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Farshid Moussavi Architecte Affranchie Unchained Architect 16 17 FARSHID MOUSSAVI ARCHITECTE AFFRANCHIE UNCHAINED ARCHITECT Londonienne passée par les ateliers de Renzo Piano et l’OMA, Farshid Moussavi offre une architecture multiculturelle et transversale, subtilement empreinte de ses racines iraniennes. Avec FOA (Foreign Office Architects), sa première agence fondée avec Alejandro Zaera-Polo en 1995, puis aujourd’hui FMA (Farshid Moussavi Architecture), elle interroge sans relâche la culture, la ville, le temps. A Londoner who worked at the Renzo Piano and OMA offices, Farshid Moussavi serves up a multicultural and transversal architecture, subtly tinged with her Iranian roots. With FOA (Foreign Office Architects), her first agency founded with Alejandro Zaera-Polo in 1995, and now FMA (Farshid Moussavi Architecture), she relentlessly questions culture, the city and time. Gare maritime internationale de Yokohama, Japon, FOA, construction 1995-2002. Yokohama international port terminal, Japan, FOA, completion 1995-2002. 18 19 Gare maritime internationale de Yokohama, Japon, FOA, construction 1995-2002. Yokohama international port terminal, Japan, FOA, completion 1995-2002. RIBA Worldwide Award 2004, Enric Miralles Prize for Architecture 2004, Kanagawa Prize for Architecture 2003. 20 21 FARSHID MOUSSAVI : «PLUTÔT QU’ENTRELACER L’ARCHITECTURE ET L’URBAIN, JE PRÉFÈRE PENSER L’ARCHITECTURE COMME URBANISME ET L’URBANISME COMME ARCHITECTURE. » sur tout type d’œuvres…Cependant, c’est par devenir des hangars neutres : une expérience très formatrice, ce dernier modèle, dont les murs sont pensez à la National Gallery et la Tate dans un contexte international. Rem constamment déplacés pour accueillir Modern, à Londres, ou le Metropolitan était ouvert à toutes les idées et des expositions différentes, qui est Museum, à New York. Ces musées venait aider à définir une stratégie. devenu universel pour les lieux dédiés génèrent une urbanité négative dans Quand un nouveau projet arrivait, à l’art. Mais il passe complètement leur contexte et n’inspirent pas : leur on l’abordait sans préjugés, et cela à côté du sentiment du « maintenant » neutralité nous éclaire sur la raison permettait vraiment d’ouvrir notre et du « temporaire », inhérent à l’art pour laquelle on applique un décor vision du projet à 360 degrés. Quand contemporain, puisque la plupart des architectural à la plupart des musées j’étais à l’OMA, il n’y avait quasiment musées de ce type, à l’exception du historiques. Le Guggenheim Bilbao tente pas d’ordinateurs. J’étais une des Centre Pompidou à Paris, présentent d’aller au-delà de la grande enveloppe rares personnes à m’y être initiée. leurs expositions comme si elles étaient neutre, à travers une ondulation de Je devais apporter le mien, car ceux permanentes. Peut-être existe-t-il une la surface et un profil complexe. Sa qui étaient sur place étaient réservés troisième façon de réfléchir à comment géométrie, couplée à ses panneaux aux dessinateurs qui exécutaient les accueillir l’art contemporain, qui réfléchissants, transforme ce qui aurait demandes des architectes, ce que représente un espace plus complexe. pu être une boîte morte en une maison je trouvais très frustrant. Concernant L’art contemporain est très divers de la culture, qui offre des sensations les ordinateurs, l’informatique permet – ses dimensions varient depuis de de pliage, des effets réfléchissants, une grande efficacité, un gain de temps ; grande variété de points de vue. C’était AA : COMMENT MENEZ-VOUS CETTE RÉFLEXION ? minuscules objets jusqu’à l’échelle des lignes courbes, de l’ondulation… elle est aussi utile si l’on considère le idéal pour contrebalancer le travail TRAVAILLEZ-VOUS AVEC DES ARTISTES ? de l’Internet. Certaines œuvres se Je pense que le Guggenheim Bilbao processus du design comme un espace de l’agence, entièrement focalisé sur posent au sol, tandis que d’autres a en réalité une vraie sincérité, pour d’imagination, qui stimule la créativité un musée qui suit le modèle du White le projet de Yokohama. Mais dans ••F. M. : J’ai déjà collaboré avec doivent être suspendues au plafond. par le biais de l’expérimentation. tous les cas, Londres est une ville des artistes dans le passé – nous Certaines performances vivantes se Cube. La ville est bannie et le bâtiment que j’aime. Son extrême diversité avons travaillé sur quelques projets déroulent devant vous et nécessitent devient une décoration, un objet AA : VOTRE TRAVAIL REPOSE SUR DES fait qu’il est impossible de définir les avec Carsten Höller par exemple –, une obscurité complète alors que précieux. Cependant, je suis d’accord SYSTÈMES D’INFORMATIONS DYNAMIQUES. règles qui la régissent. Surtout, pour mais dans une réflexion sur l’art d’autres pas, car elles traitent du temps avec Hal Foster : il faut questionner QU’EN EST-IL DE