Press kit by Philharmonie de Paris

DOSSIER DE PRESSE PRESS KIT PRÉSENTATION PRESENTATION OF THECHANTIER PHILHARMONIE DU DE LA PARIS DE PHILHARMONIE DE PARIS Par Monsieur Frédéric Mitterrand, Ministre de la Culture et de la Communication et Monsieur Bertrand Delanoë, Maire de Paris

Le vendredi April 2012 24 février 2012 à 11 heures www. philharmoniedeparis.fr www.philharmoniedeparis.fr

Contact Presse: :OPUS OPUS6464/ /Valérie Valérie Samuel Press contact Samuel T.Philharmonie +33 (0) 40 26 94 de 77 Paris v.samuel@opus64.com Tel.: +33 (0) 40 26 77 94 v.samuel@opus64.com

Philharmonie de Paris Paris Philharmonie de 211 Avenue Avenue jean jean Jaurès Jaurès 75019 Paris Paris T. +33 +33(0)1 01 (0)1 40 40 40 67 00 F. +33 (0)1 42 03 65 72

The Philharmonie project is really taking off. I’m delighted to watch the progression of this building that, thanks to Jean Nouvel, will be one of the great architectural works of this new century, allowing Paris to host symphony orchestras from around the world in ideal conditions. A shared vision of the French government, the City of Paris and Région Ile-de-France, the Philharmonie de Paris is an important milestone in the development of a Greater Paris region, and a testimony to the public sector’s commitment to working collaboratively towards this common goal. Situated in the heart of the Parc de la Villette, between the Cité de la musique, the Grande Halle, the Zenith and the National Conservatory of Dance and Theatre, the Philharmonie is well positioned to play a leadership role among this group of institutions dedicated to all styles of music. A true 21st century concert hall, the Philharmonie will develop new ways of interacting with the public with a 2,400 seat auditorium, a complex of six rehearsal studios and most importantly, a sizable educational wing. The Philharmonie de Paris was designed to be used and enjoyed by all members of the public. With over 1,800 m² dedicated to education, its core mandate includes providing comfortable, accessible spaces for visitors and musicians, developing activities that showcase a variety of musical genres, and bringing artists and audiences together. It represents the cornerstone of the Ministry of Culture and Communication’s musical policy, helping to advance the concert format and more generally, the relationship between music and the general public. This great concert hall will introduce a new approach to orchestral music and allow the Greater Paris area to enjoy an internationally-renowned, pre-eminent artistic facility. It will move the concert hall into the digital age, exploring new pathways for the transmission of knowledge and the sharing of artistic emotion.

Frederic MITTERAND Minister of Culture and Communication

From the moment the Cité de la Musique was created, numerous and noteworthy musicians who love Paris have been championing the construction of a large concert hall. It was deemed essential that the capitol, like so many large European cities, acquire an outstanding hall, one worthy of the greatest orchestras. Rising to meet that challenge is the Philharmonie de Paris project, created as a partnership with the State and with the support of the Région Ile-de-France. Jean Nouvel’s design makes for a world-class site that is also a true ‘home to musicians’, thanks to the various spaces devoted to instrumentalists. The Orchestra de Paris, one of the major orchestras supported by the city of Paris, will make this superb setting their home. The building’s acoustic and architectural qualities, as well as the flexibility of its spaces, will provide a welcoming home for every ensemble, no matter what their size or repertoire. The Philharmonie de Paris will not only function as a performance hall but also as an essential conduit, helping to connect with diverse audiences and ensure their continual growth and renewal. Music lovers everywhere will discover exceptional programming and listening conditions, while new audiences will receive a warm welcome. Most notably, an ambitious educational project aims to nurture a special relationship with young people - students, amateurs and professionals alike. By encouraging diversity both in its musical and audience mandates, the Philharmonie is ensuring it is accessible to everyone, including the physically and developmentally impaired, whose needs were given particular consideration. This exceptional concert hall will also shine the spotlight on the north-eastern area of Paris as it comes into its own as one of the influential centres of our metropolis. It comes on the heels of Parc de la Villette’s transformative development; in 20 years, this site has turned into one of the hearts of Paris’s cultural landscape. Melding seamlessly into this unique site, and in the process, becoming its figurehead, the Philharmonie will signal that the city of tomorrow is being built today. Not only is this evidenced by its artistic ambitions, but by its social, architectural and environmental ones as well. The Philharmonie de Paris will not just be a comfortable and functional space for the fans it has already won over. It will also uncover new challenges and highlight new responsibilities. Spearheading the renewal of musical practice, its role is an essential one for the city’s cultural vitality. It demonstrates that culture remains that vector of emotions and shared references essential to living together, in harmony. Bertrand DELANOE Mayor of Paris

The Philharmonie de Paris, a joint undertaking financed by the French government and the City of Paris, with the support of the Région Ile-de-France, has begun construction on a major new music complex in the Parc de la Villette. The project is centred on a 2,400-seat auditorium and includes an educational wing for outreach activities. The project submitted by Ateliers Jean Nouvel was chosen through an international design competition in 2007. Sited in a park that already has a cultural focus, in an up-and-coming district on the northeast edge of Paris, and clearly visible from the city’s outer suburbs, the complex boasts an innovative architectural design. The acoustics of the concert hall itself will meet the most demanding international standards. To design them, Jean Nouvel joined forces with Harold Marshall and worked in consultation with Yasuhisa Toyota. The design moves away from the classic “shoebox” formation in which audiences sit directly in front of the musicians, in favour of engaging the audience further with the performers by wrapping the seating all the way around the stage. Designed principally to host major symphony orchestras – with the Orchestre de Paris as its main resident orchestra – the Philharmonie will also promote other forms of musical expression, such as jazz and world music. The Philharmonie will be a true home for orchestras, with an educational and cultural mission offering a variety of daytime music activities for youth and adults. Covering approximately twenty thousand square metres, the building will contain – in addition to the main concert hall, its foyers and rehearsal spaces – administrative offices and technical rooms, an education wing, exhibition spaces, a café, a restaurant, all the necessary logistical and technical facilities, and a car park. The Philharmonie de Paris is committed to accessibility for people with disabilities and will offer every visitor a personalised welcome. Nothing less than exemplary in meeting environmental challenges, the building’s construction meets the quality certification standards set by recognized inspection bodies. The building is due for completion in early 2014.

1 – WHY A PHILHARMONIE DE PARIS? A modern tool for orchestras A clear mandate on education Promoting national development A wave of international enthusiasm 2- A PLACE OF EXCELLENCE The architectural project Jean Nouvel, a man of harmony A new standard in acoustics 3 – A PLACE OF EXCELLENCE A comfortable, practical facility Welcoming a diverse audience Easy access 4 – A PLACE OF EXCELLENCE Meeting environmental challenges A sustainable building Practical and innovative energy solutions 5 – THE DIFFERENT SPACES The performance hall Spaces for musicians The educational wing The temporary exhibition gallery Administrative and logistical departments 6 – AN ARTISTIC AND CULTURAL MANDATE Season programming Education Temporary exhibitions

1- WHY THE PHILHARMONIE DE PARIS? The need for a large symphony hall in Paris has long been recognized. Berlioz himself lamented the capitol’s lack of a concert hall worthy of a modern nation. It was only in 1927, with the construction of the Salle Pleyel, that this dream was realized. The new building, however, only partly lived up to expectations. Although it was completely renovated in 2006, the building itself could not be physically enlarged, and so it remained with an auditorium that is undersized for large orchestras, and a lack of adjoining rehearsal and presentation spaces. Nationally, only a handful of cities such as Dijon, Metz, Poitiers and Bordeaux have taken up the challenge of creating buildings designed for music performance. However, their performance halls are often too small to do justice to an extensive symphonic repertoire. The present challenge is not just to build a large enough hall with impeccable acoustics, but also to create the rehearsal spaces needed by orchestras to properly prepare for concerts. Equally important is the creation of spaces for musical education and outreach, aimed at new audiences. That’s where the Philharmonie de Paris comes in. It is designed to meet the needs of its permanent resident, the Orchestre de Paris, and many other groups of users. The acoustics in the performance hall, with 2,400 seats surrounding the stage, will rival the most prestigious international facilities, while the six rehearsal studios will offer musicians professional conditions in which to rehearse. During the day and on weekends, music activities at La Villette will be complemented by the Philharmonie’s various spaces for education and leisure: numerous classrooms for workshops, an exhibition gallery, a café, a restaurant, etc.

