Known for its beauty and significant tribute to the arts, Paris has been home to many artistic and cultural spaces that aim to highlight the city s important place in the art and cultural worlds. The world has come to know the likes of the Louvre, Musee d Orsay, Pavillon des Arts, and the Centre Georges-Pompidou, among others, and these museums have been among the main reasons why Paris is flocked by millions of visitors from around the world. Art lovers and those who have great appreciation on history, cultures, and the sciences will find Paris as their playground as they are faced with a wide option of different spaces and structures that contain the most well-appreciated and sought-after relics in the world.
Despite meeting the common expectations of visitors with its multitude of museums, not all museums in Paris were created the same. Despite the famous architecture of the city, thus, achieving certain associations and implications with the term Parisian, many notable museums in Paris are actually anything but Parisian. From the glass pyramid by I.M. Pei that was supposed to complement the late 12th century structure of the Louvre Palace, to the machine-like Georges-Pompidou, some Parisian museums have inescapably, according to its critics, missed the mark especially as they are expected to integrate the already-established architecture of the city of lights.
Museums have become among the symbolic structures of any city, thus further representing any city s stance when it comes to its reception and appreciation towards culture and art. Hence, museums are not only recognized in terms of their function but also its position with respect to the urban context
An invention of the Enlightenment, the museum as we know it was not only ideally equipped to deal with the surplus of the history that it would order, store and display, it was also a relatively recent building type and a newcomer to the city Michael Levin considered the museum as an instrument that defines, represents, and makes transparent changing cultural trends. In his opinion, the museum, almost by definition, does more than express current social values and tastes it also makes a cultural statement which goes beyond its place in history.
Based on this, it can be gathered that the architecture of the museum is as significant as the contents of the space and structure. Notably, in Paris, the architecture of the old and the new Louvre have gained critical attention from both architectural critics and visitors of this tourist attraction. In any case, the relationship of the museum space and the overall architecture of the city is representative of the dynamics of urban and structure, and for Paris, the placement of a museum that seems to stick out like a sore thumb from the Parisian urbanscape can inescapably attract certain attention. Paris is among the few cities in the world that can be regarded to have reached an iconic status, especially when it comes to its architecture hence, in the designing and building of new museums, is to achieve a visual feast and sense of occasion that is rarely experienced in other building types... to achieve this alongside the integration of the site architecture and exhibition.
Jean Nouvels design of the Musee du Quai Branly has not been without any criticism. It has been described as Defiant, mysterious and wildly eccentric, it is not an easy building to love, and hardly conforms to notions of Parisian elegance. The Musee du Quai Branly has therefore become among the grand architectural scandals in Paris. However, Nouvel has managed to translate the purpose of the museum into a design that pays tribute to the context of the space and not just the context of Parisian architecture. Nouvels Musee du Quai Branly is therefore an architecture that contributes to an important purpose of the museum a very distinctive spatial and structural experience that pays tribute to the diverse non-European societies which the museum is paying homage to. Hence, as Nouvel said, The building could not be an affirmation of the triumph of Western architecture Nouvel designed a structure with respect to the societies and cultures that it will represent. In this case, the best way for Nouvel to fulfill this objective is to make his own rules and position this structure with respect to the realities of Frances past histories with these societies.
Background
The feasibility of building a new museum was conducted in 1995, with this particular museum space dedicated to non-European art, cultures and civilizations. Strongly supported by then president Jacques Chirac, this museum found its future home in the Left Bank of the Seine and just a stones throw away from the iconic Eiffel Tower. This site was actually originally assigned for the construction of International Conference Centre, a project abandoned by Jacques Chiracs predecessor, Francois Mitterand. Today, the Musee de Quai Branly is located in an exceptionally curved site by the Left Bank and a hundred meters away from the Eiffel Tower. The entire project cost reached 295 million and will house over 300,000 works from non-European civilizations such as Africa, Asia, the Americas and the Oceania.
During the opening of the museum, President Jacques Chirac pointed out the central idea of the museum, as follows
France wished to pay a rightful homage to peoples to whom, throughout the ages, history has all too often done violence... the rejection of ethnocentrism and the indefensible and unacceptable pretension of the West that it alone bears the destiny of humanity, and the rejection of false evolutionism, which purports that some peoples remain immutably at an earlier stage of human evolution, and that their cultures, termed primitive , only have value as objects of study for anthropologists or, at best, as sources of inspiration for Western artists... There is no hierarchy of the arts and cultures any more than there is a hierarchy of peoples. First and foremost, the Muse du Quai Branly is founded on the belief in the equal dignity of the world s cultures .
The contents of Musee du Quai Branly was formed from the collections of the now closed Muse National des Arts dAfrique et dOcanie (22,740 pieces) and the Muse de lHommes ethnographic department (236,509 pieces). Many of its exhibits are posed with the challenge to preserve these art works and cultural relics which are also considered as representations of Frances imperialist history, but some noted this project as an artistic project with the eminently political objective of proclaiming Frances openness to the world.
