- VERSION FRANCAISE - ITALIAN VERSION -
Since the beginning, ParkOtheK likes to propose the multi-field universe of the world of the parks of leisures. Today we make you discover a personality with a rich person course with the artistic springs, as we like to see some often here. Hotel projects, royal residences, museums, World Fairs, Attraction parks , cartoon films, our character put his artistic salt grain in all these fields of the entertainment and the escape. Meet.
Simon Bourlet: In own way of introduction on yourself, how do you qualify your trade? Which was briefly your course?
 Cent Alantar : I to date have an atypical course which enabled me to practise two trades which are complementary. Architecture is with my direction a trade association which gives a solid formation on the control of the dynamics of space 3d. Its expression by the drawing impossible to circumvent and is joined by this fact the drawing of animation... As for the animated drawing: the control of the cinematographic image brings us to the dream and the emotion. As Walt Disney said it: "a good animated drawing is judged with emotional quality that it releases without having recourse to the dialogues". In a brief way, following my studies of architecture with UP 7 and UP 8 in Paris, I took my first steps near the cabinet of Architecture Claude Franck. Then, following an
advertisement, I integrated during eight years the cabinet of architecture of his Majesty Hassan II, directed by Mr Michel Pinseau, for whom I conceived all the prospects and concepts presented at his Majesty. To finish, I integrated the WALT DISNEY FEATURE ANIMATION Studio of Montreuil during seven years.
How did you fall in the "artistic vase" ?
C.A. : Pot or feeding-bottle with the terpentine perfume? My father is a painter and my mother pianiste.When there is a marriage between the pictorial one and the musical one, the pot has a coloured savour...
S.B. : Which was your first project ? How did you apprehend it ?
C.A. : It was the airport of Agadir. As of my entry with the M.Pinseau Cabinet, I was confronted with the realization of this exceptional project. My first impression was that as of the 9 years age, I wanted to be an architect, and the dream became reality...
S.B. : You carried out many projects for the King Hassan II in Morocco.Of what did consist they? Were there insane requirements worthy of the highest crowned heads ?
C.A. : It was "crazy" . Requirements were "Royal": an anecdote, for example when its Majesty wished to offer a villa edge of sea in Agadir as a gift with the Crown prince of Saudi Arabia, I made this villa with a surface of approximately 2 000 livable m², thinking that that would be ' princier'. Of return of the Royal Palace, Mr. Pinseau says to me that its Majesty wished in makes build a villa of 18 000 livable m²: rooms, reception rooms, swimming pools and others multiplied. As the advertizing would say: "not rather expensive my son"...
S.B. : In connection with your work on the House of Morocco of the World Fair of Seville in 1992, ludic and educational place praising the wonders of Morocco. Do these "ludactic" places have an architecture different from a traditional museum ?
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Fountain of the Morocco Pavillion, Seville
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C.A. : The House of Morocco was to be before all a "window built" of the knowledge to make of Mahlems (Morocco craftsmen) which transmits their techniques from father to son only by oral voice without drawing to the support, to teach them the "zelliges", which is Morocco mosaics with the complex geometrical forms. The objective of this house was not centered on the ludic side of the things. It is certain that if that had been the case, architectural perception would have been different with my direction.
The difficulty in this field is to combine the serious one with a glance different from our world of adult. It is necessary for example to accentuate the perception of the places by more present colors, to work over again sometimes in caricatural volumes manner, to put a suitable sound environment, to create amusing courses, to exploit lightings, etc. As we always did in the feature animation movies : to go right to the goal, "the focus". The time of analysis of a child to an image is different from our. This little easily to retranscribe itself in architecture, the whole being to have a solid set of themes like visual aids.
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If the children tend to be bored in the museums it is that they are conceived unfortunately too much "with adult height". They should be pushed to react by them-even, for example in front of a painting why not to put a virtual helmet which would plunge the child in the fairyhood of the colors of the fabric, to make large plans, to enter the pictorial world, with the advanced technology to put in 3d the characters... who could speak to them to explain to them the history of this painting... etc. Here me is already subjecting another ludactic idea of "park to you", in which the small ones would discover this marvellous universe of the history of the painting of Lascaux at our days with courses on water and of the boats left famous paintings.
 
The palace of Morocco at the World Fair in Sevilla, in all its riches.
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Aqualand Plan for the peninsulas of El Hank
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S.B.: The present time showed to us that the projects of Attraction parks in Morocco multiply. Recently Marrakech opened its waterpark Oasiria. You took part yourself in the development of a Marineland project for Casablanca. Can you say some to us more on this park?
C.A. : This project unfortunately remained at the stage of study because there were other Royal priorities .This day king Mohammed VI undertakes an enormous project in Bouregreg in which will be registered an attraction park... to follow.
S.B.: Could Morocco become in the long term a ground of Attraction parks?
C.A. : Why not, the climate is favorable there. It would be enough that foreign investors become aware of the places and a labour not expensive and especially of quality. One also finds materials very noble as various tropical wood turpentines which are too expensive with export... Why not a waterpark on the history of Morocco? |
S.B. : From 1996 to 2003, you took part in making of many movies of the Disney Studios. How did you apprehend your arrival on their premises?
C.A. : Not being informed any of the techniques of the feature animation, it is initially my experiment of draughtsman architect who opened the doors of the Disney Studios . Thereafter, for one six months period, I learned various techniques from approach of the Layout which is the section which manages the creation of the decorations and the movements of camera. It really makes it possible to have a global vision of film.
I started by Hercules with two establishing scenes of Greek temples: normal for an architect..No ?. Then it was Tarzan for whom the realizer entrusted to me the sequences of fighting and continuations between Sabor and Kala, which required a dynamic and solid drawing, with the sequence of the dive in the roots, as well as the discovery of the world of the monkeys where the trunks of the trees are with the horizontal one. One needed an environment resting after the continuation. Thereafter there was The Emporor' s New Groove ( Kuzco) of which I had the honor to make the workbook introduction of the movie (Seq 01) as well as the sequence 13,5 entitled Run Lama Run. Then other movies followed as One by One which is a short (Fantasia III) and the Jungle Book 2.
S.B.: You are with the credits of the short-measuring of Destino animation signed Disney and... the Dali painter ! Can you say some to us more on this film?
C.A. : Destino was the last movie on which I worked for "Visual Developement". I had the privilege to carry out all the layouts. A true happiness because I like Salvador Dali and his surrealist world. The challenge was to make the synthesis of a surrealist very excavated drawing and a cinematographic more simplified vision. One was not afraid to push the concept far because as Dali said "do not fear the perfection because will never arrive you there!...". At the time , Dali contract with Walt Disney for this short of 6 minutes.He had painted ten pictures. 60 years later in 2002, Roy Disney, the nephew of Disney, arose theidea of the paperboards . The challenge was serious because few draughtsmen wished to take part in it. Its exit should take place in the current of this year with in complement of the images of time as well as documents turned in the Studio of Montreuil...
 
