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JEAN NOUVEL + PURE DESIGN
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NOW OPENING
What if the doors began to open?
Because we got the light with you
What if the knots became untied?
And a gleam in your eyes
What if one day, nothing stood in your way
We got a smile on our face
And the world were yours?
And we are walking on air
Would it feel this fine?
Published by SFMOMA
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TABLE OF CONTENTS
SF MO MA Architect: JEAN NOUVEL
WELCOM
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Palais de Justice
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Arab World Institute
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Louvre Abu Dhabi
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Fondation Cartier pour l’Art Contemporain
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Serpentine Gallery
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Museum Two, Leeum, Samsung Museum of Art
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Reina Sofía Museum
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Torre Agbar
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Nemausus 1 (Housing, 114 apartments)
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Musée du quai Branly
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Péniche Club de Presse Renault
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Copenhagen Concert Hall
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Culture and Convention Center
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ME IN
One New Change Jean Nouvel SFMOMA Presentes 151 3rd St, San Francisco, CA 94103 6th floor sfmoma.org
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415-357-4000
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ABOUT THE ARCHIECT
SF MO MA
JEAN NOUVEL
+ PURE DESIGN
Architect: JEAN NOUVEL
WHAT WILL I DO IF MY HOUSE IS ON FIRE? I WILL THROW MORE FURNITURE INTO THE FIRE AND LET IT BURN. ARCHITECTURE IS MY FAVORITE GAME, AND IT IS ALSO MY UNIQUE WAY OF BURNING LIFE TO CONQUER THE WORLD. —Jean Nouvel
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Jean Nouvel is a French architect. Nouvel studied at the École des Beaux Arts in Paris and was a founding member of Mars 1976 and Syndicat de l’Architecture. He has obtained a number of prestigious distinctions over the course of his career, including the Aga Khan Award for Architecture (technically, the prize was awarded for the Institut du Monde Arabe which Nouvel designed), the Wolf Prize in Arts in 2005 and the Pritzker Prize in 2008. A number of museums and architectural centres have presented retrospectives of his work. FAMILY AND EDUCATION Nouvel was born on 12 August 1945 in Fumel, France. He is the son of Renée and Roger Nouvel who were teachers. His family moved often when his father became the county’s chief school superintendent. His parents was encouraged Nouvel to study mathematics and language, but when he was 16 years old he was captivated by art when a teacher taught him drawing. Although he later said he thought that his parents were guiding him to pursue a career in education or engineering, the family reached a compromise that he could study architecture which they thought was less risky than art. When Nouvel failed an entrance examination at the École des Beaux Arts of Bordeaux, he moved to Paris where he won first prize in a national competition to attend the École nationale supérieure des Beaux Arts. From 1967 to 1970, Nouvel earned his income as an assistant to architects Claude Parent and Paul Virilio, who after only one year, made him a project manager in charge of building a large apartment complex. Nouvel and filmmaker Odile Fillion married and have two sons, Bertrand, who is a post-doctorate computer scientist working at Mindstorm Multitouch in London, and Pierre, who is a theater producer and designer at his company, Factoid. With his
second wife Catherine Richard, Nouvel has a daughter, Sarah. He lives now with Mia Hägg, who is a Swedish architect working at her practice Habiter Autrement in Paris. PRACTICE By age 25, Nouvel completed school and entered into his own partnership with François Seigneur. Parents sent them work, and gave archiect Jean Nouvel a valuable recommendation to the chairperson of the seventh edition of the Biennale de Paris where for fifteen years, Nouvel designed exhibits and made contacts in the arts and theatre. Early on in his career, Nouvel became a key participant intellectual debates about architecture in France: He co-founded the Mars 1976 ovement in 1976 and, a year later, the Syndicat de l’Architecture. Nouvel was one of the organizers of the competition for the rejuvenation of the Les Halles district (1977) and he has founded the first Paris architecture biennale in 1980.
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PRITZKER PRIZE Jean Nouvel was awarded the Pritzker Prize, architecture’s highest honour, in 2008, for his work on more than 200 projects, among them, in the words of The New York Times, the “exotically louvered” Arab World Institute, the bullet-shaped and “candy-colored” Torre Agbar in Barcelona, the “Muscular” Guthrie whoes Theater with its cantilevered bridge in Minneapolis, and in Paris, the “defiant, mysterious and wildly eccentric” Musée du quai Branly (2006) and the Philharmonie de Paris (A “Trip Into The Unknown” c. 2012). Pritzker points to several more major works: in Europe, the Cartier Foundation for the Contemporary Art (1994), the Culture and Convention Center in Lucerne (2000), the Opéra Nouvel in Lyon (1993), Expo 2002 in Switzerland and, under construction, the Copenhagen Concert Hall and the courthouse in Nantes (2000); as well as the two tall towers in the planning in North America, Tour Verre in New York City and a cancelled condominium tower in Los Angeles, In its citation, the jury of the Pritzker prize noted: Of the many phrases that might be used to describe the career of architect Jean Nouvel, foremost are those that emphasize his courageous pursuit of new ideas and his challenge of accepted norms in order to stretch the boundaries of the field. [...] The jury acknowledged the ‘persistence, imagination, exuberance, and, above all, an insatiable urge for creative experimentation’ as qualities abundant in Jean Nouvel’s work.
In 1981, Nouvel, together with Architecture Studio, who had won the design competition for the Institut du Monde Arabe (Arab World Institute) building in Paris, whose construction was completed in 1987 and brought Nouvel international fame. Mechanical lenses reminiscent of Arabic latticework in its south wall open and shut automatically, controlling interior lighting as the lenses’ photoelectric cells respond to exterior light levels.