LA QUESTION DU TEMPS un architecte, c’est très libérateur d’y contemporain et le musée, collaborer et non de la vision, etc. Le défi est le rôle futur du musée et développer un APRÈS LA CONCEPTION ? COMMENT vivre et y travailler. Londres n’a pas la avec un artiste a peu de sens. Il serait de concevoir un espace qui offre autre modèle, qui connecte les gens et L’INTÉGREZ-VOUS DANS UN PROJET CONSTRUIT, beauté qu’on peut attendre d’une ville impossible de penser un musée d’art cette complexité et cette flexibilité. l’art de manière moins médiatique. Je ET DONC STATIQUE ? Art, multiculturalisme, urbanisme, d’importance mondiale, comme, disons, contemporain autour d’un seul talent. pense que dans tous les cas, l’économie de ces dernières années a en grande Paris ou New York. C’est donc plus facile Il s’agit plutôt de réfléchir sur l’art AA : PRENONS LE CAS DU MUSÉE GUGGENHEIM ••F. M. : On peut intégrer l’idée du temps pratique professionnelle… d’imaginer qu’on puisse en reconstruire contemporain en général et d’imaginer DE BILBAO, DÉNONCÉ PAR HAL FOSTER DANS partie mis un terme à ce genre de dans chaque projet en incorporant À travers son parcours et certains certaines parties. Ces quinze dernières comment le bâtiment qui l’abrite peut SON OUVRAGE DESIGN AND CRIME COMME musées « spectaculaires ». Aujourd’hui, de nombreux scénarios d’usage au fil de ses projets en cours, Farshid années, des quartiers énormes de accueillir tant sa diversité que son SPECTACULAIRE ET INCIVIQUE. PENSEZ-VOUS il est plus qu’urgent pour les musées des mois, ou même en envisageant Moussavi développe sa vision Londres ont été développés : Southwark, imprévisibilité. J’en ai discuté avec QUE LES MUSÉES ONT UN RÔLE DANS LA VILLE de trouver un nouveau rôle dans la ville. comment cela vieillira, ce qui permettrait White City, Kings Cross, Paddington Hans Ulrich Obrist [critique d’art, AUTRE QUE CELUI D’HÉBERGER L’ART ? au changement d’être une logique de l’architecture. et actuellement la Lee Valley. Au total, historien et commissaire d’exposition AA : QU’AVEZ-VOUS APPRIS QUAND VOUS AVEZ interne du programme. Dans le cas 2 TRAVAILLÉ CHEZ RENZO PIANO, ET PLUS TARD de Yokohama, nous avons anticipé que environ 15 millions de m de ville suisse, parmi les plus influents sur la ••F. M. : Je comprends le sens AA : VOUS TRAVAILLEZ DANS LE MONDE ENTIER, ont été complètement reconstruits. scène internationale. NDLR], qui m’a de cette critique, mais les bâtiments À L’OMA, AVEC REM KOOLHAAS ? la gare maritime serait vide pendant VOUS ÊTES NÉE À CHIRAZ (IRAN), AVEZ ÉTUDIÉ beaucoup inspirée. Historiquement, ont plusieurs rôles à jouer. Bien sûr, de longues périodes puisque les À LONDRES ET HARVARD. POURQUOI AVOIR AA : QUELS SONT LES PROJETS EN COURS dans les relations entre architecture et la finalité des musées est d’offrir ••F. M. : J’ai travaillé au Renzo Piano paquebots ne viennent pas tous les CHOISI LA VILLE DE LONDRES POUR FONDER DE L’AGENCE ? art, on avait tendance à mettre la priorité un lieu où les gens peuvent faire Building Workshop pendant mes études jours à quai. Ainsi, nous avons conçu VOTRE ANCIENNE AGENCE, FOA (FOREIGN soit sur l’un, soit sur l’autre et on s’est l’expérience de l’art. Mais pour ce qui et cette expérience a compté à bien ce terminal comme un espace public couvert avec des structures mobiles, OFFICE ARCHITECTS), PUIS, EN JUIN 2011, ••F. M. : Nous sommes en train de retrouvé avec deux modèles de musées. concerne le bâtiment lui-même, on doit des égards : c’était la deuxième fois FARSHID MOUSSAVI ARCHITECTURE (FMA) ? travailler sur des logements à la L’un est pensé comme un dispositif s’interroger à la fois sur comment il que je me retrouvais dans un lieu ce qui permet d’accueillir à la fois des Défense, à Nanterre, en dehors de Paris, scénographique très spécifique, qui expose les gens à l’art à l’intérieur et où j’étais totalement étrangère. Quand passagers et, en l’absence de paquebots de croisières dans le port, beaucoup ••FARSHID MOUSSAVI : Alejandro Zaera- suite au concours que nous avons gagné limite totalement tout autre forme comment il contribue à son contexte je suis arrivée en Angleterre, j’avais Polo et moi-même avons créé FOA cet été, juste après la création de FMA, d’agencement ; je pense au Guggenheim urbain, ce qui n’a rien à voir avec l’art. déjà dû assimiler une langue et une d’autres usages publics différents. Cela juste après avoir gagné le concours du et dont le chantier va commencer en à New York, dont les espaces Il est indéniable que le musée de Frank culture totalement différentes. En Italie, voulait dire que tous les équipements Terminal maritime de Yokohama en 1995. 2013. Nous travaillons aussi sur le Quran d’exposition sont penchés et courbes. Gehry – un grand bâtiment qui occupe j’ai eu six mois pour apprendre toute d’accueil devaient être amovibles.
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