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Formations Parisiennes

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Formations Parisiennes !""# R $ % &'() ** + ' &',-- & &'$ " & &/&, &/&$1 2+&&'3422+(5"4"+34 $ "+ &/$# 6+ $ 7 -+ &&' # &""2+ 8/ &"7 " + " * &&',-- + 3 )/+ 4 9 + $ " % 8 &&',-- "+ 3 , +4 1"+&,1"+1"7 +(;1"+3"1" +4,1" 7 + += ,8+ $ + &/&9 >+ &&' " + ,-- "/+ 3 /"+ $+$ "$"+%,8$" +()+4,) +/"95 +3+ "6" ,+(5 6+ "/7 *+&&"+) &7 +)"+$ "+3= +$ " #/+3&%",+ ,( - 3 - SOMMAIRE Pages AVANT-PROPOS...................................................................................................................... 7 PREMIÈRE PARTIE - POURQUOI LA PHILHARMONIE DE PARIS ?.............................. 9 I. UNE ABSENCE DE GRAND AUDITORIUM PRÉJUDICIABLE AU RAYONNEMENT MUSICAL DE PARIS ........................................................................... 9 A. PARIS, CAPITALE SYMPHONIQUE DE SECOND RANG ? ................................................ 9 1. Une offre symphonique riche et diversifiée…........................................................................ 9 a) Onze salles dédiées en tout ou partie au concert « classique » .......................................... 9 b) Des orchestres importants, une programmation riche ....................................................... 10 2. … qui supporte néanmoins difficilement les comparaisons internationales ........................... 11 B. L’ABSENCE PRÉJUDICIABLE DE GRAND AUDITORIUM................................................ 13 1. Un débat ancien, une « exception française »....................................................................... 13 a) Le grand auditorium parisien, « serpent de mer » de la vie musicale française .................. 13 b) Une « exception française »............................................................................................. 14 2. Une source de frustration pour le public…........................................................................... 15 a) L’absence de conditions optimales d’écoute pour le répertoire symphonique .................... 16 b) Un obstacle à la diversification des publics et des répertoires........................................... 17 3. … comme pour les artistes ................................................................................................... 18 a) Paris « boudée » par les grands orchestres internationaux ? .............................................. 19 b) Une entrave au développement des formations parisiennes............................................... 19 II. LA PHILHARMONIE DE PARIS : UNE RÉPONSE AMBITIEUSE OU SURDIMENSIONNÉE ? ...................................................................................................... 22 A. UNE LOCALISATION DANS LE 19ÈME ARRONDISSEMENT ............................................. 23 1. Les options envisagées et abandonnées ................................................................................ 23 a) La reconversion de structures existantes........................................................................... 23 b) Des lieux qui présentaient au final davantage d’inconvénients que de qualités.................. 24 2. Le choix du site de la Villette : atouts et faiblesses............................................................... 26 a) Des synergies possibles avec les équipements existants.................................................... 26 b) Des enjeux urbains .......................................................................................................... 28 c) Des faiblesses à surmonter en matière de desserte et d’image ........................................... 30 B. UNE SALLE DE PRESTIGE, UN LUXE D’ÉQUIPEMENTS ANNEXES............................... 33 1. La salle de concert : une jauge importante et modulable, une acoustique exceptionnelle ..................................................................................................................... 33 a) Une jauge de 2 400 places, une salle modulable ............................................................... 33 b) Une acoustique exceptionnelle......................................................................................... 35 2. Une configuration en « multiplexe »..................................................................................... 35 a) Des espaces de travail nombreux et un accueil soigné pour les musiciens ......................... 36 b) Un pôle pédagogique, une salle de conférences et une galerie d’expositions temporaires ..................................................................................................................... 37 c) Les espaces d’accueil des publics..................................................................................... 38 d) Les espaces administratifs et logistiques .......................................................................... 38 - 4 - 3. Fallait-il voir si grand ? ...................................................................................................... 39 a) Geste architectural ou définition économe des besoins ?................................................... 39 b) Les questions soulevées par la jauge et la modularité de la salle....................................... 39 c) Les espaces annexes ........................................................................................................ 43 DEUXIÈME PARTIE - LA CONDUITE DU PROJET ............................................................ 47 I. UN PILOTAGE PEU EFFICIENT, UNE SÉCURITÉ JURIDIQUE EN QUESTION.......... 47 A. UNE MAÎTRISE D’OUVRAGE ASSOCIATIVE INSUFFISAMMENT PILOTÉE PAR LES TUTELLES .................................................................................................................... 47 1. Le choix d’un portage associatif .......................................................................................... 47 a) Un choix commandé par le caractère cofinancé du projet ................................................. 47 b) Un portage « peu orthodoxe » ? ....................................................................................... 49 2. Des tutelles défaillantes....................................................................................................... 49 a) Une contre-expertise quasiment inexistante jusqu’en 2009 ............................................... 50 b) Les leçons tirées de la mission d’inspection..................................................................... 50 B. UN MARCHÉ DE CONSTRUCTION PASSÉ DANS DES CONDITIONS DE SECURITÉ JURIDIQUE DOUTEUSES ................................................................................. 51 1. L’abandon du partenariat public-privé ................................................................................ 51 a) L’hypothèse initiale d’un partenariat public-privé ............................................................ 51 b) Des hésitations prolongées .............................................................................................. 52 c) Le choix final d’un contrat global de construction-exploitation ........................................ 53 2. L’échec de l’appel d’offres et ses conséquences ................................................................... 54 a) Un appel d’offres infructueux .......................................................................................... 54 b) Le recours contestable à un marché négocié sans publicité ni mise en concurrence........... 55 3. Des négociations supplémentaires pour un marché complexe ............................................... 55 a) Plusieurs mois de négociations pour aboutir à la passation finale du marché..................... 56 b) Les marchés annexes....................................................................................................... 56 II. DES DÉLAIS LARGEMENT DÉPASSÉS, UNE INFLATION SUBSTANTIELLE DES COÛTS ......................................................................................................................... 57 A. DES DÉLAIS LARGEMENT DÉPASSÉS .............................................................................. 58 1. Deux années de retard…...................................................................................................... 58 a) 2008 : des retards multiples affectant la phase d’études.................................................... 58 b) 2009-2010 : la Philharmonie de Paris « sur la sellette » ? ................................................. 59 c) 2014 : l’organisation de tests complémentaires................................................................. 61 2. Quelles leçons pour l’avenir ? ............................................................................................. 62 a) Tentative de mise en perspective avec les autres grands chantiers culturels....................... 62 b) Quelles leçons ? .............................................................................................................. 63 B. UNE INFLATION SUBSTANTIELLE DES COÛTS............................................................... 64 1. Un coût initial sous-estimé................................................................................................... 65 2. Des surcoûts multiples......................................................................................................... 67 3. Une définition par itérations des modalités de financement .................................................. 73 a) Un cofinancement entre l’Etat, la Ville de Paris et la région Île-de-France........................ 73 b) L’hypothèse d’un emprunt
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