portfolio

É C O L E D E S B E A U X - A R T S

The CONTEXTUALIZERPRITZKER PRIZE

M a r s 1 9 7 6

S y n d i c a t d e l ' A r c h i t e c t u r e

A g a K h a n A w a r d f o r A r c h i t e c t u r e

B i e n n a l e d e P a r i s

ARCHITECT

J E A N N O U V E LEver y Jean Nouve l bu i ld ing t e l l s a s to r y

É C O L E D E S B E A U X - A R T S

The CONTEXTUALIZERPRITZKER PRIZE

M a r s 1 9 7 6

S y n d i c a t d e l ' A r c h i t e c t u r e

A g a K h a n A w a r d f o r A r c h i t e c t u r e

B i e n n a l e d e P a r i s

ARCHITECT

J E A N N O U V E LEver y Jean Nouve l bu i ld ing t e l l s a s to r y

The Institut du Monde Arabe (IMA) is the smallest of the Grands Projets (Mitterrand’s 15 billion franc program to provide a series of modern monu-ments to symbolize France’s central role in art, politics, and world economy at the end of the twentieth century), housing a library, exhibits, and other functions devoted to the relationship of Arab culture with France.

Most notable, as we would expect from Nouvel, is the surface treatment. Along the south facade the IMA reinterprets tradi-tional Arab latticework screens in glass and steel: 30,000 light-sensitive diaphragms are designed to regulate the pen-etration of light into the building.

Arab ic l a t t i cework Mechan ica l l enses

The unique use of high-tech photosensitive mechanical devices to control light levels and transparency—as well as the beauty of the solution—made this building famous and piqued interest in the use of ‘smart’ materials (which can respond to changing environ-ments) in buildings. The problem: the system no longer works. Nonetheless, the south facade is quite beautiful. The striking south facade and the carefully orchestrated sequence between the entrance onto the plaza and the entrance of the building set up interesting scale relationships.

{Institut du monde Arabe}

It is located along the Seine roughly at the boundary of historical Paris and a more modern urban fabric to the southeast, the beginning of which is marked by the university building at Jussieu.Nouvel produces a wonderfully minimal composition of forms: a gently curving wall to the north facing the Seine comes to a sharp and deep cleft as it meets a rectilinear block which faces a large open plaza and the university buildings to the south.

The Institut du Monde Arabe (IMA) is the smallest of the Grands Projets (Mitterrand’s 15 billion franc program to provide a series of modern monu-ments to symbolize France’s central role in art, politics, and world economy at the end of the twentieth century), housing a library, exhibits, and other functions devoted to the relationship of Arab culture with France.

Most notable, as we would expect from Nouvel, is the surface treatment. Along the south facade the IMA reinterprets tradi-tional Arab latticework screens in glass and steel: 30,000 light-sensitive diaphragms are designed to regulate the pen-etration of light into the building.

Arab ic l a t t i cework Mechan ica l l enses

The unique use of high-tech photosensitive mechanical devices to control light levels and transparency—as well as the beauty of the solution—made this building famous and piqued interest in the use of ‘smart’ materials (which can respond to changing environ-ments) in buildings. The problem: the system no longer works. Nonetheless, the south facade is quite beautiful. The striking south facade and the carefully orchestrated sequence between the entrance onto the plaza and the entrance of the building set up interesting scale relationships.

{Institut du monde Arabe}

It is located along the Seine roughly at the boundary of historical Paris and a more modern urban fabric to the southeast, the beginning of which is marked by the university building at Jussieu.Nouvel produces a wonderfully minimal composition of forms: a gently curving wall to the north facing the Seine comes to a sharp and deep cleft as it meets a rectilinear block which faces a large open plaza and the university buildings to the south.

Pr imi t i ve a r t Green wa l l

A commission was established to study the feasibil-ity of building the museum in 1995. When the study was concluded, land was reserved near the Eiffel Tower for the future museum. The curved site on the edge of the Quai Branly and the Seine is situated 100 metres from the Eiffel Tower. The site was previ-ously selected to accommodate the Centre Interna-tional de Conferences, an abandoned Grand Projet of François Mitterrand.[1] French President Jacques Chirac was a very influential proponent of the pro-ject. Quai Branly opened on June 23, 2006.

The "green wall" (200m long by 12m high) on part of the exterior of the museum was designed and planted by Gilles Clément and Patrick Blanc. At installation this was quite healthy and vibrant; however, in winter, the direct exposure of the plants to north winds blowing over the open expanse of the Seine river causes regular frost damage even though the support system for the plants' roots, irriga-tion and drainage has proved to be perfectly adequate on the less exposed east facade of the building and in other places in Paris where it is used.The museum complex contains several buildings, as well as a multimedia library and a garden. The museum's frontage facing onto quai Branly features very tall glass panelling which allows its interior gardens to be remarkably quiet only metres from the busy street in front of them.

{Musée du quai Branly}

Pr imi t i ve a r t Green wa l l

A commission was established to study the feasibil-ity of building the museum in 1995. When the study was concluded, land was reserved near the Eiffel Tower for the future museum. The curved site on the edge of the Quai Branly and the Seine is situated 100 metres from the Eiffel Tower. The site was previ-ously selected to accommodate the Centre Interna-tional de Conferences, an abandoned Grand Projet of François Mitterrand.[1] French President Jacques Chirac was a very influential proponent of the pro-ject. Quai Branly opened on June 23, 2006.

The "green wall" (200m long by 12m high) on part of the exterior of the museum was designed and planted by Gilles Clément and Patrick Blanc. At installation this was quite healthy and vibrant; however, in winter, the direct exposure of the plants to north winds blowing over the open expanse of the Seine river causes regular frost damage even though the support system for the plants' roots, irriga-tion and drainage has proved to be perfectly adequate on the less exposed east facade of the building and in other places in Paris where it is used.The museum complex contains several buildings, as well as a multimedia library and a garden. The museum's frontage facing onto quai Branly features very tall glass panelling which allows its interior gardens to be remarkably quiet only metres from the busy street in front of them.

{Musée du quai Branly}