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Jean Nouvel had three different partners between 1972 and 1984: Gilbert Lezenes, Jean-François Guyot, and Pierre Soria. In 1985, with his junior architects Emmanuel Blamont, Jean-Marc Ibos and Mirto Vit art, he founded Jean Nouvel et Associés. Then, with Emmanuel Gattani, he had formed JNEC in 1988. Ateliers Jean Nouvel, his present practice, was formed in 1994 with Michel Pélissié and is one of the largest in France, with 140 people in the main office in Paris. Ateliers Jean Nouvel site offices are Rome, Geneva, Madrid and Barcelona. They are working on 30 active projects in threetheen countries. Nouvel designed a flacon for L’Homme, an Yves Saint Laurent fragrance, in a limited edition launched in 2008.
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Architect: JEAN NOUVEL
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LOUVRE ABU DHABI ART AND CIVILIZATION MUSEUM The Louvre Abu Dhabi is an art and civilization museum, located in Abu Dhabi, United Arab Emirates. The museum was inaugurated on 8 November 2017 by French President Emmanuel Macron and United Arab Emirates Vice President Mohammed bin Rashid Al Maktoum and Crown Prince of Abu Dhabi Mohammed bin Zayed Al Nahyan.
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LOUVRE ABU DHABI
The three-languages wayfinding system for the Louvre Abu Dhabi was designed by Philippe Apeloig, and is implemented in both Arabic and Roman script. Frutiger LT typeface has been chosen for the Roman texts for its perfect readability for signage; while Lebanese typographer Kristyan Sarkis created an Arabic bespoke typeface, the LAD Arabic, based on the classic Naskh style and his Colvert Arabic font. The design of the pictograms was inspired by the museum’s architecture, and particularly by the abstract shapes created by the rain of l ight filtering through the gigantic dome’s mashrabiyas. Each pictogram is a combination of several of these shapes, creating silhouettes and objects.
A JIGSAW IN 3D
The museum is designed as a “Seemingly Floating Dome Structure”; its web-patterned dome allowing the sun to filter through. The overall effect is meant to represent “rays of sunlight passing through date palm fronds in an oasis.” The total area of the museum will be approximately 24,000 square metres (260,000 sq ft). The permanent collection will occupy 6,000 square metres (65,000 sq ft), and the temporary exhibitions will take place over 2,000 square metres (22,000 sq ft).
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This super-sized element was the first element installed, after which construction continued in a counter-clockwise direction.
To allow the canopy’s internal structure to be built piece by piece, Louvre Abu Dhabi’s engineers have devised a giant, three dimensional jigsaw of 85 super-sized structrual steel pieces, wach of which is five metres deep and weights between 30 and 70 tonnes.
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BuroHappold Engineering has provided multidisciplinary engineering services across the project, which including structural engineering, geo-technical engineering, energy and environmental consultancy, water engineering, facade engineering, lighting design, people movement consultancy, security services and inclusive design. Their structural engineers realised the “Floating Dome” from 7,850 aluminium stars of varying sizes, which tessellate over eight layers to create a perforated roof structure that allows sunlight through to the spaces below. A team of specialist geo-technical and water engineers designed a watertight basement and tidal pools within the galleries to give the illusion of a “museum in the sea” while protecting artwork, artefacts and visitors from the corrosive marine environment. The three-languages wayfinding system for the Louvre Abu Dhabi was designed by Philippe Apeloig, and is implemented in both Arabic and Roman script. Frutiger LT typeface has been chosen for the Roman texts for its perfect readability for signage. While Lebanese typographer Kristyan Sarkis created an Arabic bespoke typeface, the LAD Arabic, based on the classic Naskh style and his Colvert Arabic font. The design of the pictograms was inspired by the museum’s architecture, and particularly by the abstract shapes created by the rain of light filtering through the gigantic dome’s mashrabiyas. Each pictogram is a combination of several of these shapes, creating silhouettes and objects.
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Louvre Abu Dhabi in Abu Dhabi, United Arab Emirates
Architect: JEAN NOUVEL
CONSTRUCTION CHALLENGES AND LOCAL DILEMMAS
Construction works at Louvre Abu Dhabi officially started on 26 May 2009. Mohammed bin Zayed Al Nahyan, the Crown Prince of Abu Dhabi and the President of France, Nicolas Sarkozy inaugurated an exhibition titled, Talking Art: Louvre Abu Dhabi at the “Gallery One of the Emirates Palace” hotel which includes 19 works of art bought over the last 18 months for Louvre Abu Dhabi, as well as loans from the French national museums to mark the beginning of the construction work. Piling works at the Louvre were to be completed by August 2010, with the piling and enabling works package awarded to the German specialized company (Bauer International FZE). The total of 4536 piles consisted of RC Piles and H-Piles and was completed on 3 August 2010.
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On 29 October 2011, Tourism Development & Investment Company (TDIC.), the project manager owned by the government of Abu Dhabi, announced it would delay establishing the museum. The company gave no new date. According to the UAE newspapers Gulf News and the National, the delay could be explained by a review of the emirate’s economic strategy. In January 2012 it was confirmed that the Louvre Abu Dhabi’s new opening date would be 2015.Construction on the main phase of the museum began in early 2013 by a consortium headed by Arabtec, Constructora San José and Oger Abu Dhabi. This stage includes waterproofing and the two basement levels, along with four concrete pillars that will support the 7,000-tonne dome. Work on the constru ction of the gallery spaces and initial preparation for the dome began in the fourth quarter of 2013. On 5 December 2013, the first element of the museum’s canopy was lifted into place.
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LOUVRE ABU DHABI
On 17 March 2014 TDIC announced the completion of the first permanent gallery structure to mark the first anniversary of the start of construction. At this time, it was claimed that a total of ten million man hours had been worked and 120,538 cubic meters of concrete used.