A MODERN TOOL FOR ORCHESTRAS In order to balance the Parisian musical landscape, stimulate music establishments nationally, and bolster the profile of orchestras by giving some of them the opportunity to shine on the international stage, a state of the art facility was required, one that would meet the needs of symphony music today. The artistic model under consideration will involve the resident Orchestre de Paris as well as other regional, national and international orchestras, specialized ensembles and numerous soloists. Programming at the Philharmonie will cover a wide musical range both stylistically and historically, from Baroque music to new works. These modern and dynamic facilities will provide orchestras with a place for their artistic potential to blossom. The complex will include a variety of rehearsal spaces adjoining the performance hall, allowing artists to prepare for performances in excellent conditions. These spaces will also allow rehearsals to be organized by section, interested musicians to be introduced to performance on period instruments, and groups within an orchestra to be isolated if required. Finally, these rooms will also provide a place where students from various conservatories can interact with professional musicians. The Philharmonie’s artistic mandate includes broadening the conception of “art music”, giving a greater place to choirs (both professional and amateur) and exploring all musical epochs by examining their similarities and differences. The project’s originality and openness is further guaranteed by the presence in their own right of popular genres – jazz and other forms of modern music - and world music. One of the primary goals of this approach is to welcome new audiences, while at the same time respecting the expectations of traditional music lovers. This is reflected in a unique approach to programming, where high-profile concerts during the week alternate with family-oriented performances on the weekends.

Weeknights will be devoted to the presentation of a prestigious orchestral programme, similar in format and pace to many international concert halls (along with daytime activities linked to education, digital technology and current exhibitions, etc.) A sizeable proportion of the seating (approximately 1,000 of the 2,400 available seats) will be set aside for sale at reduced ticket prices. - on the weekend, concert formats will shift as the Philharmonie de Paris focuses on new audiences, and in particular, on families. Orchestras and musicians, mainly from Paris and other parts of France, will be invited to present shorter concerts, performing works complex enough to be studied in workshops. Taking place principally during the day, these ‘musical moments’ will, for the most part, be highly affordable. Children will be able to participate in introductory workshops while their parents attend the concerts.

A CLEAR MANDATE ON EDUCATION The decision to locate the Philharmonie at La Villette, on the border between Paris and its suburbs, sends a clear signal about its aim to reach out to and foster future audiences. For this reason, the Philharmonie will run an innovative cultural initiative in parallel to its ambitious artistic programme. The Philharmonie arts education initiative will focus on familiarizing young people with the world of the symphony. Based on listening and learning exercises, it will introduce them to the different facets of the musical world – repertoires, instruments and the day-to-day activities of musicians. Numerous workshops will be designed to allow children to become acquainted with the world of music through direct contact with instruments and sound. These workshops will combine the talents of experienced teachers with those of orchestra members, mainly from the Orchestra de Paris and other guest ensembles. To maintain this educational programme, the Philharmonie de Paris will forge strong links with the Ministry of Education, conservatories and other music schools, and secure the regular participation of well-known musicians. Direct encounters with artistic excellence will help to break down preconceived negative ideas about classical music held by a segment of the public that rarely has contact with it. Having access to a world previously thought of as off-limits will help to promote self-confidence, and for some, turn into a lifelong relationship with music. Through music, the Philharmonie de Paris intends to play a key role in addressing social issues and the very real need for renewal felt throughout Paris and various regions. Its workshops alone aim to bring in an impressive 120,000 participants each year. Along with these initial offerings, pilot projects will be led by committed professional musicians, largely volunteers from the Orchestre de Paris. Unlike workshops, which are offered all year long, these projects will help specific groups - ie. youth orchestras from disadvantaged backgrounds, amateur musicians, etc. delve deeper into a subject over a period of time. These initiatives, which culminate in a public performance, will be supported various partners – conservatories, the Ministry of Education, local authorities and individual or corporate sponsors.

PROMOTING NATIONAL DEVELOPMENT A top priority for the Philharmonie is to help its resident orchestra, the internationally-recognized Orchestre de Paris, enhance performance quality by providing optimum working conditions for its musicians. Other orchestras from the Ile-de-France region will be frequently hosted within a flexible programming framework, and rehearsal facilities will be regularly made available to various national orchestras.

Each season, the Philharmonie will welcome great international orchestras, with special invitations extended to outstanding orchestras such as the London Symphony Orchestra, the Concertgebouw Amsterdam, the Berliner Philharmoniker and the Cleveland Orchestra, to name a few. With their participation, a week at the Philharmonie could alternate full orchestral and small ensemble concerts, workshops for future professionals and work sessions in high schools that conclude with a group performance. Above all, the Philharmonie aims to involve all French regions in its activities. First, major orchestras from various cities and regions of France will be regularly invited. They will enjoy the same privileges as international orchestras, with the opportunity for some to perform several times per season. Next, a major annual festival involving the larger site of La Villette is also planned. Over an entire weekend, all the French orchestras will come together as part of the initiative undertaken by the Association Française des Orchestres (AFO) and its “Orchestres en fête” programme. It is also essential that every partner orchestra invest time and effort in the Philharmonie’s educational programme. To achieve our primary goal of transmitting musical culture to younger generations, we will work in partnership with our regional partners, developing local educational programmes for children in the various regions. This decentralized approach blends the knowledge and experience of the Philharmonie with that of local musicians, teachers and social actors. Similarly, the Philharmonie is committed to supporting amateur musicians in France as well as to providing exchanges with youth training programmes, at home and internationally. The guidelines for this programme are still to be defined. We also hope to launch a biennial festival that will take place in parallel with the numerous school “Easter sessions,” and involve the best youth orchestras and choirs, as well as other organizations demonstrating musical excellence. The festival will provide the perfect opportunity to showcase some of the educational activities undertaken with children in workshops initiated by the Philharmonie as well as by other institutions outside Paris. The festival could also be opened to performances by amateur orchestras. Last, the Philharmonie will play a leadership role in adapting to the challenges of the digital age, providing on-line access to information, resources and support on all things musical - professional careers, instruments, training, culture, youth outreach, etc. The Philharmonie will also offer regional partners a wide range of resources and supports, including advice and assistance to municipalities and regional authorities that wish to explore the feasibility of building new musical facilities. The digital recording of concerts, and the regular production and sharing of educational content online, will provide the Philharmonie with an extremely rich virtual space that will be made available to all French cultural and educational institutions. This digitization strategy will completely transform relationships with regional partners and with the general public. Audiences will be able to blend occasional attendance with new social and cultural practices extending far beyond the time and place of a given performance. New ways to access musical culture include the possibility of following the concert season anytime and anywhere via live internet broadcasting of concerts; using online teaching materials to prepare school groups for a concert; listening to a concert while following the score and hearing commentary, and much more.

A WAVE OF INTERNATIONAL ENTHUSIASM Around the globe, in large cities and provincial towns alike, an extensive concert hall construction effort is underway. Europe provided the initial impetus with new state-of-the art venues rising in London, Birmingham, Manchester, Glasgow and Cardiff in the U.K.; Hamburg, Cologne, Leipzig, Essen and Munich in Germany; Barcelona, Madrid, Valencia and San Sebastian in Spain; as well as new concert halls in Rome, Porto, Luxembourg, Lucerne, Belfast, Copenhagen, Helsinki, Athens and Budapest. This movement is just as spectacular in the U.S. and Asia, with new venues in Seattle, Philadelphia, San Francisco, Baltimore, Dallas, Nashville, Miami, Los Angeles, Beijing, Taipei, Seoul, Tokyo, Sapporo, Kyoto, Hiroshima and Okayama. This wave of enthusiasm, which has recruited many internationally acclaimed architects - Frank Gehry, Jean Nouvel, Jacques Herzog and Pierre de Meuron, Christian de Portzamparc, Rem Koolhaas, Renzo Piano, Zaha Hadid, etc. - has helped to drive the search for real solutions to the challenges of modern musical practices and reaching new audiences. All these new projects – whose inspiration has doubtless been modeled on the construction of the Berlin Philharmonic in 1963 – have led to significant improvements in the type of spaces and configurations that provide optimal acoustics. They have also shed light on the need for rehearsal spaces adapted to today’s professional practices. Moreover, they prove that musical culture cannot prosper solely through the magical moment of the live concert; its transmission to a broad audience requires the implementation of daytime programs that foster an appreciation for music in children, adolescents, students, adults and teachers alike. The Philharmonie de Paris seeks to provide concrete answers to a set of recurring questions. How do we create a genuine public service that promotes music performance throughout France? How can we identify the most effective way to revitalize concert practice? How can professionals and music lovers be convinced to let go of old habits and tastes? How can younger generations be convinced to explore the diversity of musical expression? How do we attract underprivileged groups? Can we enhance the concert experience by proposing other ways to access original music content? And how can we give future musicians their first peek at the realities of professional life? Studies have shown that the arts - and music in particular – are taking on a growing importance in people’s lifestyles. This phenomenon is even more intense among young people and in the service sector. Until now, there has been a large gap between the expectations of the general public and what musical venues are actually able to offer, due to their design and organisation. That’s why making education a top priority brings a deeper meaning to the creation of the Philharmonie. It’s also why a network of complementary activities (education, heritage, performance and composition) and the Philharmonie’s strategy of decentralization and nation-wide development of musical culture represent the key to an essential revitalization of musical life today.

