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Montagne Noire

Construction:1978-1996

Built on a very steep hillside—on a plot of land shaped like the outline of Italy—this project was the most challenging for the architect. Construction was halted for several years during the embargo before finally being completed in 1996.
Villedrouin's residence is marked by the personal touch of its creator, who continued to make improvements to it over the decades.
Structural and Functional Features
The building is distinguished by a highly unique and functional design:
  • The ground floor features a spacious terrace accessible via elegant stairs. The living and dining areas are secured by two sets of doors.
  • Three reflective glass panels, framed in silver metal slats, can be deployed and slid laterally. These doors are tamper-proof when closed, ensuring maximum security.
  • Access to the upper floors is via a staircase situated beneath a glass pyramid, which serves as both a symbolic and functional focal point of the building.

Circulation and Open Spaces
The house incorporates an open, airy design:
  • The three upstairs bedrooms are spacious and unobstructed, while strategic openings between floors allow for sightlines from one level to another, facilitating the flow of natural light and air. Unlike conventional construction with solid floor slabs, these openings act as "ventilation shafts."
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Notable spaces and symbolic elements
Several areas within the house reflect the architect’s passions and aesthetic choices:
  • A vast room beneath a pyramid serves as a yoga sanctuary—a discipline the architect practiced rigorously for over 50 years.
  • A "cocoon" was excavated beneath the parking area, functioning as both an office and a meditation space. This area exemplifies his introspective and integrated approach to design.
  • A guest studio, located on the lower part of the property, is also available for rent or for hosting visitors.

The triangular system: a structural and experimental core
The structure relies on a system of triangular form-work, a fundamental element of the project's experimental nature:
  • Two types of triangles were employed:
  • Isosceles right triangles on the ground floor, initially used as a structural module.
  • Equilateral triangles, later incorporated into the floor slabs and above the pyramids. Made of fiberglass, these were originally designed for the Port-de-Paix High School project, where approximately 250 triangles were used to cast 250 m² of slab.
  • This system made the form-work recyclable and interchangeable, allowing the construction to adapt to the site's steep, irregular terrain without requiring excessive timber cutting (as is standard practice with 2x4 lumber).

Paving and geometric design
Managing the site's change in elevation led to a complex layered layout:
  • The living room, situated in a natural depression in the ground, is accessible via descending steps.
  • The gallery and other spaces are located at higher elevations, creating multiple levels.
  • The initial concrete pour was executed in two stages using semi-cast triangular sections, allowing for gradual adjustment.
  • The kitchen and the entrance portico share the same design motif, utilizing isosceles right triangles.

Louvre Pyramid and musical inspiration
One of the major innovations is the glass pyramid positioned above the staircase:
  • Inspired by the Louvre Pyramid, it incorporates approximately forty glass panes, each measuring 60 cm on a side.
  • When struck by rain, these panels produce sounds of varying pitches depending on the angle at which they are anchored to the beams, creating a musical effect akin to a drum. This detail transforms the structure into a living architectural instrument.
  • The pyramid served as a liberating pivot point in the project's evolution, marking a turning point in the home's design, even though it was not part of the original plan.
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Flooring: a local and innovative choice
  • Instead of opting for terrazzo—deemed too complex to execute on such uneven terrain—the architect chose marble:
  • It was his brother-in-law, Mr Maurice Wiener, who suggested using marble.
  • The marble came from a Haitian quarry that produced pink marble from deposits found near Sources Puentes, north of Port-au-Prince.
  • Installation was carried out by Mr. Pascal Casséus, an architect specializing in marble flooring who led a team to lay the material with precision.

Evolution and use of spaces
The function of certain spaces has evolved over time:
  • There were originally two symmetrical bedrooms—one above the living room and the other above the kitchen—with a third located in the center, above the terrace.
  • A vast space beneath one of the upper-level pyramids serves as a yoga sanctuary, a practice the architect pursued rigorously for over fifty years.
  • A "cocoon" space was excavated beneath the parking area; this vaulted room was used by the architect as a drafting studio.
  • A studio—intended for guests or for rental—is located on the lower part of the property.
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Site Design and Accessibility
The site's topography influenced many aspects of the project:
  • Innovative form-work was required because the rocky terrain made a uniform foundation impossible—unlike the twin house next door, which sits on more workable soil.
  • A system of structural cells (2.80 m by 2.80 m) was used to contain lateral earth pressure and create a lower-level parking area—a space originally intended for cars but later repurposed. The house features a folding swing-style barrier, masterfully crafted by ironworker Mr. Fitz-Alexandre; it is designed to withstand impacts from inexperienced drivers navigating the sharp turns.

Exterior, gates, and Security
  • The terraced gardens, teeming with rare plants, are maintained by expert gardener Mr. Sheelove.
  • A boundary wall was erected as an impenetrable barrier, primarily to shield the southern section of the property from trucks traveling on the nearby road.
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Villedrouin views this house as the embodiment of his architectural legacy—a laboratory for the techniques he has perfected throughout his career.

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