↓ The Guggenheim Abu Dhabi contemporary arts museum—expected to be the world’s largest Guggenheim; a performing arts centre designed by Zaha Hadid; a maritime museum with concept design by Tadao Ando and a number of arts pavilions. Questions have been raised as to the nature of the artworks to be displayed at the museum. However, according to The National: “The type and nature of the exhibits planned for the Louvre Abu Dhabi have been affected to no extent by the fact the new museum would be in a Muslim country, said Mr. Loyrette.”
Subjects and themes have been freely discussed with our partners in Abu Dhabi
and no request to avoid such subjects has been made. The exhibition policy will be set up regarding excellence and high-standard quality. As a new museum we hope the Louvre Abu Dhabi will be part of the international community. — Henri Loyrette
It has been noted that the museum will showcase work from multiple French museums, including the Louvre, the Centre Georges Pompidou, the Musée d’Orsay and Palace of Versailles. However, Renaud Donnedieu de Vabres, the French Culture Minister, stated at the announcement that the Paris Louvre “Would not sell any of its 35,000-piece collection currently on display”.
It will not be dedicated to occidental art but will show all kinds of artistic creations. It will set up a dialogue between west and east, between north and south. As such, art from the Middle East will be shown within the Louvre Abu Dhabi. — Henri Loyrette
In 2012, the Louvre Abu Dhabi started collecting photography, making its the first acquisitions in the field, including works by Joseph-Philibert Girault de Prangey, Roger Fenton and George Wilson Bridges. The museum also acquired a sculpture of a Bactrian princess dating from the third millennium BC, a pavement and fountain set from the early Ottoman period, as well as the paintings Breton Boys Wrestling by Paul Gauguin and The Subjugated Reader (1928) by René Magritte.
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COLLECTIONS IN THE LOUVRE ABU DHABI
Saadiyat Island’s Cultural District plans to house the largest single cluster of world class cultural assets. In addition to the Louvre Abu Dhabi these are intended to include: Zayed National Museum, to be designed by United Kingdom that based architectural company Foster and Partners under the direction of Lord Norman Foster.
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HIS DESIGN PROCESS
SF MO MA Architect: JEAN NOUVEL
JEAN NOUVEL—
THE HISTORICAL
ARCHITECTURAL
DIRECTOR
OVERLOOKS THE DETAILS OF THE BUILDING ARE LIKE A MOVIE SCREEN BY SCREEN. So far, Jean Nouvel has designed more than 100 projects, and the IMA, which he was completed in 1987, which is only one of them. However, when he was interviewed by the magazine in 2002, he mentioned the concept of “Architecture Is Like Making A Movie.” The picture and timeline in the film are almost in the process of conceiving the construction sequence when he executing the project, and in the process to cope any of unexpected situations and quick resolutions, and its future sustainable operation. In addition, he has also worked as a stage designer for some time. He believes that both architecture and stage vision have a relationship between the subject and the object, and more specifically, who is the stage design (object). Looking at in, In fact, how each building provides 360 degrees in different appearances is extremely challenging. Therefore, in most of his architectural projects, it is not difficult to find that its biggest feature is the use of “Glass” and “Light”.
One time, when he was interviewed by media, FACE THE IMPACT OF DIFFERENT he said, “The Architect Is Lonely. Even If The CULTURES, LEARN TO BE TOLERANT Outside Opinions Are Flying, The Decision Can AND UNDERSTAND Only Be Made By Himself.” At the Pritzker Awards Ceremony, the jury group commented on Nouvel’s work on the Avant-garde and originality are Nouvel’s “Dematerialized Structure” of the Cartier consistent style. However, its architecture not Foundation’s work, which means that he had only emphasizes “uniqueness”, but also is created works are not only in the “A Living commend for his virtue at complying with the Environment”, but also in their own cultures. environment, history, culture, and application The historical has deeper meaning. From of any architectural projects. It was officially the IMA, it can be seen that his architectural opened in France in 2006. The Musee du quai fusion culture, although incompatible with Branly in Paris, a primitive art center that is the surrounding architectural environment at different from European culture. The collection that time, echoes the historical and cultural is dominated by Oceania and African culture. aspects of this building. The Brownlee Museum, In 1999, the project was publically contested. located next to the Seine, has a large number At the time, masters from all over the world of plants that make the building extremely was rushing to provide design drafts. It’s also low-key. If it was hidden in the sacred altar of included two other winners of the Pritzker the urban jungle, it creates another “city lung” Architecture that were Prize, Renzo Piano and in Paris, and echoes the essence of African Tadao Ando. culture in the museum.
