staff more efficient and sensitive to customers tastes.
Traditionally state-financed European museums have been reluctant to cash on such activities.33
So, with no commercial activity surrounding it, the future is uncertain. If it still relies on Frances public
expenditure, we can call off the comparison with Bilbao (meant in the appropriate scale). We are not
denying its bohemian appeal, because Frac Nord-Pas de Calais could become a cult building (by
analogy with cult movies). For the initiated only. It is really poetic, to make the exhibition space part of a
public promenade, it reaches the core of the principles that also emerged from French culture. But will it
lead to a truly economical Bilbao effect?
All the economical thoughts aside, if we think of the Bilbao effect as architecturally oriented, it is safe to
say it will not (as well as it didnt) stir tourists. Most of them, according to tripadvisor, see it as a joke, a
missed opportunity or as empty, not as splendidly revolutionary, although some seem to think it is
indeed an impressive building, only not reaching its full potential yet. As Witold Rybczynski said about
Bilbao museum, Whatever effect the *+ phenomenon will have on the way that tourists choose their
destinations, it has already had a major influence on the way that clients, especially museums, choose
their architects.34 And it can be said that some of the choices for Frac centres are object-driven
architects (BIG, Jakob & Macfarlane Architects).

Conclusion
After having thoroughly discussed the impact of a building over the city, comparing Frac Nord Pas-deCalais with its homologous from other regions, getting into the details of its construction, we are ready
for the close-up. Did we answer the question we asked ourselves in the beginning? Definitely no, all the
arguments led to a satisfying time will tell, because this is part of a buildings beauty. The way it ages
in time and not only aesthetically speaking.
There are definitely things that could be improved (like the access with the space around it), but the
comparisons to Tate Modern just make you think before issuing a judgment. Maybe it is high time to sit
back and relax and see what the future brings, not worrying so much on the building success, but
enjoying its philosophy. In the spirit of Scott Kings words written in the neon installation welcoming the
visitors: Lart est simplement la prevue dune vie pleinment veue. (The art is simply the proof of a life
fully lived).
32

Plaza, Beatriz The Bilbao Effect (Guggenheim Museum Bilbao), MPRA, 31.07.2007, p.4
Ibidem, p.3
34
Rybczynski, Witold The Bilbao Effect. Public competitions for architectural commissions dont necessarily produce the best
buildings, The Atlantic, sept.2002, p.2
33

Credit & Data

Project title: FRAC (regional contemporary artwork collection) of Nord Pas-de-Calais
Client: Communaut Urbaine de Dunkerque
Location: Dunkirk, France
Program: Artwork reserves, exhibition rooms, education
Dates: Competition 2009, design 2010, completion schedule 2012-2013
Architects: Anne Lacaton & Jean Philippe Vassal, with Florian de Pous; Camille Gravellier, Yuko Ohashi,
Juan Azcona (main project); Sandrine Puech, David Pradel, Simon Durand (competition)
Structure, mechanical systems: Secotrap
Metal structure: CESMA
Cost: Vincent Pourtau
Fire security consultant: Vulcano
Area: 11,129 m2 (new building: 9,157 m2, existing building: 1,972 m2)
Cost: 12 million euros (2011)35

Bibliography
Barelier, Laurent Dunkirk: A Green Alternative to Suburbanization, DAC&Cities, 19.04.2011
Davis, Sylvia The New Frac Marseille, France Today, 23.03.2013
FRAC Dunkerque / Lacaton & Vassal, Architecture and Urbanism nr. 521
Frac Platform - http://www.frac-platform.com/en/les-frac
Guidain, Margot Deux halle nes sous le signe de Gmeaux, Le Moniteur no.5753, 28.02.2014
Larchitecture du FRAC Nord Pas de Calais. Dossier pdagogique
Les collections des frac site: http://lescollectionsdesfrac.fr/les-23-fonds-regionaux-d-art-contemporain
Plaza, Beatriz The Bilbao Effect (Guggenheim Museum Bilbao), MPRA, 31.07.2007
Querrien, Gwenal Frac Nord-Pas-de-Calais, Archiscopie 127, jan.2014, p.15
Richard Rogers site - http://www.richardrogers.co.uk/work/all_projects/dunkirk_masterplan
Rybczynski, Witold The Bilbao Effect. Public competitions for architectural commissions dont necessarily produce
the best buildings, The Atlantic, sept.2002
Vielhauer, Von Cordula Architectonic Twin: FRAC Nord-Pas de Calais by Lacaton & Vassal, Detail, 14.03.2014
Woodman, Ellis Frac Nord-Pas de Calais, Dunkirk, by Lacaton & Vassal, Building Design, 27.11.2014
Wright, Herbert Two of a kind, Blue Print 332, Jan/Feb 2014

35

FRAC Dunkerque / Lacaton & Vassal, Architecture and Urbanism nr. 521, p.40

10