2 – A PLACE OF EXCELLENCE - The architectural project Following an international competition organised in April 2007, French architect and urbanist Jean Nouvel, winner of the 2008 Pritzker Prize, was chosen to build the Philharmonie de Paris. Jean Nouvel, a man of harmony “The word “philharmonie” suggests a love of harmony. We play with successive harmonies, urban harmonies. The Philharmonic exists as a landmark that maintains harmonious relations with the Parc de la Villette, the Cité de la musique and the ring road. Primo: harmony with the light of Paris, the ray of sunlight that escapes the clouds, the rain… An architecture of orchestrated reflections, rising up from a serene landscape, materialised by cast aluminum panels that sketch Escherian graphics on the ground. Secundo: harmony with the Parc de la Villette, a continuity of Tschumian themes, a horizontal shelter-garden beneath the building, dotted with follies, reflections of shadows off of gleaming surfaces and the creation of a little mountain, a Villette hill - a walkable metallic landscape that, like the Buttes-Chaumont, is a lookout over urban views. Tertio: harmony with the Cité de la Musique through sloping surfaces and panels that take up existing structural lines. Quatro: harmony with the ring road and the suburbs with a changing sign visible from far away; a beam in the darkness, an upheaval in the landscape, programmes. Different chords must be struck with today’s music and with music lovers, who can become lazy in front of the auditory comfort of stereo systems and CD collections. The Philharmonie is an open space. Primo: the lobby and foyers offer worldly pleasures that draw people in to meet, spend hours strolling around the boutiques, drink or eat in the bistros overlooking the park, and read in the lounge areas. Secundo: the performance hall itself conjures up immaterial layers of music and light, suspending the listener-spectators in space on long balconies with large, deep seating for exceptional comfort. With this suspension comes a sense of being surrounded, immersed, in music and light. The “volumetric cyclorama” envelope enjoys lighting inspired by the music performed. From time to time, windows looking on to the grounds and the suburbs may be opened. Tertio: the idea is to give the concert back its former glory; to create that unique experience of each and every concert - not just a delight in the music but also a visual and sensory pleasure. To create the desire that distinguishes the most prestigious philharmonic halls from the rest. Paris’ philharmonic hall must belong to this category. It will be aided in this quest by a powerful, serene visual style, marked by the monomaterial of cast aluminum and its pearly nuances: a daintiness that adds to the performance hall’s mysterious presence, which, within the building’s grey and silver folds, gleams.” Jean Nouvel

A bridge between Paris and its suburbs The Philharmonie changes the physical landscape of the park, becoming the Parc de la Villette’s only hill, and offering a panoramic stroll above the city that leads to the heart of the complex: the performance hall. The building’s walkable roof provides views over Paris and its suburbs, engaging them in a visual conversation. This very urban project, which anticipates the future Greater Paris region, creates a dynamic connection between the city and the suburbs, shifting boundaries and creating new ties between Paris and its peripheral regions. Melding organically into the park, the building is conceived as a public gathering place that eschews the “sanctified” atmosphere of a traditional concert hall. Like the diversity of music presented within its walls, it is designed to appeal to all types of audiences. There is no main façade; instead, the building opens in all directions, a design that corresponds to the practical need for different circulation routes for the building’s various users, and to the Philharmonie’s goal of drawing in potential patrons from surrounding areas.

A public building that marks the city Thanks to its size, shape and massive vertical screen, the hall is highly visible from all directions. The decision to elevate the performance hall, which is distinguished by its swirling stainless steel façade, makes the complex easily identifiable at a distance. The Philharmonie is a geographical building, a hill, an upheaval of metal shot through with a wide blade. This blade, a vertical screen that stands perpendicular to the ring road, dominates the building and sends out a strong architectural message. Its role is to mark the presence of the Philharmonie, which is visible from the avenue Jean-Jaurès, the boulevard Sérurier and the ring road. It also serves as a changing luminous sign, increasing the hall’s visibility at night.

A strong connection between the park and the philharmonie A significant portion of the building, including the performance hall, is elevated, freeing up a large ground space that effectively extends the park grounds. Freely accessible to the public, this space was designed as an immense shelter providing access to one of the Philharmonie’s entrances, and allowing visitors to take cover from bad weather. The park’s existing pathways will be extended under the building, creating a new, easier access to the Trabendo contemporary music concert hall. The Philharmonie also brings a new entrance to the park with its ramps that directly connect to the Porte de Pantin and to the future tramway stop on boulevard Sérurier, on the other side of the avenue Jean-Jaurès.

A metallic, accessible design The building is conceived as an extension of the Parc de la Villette. Its exterior is an assemblage of oblique surfaces that alternately form ramps, steps and esplanades, all of which constitute public pedestrian paths and walkways. One large triangular ramp gives onto the upper esplanade, which is located at the auditorium entrance level; another leads down towards the park, where there is a second public access to the building. These sloped paths lead to a panoramic view over the park, Paris and suburbs. They bring together people who have come to enjoy the park, the Cité de la musique or the Philharmonie, neighbourhood residents and, more generally, anyone who comes into the area. This metallic opus varies in colouring from light to dark grey, in degrees of lustre and in texture. While the overall visual effect is that of a “mutating mono-material”, in reality the composition of materials varies according to accessible, non-accessible and vertical zones. Certain elements, made of glass and synthetic resin, light up at night. The façade surrounding the public foyers and performance hall, called “the swirlfaçade”, is made of a “woven” casing of mirror-polished stainless steel scales. Glass surfaces (ie. foyer windows) are covered with the same scales, but include perforations that are invisible from the outside, to ensure visual continuity. All the other façades are made of opaque or transparent glass, with varying degrees of reflection.

A welcoming space The Philharmonie de Paris covers an area of approximately 20,000 metres and was designed to be an open, welcoming space for visitors and professionals alike. Lobbies and foyers draw visitors in to meet, peruse the boutique or buy refreshments at the café and restaurant, while enjoying a view over the park and the city of Paris. The main performance hall offers adjoining living and working spaces for permanent and guest orchestras. Over 2,400 square metres of rehearsal space ensure that the needs of all the musical groups present in the building are met.

A NEW STANDARD IN ACOUSTICS An “enveloping” performance hall The audience is wrapped around the stage, a configuration that allows house capacity to be increased while reducing the distance between the furthest audience member and the conductor to a maximum of 32 metres. The balconies, detached from the walls like pods suspended in space, further promote a sense of being enveloped by the music. The hall is both open and intimate, a unique space with its own identity. Cloud-like, ribboned balconies and acoustic reflectors visually echo the movement and fluidity of the music performed. Despite an impressive 2,400-seat capacity, the hall remains an intimate space that nurtures the shared experience of concertlistening.

The search for acoustic excellence The performance hall’s global acoustic volume has a reverberation time that varies between 2 and 2.3 seconds (for a layout with 2,400 seats), creating optimal early and late sound energy and strength. The space between the rear of the balconies and the auditorium walls promotes late sound reflections, enhancing sound presence and a sense of being enveloped by the music. Early sound reflections generated by vertical panels, as well as by reflectors placed around and above the stage, guarantee excellent sound quality for both musicians and audience. A number of vertical panels, reflectors and the ceiling have textured acoustic panels that multiply sound reflections and soften the mirror effect of very large or smooth surfaces.