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At first, the Brownlee Museum was asked for Whether it is to reflect architecture through a reserve of 7,500 square meters of viridescent history or culture, Jean Nouvel have expressed space in museum project, and Jean Nouvel’s the spirit of inclusiveness. The people living The Fondation Cartier pour l’art contemporain plan was far more than doubled, up to 18,000 on the earth, it should not be different in color, (also known as Fondation Cartier), which was square meters, which is in the urban area of skins and cultures, and be facing the impact completed in 1994, incorporates with his own Paris. It is a very dauntless approach, and the of different literature. What we should do is to architectural features. The exterior uses a large quadrangle transplants of the museum were understand, tolerate, not to criticize and expel, number of floor-to-ceiling windows to create established by the French landscape architect just as IMA was praised by special Japanese a sense of transparency in the specific interior Gilles Clément. Furthermore, in the museum architectural news magazines just as a Western and exterior spaces, and the external sunlight wall design, Patrick Blanc, who is known as the architecture called Arabian culture, and the could also be introduced. In the pavilion, the “Father of the Vertical Planting Plant”, looks Brownlee Museum in the city of Paris. From the other biggest features of this glass one is like at the museum personally, and overlooking the perspective of the coexistence between man a “canvas” that reflects the changes from the museum,just like a tower for a ceremony, and and nature, Patrick Blanc, the master planter of sky and the surrounding environment. the Louvre Abu Dhabi was originally designed. the hand-built vegetation, might be another He was considering the historical and cultural unexpected combination. In addition to the glass curtain, the whole hall connotations of his collections and created an is symmetrical and arranged in an orderly floor The architectural lights and shadows give the overall exhibition venue and surrounding plans, balancing the surrounding widespread vertical plants more liveliness, so that the name environment for him. vegetation around the lines, which allowing the of the city lungs not only ends on the ground. building to coexist harmoniously with nature. After nearly 10 years, Jean Nouvel and Patrick It is just like a towering tree, which’d may be a Blanc teamed up to create One Central Park beginning. In the future, his new work should THE ARCHITECT IS A LONELY INDIVIDUAL, in the Australia, a commercial and residential become more and more exciting. CREATING EXTRAORDINARY WORKS. building. The completed structures become Jean Nouvel has been committed to innovative a surreal canvas of two masters, and cleverly architecture for many years, and he has put amalgamate residential building into plants forward through various possibilities. and coexisting harmoniously. Whether you are At the beginning of each project, he would find walking in the park, riding a bicycle, or having a group of artists, social critics and architects a picnic on the meadow you will immersed to discuss various possible problems of the in Fendo at all the times. In this way, the two project and its improving after the method and masters want to create a residential spaces collecting these opinions, then he will make that you can relax from the inside out and the the final decision of design. nature. The most conspicuous portion of this project is the large boom above the atrium, on a huge regulations planes. There is a movable mirror-reflecting sunlight that allows it to spill into the garden of center of the building; after the night, it is designed by the lighting artist Yann Kersalé, which turns the building into the light-grained canvas, which transforms the One Central Park at night.
ONE CENTRAL PARK APARTMENT AND SHOPPING CENTRE
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ONE CENTRAL PARK
One Central Park is an award-winning mixed use building located in Sydney, Australia in the suburb of Chippendale. Developed as a joint venture between Frasers Property and Sekisui House, it was constructed as the first stage of the Central Park urban renewal project as he always does.
The building itself comprises two residential apartment towers, an east and west tower, in addition to a six level retail shopping centre at the base of the towers. In new 2013, One Central Park was awarded a 5 star Green Star – ‘Multi-Unit Residential Design v1’ Certified Rating by the Green Building Council of Australia, which will make it the largest multi residential building (by nett lettable area) in Australia to receive such a designation.
HELIOSTAT AT ONE CENTR AL PARK WITH UTS TOWER
HISTORY Formerly occupied by Carlton and United Breweries, the place of Central Park was purchased by Singaporean Developer Fraser Property for $208 million in 2007. When commenting on the acquisition at that time, Fraser Property chief executive Dr Stanley Quek stated, “What We Want Is To Create A Village That People Can Work And Play In. It’s A Place For People Who Want To Live In Glebe But Can’t Afford Glebe Prices”. The changes in the New South Wales political weather stood for the state government was granted approval authority over local councils for developments deemed “State Significant Projects”. Therefore, in 2009, it was the state administration of the New South Wales that contingent a commendation of the enhanced master scheme of the One Central Park that put forth by London based architectural firm Fosterand Partners. Foster and Partners are along on to with Paris based firm Ateliers Jean Nouvel and Sydney based firm PTW architects group collaborated to form the Central Park’s architectural team.
apartments were the first to be released to public; going on sale in August 2010. The One Central Park’s west tower saw its ompletion in May 2013, and thereby welcomed the very first residents of Central Park. The official opening of One Central Park occurred later that year, in December 2013. With the completion of One Central Park, the development of the Central Park precinct moved to the next step phases of its 2 billions urban village plan. This conclude with in the construction of Park Lane in between 2013 to 2014 and The Mark in 2014, the release of Sky at One Central Park as well as the provision of the student housing facilities in 2015. The next residential juncture of the One Central Park project is Connor. On 21th February 2014, Fraser Property in the conjunction with Sekisui House issued a media liberate announcing that Central Park’s been sold apartments worth $1 billion. It was stated that the first three residential stages of Central Park had exchanged contracts worth in excess of 1,300 apartments at an average price of AUD $770, 000 per apartment.
In February 2010, construction of the Central Park project’s main park, roads, plants, light, basements commenced. With the One Central Park building operating as the first residential stage of the entire designed development, its
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The new master scheme included a larger floor area, additional open space, tri-generation as well as presentation to make sure the Central Park’s buildings could implemented a five star green star rating.
Architect: JEAN NOUVEL
DESIGN ONE CENTRAL PARK AS SEEN FROM HARRIS STREET, ULTIMO Built by Australian construction, civil and mining company Watpac, One Central Park is a two-tower complex that forms part of the larger Central Park precinct. The Central Park precinct, which is located on just less than six hectares of land, was designed to allow for the development of approximately 235,000 square metres for the residential, commercial and barter spaces. Initial project forecasts anticipated that around 2,200 residential apartments and 900 student dwellings would be constructed over 3–10 years. One Central Park is situated on the northeastern corner of the precinct, comprising total site area of 6,060 square metres. The building itself is made up of 4 below ground levels and 34 above ground floors, allowing for the configuration of 623 apartments in addition to 625 car parking spaces. When measured from the base of the building to its highest point, One Central Park has a height of 117 metres. The gross floor space of the complete development is recorded at 255,500 m 2 . At the foot of the towers is the naturally lit six level retail area, which incorporates a variety of fashion, technology, casual dining, restaurants and entertainment outlets.
