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Nouvel 01

Jean Nouvel's Fondation Cartier in Paris employs transparencies and blurred boundaries between interior and exterior. Large glass walls and planes extend beyond and above the building, framing trees in the wildflower garden. A celebrated Lebanese cedar tree planted in the 19th century is visible behind two glass screens. The sliding gallery windows can be entirely removed in summer, integrating the exhibition space with the outdoor park. Throughout the building, Nouvel aimed to dematerialize boundaries with innovative uses of glass and steel, creating an experience of ambiguity between inside and outside.

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Raluca Daniela
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51 views

Nouvel 01

Jean Nouvel's Fondation Cartier in Paris employs transparencies and blurred boundaries between interior and exterior. Large glass walls and planes extend beyond and above the building, framing trees in the wildflower garden. A celebrated Lebanese cedar tree planted in the 19th century is visible behind two glass screens. The sliding gallery windows can be entirely removed in summer, integrating the exhibition space with the outdoor park. Throughout the building, Nouvel aimed to dematerialize boundaries with innovative uses of glass and steel, creating an experience of ambiguity between inside and outside.

Uploaded by

Raluca Daniela
Copyright
© Attribution Non-Commercial (BY-NC)
We take content rights seriously. If you suspect this is your content, claim it here.
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Fondation Cartier pour l'Art Contemporain 261 boulevard Raspail 75014 Paris France Jean Nouvel, Emanuel Cattani

et Associs, 1994 Nouvel's gallery for the Fondation Cartier is an e ercise in trans!arency and the !erennial "uest to remove the #arrier #et$een inside and outside% A #uilding '#o ' $ith glass $alls $ould not do the tric&' you could see through the $alls, #ut you $ould #e clearly either inside or outside the #o % (n the Fondation Cartier Nouvel has e tended the glass $alls #eyond the #o , creating e tra tall glass !lanes in the $ild)flo$er garden, and e tending the glass facade several meters a#ove the roof terrace% At the edge of the !lot he has created a $hole e tra glass !lane as the street facade, $holly se!arate from the main #o of the #uilding% *he e cuse for this e tra glass $all is a +,,)year old, cele#rated -e#anese cedar, !lanted #y Chateau#riand .1/01)11412, $hich is 'framed #y t$o glass screens that form a gate'% 3ar#ara) Ann Cam!#ell enthuses a#out this idea' '*he sheet)glass facades of the #uilding e tend #eyond its structure, #lurring its #oundaries and denying the reading of a solid volume%%% *he trees ac"uire a similarly am#iguous !resence as it is unclear $hether they are inside or outside% *he trees are read #ehind a trans!arent fence instead of an o!a"ue $all, and are em#odied in the #uilding #y means of the 1)meter)high sliding $indo$s to the e hi#ition s!ace $hich can #e entirely removed in summer, undressing the structure to reveal the columns% *his allo$s the e hi#ition to slide into the !ar& and vice versa% *he #uilding is a refracting series of su!erim!ositions of s&y, trees and reflected trees% Nouvel and his team have tried to #ottle the mystery that #elongs to a secret, $alled garden #et$een these glass layers%' 4hich $ould #e fine, if the Fondation Cartier $ere a tree museum% For a contem!orary art museum, ho$ever, it is hard to conceive of a less suita#le design% At the time of my visit, the main e hi#ition on the ground floor $as com!osed entirely of videos and other illuminated art $or&s, re"uiring tem!orary $alls inside the glass to #loc& out the trans!arency, or the e hi#its $ould have #een invisi#le% *he resulting front facade .#elo$2 could !erha!s #e descri#ed as undressed, #ut only to reveal some rather unsightly under$ear% *he redeeming feature of this #uilding is the elegant detailing of the rear facade' stylish office s!ace $ith #ehind the glass $all overloo&ing the garden, reached #y a set of elevators that clim# the side of the #uilding gracefully and silently, $ithout $ires or cages%

5adical among the architects of today, Jean ouvel continually ama6es !racticing architects and unstudied !asser#y ali&e $ith his #rilliant mani!ulation of form, !atterns, materials and colors% Currently discussed for his vi#rant 7er!entine 8allery 9avilion in -ondon and the recently #uilt lu urious Chelsea a!artments in Ne$ :or&, ouvel has a history of creating the most stri&ing and innovative #uildings%

;ne of his earlier #uildings, the Fondation Cartier in 9aris 1994, em!loys the same dedication to trans!arency and rigor of the surface as the more recently designed structures of ouvel% As a !u#lic s!ace that houses contem!orary art and graffiti e hi#itions, the !lay #et$een inside and out is very fitting as it creates an o!enness $hich invites !eo!le to e !erience the #uilding from #oth u! close and afar% <5e!roducing the lines of the #oulevard, the glass $alls ena#le !assers)#y to admire the e traordinary inter!lay #et$een structure and nature that characteri6es the #uilding,= e !lains Nouvel% 4ith the e tension of the glass facade in s!ecific edges of the #uilding, there is a fusion of interior and e terior s!aces that create an e !erience li&e no other% *he $ild)flo$er garden is $alled in from the city #y an e tension of the glass $alls, #oth unifying and se!arating the garden from the #usy city% *he trees of the garden are read #ehind a trans!arent $all, $hich adds to the am#iguity of the transition from inside to outside% A -e#anese cedar <*ree of -i#erty= $as !lanted #y !oet Francois)5ene de Chateau#riand in 11+> emerges from a monumental flo$er !ot directly #ehind the $all% 8iven the historical elements and the #eauty found in the e isting nature, $or&ing $ith the outdoors #ecame a main design goal for Nouvel% *his is incor!orated into the 1)meter)high sliding $indo$s that se!arate the gallery s!ace from the outdoors, $hich are entirely remova#le in the summer allo$ing for a com!lete fusion of s!ace% Nouvel $as careful to design each facade $ith !recision and care? the rear is @ust as #eautiful and $ell !lanned as the front, featuring office s!ace that overloo&s the garden and a set of <clim#er= elevators that slide u! the side of the #uilding gracefully, $ithout the use of $ires or cages% Another large conce!t of this design is demateriali6ation, $hich is ta&en to the e treme through NouvelAs innovative uses and functions of the glass and steel% *he #uilding is com!rised of 0B, tons of steel, and B,,,, s"uare meters of glass% (t currently !rovides s!ace for a contem!orary art foundation, cor!orate head"uarters, an e hi#ition gallery, offices and a !ar&ing garage, totaling 0,4,, s"uare meters and C1,, million dollars .u!on com!letion2% -arge, fle i#le areas that are used as e hi#ition s!aces are made !ossi#le #y the structural #eams $hich s!an si teen meters $ithout intermediate columns% *here are a total of seventeen stories of floor s!ace, although only nine are a#ove ground% (n the $ords of Nouvel himself, <it is an architecture #ased entirely on lightness, glass, and finely $oven steel% An architecture that !lays on #lurring the tangi#le limits of the #uilding and rendering the reading of a solid volume su!erfluous, in a !oetics of am#iguity and evanescence%= Architect' Jean ouvel -ocation' Paris! France
9ro@ect :ear' 1""4 5eferences' Jean Nouvel, *homas A% Dute 9hotogra!hs' Am#roise *e6enas, 9aris Architecture, Jean Nouvel, Eavid 8allagher

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