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VINYL VILLAGE

I have been a resident VJ for the Vinyl Village collective, and it has become one of the collaborations I am most proud to be part of.

Founded by Samuel Tauby and friends, the collective has been organising markets and parties centred around vinyl culture, music, and Parisian nightlife for over ten years. Working with people who genuinely value quality, atmosphere, and curation makes visual production especially rewarding.

Each event has its own theme, and I have always been given complete creative freedom to explore different visual languages in response to it. For Vinyl Village, I often work with archival animations, vintage footage, retro video games, and experimental media. Funky, strange, colourful, and high-energy visuals tend to resonate naturally with the DJs’ selections and the atmosphere of the nights.

A special mention goes to the venue: La Rotonde Stalingrad, an iconic 19th-century architectural landmark in northern Paris. The main projection takes place within its circular room, creating the additional challenge of mapping two-dimensional visuals onto curved limestone surfaces. Transforming the ambience of the space through projection is something I particularly appreciate as an architect, where visual work becomes inseparable from the architecture itself.

Working with this collective is a genuine pleasure.

Sketch of the volume

Materiality

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The auditorium is conceived as a self-supporting architectural object, structurallyautonomous yet anchored within the existing fabric. It rests upon the substantial wallsof the lower levels, which may be reinforced if necessary. The overall thickness of theauditorium envelope is estimated at approximately 50 cm, integrating structuralelements, acoustic insulation, and interior and exterior finishes.

 

Externally, the auditorium volume is enveloped in red zinc scales, extendingseamlessly across both interior and exterior surfaces. Internally, the walls are linedwith inclined MDF panels, finished with a lightly varnished blond veneer, reinforcingvisual concentration toward the stage.

 

Following the removal of later coatings, the original interior walls are intentionally leftexposed. Despite their material diversity and imperfect condition, this choice revealsthe historical stratification of the building, while surfaces are stabilized and preserved.

 

All new wall openings are marked by oblique sheets of bluish annealed steel, insertedon both sides of each passage and extending to their full height, subtly signalingmoments of transition within the historic fabric.

An initial phase of analysis was conducted using existing plans, sections, and video surveys in order to identify non -structural partitions and potential areas for intervention. Based on this analysis, new 2D and 3D documentation was produced to define the project’s volumetry. The auditorium volume was then inserted and its spatial, structural, and urban impacts evaluated.

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The design of the auditorium was developed in close collaboration with scenography and acoustic consultants specialized in mixed -use performance spaces. Accommodating chamber music as well as cinema and conference functions represents a significant acoustic and spatial challenge. Chamber music requires Controlled reflections to preserve harmonic richness and sound balance, while cinema performance is primarily governed by screen dimensions and high sound absorption to prevent unwanted reverberation.

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Scale cladding

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Steel blue

Wooden acoustic pannels

Both programs demand substantial volume, height, and tiered seating, exceeding the existing heights of the large halls on level 6 of the Rector Palace.

 

As a result, the auditorium is designed to rise above the existing roofs. This choice is particularly sensitive due to the proximity of the Duomo and its campanile, from which the upper volume of the auditorium will be directly visible. Consequently, the form and proportions of the emerging volume are conceived with clarity and restraint, ensuring a strong architectural presence without visual excess thanks to its materiality of red zinc scales.

 

The auditorium is positioned neither symmetrically nor orthogonally within the space formed by the merging of the three large halls of the Rector Palace on level 6. This orientation results from a dual consideration: the diagonal viewpoint from the campanile defines the primary axis of the hall, while the desire to leave views toward the Tuscan landscape by the bays along the west and south façades establishes a strong relationship between the auditorium and its wider territorial context.

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PROJECT JOURNEY STORY BOARD

Level 4 – Access and Control

Level 4 is directly connected to the city through an independent access. From this entrance, visitors and users pass through a ticketing and control zone, where they are guided according to the program they will follow. This control zone is required to manage independent events—public or private—that take place outside the building’s general program and standard opening hours.