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ONE CENTRAL PARK
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Whilst Foster and Partners, Ateliers Jean Nouvel and PTW Architects have worked in collaboration to form the basis of the One Central Park architectural team, two interior architects were separating put to use for the east and west towers. Koichi Takada was commissioned with designing the east side of tower of One Central Park. He’s given the apartments an organic feel that blended into the outside foliage and gardens with the wooden interiors. William Smart of Smart Design Studios was appointed to style the west tower. Smart’s designs, based on the idea of luxury that comes from high end sports cars and motor yachts, used sophisticated curves and glossy finishes in the apartments in the west tower.
The solution to the problem saw individually designed planter boxes installed which were supported by floor slabs to create effect of the ‘living wall’ aspect of the façade design. Each horizontal and vertical planter required its own irrigation system, which is centrally managed through a building management system that is able to monitor and account for environmental conditions. Over 35,000 green wall plants were utilised within which 350 different species were selected for the green walls alone. The building houses 23 green walls, equating to a total area of 1,200m 2 . In all, 85,000 facade plants make up the vertical gardens of One Central Park. Both introduced and Australian native plants have been included to make up the “Living Wall”, ranging from a well known species to those that are deemed infrequent. Critical to the success of the vertical gardens were Blanc’s insistence that the herbage do not need to soil in order to grow provided they have had something to attach to. Sun lights, carbon dioxide water and nutrients are dispersed mechanically to the plants in order to stimulate their growth and survival. By having the vertical garden hang off the wall without soil is it possible for the plants to grow without compromising the structural integrity of the building.
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VERTICAL HANGING GARDENS
One Central Park’s vertical gardens were inspired by the collaboration of French botanist Patrick Blanc and the architects Ateliers Jean Nouvel. A living tapestry of plants, flowers and vines which stretch over 50 metres high, it has become the world’s tallest vertical garden. During the construction phase of One Central Park, the concept of putting the vertical garden onto the building brought with it a variety of twists and challenges. As Watpac Construction NSW/ACT State’s Manager Ric Wang highlighted, “Patrick Blanc’s garden concept is a hydroponic system which in effect hangs off the building, so we had to reappraise the original façade design and methodology to make it possible”.
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One Central Park in Sydney, Australia
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ONE CENTRAL PARK
SF MO MA Architect: JEAN NOUVEL
SKY AT ONE
E CENTRAL PARK
Upon their completion in January 2014, One Central Park CANTILEVERED HELIOSTAT released an assortment of single level sub-penthouses and Central Park’s cantilevered heliosphere figures as another dual level penthouses apartments under the name “Sky at defining feature of the building. Suspended from the 28th One Central Park”. Located on the top five levels of the east floor of One Central Park’s east tower, it has serves, not tower above the cantilever, “Sky at One Central Park” has only as a predominant design element to the building but comprises 38 exclusive residences with wide-ranging views of as a way of reflecting light to the gardens and atrium below. the city skyline, the Blue Mountains, the eastern suburbs It operates through a series of motorised mirrors that are and Botany Bay. positioned 100 metres below the cantilever on the rooftop of the west tower. The collection of sub-penthouse apartments range in size from 127 to 161 square metres and upon the market offering Daylight is automatically tracked from these mirrors and the were priced in between AUD $1.68 million to AUD $2.575 light is reflected up to the cantilever. 220 fixed reflecting million. Penthouse apartments range in size from 158 to 207 panels are positioned across the underbelly of the cantilever square metres and upon market offering were priced in the and are able to do, then bounce light throughout the retail between AUD $2.65 million to AUD $3 million. Residents atrium, pedestrian corridor, pool terrace and communal areas. of Sky at the One Central Park enjoy all the convenience that On the upper side of the cantilever a sky garden has been come with living at One Central Park-gymnasium, outdoor erected. In evening, the cantilever is transformed into an LED pool terrace-as well as some additional exclusivities. The Sky light display through the work of international lighting artist residents enjoying a separate street entrance and address, named Yann Kersalé. private foyer and 24/7 Concierge, dedicated high-speed lifts, SUSTAINABLE INITIATIVES and exclusive interview to the Sky Garden terrace. The Sky At the core of Central Park is a commitment to sustainability Garden platform is positioned on a top of the cantilever and and self-sufficiency, which is the reflected in two measures provides an outdoor dining room, plunge pool, barbeque, incorporated in the boundaries: the low carbon tri generation kitchenette, sculptural timber seating and of course as well power plants and an internal water recycling plants. Central as the plantation of advanced trees and lush landscaping. Park is projected to utilise its own low-carbon unadorned gas AMENITIES power plants, which shall allow for thermal energies to be The One Central Park architecture has provided a number of producing for both residents and employees. The first stage amenities not only for its own residents but for those that of this measurement involves a two megawatt tri generation occupy two of the other architecture in the One Central Park energy factory which, when completed in November 2015, precinct, Park Lane and The Mark. The first one of which is will run on natural gas and have the dimensions to produce a private 280-square metre gymnasium located on the level 4 carbon blaring and strong energy, heating and cooling for of the retail mall. It is for the exclusive use of Central Park 3000 residences and 65,000 square metres of the barter and householders and appearances a variety of commercial grade commercial space. equipment. Additionally, pool terrace is also provided in the Central park’s recycled water network houses the world’s open-air podium is in between the East and West towers. biggest integument bioreactor recycled water installation in It features a 20-metre outdoor heated pool and spa, shaded the basement of the residential building. It is designed to seating and a soft lawn. One Central Park also offers lobby service approximately 4,000 residents and more than 15,000 for both the East and West towers in addition to a 24/7 visitors and workers daily. The recycled water network has concierge service. the capacities to harness multiple water sources with varying qualities and produce a multitude of water supplies, which hascover all the water requirements of the community. Water sources include: –Rainwater from roofs
Sydney living infrastructure specialists Junglefy worked with botanist Blanc and construction company Watpac orders to deliver the garden. They developed modules for the whole project, including the support brackets and aluminium frames, a methodology which was the first of its kind. Junglefy were also responsible for ensuring the garden met Australian construction standards, and for the fabrication, assemblage and installation of the garden, that including its underpinning, irrigation, felt and plants. They continue to be responsible for maintenance, which including checking the structure and its systems, health of plant, as well as cut back and removal of rubbish, with much of the work done from an integral suspended platform. (including pests and diseases) The public park at the heart of the precinct climbs the side of the floor-to-ceiling glass towers to form a lush 21st century canopy. Using 250 species of Australian flowers and plants, the germinates and blooms of the vegetation form a musical composition on the façade. Vines and leafy foliage spring out and between floors and provide the perfect framing for the Sydney’s skyline. Just like Central Park New York, the 64,000 sqm park is a lush unflustered meeting place where you can unwind and relax
with friends and families. Wander or cycle through its tranquil groves or just simply sit on the lawns for informal Al Fresco dining. There are also chessboards and an open-air cinema, as well as occasional markets and music festivals.