Evidently, the Musee du Quai Branly is a means for France to face up to its colonial past and convey its position with respect to history and the current globalized world.
Museum Design and the Musee du Quai Branly
The entire complex of the museum is made up of three main structures the museum proper, the administration, and the rue de lUniversite, a structure which houses the Aboriginal paintings and also functions as the venue for the management of the collections and the library. Spaces were also designed for lecture and workshop rooms, a theater, and a mediatheque, among others. The site has an area of about 19 acres with museum itself measured at about 200 x 21 meters height and 823,000 square foot of floor space area.
The complex covers only a third of the entire site the rest, Nouvel decided to dedicate the rest of the property for landscaping and lush gardens, thus, making the impression of a small jungle sprouting in the middle of Paris. Nouvel was noted to have said he had intended for the structure to disappear in its environment, thus, the experience of exploring the museum would also include a sense of discovery. Hence, the three main parts of the site --- the museum proper, the administration, and the rue de lUniversite --- have their respective designs which can be observed to be reminiscent of a mishmash of different design elements. However, it can be observed that the juxtaposition of these different architectural elements are married by prevalence of nature themes through the landscaping and vertical gardens designed by Gilles Clement and Patrick Blanc respectively, and the connection of the main ramp of the exhibition space which appears as a bridge that connects one access point of the site to another. Hence, the structure in its entirety is a morphology of one style and design to another, as situated in a forest-like environment which is suggestive of the lush jungles of the societies this particular museum is paying tribute to.
Left The exhibit space which looks like an industrial bridge about to reach the Eiffel Tower. Note the protruding boxes and the minimal landscaping on this part of the site. (Photo from BBC News)
The main structure of the complex is the museum proper. This bridge-like exhibition space curves with the shape of the site and is the main elevation of the complex it is measured at 700 x 100 feet. This structure is elevated from the ground and stands on columns, a design approach reminiscent of Le Corbusiers Villa Savoye. Instead of regularly placed columns, the pilotis that support the floating structure appear to be randomly placed. The museum proper is covered partially by a curtain glass wall, dotted by the cantilevered boxes which serve as small exhibition spaces on the inside of the museum these boxes protrude at the northern portion of the building.
Another notable feature is the le mur vgtal also known as the living wall or the vertical gardens designed by Patrick Blanc. Located at the north facade of the complex, the le mur vgtal is made up of more than 150,000 plants coming from more than 150 species. Blanc chose plants that could grow on rocks, hence, ensuring that the vertical garden is adhered to the buildings surface Blanc specifically selected epiphytic and saxicolous species that could grow without soil. In terms of constructing this feature, the walls were covered with recycle polyamide felt where the plants could grow and get their nutrients from. This layer is actually attached to expanded PVC sheets that are further attached to a tubular frame that is directly attached to the wall proper of the building. The following images demonstrate how a vertical garden can be constructed
From Left, clockwise 1) Tubular steel frames cover the facade of the building which serve as the skeleton of the garden 2) Felt panels where the plants are going to be inserted 3) Cross-section of the system patented by Patrick Blanc. (Images from J Somine)
The entire structural design of the museum also had to face several challenges demanded by the design. The engineering team, Bet Structure and OTH Bet Fluides, had to design an irregular frame in order to connect the different structures of the building and make sure that the architecture is preserved. Different connection systems had to be used in different sections of the building depending on the support requirements such as concrete newels joined with the steel structure to ensure the general stability of the building.
The details of the interior also reflect the design sensibilities of the exterior, and that is to design a space that is about exploration and discovery. The lighting design of the museum may be observed to be more punctuated towards the highlighted exhibits, and in sense, this works for Musee du Quai Branly because such lighting pulls the attention of the guests to appreciate the relics and works of art on display.
Design Analysis
Described as a museum that disappears into its surroundings, the Musee du Quai Branly can be observed to combine the design sensibilities of organic architecture and an architectural style that is reminiscent of the machine. The organic aspect of the design can be seen in the strong presence of natural features such as the vertical gardens and greenery found in and outside the buildings. Although this may contrast with the machine facet of the design as can be seen in the steel and glass structure that covers the museum proper, Nouvel has managed to tie everything together maintaining a sense of cohesiveness despite the diversity of the design. The design does convey that it is pays homage to what the museum is about the Musee du Quai Branly is not necessarily a museum in tribute to Paris and its architecture, but rather the structure itself is reflective of what the museum is all about. At the same time, the architecture conveys its contemporary sensibilities through the cantilevered boxes that were designed not just for the purpose of form but function as well.