The auditorium as instrument At the Philharmonie, acoustics and architecture come together to promote musical excellence. The concept of “the auditorium as instrument” incorporates all the hall’s acoustic surfaces into its visual design: its constituent elements (ie. balconies and acoustic reflectors) float in space and contribute to the shared visual and auditory experience.

A flexible auditorium Designed to handle the various requirements of the symphonic repertoire, this is an extremely flexible performance hall. It is possible, for example, to “erase” the stalls and stage, then transform the rear risers so that the audience is arrayed directly in front of the stage. This innovative process opens the way to a large number of stage layout possibilities, allowing the Philharmonie to showcase a wide range of musical expression. Hall capacity can increase from 2,400 for a symphony concert to 3,650 for amplified music concerts (jazz, world music, etc.), with a partly standing audience. This new, more flexible type of performance hall promotes a musical plurality that appeals to new audiences, and stimulates artists who like to experiment with the spatial dimension of music.

3 – A PLACE OF EXCELLENCE - a comfortable, practical facility WELCOMING A DIVERSE AUDIENCE Accessibility is a top priority of this project. The Philharmonie is working hand in hand with community partners to provide the best possible conditions for visitors and professionals with disabilities. To start, the Philharmonie has been made easily identifiable both day and night. The two main entrances, the building’s various spaces and the rooftop terraces are fully accessible. Particular attention was paid to signage: textured ground surfaces clearly identify the different walkways, and tactile maps and audible signals are present both in and outside of the complex. Adapted emergency call systems and other security measures in emergency refuge areas and professional workspaces ensure a safe and secure environment for all visitors. Last, a variety of available services ensure that everyone’s needs are met, whether visitors come alone, in a group or as a family. Specialised equipment guarantees all visitors equal access to concerts, workshops, temporary exhibitions and refreshments.

+ For mobility impaired and reduced mobility visitors Wheelchairs and folding chairs are available on loan. The flexible auditorium can accommodate at least 30 wheelchair users (alone or with care partner). A variety of seating choices on different levels of the performance hall are available in all ticket categories (upper and lower stalls, first and second balconies, stage front and sides).

+ For hearing impaired visitors Most of the Philharmonie’s public spaces, performance hall included, are equipped with induction loops; portable assistive devices are available in non-equipped zones. On certain evenings, the audience may be invited to sit on the specially-designed stage floor and feel vibrations from the instruments. Information for hearing impaired visitors using LSF (French Sign Language) is also available.

+ For visually impaired visitors Sound absorbing materials (minimum 25%) are used to cut down on excessive noise in reception and waiting areas for higher quality hearing. Tactile models, information in Braille, raised and large print, an accessible Internet site and audio-description devices guarantee comfort and independence to Philharmonie visitors.

+ For the developmentally impaired Identification and space-structuring aids, along with multi-sensory information tools, help provide an understanding of the building and of the activities available at the Philharmonie. Particular attention is paid to educational workshops adapted for this audience.

EASY ACCESS When it opens, the Philharmonie de Paris will be accessible by all means of transportation. Public transport: metro (lines 5 and 7), bus (lines 75, 151 and 684), Noctilien (N13, N41, N45, N140), RER (line E) and tramway (line T3), which will begin operating in 2012. Car: the Philharmonie will have its own parking garage (600 spots) with easy access to the ring road and to the boulevard Sérurier, in addition to existing parking garages at the Cité de la musique (348 spots) and the Cité des sciences (2,000 spots). Taxi: a new taxi stand on the boulevard Sérurier will be created in addition to the existing stand on avenue Jean-Jaurès. Bus service: the Philharmonie de Paris will provide a free shuttle bus service for its audience members. Walk or cycle: the Philharmonie neighbourhood offers a pleasant setting for walking or cycling, with numerous bike stands and Vélib’ bike-sharing stations in the area. Protected paths for pedestrians and cyclists run along the banks of the canal from Bastille all the way up to the Centre National de la Danse de Pantin. By boat: The Conseil Général de Seine-Saint-Denis organises river shuttles every summer. Two private companies (Canauxrama and ParisCanal) run river cruises that stop at the Philharmonie. Priority access: handicap vehicles may access the esplanade for drop-off close to the main entrance.

4 – A PLACE OF EXCELLENCE

- meeting environmental challenges

A SUSTAINABLE BUILDING The building's environmental quality is based on fourteen targets that were defined by the HQE Association (Haute Qualité Environnementale, High Environmental Quality) and are evaluated according to specific criteria at several stages of the building process. The Philharmonie de Paris has given priority to four of these targets and is aiming for a very high level of efficiency: energy management (target n4) water management (target n5) maintenance – sustainable environmental performance (target n7) acoustic comfort (target n9) While technical considerations are important, a sustainable building is above all a building that stands the test of time, that deserves to be preserved and is a pleasure to use. The Philharmonie was designed in that spirit: the building is in itself an extension of the park and casts no shadow on the neighbouring lawns due to the east/west orientation of its screen. It’s an institution that enriches the city and the Cité de la musique, a public space that works with its site, local resources and climate, and is respectful of its surroundings. Moreover, it seeks out and adopts innovative solutions to technical and socio-economic challenges.

+ A flexible management system The Philharmonie de Paris has set up a management system that defines priority environmental targets and ensures that the project has the flexibility to achieve them - all while maintaining tight control over operations during the programming, design and construction phases. To this end, the Philharmonie has engaged experts such as Certivéa, a representative organisation of Afaq Afnor Certification, who will work with the design team and partner companies on an “experimental operation” called “HQE Service Sector Buildings Plan”. This approach allows all of the project’s members to be on the same page with regards to shared environmental goals, improving efficiency and encouraging the development of innovative and efficient solutions to controlling overall costs and maximizing environmental conservation. + Optimal integration of the project into the site Right from the start, the Philharmonie de Paris has focused on optimising its integration into the site, using the following criteria: physical surroundings: soils testing and hydrological studies were carried out; climate: in situ weather conditions were studied; ecosystems: the choice and location of plant species was examined; type and quality of views: the project allows visitors to “climb up” the accessible roof, turning the building into the park’s only hill; infrastructure: the Philharmonie’s outdoor space was designed to optimise circulation routes (ie. residents, audiences, logistics, etc.), which helps to preserve the site; local resources and services: the project uses local renewable energy sources.

+ practical and innovative energy solutions Energy management is based on the following principles:

reducing energy needs through specific construction and administrative measures, while maintaining a very high comfort level; using renewable energy sources to cover the majority of energy needs, within reasonable investment limits; using conventional energy to cover residual needs, using the most efficient systems available; selecting the most environmentally respectful conventional energy sources. With a heated volume of around 200,000 m³ and a thermal envelope surface of 28,000 m², the building’s compactness is exceptionally efficient. Compactness has a strong influence on energy loss and consumption, as well as on construction costs. The building envelope is very heavily insulated, doubling thermal regulation requirements. Energy loss through ventilation is very low, thanks to extremely efficient heat recovery systems (60% to 80% recovery). Air conditioning is reserved for areas where it is strictly necessary such as performance spaces, rehearsal rooms, and storage rooms for instruments or precious works. A restricted number of ventilation networks reduces electric consumption and noise pollution. Solar gain is reduced by keeping the proportion of glass surfaces relatively low (38% glass façades), the majority of which are shaded from summer sunlight by overhangs. 1,000 m² of solar cells are integrated into the building shell. Hot water is limited to the musicians’ showers and individual dressing rooms, and is produced with the CPCU* vapour system. Air conditioning is handled by Climespace. Air renewal is regulated by a CO² sensor, and can be programmed for variable occupancy zones. The work spaces all enjoy natural lighting; artificial lighting in the building is linked to motion sensors. All of the air handling units are equipped with a “free-cooling” function (direct cooling by outside cold air) that is activated when exterior temperatures are appropriate. The main source of heat is the capture of high-pressure steam from the district heating system. The production of heat is based on a variety of renewable energies; by 2014, 60% of heat production will be generated by waste, sewage sludge, biomass and geothermal power.

+ water management This target focuses on two goals: reducing water consumption recovering rainwater Rainwater run-off will be reused for: watering green spaces maintaining the building and its surroundings public restrooms

+ maintenance The Philharmonie de Paris has decided to let a single group of companies handle both the building’s construction and operations, in order to ensure quality and efficiency in its maintenance. The access to technical rooms, façades and area with high ceilings was carefully designed; likewise, the choice and processing of materials was monitored in order to guarantee optimal conditions for the maintenance of the complex.