Tri generation is believed to be twice as efficient as coal fired power plants and it is forecasted that the One Central Parks’ trigeneration energies plants could decrease greenhouse gas emissions by as much as 190,000 tonnes over the 25 year designed life of the plant.
–Storm water from impermeable surfaces/planter box drainage –Groundwater from basement drainage systems –Sewage from an adjacent public sewer –Sewage from all buildings within the Central Park community –Irrigation water from all green walls
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–Drinking water from the public water main
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SERPENTINE GALLERY SUMMER PAVILION
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SERPENTINE GALLERY
The Serpentine Galleries are two contemporary art galleries in Kensington Gardens, Hyde Park, Central London. Comprising the Serpentine Gallery and the Serpentine Sackler Gallery, they are within five minutes’ walk of each other, linked by the bridge over the Serpentine Lake from which the galleries get their names. Their exhibitions, architecture, education and public programmes attract up to 1.2 million visitors a year. Admission to both galleries is free.
The Serpentine Gallery was established in 1970 and is housed in a Grade II listed former tea pavilion built in 1933–34 by the architect James Grey West. Notable artists whose works have been exhibited there include Man Ray, Henry Moore, Jean-Michel Basquiat, Andy Warhol, Paula Rego, Sondra Perry, Bridget Riley, Allan McCollum, Anish Kapoor, Christian Boltanski, Philippe Parreno, Richard Prince, Wolfgang Tillmans, Gerhard Richter, Gustav Metzger, Damien Hirst, Maria Lassnig, Jeff Koons and Marina Abramović. On the ground at the gallery’s entrance is a permanent work made by Ian Hamilton Finlay in collaboration with Peter Coates, and dedicated to Diana, Princess of Wales, the gallery’s former patron.
WHAT IS MY JOB CONCERN ABOUT? THE CONCERN IS ABOUT THE MOMENT! WHAT ARE NEW MATERIALS, NEW TECHNOLOGIES CAN BE APPLIED, AND THAT IS WHAT NEW LEVELS WE CAN ACHIEVE TODAY. —Jean Nouvel
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It also reproduces the British-style traditional red-red bus, red Telephone booths, as well as red post boxes. The use of lightweight materials and cantilever structures is also an important feature of Jean Nouvel’s design. The French bald designer won the Pritzker Prize, the highest award in the international architectural world, in 2008. Previous works include the Copenhagen Concert Hall and the Musée du Quai Branly. OUTDOOR EXHIBITION HALL The Snake Gallery Temporary Pavilion has always been the stage of the world’s architectural masters, and as a public space to hold annual summer forums and summer dances. Rem Koolhaas, Daniel Libeskind and Zaha Hadid have all built temporary pavilions for the Serpentine Gallery. Each project in the temporary pavilion takes six months from conception to formation. The sponsors look for by the Serpentine Gallery Financing Department and the significance of the final sale of the building pay for the project. In addition, UK ARUP Engineering and Stanhope Real Estate also contributed to the temporary pavilion project. However, the financial crisis means that this year the Serpentine Gallery can only “Seek Help” from the Arts Council. Julia Peyton-Jones, director of this one and only Serpentine Gallery, and Hans Ulrich Obrist, co-art director, said they were “shocked at Nouvel’s invitation to the gallery. This year, the temporary exhibition hall of the Serpentine Gallery will meet with the public on July 5 and will be closed on October.
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THE RED SUN PAVILION A summer pavilion for the Serpentine Gallery? Where to begin? How to launch into motion? By opening my eyes…where am I? In England, In London, In Hyde Park, English parks are a characteristic of English towns and cities. Expanses of lawn for all to enjoy. Meadows, really, of neatly-mown grass. Mostly flat, with trees and shrubs randomly dotted as though they had always been there, not something but anyone who really thought of. You can feel the city all around, as though it too ,had always been there. Most of the trees are deciduous; the seasons are intelligibly proclaimed. From time to time a construction appears in this vast urban calm, a road or, a path, occasionally a pond or a stream… One wonders why such simple urban parks, these immense vacuities, are so rarely seen in other countries. Such a semblance of nothing is no small feat… leaving this huge, empty space opens for all. Once imagine the energies, it must have taken to protect it.