 

Despite the limited surface area of this level, a waiting room, cloakroom, and toilets are provided. To accommodate these functions and improve visitor flow, several walls have been removed or widely opened.

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Level 4 – Access and Control

From this level, visitors begin their spatial journey. A ramp leads to the courtyard, from which a marble staircase and two lifts provide access to the upper floors. One lift uses an existing shaft located in the small tower at the end of the courtyard, while the second lift is fully transparent and installed in a glass shaft, offering a vertical promenade through the building. A narrow glass roof runs along the back wall to protect visitors moving toward the lifts.

Level 5 – Multipurpose Space

Level 5 is entirely dedicated to multipurpose activities. Visitors arrive via the lifts into a welcome room, where documentation related to the ongoing event can be displayed on a long desk. Adjacent spaces include a catering room and a room for restrooms and changing facilities for external staff involved in event organization.

 

As on the lower levels, several walls have been removed or widely opened to avoid obstacles and ensure smooth circulation during events. Public restrooms are located near the main staircase and are repeated in the same position on each level.

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Level 6 — Auditorium and Continuity of Spaces

Level 6 is organized into two distinct yet complementary zones. The first, located above Level 5, extends the multipurpose spaces. At the extremity of the floor, near the church, a stakeholders’ room with integrated storage is installed. This space can easily be transformed into a conference room accommodating approximately 120 seats.

Level 6 – Auditorium

The second zone reunifies the former main halls of the Rector’s Palace to host the auditorium volume. To achieve the necessary surface area, the floor of the second main hall has been reconstructed. The first main hall on this level functions as a lower lobby, providing access to the lower seating area of the auditorium through a system of steps carved into the separating wall, complemented by two ramps ensuring accessibility for people with reduced mobility.

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Level 6 – Auditorium

Access to the lower auditorium follows the west façade, offering a long perspective toward the Tuscan countryside. On the opposite side, circulation runs alongside the musical instrument storage areas and artists’ changing rooms.

 

Within the auditorium, the walls are clad with inclined wooden panels in a natural dark blond tone. Their orientation subtly intensifies the perception of focus toward the stage while contributing to the acoustic quality of the space.

Level 7 – Upper Lobby and Outlook

A vertical wooden partition, employing the same inclined panel language, conceals the access to public restrooms and rises upward to the balcony at Level 7. Above, the vertical generosity of the space beneath the folded roof structure reveals the red zinc - scaled surface enveloping the auditorium as a singular architectural volume.

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Level 7 – Upper Lobby and Outlook

At level 7, a second lobby provides access to the upper seating areas of the auditorium through offset entrances located on either side of the central projection and translation rooms.

Level 7 – Mezzanine

At Level 7 mezzanine and Level 8, VIP spaces are proposed. These rooms benefit from expansive views toward the Duomo and are conceived as flexible environments suitable for projections, conferences, exhibitions, and private events.

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Level 8 – VIP Spaces

At level 7, a second lobby provides access to the upper seating areas of the auditorium through offset entrances located on either side of the central projection and translation rooms.

Level 7 – Lobby

This lobby opens generously toward the courtyard. Exiting the auditorium through the west door, visitors are offered a framed view of the Duomo’s campanile across the courtyard, while glimpses of movement on the rooftop—accessible from the VIP mezzanine—animate the upper levels of the building.

 

Above the instrument storage and artists’ facilities, technical and mechanical rooms are installed beneath the roof, ensuring direct and efficient servicing of the auditorium.

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Birdview

From that level 7 mezzanine we can access on the rooftop offering two large views: on the East a direct facing one to the Duomo and on the other side toward the South West to the Toscan landscape.

In conclusion

In conclusion

This project rethinks the renovation of an exceptional heritage by preserving the existing façades and the building’s overall presence within the city. The partial interior transformation of Santa Maria della Scala, through modernization and increased openness, allows the edifice to enter a new era for both the city and its visitors, becoming a dynamic and attractive cultural hub. The proposed auditorium is conceived as a hidden gem, carefully embedded within the urban fabric, bold yet seamlessly integrated.

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January 2026

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