+ acoustics Given that this project is a concert hall, it goes without saying that acoustics were given particular attention. All of the products and materials used in the building comply with the NF P-01-010 norm: “Environmental quality of building products – Environmental and sanitary declaration of building products”.

5 – PHILHARMONIE SPACES THE PERFORMANCE HALL The performance hall has five levels. One entrance on level 03 leads in from the esplanade and the Porte de Pantin, and is connected by two elevators to another entrance on level 00 (Parc de la Villette level). The main lobby is also located on level 03. On every level, vast foyers curl around the performance hall, providing circulation areas for audience members. These foyers also provide a number of cloakrooms, and bars providing light refreshments. The performance hall itself is composed of the stalls, which open onto levels 02 and 03, and two balconies that lead to levels 03, 04, 05 and 06. The hall’s “enveloping” layout wraps the audience around the stage: audience members either face the orchestra or the conductor, or the right and left sides of the stage. Acoustics are excellent and sight lines are carefully maintained from every position. The distance between two rows may vary according to positioning within the hall, but is rarely less than 0.90 metres. Acoustics and aesthetics combine to create an extraordinary impression of musicians enveloped by the audience, audience enveloped by sound and balconies that seem to float as if suspended in space. Acoustics, aesthetics, visibility and comfort come together to give the Philharmonie auditorium its unique identity.

SPACES FOR MUSICIANS + Practical, welcoming work spaces A concert hall’s reputation is also established through the quality of the spaces reserved for musicians. Designed for comfort, the cloakrooms, dressing rooms and foyers provide quick access to work studios. The musicians’ foyer is a pleasant area for resident and guest orchestra members to relax during breaks, in the middle of rehearsal, or in the evening before concerts. The foyer includes a bar and offers light refreshments. Cloakrooms for musicians and choir members, and dressing rooms for soloists, are positioned behind the performance hall and on several levels. The conductor’s dressing room is located close to his or her stage entrance. + A modern work tool Two large rehearsal studios provide optimal rehearsal conditions for orchestras. The first studio, intended for full orchestral rehearsal, is equipped with a stage identical to the one in the performance hall. It includes a rear stage area able to accommodate choir stalls or audience members (young musicians from music schools and conservatories may be invited to attend rehearsals this way). The second rehearsal studio is reserved for smaller ensembles. Four other rehearsal rooms, which are closed to the public, have specific uses: one room is reserved for small ensembles, the second for string instruments, the third for vocal music. The fourth is used for percussions and also contains a storage area for instruments. Ten rehearsal studios are reserved for artistsin-residence and very small groups. The music score library, which is used for the consultation, conservation and reproduction of music scores, is located on the way to the main stage and rehearsal studios.

THE EDUCATIONAL WING The educational wing covers a surface area of 1,800 square metres. Located on park level, it comprises three classrooms, two music rooms, five rooms for group practice, five rooms for individual music practice, a small studio allowing workshop leaders to film and to record sound, and a picnic room with benches and tables where school groups can break for meals. A multipurpose, 200-seat capacity room is also available for conferences, seminars, small concerts, screenings and public rehearsals.

THE TEMPORARY EXHIBITION GALLERY An 800 m² gallery for temporary exhibitions draws visitors to the Philharmonie in the daytime. The gallery showcases two exhibitions a year, with themes chosen in relation to the musical programme. This highly adaptable space is accessible from the park foyer. Very high ceilings allow the gallery to accommodate large-scale artistic works and visually striking performances. Excellent technical facilities – ie. digital equipment, lighting, air conditioning and security equipment – allow works from the world’s greatest museums to be presented and enhanced by sound and visual installations. A media room connected to the gallery plays musical excerpts chosen in relation to the current exhibition.

PUBLIC AREAS + Entrances and foyers The Philharmonie aims to be an open, welcoming venue where visitors can stroll around and enjoy the boutique, café and restaurant. The park foyer. Located on level 00, and opening onto the Parc de la Villette, this is the hall’s main entrance from south side of the park. This vast space is open to the public, and includes a reception area and several cloakrooms. The garden café and a multipurpose room open onto this space, as does the excellent music boutique, where visitors can purchase books, publications, CDs, DVDs, music scores, online music and spin-off products. The esplanade lobby. Located on level 03, this lobby gives access to the performance hall. This is where visitors purchase tickets, get information and pick up reservations. It also serves as a preconcert meeting area. After passing through the ticket control points on either side of the lobby, visitors can access all of the auditorium levels, on both sides of the stage. There is also a direct access to the upper stalls, as well as to foyers leading to the lower stalls on level 02 and, on levels 04, 05, and 06, the first and second balconies. The foyers and services. On every level of the auditorium are large public foyers equipped with cloakrooms and bars. Visitors cross these foyers to get to their seats, and may return here during intermission to stretch their legs and enjoy a bite to eat in comfortable, spacious conditions. The foyers on level 05 are connected to reception rooms that can be rented for private functions, and include a lovely terrace with a view over all of Paris and the Parc de la Villette.

+ Refreshment areas Visitors may choose between the café and the restaurant, the first with a view over the park, and the second with a view over Paris. The garden café. With a 100-seat capacity, the garden café, located on level 00, opens onto the park-level foyer. Its terrace looks over “the grotto”, a poetic setting of pools, water curtains, fountains and large shafts of natural light. The café is a warm, welcoming space where visitors can enjoy coffee, cold drinks and light refreshments after a visit to the gallery, an educational activity or a daytime concert. The restaurant. Located on the 6th floor, the restaurant is open to all of the Philharmonie’s various users, artists and audience alike. The restaurant has its own entrance and opening hours, allowing it be enjoyed independently of any musical activity at the Philharmonie. The dining room has a 150seat capacity, with 40 to 50 additional seats on the terrace. Entrance to the restaurant is through the public foyers on level 06, or directly by elevator, either from the underground parking garage or the park.

ADMINISTRATIVE AND LOGISTICAL DEPARTMENTS + Administrative offices are located on several levels and connected by elevators. The offices of the resident orchestra are located above the educational wing. + The logistics department is distributed across all levels and includes storage areas, control rooms, storerooms and areas for artists and technicians. + Staff restaurant. The restaurant has a 50-seat capacity and serves the Philharmonie de Paris staff as well as musicians, resident orchestra members and instrumentalists present for rehearsals and concerts. + Parking garages. Around 600 spots are available for public parking on two underground levels, with an additional 90 spots for motorcycle parking.

6 – AN ARTISTIC AND CULTURAL MANDATE The decision to locate the Philharmonie de Paris on the border between Paris and its suburbs, on a site that mingles popular and learned culture (with establishments such as the Cité de la musique, the Conservatoire, the Grande Halle, the Zénith and the Cité des sciences et de l’industrie), clearly demonstrates its aim to reach out to new audiences. So does its focus on the need for an original, modern artistic venue that will break down barriers between musical genres and styles. The Philharmonie showcases all musical genres, alternating between high-profile concerts on week nights and “family” concerts on the weekends. In addition, exhibitions, and digital and educational initiatives explore new models of musical transmission, creating an environment suitable to the appreciation of music.

CONCERT PROGRAMMING There are many questions to address here. How can the concert experience be revitalized? How can younger generations be convinced to explore the diversity of musical expression? How do we attract underprivileged groups? How can professionals and music lovers be convinced to let go of old habits? Can we enhance the concert experience by providing people with access to new information and skills? And how can we give future musicians their first peek at the realities of professional life? + Bringing together musical genres Classical music (from orchestras in residence, regional and international orchestras, specialized ensembles, etc.) will be showcased alongside more popular musical forms (jazz, modern music, etc.). The idea is to guarantee artistic diversity but also ensure that music lovers of one particular genre do not end up dominating this new establishment. The Orchestre de Paris is the Philharmonie’s main resident orchestra, although the Orchestre national d’Ile-de-France and other orchestras from the Ile-de-France region will also put in regular appearances. Rehearsal facilities are open to orchestras performing in other Parisian venues. Each season will welcome international orchestras as well as major French orchestras based outside of Paris, with special invitations to orchestras recognized for outstanding performance. With their participation, a week at the Philharmonie could alternate full orchestral and small ensemble concerts, workshops for future professionals and work sessions in high schools that conclude with a group performance. The Philharmonie’s artistic mandate includes broadening the conception of “art music”, giving a greater place to choirs (both professional and amateur) and exploring all musical epochs by examining their similarities and differences. The project’s originality and openness is further guaranteed by the presence in their own right of popular genres and world music. + Numerous family weekends The Philharmonie’s innovative approach to programming alternates high-profile weeknight concerts with numerous “family” concerts on the weekend. For the most part, the pace and format of weeknight concerts will resemble that of other major musical complexes, with daytime activities linked to education, exhibitions and rehearsals rounding out the programme. A large number of seats will be offered at very accessible prices. On weekends, the Philharmonie will focus on reaching out to new audiences, particularly families. The concert format will be revitalized, with orchestras and musicians invited to present shorter concerts of key works from our musical heritage. + Special events The performance hall’s flexibility – which allows house capacity to reach 3,650 – and the potential for collaboration between the Cité de la musique and other concert halls on the site, makes it possible to programme five or six large-scale events a year aimed at a very wide audience. These exceptional events

could include a world-wide symposium for youth orchestras, for example, or a weekend focusing on amateur performance (orchestras, harmonies, choirs, etc.); a weekend devoted to a composer; activities and events showcasing new music and world music; and perhaps even a mini summer festival, similar to London’s “Proms”.