The constant cares that must go into its maintenance order to keep the grass at just the right height, the trees in perfect health, so that everyone might stroll through this peaceful space and feel they are at home, in their city, in their park, the most natural thing in the world. So that whatever my mood, my desire for exteriority, alone, as a couple, with family or friends, whatever my age, the idea of spending a few minutes or a few hours in Hyde Park remains a peaceful temptation. A park gives us freedom of choice. We choose to enjoy this inherited harmony, part way between the home we protect and the city that protects us. We walk, jog, sit on the grass, on a bench, ponder, chat, sing, play, share pastimes with our friends. We have our own little routine. Daily? Weekly? Probably seasonal. My ideal was that The Serpentine Gallery Pavilion should fit in with Hyde Park’s Londoners; that it shouldn’t disturb their routine but draw them to it, offering itself to them as a complementary experience. Their choice. It would be perfect if heightened curiosity and the desire to discover summer sensations should spread naturally through everyday conversation. When am I? In summer. The trees are green, heavy with leaves. Some of the shrubs are in flower. The grass is strewn with people strolling, lounging, playing sport and games. More people, than ever visit The Serpentine Gallery and the Wolfgang Tillmans exhibition. The summer pavilion is about to open. Its form is still indefinite, hard to perceive. It completes the picture. Grass and leaves are green here, too. Flowers pop up. Londoners take time out, enjoying a drink, play games in the shade, stretching out on the grass. Colour becomes bolder in summer, more concentrated. Greens are greener; flowers are brighter. The summer pavilion is like a beacon, a celebration of summer. It takes contrasts to the extreme. It is complementary. Complementary to the park, to the Serpentine Gallery’s brick. It is red. It is the seasonal.
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Every year, the Serpentine Gallery in London invites a well-known architect to design a temporary pavilion in Kensington Gardens for the July forum. This year, French architect Jean Nouvel will present his own unique design for the 10th Outdoor Forum event at the Serpentine Gallery. The temporary pavilion designed by Jean Nouvel this year is an outdoor ping pong table. The red exterior will be in dramatic contrast with the surrounding tree-lined environment.
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Serpentine Gallery in London, United Kingdom
SERPENTINE GALLERY SUMMER PAVILION “A PIECE OF RED” architect to design a temporary pavilion in Kensington Gardens for the July forum. This year, French architect Jean Nouvel will present his own unique design for the 10th Outdoor Forum event at the Serpentine Gallery. The temporary pavilion designed by Jean Nouvel this year is an outdoor ping pong table. The red exterior will be in dramatic contrast with the surrounding tree lined environment.
It also reproduces the British style traditional red bus, red Telephone booths, as well as red post boxes. The use of lightweight materials and cantilever structures is also an important feature of Jean Nouvel’s design. The French bald designer won the Pritzker Prize, the highest award in the International Architectural World in 2008. Previous works which including the Copenhagen Concert Hall and the Musée du Quai Branly.
IMPORTANT FEATURES OF THE DESIGN The Snake Gallery Temporary Pavilion has always been the stage of the world’s architectural masters, and as a public space to hold annual summer forums and summer dances.
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SERPENTINE GALLERY
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Architect: JEAN NOUVEL
Rem Koolhaas, Daniel Libeskind and Zaha Hadid have all built temporary pavilions for the Serpentine Gallery. Each project in the temporary pavilion takes six months from conception to formation. The sponsors sought by the Serpentine Gallery Financing Department and the value of the final sale of the building pay for the project. In addition, UK ARUP Engineering and Stanhope Real Estate also contributed to the temporary pavilion project. However, the financial crisis means that this year the Serpentine Gallery can only “Seek Help” from the Arts Council. Julia Peyton-Jones, who is director of the Serpentine Gallery, and Hans Ulrich Obrist, co-art director, said they were “shocked at Nouvel’s invitation to the gallery. This year, the temporary exhibition hall of the Serpentine Gallery will meet with the public on July 5 and will be closed on October 20.
Red is summer heat. Red complements green. Red is bright, alive, piercing. Red is provocative, forbidden, loud. Red is as English as a red rose, as red as London’s iconic objects, a double-decker bus or a telephone box, the transitory places we gravitate towards. Red doesn’t last. Heat vanishes with the summer. Energy fades into inertia and death. The rose loses its petals and the sun is only red in the fleeting fire of dawn and dusk, when it appears and disappears. Red is the colour of passion, of fragile love that can never be eternal. Which is why we cultivate red, kindle it like a flame, protect and prolong it. The Serpentine Gallery Pavilion 2010 switches to red to celebrate summer and its dazzling, burning-hot sun. The Pavilion exists to welcome summer and the sun, to better play with them.
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WHAT IS RED
Architect: JEAN NOUVEL
THE SERPENTINE GALLERY IN 3D
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This just in from the Serpentine Gallery–Jean Nouvel’s pavilion is complete! In honor of the Serpentine’s 40th Anniversary, Nouvel’s pavilion is a bold and strong expression comprised of lightweight materials with dramatic cantilevers. Designing the pavilion allows international architects to experiment with different buildings’ ideas, and over the years, the commissions’ varied aesthetics have added to the thrill of the exposition Nouvel bright red pavilion is drastically different from SANAA’S subdued silvery curvillinear form of 2009, and its vivid color contrasts the park’s greenery, immediately drawing the eye.
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The construction’s geometric forms are clad with varied materials–some glass, others polycarbonate or fabric. The exterior and interior spaces are designed in a flexible manner to accompany different numbers of guests and adapt to the changing summer weather.