As can be seen in the previous discussion, the Musee du Quai Branlys design has used innovation as a means to ensure that Nouvels unique design is manifested. Such innovation is also apparent in the design, although interestingly, the designs tribute is that of the past. Form is evidently not isolated from the intended functions, and what is also commendable about the museum is its integration of sustainable design concepts through its vertical gardens.
Despite meeting the common expectations of visitors with its multitude of museums, not all museums in Paris were created the same. Despite the famous architecture of the city, thus, achieving certain associations and implications with the term Parisian, many notable museums in Paris are actually anything but Parisian. From the glass pyramid by I.M. Pei that was supposed to complement the late 12th century structure of the Louvre Palace, to the machine-like Georges-Pompidou, some Parisian museums have inescapably, according to its critics, missed the mark especially as they are expected to integrate the already-established architecture of the city of lights.
Museums have become among the symbolic structures of any city, thus further representing any city s stance when it comes to its reception and appreciation towards culture and art. Hence, museums are not only recognized in terms of their function but also its position with respect to the urban context
An invention of the Enlightenment, the museum as we know it was not only ideally equipped to deal with the surplus of the history that it would order, store and display, it was also a relatively recent building type and a newcomer to the city Michael Levin considered the museum as an instrument that defines, represents, and makes transparent changing cultural trends. In his opinion, the museum, almost by definition, does more than express current social values and tastes it also makes a cultural statement which goes beyond its place in history.
Based on this, it can be gathered that the architecture of the museum is as significant as the contents of the space and structure. Notably, in Paris, the architecture of the old and the new Louvre have gained critical attention from both architectural critics and visitors of this tourist attraction. In any case, the relationship of the museum space and the overall architecture of the city is representative of the dynamics of urban and structure, and for Paris, the placement of a museum that seems to stick out like a sore thumb from the Parisian urbanscape can inescapably attract certain attention. Paris is among the few cities in the world that can be regarded to have reached an iconic status, especially when it comes to its architecture hence, in the designing and building of new museums, is to achieve a visual feast and sense of occasion that is rarely experienced in other building types... to achieve this alongside the integration of the site architecture and exhibition.
Jean Nouvels design of the Musee du Quai Branly has not been without any criticism. It has been described as Defiant, mysterious and wildly eccentric, it is not an easy building to love, and hardly conforms to notions of Parisian elegance. The Musee du Quai Branly has therefore become among the grand architectural scandals in Paris. However, Nouvel has managed to translate the purpose of the museum into a design that pays tribute to the context of the space and not just the context of Parisian architecture. Nouvels Musee du Quai Branly is therefore an architecture that contributes to an important purpose of the museum a very distinctive spatial and structural experience that pays tribute to the diverse non-European societies which the museum is paying homage to. Hence, as Nouvel said, The building could not be an affirmation of the triumph of Western architecture Nouvel designed a structure with respect to the societies and cultures that it will represent. In this case, the best way for Nouvel to fulfill this objective is to make his own rules and position this structure with respect to the realities of Frances past histories with these societies.
Background
The feasibility of building a new museum was conducted in 1995, with this particular museum space dedicated to non-European art, cultures and civilizations. Strongly supported by then president Jacques Chirac, this museum found its future home in the Left Bank of the Seine and just a stones throw away from the iconic Eiffel Tower. This site was actually originally assigned for the construction of International Conference Centre, a project abandoned by Jacques Chiracs predecessor, Francois Mitterand. Today, the Musee de Quai Branly is located in an exceptionally curved site by the Left Bank and a hundred meters away from the Eiffel Tower. The entire project cost reached 295 million and will house over 300,000 works from non-European civilizations such as Africa, Asia, the Americas and the Oceania.
During the opening of the museum, President Jacques Chirac pointed out the central idea of the museum, as follows
France wished to pay a rightful homage to peoples to whom, throughout the ages, history has all too often done violence... the rejection of ethnocentrism and the indefensible and unacceptable pretension of the West that it alone bears the destiny of humanity, and the rejection of false evolutionism, which purports that some peoples remain immutably at an earlier stage of human evolution, and that their cultures, termed primitive , only have value as objects of study for anthropologists or, at best, as sources of inspiration for Western artists... There is no hierarchy of the arts and cultures any more than there is a hierarchy of peoples. First and foremost, the Muse du Quai Branly is founded on the belief in the equal dignity of the world s cultures .
The contents of Musee du Quai Branly was formed from the collections of the now closed Muse National des Arts dAfrique et dOcanie (22,740 pieces) and the Muse de lHommes ethnographic department (236,509 pieces). Many of its exhibits are posed with the challenge to preserve these art works and cultural relics which are also considered as representations of Frances imperialist history, but some noted this project as an artistic project with the eminently political objective of proclaiming Frances openness to the world.
Evidently, the Musee du Quai Branly is a means for France to face up to its colonial past and convey its position with respect to history and the current globalized world.