EDUCATION The Philharmonie de Paris will play a much larger role than the one usually reserved for concert halls, which are currently much too focused on the simple “consumption” of concerts and shows. To meet the challenge of cultural democratisation, strong connections must be established between the programme – ie. both exhibitions and concerts – and the educational activities on offer. Since the late 1990s, arts policies in France have mainly consisted of developing specific programmes for youth audiences. This approach has failed to spark an interest in symphonic repertoires, which generally do not appeal to youth. At the Philharmonie, the concert and exhibition programme will be extended by an array of daytime activities, creating a strong, cohesive and innovative cultural offer. The Philharmonie’s approach to music education will not be limited simply to concerts and educational performances, but will include large-scale, hands-on workshops that bring music alive for children through direct contact with instruments and sound. Using the magic of orchestra, the Philharmonie will meet three major challenges: to make music education more accessible, foster new audiences, and give a more public role to orchestras. The workshops will develop proactive, group-oriented educational approaches that link the musical work, the musician and the audience in a deeper, more direct way. These include an introduction to orchestral instruments and symphonic repertoires; adapting a classical piece to performance on non-classical instruments; active listening to music using multimedia aids to explore the various components of a musical work, and more. These activities will be led by skilled orchestra musicians – principally from the Orchestre de Paris and other guest orchestras – and experienced teachers. They could involve participation from choirs, and may vary in duration (ie. isolated sessions, cycles, or projects lasting several months) and number of participants. They will mostly target school-age groups (ages seven and up) but can be adapted to adults as a way to encourage the development of amateur performance. A specific “introduction to music” programme for 3 to 7 years old will also be available on Wednesdays and weekends, when a large number of families are expected to visit the Philharmonie. Parents can listen to concerts while their children attend workshops, or vice versa. Other pilot projects will focus on long-term, in-depth activities with a fixed group, and culminate in a public performance.

TEMPORARY EXHIBITIONS Directly based on the concert programme, temporary exhibitions - which are essential to the success of the establishment and its image of cultural diversity - will allow visitors to explore the links between music and other forms of artistic expression, helping to clarify the artistic and social dimensions of music. Two exhibitions a year will pick up the programme’s main themes and present a wide range of musical topics: from the historical background of a country, epoch or musical style to monographs devoted to a musician and set against the context of his or her time, or perhaps the career of a visual artist, choreographer or filmmaker who was heavily influenced by music. They may also explore subjects linked to classical music (from Baroque to contemporary) and modern music (popular music, jazz and world music).

ARCHITECT

Ateliers Jean Nouvel

DESIGN TEAM Métra + Associés, associate architects, Marsall-Day acoustics auditorium acoustics, Studio DAP building acoustics, Nagata Acoustics acoustic advisor, Ducks Scéno scenography, Autobus Impérial signage, 8'18'', interior lighting, AIK, Yann Kersalé light art, Transsolar environmental consulting, Casso & Cie fire safety, Sletec construction economist, Egis structure and engineering, HDA and Arcora core and shell, and façades.

BOARD OF DIRECTORS + Ex officio members Mr. Frederic Mitterand Minister of Culture and Communication or his representative, Mr. Bertrand Delanoë Mayor of Paris or his representative, Mr. Christophe Girard Deputy Mayor of Paris for Cultural Affairs, Mr. Daniel Canépa Prefect of the Région Ile-de-France or his representative, Mr. Georges-François Hirsch Director-General of the Department of Artistic Creation, Mr. Guillaume Boudy secretary-general of the Ministry of Culture and Communication, Mr. Philippe Belaval Secretary-General of the Department of Heritage, Mr. Roger Madec Mayor of the 19th arrondissement of Paris, Ms. Anne Hidalgo, 1st Deputy Mayor for Urban Development and Architecture, Mr. Jacques Monthioux Director of Heritage and Architecture of the City of Paris, Ms. Laurence Engel Director of Cultural Affairs of the City of Paris. + Qualified representatives Mr. Laurent Bayle, President of the Philharmonie de Paris Board of Directors, Mr. André Ladousse Treasurer of the Philharmonie de Paris association.

THE PHILHARMONIE DE PARIS TEAM Managing director: Patrice Januel Assistant: Laurence Bensot General Administration: Luc Marois / Anne Coupat / Raphaël Bickart / Francette Maingé Architectural Programming: Laurence Descubes / Céline Jeanroy Construction administrative assistant: Nicole Champion Operation coordinators: Geoffroy Vauthier / Trâm Anh Ngô / Hayat Lahouaichri Technical and economic risk manager: Jean-Sebastien Basset Security and environmental monitoring: Michaël Micaletti

THE PHILHARMONIE DE PARIS CONSTRUCTION SITE

IMAGES DU CHANTIER ET DU PROJET DE LA PHILHARMONIE DE PARIS BUILDING PROCEDURES

The Philharmonie de Paris has signed a block contract for construction/maintenance, the idea being to encourage efficiency and responsibility from those involved in the construction, while allowing the Philharmonie to maintain control over the building process. This will allow the Philharmonie to guarantee a high level of quality, in particular for acoustics, green building and acessibility.

The construction itself, which also commits the builders to the buildingâ&#x20AC;&#x2122;s maintenance and upkeep for a fifteen-year period, is being handled by a consortium led by Bouygues in association with GDFSuez, a number of international partners and many small businesses.

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LE DE LA DE PHILHARMONIE DE PARIS SITE THECHANTIER PHILHARMONIE PARIS CONSTRUCTION

ENTREPRISES THELES COMPANIES CONSTRUCTION CONSTRUCTION MAINTENANCE MAINTENANCE ENTRETIEN AND UPKEEP

BOUyGUES BOUYGUES Gros œuvreworks Structural Charpente métallique Metal framework GROUPE GDF SUEZ - COFELy GDF SUEZ – COFELY GROUP Maintenance entretien Maintenanceetand upkeep GROUPE GDF SUEZ - GROUP AxIMA GDF SUEZ – AXIMA Chauffage ventilation // air Heating / /ventilation climatisation conditioning/ /désenfumage smoke control GROUPE GDF SUEZ - INEO GDF SUEZ – INEO Courants forts Power cabling Courants faibles Data cabling BELGO BELGO MéTAL METAL Bardages Siding Menuiseries extérieures External joinery Façade courbe Swirl façade OTIS OTIS Ascenseurs Elevators Escalators Escalators

LINDNER LINDNER Aménagement salle Auditorium fit-out de concert Partition walls / ceilings / Cloisons / plafonds / doublages linings Plafonds suspendus Suspended ceilings Revêtements sols Floor coverings Peinture Painting Revêtements muraux Wall coverings Cloisons mobiles Mobile partition walls Signalétique Signage

EGA CUNIN Voiries réseaux divers Plumbing

Q PARKING PARk ET PhILhARMONIE GARAGE AND PARC PHILHARMONIE PARKING Exploitation parking GARAGE Parking garage operation

TRAVAUx PRéLIMINAIRES INGEROP Synthesis

SODIFRA Agencements bois SODIFRA Menuiseries intérieures Woodwork Portes etjoinery châssis coupe-feu Interior Serrurerie Fireproof doors and Parquets doorframes Mobilier hardware Building