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HIS DESIGN PROCESS
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Architect: JEAN NOUVEL
IT IS NOT POSSIBLE TO DESIGN ALWAYS THE SAME. HOW TO BE DIFFERENT IN EACH DIFFERENT PLACE-THAT IS THE MOST IMPORTANT WORK AND DUTY OF THE ARCHITECT TO FIND OUT. —Jean Nouvel
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Jean Nouvel was born in Fumel, France in 1945. After he enrolled at the Ecole des Beaux-Arts in Bordeaux, Jean Nouvel ranked first in the entrance examination of the Ecole Nationale Supérieure des Beaux-Arts in Paris in 1966 and obtained his degree in 1972. Assistant to the architect Claude Parent and inspired by other urban planner and essayist Paul Virilio, he started his first architecture practice in 1970. Soon afterwards, he became a founding member of the Mars 1976 movement whose purpose was to oppose corporatism in architecture. He also co-founded the Labor Union of French Architects in marked opposition to the existing national Board of the Architects. His strong stances and somewhat provocative opinions on contemporary architecture in the urban context together with his unfailing ability to manage a sense of originality into all of the projects that he undertakes have formed his international reputation. Jean Nouvel’s work does not result from considerations of which style or ideologies, but from a explore to create a unique concept for a singular combinations of people, places and times. His contextual approach and ability to infuse a genuine uniqueness into all the projects he undertakes have consistently yielded buildings that transform their environments and indelibly mark the cities in which they are built, like the Arab World Institute (Paris–1987), the Lyon Opera House (Lyon–1993), the Cartier Foundation (Paris–1994), the Galeries Lafayette (Berlin–1996), and the Culture and Congress Center KKL (Lucerne–2000), the Agbar Tower (Barcelona–2005), and the extension of the Queen Sofia Arts Center (Madrid–2005), the Quai Branly Museum (Paris–2006), the Guthrie Theater (Minneapoli – 006), the 40 Mercer luxury residences (New York–2008), the Doha Tower offices (Doha–2011), the Renaissance Fira Hotel (Barcelona–2012), the mixed use high-rise building One Central Park (Sydney–2014), or the Police Headquarters & Charleroi Danses extension (Charleroi–2014), the residential, office and retail tower The White Walls (Nicosia–2015), the Philharmonie de Paris (Paris–2015), the Louvre Abu Dhabi. His works have gained world-wide recognition through numerous prestigious French
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Jean Nouvel’s list of completed structures includes one of the three buildings that constitute Seoul’s Leeum Museum (2004), Barcelona’s bullet-shaped Agbar Tower (2005), the Guthrie Theater (2006) in Minneapolis, the quirky Quai Branly Museum (2006) in Paris, Copenhagen’s Concert Hall (2009), with its bright blue exterior that functions at night as a video screen. In 2007, he won commissions to design a 75-story mixed-use tower (later known as 53 West 53, or 53W53) next to the Museum of Modern Art in New York City (construction began in 2014) and a museum for the cultural district of Abu Dhabi, lying just offshore. After years of delays, Nouvel’s Louvre Abu Dhabi opened in 2017, featuring a distinctive latticed dome that filtered the bright desert light; the building contained art leased from 13 French institutions. Nouvel also designed the new National Museum of Qatar (2019) in Doha, which comprised a series of interlocking discs. The building was very constructed around the restored Old Amiri Palace, the site of Qatar’s earlier national museum which is one of his master piece.
and International prizes and rewards. In 1989, The Arab World Institute in Paris was awarded the Aga-Khan Prize because of its role as “A Successful aqueduct Between French And Arab Cultures”. In 2000, Jean Nouvel’d received the Golden Lion of the Venice Biennale. In 2001, and he’d received three of the highest international awards: the Gold Medal of the Royal Institute of the British Architects (RIBA), the Praemium Imperiale of Japan’s Fine Arts Association and the Borromini Prize for the Culture and Conference Center in Lucerne. He was appointed Doctor Honoris Causa of the Royal College of Art in London in 2002 and he was the recipient of the prestigious Pritzker Prize in 2008.
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Nouvel first gained an international audience in 1987 when the Institute of the Arab World (Institut du Monde Arabe [IMA]) was completed. The main, south facade of that building, with its high-tech aperture-like panels, manages to be at once cutting edge in its creative responses to changing levels of the lights and reminiscent of traditional Arab moucharaby (latticework grills). The design garnered Nouvel the 1989 Aga Khan Award for architectural excellence. Other awards that he have included a Golden Lion from the Venice Biennale, 2000, a Royal Gold Medal from the Royal Institute of British Architects (2001), and the Praemium Imperiale (2001), presented by the Japan Art Association to “Artists Who Have Contributed Significantly To The Development Of International Arts And Culture.”
Jean Nouvel first Exhibition
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The theme is metaphysical; it engulfs the site and then it vanishes. The chosen medium is art; the intervention has to be delicate and precise. Our theme is not a controlled park, and it is not Morat; it is men’s earth, it is the universe. The purpose is to make Morat, the lake, and the entire landscape resonate with our theme. The first aim is to show the site both in its present now and historical moments. Morat is a beautiful historical city, it is not parallel to, nor independent of the exhibition. We consider interesting places in the city… The castle? The battlements towers? The museum? We will create interferences, additional objects. It is a place of wanderings, discoveries, surprise.
“Ô Temps Suspend Ton Vol”, two or three events in the distance… Mirage? Temple? Technical platform? Observatory? A massive and hermetic volume, mysterious and vexing Smog, Steam This exhibition refuses dissociation between the container and the contents. The containers are work of arts in the same way the contents are. Reflection from a distance provokes rereading of the natural site and of the support oneself constructions: the exhibition is fragmentation as a means for recomposition. It is the incompatible of the art exhibition which is a simple accumulation and beyond which the artist ignores. Instead of a concentrated exhibition where everything interferes, we suggest 30 to 40 mini-exhibitions. The visitor can start with the visit where he wants to. One can enter into the exhibition at any spot and visit on their own speed, in any desired order.