Musée Du Quai Branly-Jacques Chirac, Paris

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CASE STUDY

MUSÉE DU QUAI BRANLY-JACQUES CHIRAC, PARIS

PARIS, FRANCE

ARCHITECT ATELIERS JEAN NOUVEL TRESPA® PRODUCT TRESPA ® METEON®

MARKET SEGMENT CULTURAL

A05.1.4 A08.8.1 BUILD TYPE NEW SUN A06.3.5 DARK YELLOW OCHRET BROWN

USE FAÇADE

A09.6.4 A10.4.5 FIXING SYSTEM TS200 MAHOGANY SIENNA A10.6.1 RED BROWN TAUPE YEAR 2006

A12.3.7 A12.6.3 A14 .7.2 CARMINE WINE DEEP RED RED RED BROWN MUSÉE DU QUAI BRANLY-JACQUES CHIRAC, PARIS IN EVERY WAY, A BUILDING AS FASCINATING AND SINGULAR AS ITS CONTENT

FOR FRENCH PRESIDENTS, IT HAS BECOME CUSTOMARY TO MAKE A BOLD STATEMENT, BOTH ARCHITECTURAL AND CULTURAL, AS AN ENDURING LEGACY OF THEIR TIME IN OFFICE – AND SEVERAL OF THEM HAVE FOLLOWED THE EXAMPLE OF GEORGES POMPIDOU, WHO INITIA¬TED THE TRA¬DITION WITH THE CENTRE POMPIDOU. A MULTIFUNCTIONAL VENUE LOCATED IN THE VERY HEART OF PARIS, IT IS AN EARLY MASTERPIECE OF RICHARD RODGERS AND RENZO PIANO.

The building is home, among others, to Europe’s one roof, the stunning diversity and quality of As the architect Jean Nouvel sums up, largest collection of modern art. Two similar 300,000 artifacts created by ancient cultures in “A singular architecture for singular objects“ statements are the Musée d’Orsay, a former Africa, the Americas, Asia and Oceania could was the answer to this challenge. Ateliers Jean train station which, under President Giscard be displayed to their best advantage. For Jacques Nouvel, his architectural firm, was put in d’Estaing, was repurposed by Gae Aulenti, and Chirac, it was all about …“highlighting, in charge of designing the new museum. the makeover, at the behest of President François contrast to the drab and menacing dominance Himself a recipient of the Pritzker Prize – Ateliers Jean Nouvel Mitterrand, of the Grand Louvre, with its glass of uniformity, the boundless diversity of widely considered as the Nobel Prize for © pyramid and entrance hall designed by I.M. Pei. cultures and arts”. architects – Jean Nouvel is at the helm of one of the few truly global players among Therefore, it comes as no surprise that President AN ARCHITECTURE WITHOUT PRECEDENTS French design companies, with offices in Paris Jacques Chirac wanted to leave his own, iconic Logically, the artwork would have to be and Shanghai and a multicultural staff of mark in the French capital. President Chirac’s housed in a museum able to herald in its own 130. Famous for their experimental take on Trespa® Meteon® façade panels – in a range of solid lifelong interest in the so-called ‘Arts Premiers’ way such a radical antipole to uniformity. architecture, Ateliers Jean Nouvel have built Roland Halbe, Architects: and his considerable knowledge of foreign, and Even the slightest reference to the clichés of one-of-a-kind buildings all over the world, tones going from taupe to ochre through various reds © especially oriental cultures laid the foundation contemporary architecture had to be avoided: from South Korea to the American Midwest for an ambitious project. It would consist in the building itself would have to epitomise its and from Denmark to Abu Dhabi. and browns – proved ideally suited for the purpose. creating a unique environment where, under uniquely original content. Photography:

CASE STUDY MUSÉE DU QUAI BRANLY - JACQUES CHIRAC, PARIS DEFYING CONVENTIONS – WITH A PURPOSE The Musée du Quai Branly – renamed Musée du Quai Branly-Jacques Chirac in 2016 to honour its initiator – is definitely no exception, prompting the New York Times to describe it as … “defiant, mysterious and wildly eccentric”. Perched on stilts on the left bank of the Despite being exposed to the elements Seine, next to the Eiffel Tower, the museum is reminiscent of a long footbridge which, and the urban environment since 2006, unexpectedly, is facing the river rather than spanning it. Its convex façade combines the panels still look as pristine and vivid slanted glass panes on the upper level with 29 windowless boxes of all sizes protruding along as on the day there were installed. the full length of its middle section. The jumble they create contrasts so strongly with the smooth curve of the building that, at first sight, they almost look like a puzzling afterthought.

More than any other element, these boxes are the visual signature of the museum. No two boxes are alike, as they differ in both dimensions and colour: Trespa® Meteon® façade panels – in a range of solid tones going from taupe to ochre through various reds and browns – proved ideally suited for the purpose. Despite being exposed to the elements and the urban environment since 2006, the panels still look as pristine and vivid as on the day there were installed.

These overhanging, multicoloured, clean-cut boxes are anything but simple adornments. As a highly original take on the classic principle that ‘form follows function’, they fulfil a dual purpose entirely their own. They are not only an architectural metaphor for the dazzling diversity of cultures on display inside the museum. The boxes also offer a wide range of more intimate exhibition areas, which are ideally suited to showcase specific artifacts and collections. As such, they ideally complement the open space concept of the museum as a whole : the main exhibition areas have indeed been designed to deliberately avoid boundaries – and immerse the visitor all at once in the extraordinary diversity of the art on display.

CASE STUDY MUSÉE DU QUAI BRANLY - JACQUES CHIRAC, PARIS BROCHURE SIZE: 205 x 275 mm

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