Hardwood floors AMG FEChOZ Furniture

EGA GEMO Roadworks Ordonnancement Landscaping

Pilotage Coordination

GEMO INGéROP Scheduling Synthèse Coordination Steering

SPIE BATIGNOLLES Soutènements

VéOLIA PRELIMINARY CONSTRUCTION WORK Terrassement

SPIE BATIGNOLLES SEGEx Retaining walls Rampe

VEOLIA GCE Earthworks

Béton projeté

Aménagements scénographiques

SEGEX Ramp

Fondations spéciales

CGE Sprayed concrete

AMG FECHOZ SOLéTANChE BAChy PIEUx Scenography

SOLETANCHE BACHY PIEUX CUNIN foundations Special Plomberie

CONSTRUCTION MAINTENANCE ENTRETIEN CONSTRUCTION MAINTENANCE UPKEEP

PRELIMINARY WORK TRAVAUx PRéLIMINAIRES

ENVIRONMENTAL QUALITY CERTIFICATION CERTIFICATION QUALITé ENVIRONNEMENTALE

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Aménagements paysagers

- poursuite des traVaux de Corps d’état teChnique et démarrage des traVaux de finition dans la zone C d (pôle pédagogique, Bureaux parVis pantin). - montage des superstruCtures dans la zone a (salles de répétition). - poursuite de la réalisation des noyaux struCturels la zone B (salle de ConCert) jusqu’au niVeau 09.

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LE DE LA DE PHILHARMONIE DE PARIS SITE THECHANTIER PHILHARMONIE PARIS CONSTRUCTION

L’AVANCEMENT DU CHANTIER STAGES OF CONSTRUCTION Les travaux préliminaires

Preliminary works Une première phase de travaux qui s’est achevée au printemps 2010 a consisThe first phase of construction was completed in spring 2010. It té à réaliser dévoiements of de utility réseaux, les soutènements-voiries, la logistique involved theles displacement networks, the shoring of road de chantier et les terrassements. networks, construction logistics and earthworks. Les travaux de construction Construction Construction proper began in February 2011 for a period of 3 years. It will progress indicatedont in démarré the workflow diagram below. Les travaux de as construction en février 2011explained pour une durée de 3 ans. Ils s’exécutent selon la cinématique explicitée dans les schémas suivants :

Zoning For organisational purposes, the construction site was divided into Le zoning des réalisations zones: zone A includes the rehearsal studios; zone B, the performance hall; zone aC,ététhe wing and offices; D, the Un zoning miseducational en place pour l’organisation duzone chantier : la esplanade zone A comand Pantin ramp.

prend principalement les salles de répétition, la zone B, la salle de concert, la zone C, le pôle pédagogique et les bureaux, et enfin, la zone D, le parvis et la rampe Pantin.

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February to June 2011

CONSTRUCTION OF THErampe PARC DE poursuite desde traVaux de Corps d’état teChnique -- ConstruCtion la LA démarrage VILLETTE ACCESS RAMP. et desde traVaux de finition dans d’aCCès au parC la Villette la zone C d (pôle pédagogique, Bureaux parVis pantin). PILE INSTALLATION IN ZONE -- réalisation des pieux dans D (PANTIN montage des superstruCtures dans la zone a la zone dESPLANADE). (parVis pantin). (salles de répétition). - poursuite de la réalisation des noyaux struCturels la zone B (salle de ConCert) jusqu’au niVeau 09.

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LE DE LA DE PHILHARMONIE DE PARIS SITE THECHANTIER PHILHARMONIE PARIS CONSTRUCTION

July to November 2011

PILE INSTALLATION IN ZONE -- réalisation des pieux dans A (REHEARSAL STUDIOS) IN ZONE B (PERFORMANCE HALL). la zone a AND (salles de répétition) et dans la zone B (salle de ConCert). - ERECTION OF HORIZONTAL AND VERTICAL IN ZONES AND D (EDUCATIONAL WING, -BEAMS eléVation des CstruCtures horizontales OFFICES, PANTIN et VertiCales desESPLANADE). zones C et d (pôle pédagogique, Bureaux, parVis pantin).

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December 2011 to February 2012

CONSTRUCTION INFRASTRUCTURE CONTINUES de Corps d’état teChnique -- poursuite des ON traVaux d’infrastruCture IN démarrage ZONE A (REHEARSAL STUDIOS). et traVaux de finition dans dans la zone a des (salles de répétition). la zone C d (pôle pédagogique, Bureaux parVis pantin). WORK BEGINS IN ZONE B -- démarrage de ON la STRUCTURAL réalisationCORES des noyaux (PERFORMANCE HALL). montage des superstruCtures dansde la zone a struCturels dans la zone B (salle (salles de répétition). ConCert). - ROOFING IS COMPLETED AND MECHANICAL & (M&E) BEGINS IN ZONES AND -ELECTRICAL poursuite dede lala réalisation des réalisation CouVerture et Cnoyaux démarrage D (EDUCATIONAL WING, struCturels la zone B OFFICES, (salle teChniques dePANTIN ConCert) jusqu’au des traVaux des Corps d’état ESPLANADE). niVeau 09. dans les zones C et d (pôle pédagogique, Bureaux, parVis pantin).

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LE DE LA DE PHILHARMONIE DE PARIS SITE THECHANTIER PHILHARMONIE PARIS CONSTRUCTION

March to May 2012

COMPLETION des OF INFRASTRUCTURE IN ZONE A -- aChèVement traVaux d’infrastruCture (REHEARSAL dans la zoneSTUDIOS). a (salle de répétition). STRUCTURALdeCORE WORK CONTINUES ZONE B -- poursuite la réalisation des IN noyaux (PERFORMANCEdans HALL), UP TOB LEVEL 04. struCturels la zone (salle de ConCert) jusqu’au niVeau 04. - M&E CONTINUES IN ZONES C AND D WING, OFFICES, PANTIN -(EDUCATIONAL poursuite des traVaux de Corps d’état ESPLANADE). teChnique dans les zones C et d (pôle pédagogique, Bureaux parVis pantin).

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June to August 2012

M&E CONTINUES AND FINISHING WORKS BEGIN -- poursuite des traVaux de Corps d’état teChnique IN démarrage ZONES C AND (EDUCATIONAL WING, dans et desD traVaux de finition OFFICES, la zone C PANTIN d (pôle ESPLANADE). pédagogique, Bureaux parVis pantin). ERECTIONdes OF superstruCtures SUPERSTRUCTURES dans IN ZONE A -- montage la zone a (REHEARSAL STUDIOS). (salles de répétition). STRUCTURALdeCORE WORK CONTINUES ZONE B, -- poursuite la réalisation des IN noyaux UP TO LEVEL la 09.zone B (salle de ConCert) jusqu’au struCturels niVeau 09.

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LE DE LA DE PHILHARMONIE DE PARIS SITE THECHANTIER PHILHARMONIE PARIS CONSTRUCTION

September to December 2012

COMPLETION des OF ZONES C AND (EDUCATIONAL -- aChèVement traVaux dansD la zone C d WING, pédagogique, OFFICES, PANTIN ESPLANADE). (pôle Bureaux parVis pantin). CONSTRUCTIONdeOFlaTHE PERFORMANCE -- réalisation Charpente de laHALL salle STRUCTURAL FRAME; BY DECEMBER de ConCert pour uneWATERPROOFING mise hors d’eau 2012. en déCemBre 2012. M&E BEGINSdes IN traVaux ZONES A des AND Corps B (REHEARSAL -- démarrage d’état STUDIOS, PERFORMANCE HALL). teChniques dans les zones a et B (salles de répétition, salle de ConCert).

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January 2013 to February 2014

COMPLETION OF M&E AND de FINISHING WORKS ---poursuite des traVaux Corps d’état teChnique aChèVement des traVaux des Corps d’état IN démarrage ZONES A et AND B traVaux (REHEARSAL STUDIOS, et des de finition teChniques réalisation des traVauxdans PERFORMANCE HALL). la zone C d (pôle pédagogique, parVis pantin). de finition dans les zones a Bureaux et B (salles de répétition, salle de ConCert). FINISHING AND DELIVERYdans OF THE -- montage desWORKS superstruCtures la zone a PREPARATION (salles deINrépétition). -BUILDING finitions et réCeptionsFOR de TESTING. l’ensemBle du Bâtiment en Vue des tests. - poursuite de la réalisation des noyaux struCturels la zone B (salle de ConCert) jusqu’au niVeau 09.