Two exclusive layout drawings of Destino, Disney's short movie .
S.B.: In more of your activity of architect, you comb and expose artistic works which were awarded...
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Azay-le-Rideau, watercolour.
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C.A. : I actually did many exposures. In particular in the two larger palaces of Istanbul: Topkapi and Yildiz Saray. In my childhood I was fascinated by the uncontested Master of the watercolour J.M William Turner which I tried to copy as of the ten years age. Many sheets left to the dustbin... The training of the watercolour contrary to thegenerally accepted ideas is particularly difficult because you do nothave the possibility of improving as with oil. At the time my wish was to propose the beauty of our architectural heritage sometimes so much massacred by unquestionable promoters. Our past has a priceless value, it is enough to raise the eyes and to look with love all the masonries which by their beauty hiding place a hard labour of several generations. At our time one zappe a little too quickly...
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S.B. :
You imagined an incredible project of waterpark indoor baptized Acquantica. A mixture of styles and times. How did this concept come to you?
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C.A. : Architect at the base, then Layoutman in Disney Studio, it did not have there that a step to cross to make the synthesis of my two trades... the idea of ACQUANTICA project came to me when I noted that many attractions parks as marineland type, aquaboulevard or others, leave too much in obviousness the style "tube out of blue plastic with structure steel". I wished for ACQUANTICA to combine the feelings with the visual emotion which can create a historical environment. Our world is surrounded of70% WATER. We are born in water : it forms part of our life. An anthem with this vital element seems to me impossible to circumvent...
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Acquantica: a hymn to the water
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For Acquantica, the visual one of the project is an huge water drop, consisted of a central staircase column with double helixes like the castle of Blois 'France), with the difference close one of the flight is done of a toboggan which goes down while skirting the aquarium: "going down in deep water".
  
A column as center element, inspired by the Renaissance.
The structure is made various styles of columns from Prehistory, while passing by Egypt to finish by the partly high Rebirth. The basements "Abyssland" are reserved for underwater explorations through ruins of the galleons and archeological sites with small submarins.
The major idea is to associate the games (lazy river, killer whales, and dolphins showes, toboggan, secrete waterways in the Egyptian baths, descent in the Gothic buttresses, waterfall in the water tower... to swim among the sharks), with the relaxation (in the thermal baths Romains, baths of mud, jacuzzi etc in more intimist spaces decorated with historical frescs whose perfumes could be
diffused according to the scents of the history).
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Travels along streams of the water and the history.
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Excursion in the depths.
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"Médusa" partly high would be a panoramic restaurant with a floor out of glass on the central aquarium , accessible by elevators in water drops shapes, and in the abyssals zone, an immersed restaurant would be useful to you of the exotic specialities to iodized savours. To finish the day, the resorts would be on the circumference of the park, with a historical resort service with the environments coloured by the costumes of time, just like the rooms.
 
 
 
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An historical mosaic.
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S.B. : With which country this park would be appropriate it best?
C.A.: This project is opened with all countries. To date I am opened with all proposals of companies specialized in the assembly of operation of parks with topics which would be interested by the concept associating the history the ludic one. Essence being to give DREAM and IMAGINARY one to the children with decorations worthy of their requests. It is not impossible that that is to say a site which one can consider with other partners, secrecies this time... at the difference close the church would be transformed into mosque with for cupola a drop of water... we would be in the Eastern sand ocean...Come and have a cup of tea with the children there ! |
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Building proposal for Disney.
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Entrance.
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Cent Alantar also has realized numerous illustrations of books for
children (Andersen)
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S.B. : Other projects in progress ?
C.A.: The projects to come are to date with the secrecy of our imaginary, but to follow to the magnifying glass. On the other hand of other ideas as the association of the history to other sets of themes work me. That could go from the music, with the locomotion engins, the four elements "water ground fire air". Imagine a ludic park of the music with for decorations all the instruments of yesterday and today: basins in the shapes of violoncel, looping and toboggans in volute of violin, water organ with possibility of space of spectacle of orchestra etc: an anthem with art music.
We are builders of dreams for our children, he holds only with us to offer to them walks in this imaginary world of the parks to topics where the colors chatoyants cherish animal, elfes, residences of dream, courses ludic where a soft music makes us whirl around the horse-gear of the 8th art which is the universe of the parks.
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Link
Cent Alantar's official website : http://www.alantar-cent.com/
Opinion collections by
Simon Bourlet
Reproduced designs and images with authorization. Every straight classified Cent Alantar, Disney and ParkOtheK.
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