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1 THE NANTES SCHOOL OF ARCHITECTURE AS A

COMMENTARY ON THE CONNECTIVE UNCANNY

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2014

The Nantes School of

Architecture as a Commentary
on the Connective Uncanny
Based on an interpretative reading of Sigmund Freuds
The Uncanny and Nicholas Royles proceeding
textual analysis
The design philosophies influencing the development of the School of
Architecture in Nantes can be described as an engagement with the
uncanny, specifically in Sigmund Freuds exploration of how the sensation
arises from the process of revelation, an aspect also explored by Professor
Nicholas Royle who proceeds to explore his work concerning the cyclic
double.

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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
compatriotsi, 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 Fig 1.1 Construction diagram. Note the
experience,
while amount of open space maintained
simultaneously giving through each stage of the building
process.
rise to the uncanny.

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 ii, 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 iii, meaning the visual

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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 iv,
reinforcing Freuds concept of recurrence and the cyclic double.
Such parallels can be drawn along Lacaton and Vassals own
transitional design philosophy.
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 darknessv, as noted by Royle where he
states It is not so much darkness itself, but the processof
revelation or bringing to light, that is uncannyvi. For the Nantes
School of architecture, the revelation is the process of linking freeform 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

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of the uncanny, since the user is moving from the darkness of
disconnect to a more integrated situation.
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
Fig 1.2. Ceiling-high windows and sliding
the interior and exterior doors breaking down the distinction
to bring the light from between internal/external space. Also
darkness, while the note the large amount of open area.
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, Fig 1.3 Spatial layouts showing lack of
the
large
open walls, so spaces can blur over each other.
spaces
and
wall- There is also a generous amount of inheight windows give between/transitional space.
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
superstructurevii, creating many areas with no established function.
When Sigmund Freud expresses that damaging or losing ones
eyes is a terrible fear to childhood viii, 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.

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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 ix. The
associated concept of repetition that is seen when Royle states that,
darkness is repeatedly mentioned, implied evokedx, 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.
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 overheadxi, as
expressed
by ArchDaily, yet simultaneously it moves in
and out of the
building, spatially shifting between lighter and darker areas. It
constantly
doubles Fig 1.4 The ramp that progressively puts
back
on
itself, the ground surface of the city in touch
thereby
resolving with the sky overhead.
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 anotherxii.
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,xiii 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

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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
xiv
vision of terror 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.
Fig 1.5 Evidence of the revived culture
The model accompanying and art scene in Nantes, where disused
this
paper
visually buildings are repurposed with new
resolves the above ideas functions.
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.

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Sources
Books
1. Vidler, Anthony, The Architectural Uncanny: Essays in the
Modern Unhomely, published in 1994 by MIT Press, P5-15
2. 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.pdf
2. Bresnick, Adam, Prospoetic Compulsion: Reading the Uncanny
in Freud and Hoffman, published in 2001, accessed 11/04/14,
http://facultyweb.at.northwestern.edu/german/uncanny/Bresnick_Prosopoet
ic%20Compulsion.pdf
3. Holcim Foundation, University Building in France, published in
2009, accessed 14th April 2014,
http://src.holcimfoundation.org/dnl/9f6b15d0-7219-4d2c-bb67ca9661c8aa51/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/Uncanny

8 THE NANTES SCHOOL OF ARCHITECTURE AS A

COMMENTARY ON THE CONNECTIVE UNCANNY
2. 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=308
3. 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-ofarchitecture-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%20Architecture
5. 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-gamechanger-lacaton-vassal/
6. World Architects, Nantes School of Architecture, author
unknown, published 2009, last accessed 24th April 2014,
http://www.worldarchitects.com/en/projects/33886_Nantes_School_of_Architect
ure
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-bb67ca9661c8aa51/Nantes.pdf
2. Fig 1.2 Holcim Foundation, University Building in France
3. Fig 1.3 Holcim Foundation, University Building in France
4. Fig 1.4 Holcim Foundation, University Building in France
5. Fig 1.5: Muskiebait adventures,
http://muskiebaitadventures.blogspot.com.au/2010/09/awhirlwind-in-europe-nantes-day-13.html
ENDNOTES

iCatherine 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-bylacaton-and-vassal-nantes-france/8601117.article (accessed 20 th March 2014)
ii Freud, Sigmund, The Uncanny, published in 1919, date accessed 11/04/14,
http://web.mit.edu/allanmc/www/freud1.pdf, p. 1-2
iii Freud, Sigmund, The Uncanny, p. 7
iv Nicholas Royle, The Uncanny, (Manchester University Press, 2003), p. 84
v Nicholas Royle, The Uncanny, p. 108
vi Nicholas Royle, The Uncanny, p.108
vii World Architects, Nantes School of Architecture, author unknown,
published 2009, last accessed 24th April 2014, http://www.worldarchitects.com/en/projects/33886_Nantes_School_of_Architecture
viii Freud, Sigmund, The Uncanny, p.7
ix Nicholas Royle, The Uncanny, p. 109
x Nicholas Royle, The Uncanny, p.110
xi 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/
xii Nicholas Royle, The Uncanny, p. 107
xiii Freud, Sigmund, The Uncanny, p. 10
xiv Freud, Sigmund, The Uncanny, p. 7