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LE DE LA DE PHILHARMONIE DE PARIS SITE THECHANTIER PHILHARMONIE PARIS CONSTRUCTION

LES CHIFFRES CLÉS IMPORTANT NUMBERS DE OF LA THEPHILHARMONIE PHILHARMONIE DE PARIS PARISPROJECT Thefinancement operation isdefinanced by: Le l’opération est assuré par : The French government (Ministry of Culture and Communication) L’Etat (Ministère de la Culture 158 M € et de la Communication) The City of Paris 158 158 M M€€ La de Paris Region Theville Ile-de-France 158 M€ 20 M € La région Ile-de-France

TheMbuilding 20 €

Net surface area Bâtiment 20.000 m² Superficie utile du bâtiment Building footprint 2 20 000 m 19.600 m² Total lot surface area Emprise du bâtiment 2 23.670 19 600 mm² Total lot length Superficie totale du terrain 330 m² m2 23 670 Lot width Longueur 100 m totale du terrain 330 m

Maximum height Largeur terrain

37 m 100Building m

of the structure

Signal, screen wall 52 m 9 levels and 2 basement levels Hauteur maximale de la construction Surface areas Bâtiment 37 m Signal, mur-écran Gross floor area 52 m 9 étages et 67.483 m² 2 niveaux de sous-sol

Net floor area Surfaces 39.642 m²

SHOB 67 483 m2 Performance SHON 39 642hall m2

Performance hall surface area Salle de concert 2.200 m² Superficie de la salle de concert Acoustic2 volume 2 200 m 30.500 m² Symphonic layout Volume acoustique 2.400 30 500 spectators m3 Configuration symphonique

2 400 spectateurs

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Configuration jazz,layout musique Jazz, world music (standing du monde (public debout) audience)

3.650 spectators 3 650 spectateurs

Maximum distance between Distance maximale entre spectators and les spectateurs stage et la scène 32 mm 32

Floor areas Superficies Pôle éducatifwing Educational 2 1 800 mm² 1.800 Exhibition space Pôle expositions 2 800 m² 800 m Rehearsal space Espaces de répétition 2.300 m² 2 300 m2 Administrative spaces Espaces administratifs 1.700 m² 2 1 700 m and logistics spaces Technical 1.900 m² Espaces techniques et logistiques 1 900 m2

Parking Parking 600 places spots 600 Thechantier construction site Le

100 000 m3 de terrassement 100.0003m3 of earthworks deofbéton 50 000 mm3 50,000 cement 6,000 Tonnesdestructural steel 6 000 Tonnes charpente 3,000 Tonnes reinforcing steel 3 000 Tonnes d’armatures aciers 750 piles (35 metres) 750 pieux (35 mètres) 8 cranes 8 25grues months of structural works: 270,000 25 mois dehours gros œuvre : Lot footprint: 350m x120m 270 000 heures 600 people (all building trades) at Emprise de la parcelle : 350m x120m the height of activity 600 personnes tous d’état 16 companies in acorps consortium au pic d’activité 16 entreprises groupées

IMAGES IMAGESDU OFCHANTIER THE CONSTRUCTION ET DU PROJET DE SITE AND THE LA PHILHARMONIE PHILHARMONIE DE DE PARIS - poursuite des traVaux de Corps d’état teChnique et démarrage des traVaux de finition dans la zone C d (pôle pédagogique, Bureaux parVis pantin).

- montage des superstruCtures dans la zone a (salles de répétition).

- poursuite de la réalisation des noyaux struCturels la zone B (salle de ConCert) jusqu’au niVeau 09.

PARIS PROJECT

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IMAGES OF THE CONSTRUCTION SITE AND THE PHILHARMONIE DE PARIS PROJECT

NIVEAU 0

Accueil public P么le p茅dagogique Logistique Expositions temporaires

LEVEL 00

VH VB VB

VH VH

VH ES C

RIA

VH VB

café

CFO CFA

RIA

CFO/

FA ES

NIVEAU 3

Salle de concerts Espace public/Forum Accueil public

- poursuite des traVaux de Corps d’état teChnique et démarrage des traVaux de finition dans la zone C d (pôle pédagogique, Bureaux parVis pantin).

Pôle pédagogique Espaces privés Logistique/Espaces techniques Logistique

LEVEL - montage des superstruCtures dans la zone a 03 (salles de répétition). - poursuite de la réalisation des noyaux struCturels la zone B (salle de ConCert) jusqu’au niVeau 09.

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IMAGES OF THE CONSTRUCTION SITE AND THE PHILHARMONIE DE PARIS PROJECT

PERFORMANCE HALL

- poursuite des traVaux de Corps d’état teChnique et démarrage des traVaux de finition dans la zone C d (pôle pédagogique, Bureaux parVis pantin). PERFORMANCE HALL - dans LONGITUDINAL - montage des superstruCtures la zone aSECTION (salles de répétition). - poursuite de la réalisation des noyaux struCturels la zone B (salle de ConCert) jusqu’au niVeau 09.

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IMAGES OF THE CONSTRUCTION SITE AND THE PHILHARMONIE DE PARIS PROJECT

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IMAGES OF THE CONSTRUCTION SITE AND THE PHILHARMONIE DE PARIS PROJECT

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IMAGES OF THE CONSTRUCTION SITE AND THE PHILHARMONIE DE PARIS PROJECT

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IMAGES OF THE CONSTRUCTION SITE AND THE PHILHARMONIE DE PARIS PROJECT

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IMAGES OF THE CONSTRUCTION SITE AND THE PHILHARMONIE DE PARIS PROJECT

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IMAGES OF THE CONSTRUCTION SITE AND THE PHILHARMONIE DE PARIS PROJECT

LARGE REHEARSAL STUDIO

VIEW FROM THE PARK

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IMAGES OF THE CONSTRUCTION SITE AND THE PHILHARMONIE DE PARIS PROJECT

GROTTO

- poursuite des traVaux de Corps d’état teChnique et démarrage des traVaux de finition dans la zone C d (pôle pédagogique, Bureaux parVis pantin). - montage des superstruCtures dans la zone a (salles de répétition). - poursuite de la réalisation des noyaux PERFORMANCE HALL struCturels la zone B (salle de ConCert) jusqu’au niVeau 09.

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IMAGES OF THE CONSTRUCTION SITE AND THE PHILHARMONIE DE PARIS PROJECT

PERFORMANCE HALL

- poursuite des traVaux de Corps d’état teChnique et démarrage des traVaux de finition dans la zone C d (pôle pédagogique, Bureaux parVis pantin). NIGHT VIEW - montage des superstruCtures dans la zone a (salles de répétition). - poursuite de la réalisation des noyaux struCturels la zone B (salle de ConCert) jusqu’au niVeau 09.

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IMAGES OF THE CONSTRUCTION SITE AND THE PHILHARMONIE DE PARIS PROJECT

VIEW FROM THE RING ROAD

- poursuite des traVaux de Corps d’état teChnique et démarrage des traVaux de finition dans la zone C d (pôle pédagogique, Bureaux parVis pantin). VIEW - montage des superstruCtures dans la zoneAERIAL a (salles de répétition). - poursuite de la réalisation des noyaux struCturels la zone B (salle de ConCert) jusqu’au niVeau 09.

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IMAGES OF THE CONSTRUCTION SITE AND THE PHILHARMONIE DE PARIS PROJECT

VIEW FROM THE PORTE DE PANTIN

- poursuite des traVaux de Corps d’état teChnique et démarrage des traVaux de finition dans la zone C d (pôle pédagogique, Bureaux parVis pantin). VIEW FROM dans THE PORTE DE aPANTIN METRO STATION - montage des superstruCtures la zone (salles de répétition). - poursuite de la réalisation des noyaux struCturels la zone B (salle de ConCert) jusqu’au niVeau 09.

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211, avenue Jean-Jaurès - 75019 Paris T. +33 (0)1 40 40 67 00 F. +33 (0)1 42 03 65 72 info@philharmoniedeparis.fr www.philharmoniedeparis.fr

Pictures NicolasBorel Borel Photos :: Nicolas Perspectives :: Arte Arte Factory, Factory, Didier Didier Ghislain Perspectives Ghislain Design : www.be-poles.com Plans : Ateliers Jean Nouvel, Métra&Associés, Autobus Impérial Design: www.be-poles.com