Museum Design and the Musee du Quai Branly
The entire complex of the museum is made up of three main structures the museum proper, the administration, and the rue de lUniversite, a structure which houses the Aboriginal paintings and also functions as the venue for the management of the collections and the library. Spaces were also designed for lecture and workshop rooms, a theater, and a mediatheque, among others. The site has an area of about 19 acres with museum itself measured at about 200 x 21 meters height and 823,000 square foot of floor space area.
The complex covers only a third of the entire site the rest, Nouvel decided to dedicate the rest of the property for landscaping and lush gardens, thus, making the impression of a small jungle sprouting in the middle of Paris. Nouvel was noted to have said he had intended for the structure to disappear in its environment, thus, the experience of exploring the museum would also include a sense of discovery. Hence, the three main parts of the site --- the museum proper, the administration, and the rue de lUniversite --- have their respective designs which can be observed to be reminiscent of a mishmash of different design elements. However, it can be observed that the juxtaposition of these different architectural elements are married by prevalence of nature themes through the landscaping and vertical gardens designed by Gilles Clement and Patrick Blanc respectively, and the connection of the main ramp of the exhibition space which appears as a bridge that connects one access point of the site to another. Hence, the structure in its entirety is a morphology of one style and design to another, as situated in a forest-like environment which is suggestive of the lush jungles of the societies this particular museum is paying tribute to.
Left The exhibit space which looks like an industrial bridge about to reach the Eiffel Tower. Note the protruding boxes and the minimal landscaping on this part of the site. (Photo from BBC News)
The main structure of the complex is the museum proper. This bridge-like exhibition space curves with the shape of the site and is the main elevation of the complex it is measured at 700 x 100 feet. This structure is elevated from the ground and stands on columns, a design approach reminiscent of Le Corbusiers Villa Savoye. Instead of regularly placed columns, the pilotis that support the floating structure appear to be randomly placed. The museum proper is covered partially by a curtain glass wall, dotted by the cantilevered boxes which serve as small exhibition spaces on the inside of the museum these boxes protrude at the northern portion of the building.
Another notable feature is the le mur vgtal also known as the living wall or the vertical gardens designed by Patrick Blanc. Located at the north facade of the complex, the le mur vgtal is made up of more than 150,000 plants coming from more than 150 species. Blanc chose plants that could grow on rocks, hence, ensuring that the vertical garden is adhered to the buildings surface Blanc specifically selected epiphytic and saxicolous species that could grow without soil. In terms of constructing this feature, the walls were covered with recycle polyamide felt where the plants could grow and get their nutrients from. This layer is actually attached to expanded PVC sheets that are further attached to a tubular frame that is directly attached to the wall proper of the building. The following images demonstrate how a vertical garden can be constructed
From Left, clockwise 1) Tubular steel frames cover the facade of the building which serve as the skeleton of the garden 2) Felt panels where the plants are going to be inserted 3) Cross-section of the system patented by Patrick Blanc. (Images from J Somine)
The entire structural design of the museum also had to face several challenges demanded by the design. The engineering team, Bet Structure and OTH Bet Fluides, had to design an irregular frame in order to connect the different structures of the building and make sure that the architecture is preserved. Different connection systems had to be used in different sections of the building depending on the support requirements such as concrete newels joined with the steel structure to ensure the general stability of the building.
The details of the interior also reflect the design sensibilities of the exterior, and that is to design a space that is about exploration and discovery. The lighting design of the museum may be observed to be more punctuated towards the highlighted exhibits, and in sense, this works for Musee du Quai Branly because such lighting pulls the attention of the guests to appreciate the relics and works of art on display.
Design Analysis
Described as a museum that disappears into its surroundings, the Musee du Quai Branly can be observed to combine the design sensibilities of organic architecture and an architectural style that is reminiscent of the machine. The organic aspect of the design can be seen in the strong presence of natural features such as the vertical gardens and greenery found in and outside the buildings. Although this may contrast with the machine facet of the design as can be seen in the steel and glass structure that covers the museum proper, Nouvel has managed to tie everything together maintaining a sense of cohesiveness despite the diversity of the design. The design does convey that it is pays homage to what the museum is about the Musee du Quai Branly is not necessarily a museum in tribute to Paris and its architecture, but rather the structure itself is reflective of what the museum is all about. At the same time, the architecture conveys its contemporary sensibilities through the cantilevered boxes that were designed not just for the purpose of form but function as well.
As can be seen in the previous discussion, the Musee du Quai Branlys design has used innovation as a means to ensure that Nouvels unique design is manifested. Such innovation is also apparent in the design, although interestingly, the designs tribute is that of the past. Form is evidently not isolated from the intended functions, and what is also commendable about the museum is its integration of sustainable design concepts through its vertical gardens.
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