Book studio adeline rispal jan 2017 en by Studio Adeline Rispal

STUDIO ADELINE RISPAL Architectes et scénographes associés Associate architects and exhibition designers

STUDIO ADELINE RISPAL associated architects and exhibit designers

THE STUDIO ADELINE RISPAL‘S MAIN ARCHITECTURAL ACTIVITY IS FOCUSED ON CULTURAL PROJECTS, AS WELL AS ALL KINDS OF URBAN, ARCHITECTURAL, COMMERCIAL AND MUSEUM SCENOGRAPHY

Its strategy aims to broaden the traditional scope of architectural projects to include different approaches from science, literature, and art, shifting the focus to the problems arising from each individual project. This change of viewpoint and holistic approach begets the interactions that create original solutions, solutions that respect both the spirit of the space, its genius loci, and the objectives of the client. Viewed as an integral, coherent, and compatible part of the architecture, scenography is the art of bringing Humankind into contact with Humankind’s creations. The spatial metalanguage that produces the main structure is added to the other forms of communication at play within the exhibition and its virtual creations, from the most tangible to the most cerebral. In this way, scenography can be seen as an architectural medium that bridges the gap between different levels of expression to produce a coherent whole that is more than the sum of a project’s diverse parts. The Studio works through collaborative design with an open network of partners, special consultants, researchers, and users that stretches across Europe and throughout the world.

WHO ?

WHERE ?

HOW ?

Adeline Rispal, architect dplg, exhibit designer, founding principal.

Studio Adeline Rispal sarl d’architecture 23, rue du Faubourg-Saint-Denis 75010 Paris - France t +33 1 43 56 91 45

Sarl d’architecture RCS Paris 520 919 952 SIRET 52091995200025 TVA FR46520919952 capital 7 500 € ape/naf 7111 Z Ordre des architectes n° national S13800

Caroline Retout, administration manager. Antoine Buonomo, visual communication consultant. Julie Chaudier, contents productor, exhibit designer. Margaux Geib-Lapinte, assistant architect, exhibit designer. Pauline Meyniel assistant interior designer, engineer. A team of around ten people comprising architects, interior designers, graphic artists and designers form the core of the Studio.

On the web www.adelinerispal.com fb facebook.com/studioadelinerispal blog invisibl.eu Contact contact-us@adelinerispal.com Press contact communication@adelinerispal.com

Bank Crédit Coopératif - Paris Insurances Maf Generali Material means

Recrutement recrutement@adelinerispal.com

Hardware

9 Stations PC 2 Macbook Pro 3 Color photo printers A0/ A3 Software

To offer better service and guarantee the quality of our projects in a constant desire for reactivity, we form speciﬁc groups of pluridisciplinary designers for each of our operations depending on its speciﬁcations, location and the client’s needs.

Microsoft Ofﬁce Pro, Project Suite Adobe CAO software

Autocad ADT 2007 Rhino 3ds Max Management ICT

MTI Infotech

ADELINE RISPAL

In 2010, she co-founded the Studio Adeline Rispal.

Born in Aurillac in the Auvergne, with roots also in Barcelona and the Balearic Islands, Adeline Rispal graduated as architect from the Paris École nationale supérieure des Beaux Arts in 1981. In 1982, she joined Jean Nouvel where she worked on the team designing the architectural project for the Institut du Monde Arabe (IMA) under Jean-Jacques Raynaud and Antoinette Robain, and in 1984 she became the scenography project manager for the same museum, where she stayed until 1988.

Since then, she has directed the following main projects: - scenography of the MuCEM (Museum for Europe and the Mediterranean) in Marseille - France (2013) Finalist at the FX International Interior Design Awards 2013 - museum architecture and scenography of the Marseille History Museum - France (2013) - contents and scenography of the exhibition and the garden of the French Pavilion at the Milan Universal Expo 2015 Italy (2015). - scenography and contents of the Makkah Museum Mecca - KSA, winning project (2016) - scenography of Musée Savoisien Chambéry - France (on progress)

In 1989 she worked with Jean Nouvel & Associates to produce a proposal for Kansai International Airport in Osaka, alongside Jean-Jacques Raynaud. In 1990, along with the architects Jean-Jacques Raynaud and Louis Tournoux and management consultant Jean-Michel Laterrade, she co-founded Repérages, where she took the helm in 1996. The agency specialized in museum and scenography projects in France and Europe: - Historial de la Grande Guerre (1992) - Luxemburg City History Museum (1996) - Luxemburg Natural History Museum (1997) - the Grand Curtius in Liège (international tender won in 1995, project approved in 1998) - Abbey of Stavelot Museum, Belgium (2002) - redevelopment of the reception areas, shops, and temporary exhibition spaces at the Musée d’Orsay (2004) - renovation of the architecture and curation in the Département moderne of the Musée de l’Armée in the Hôtel national des Invalides (2009). She also designed a few major temporary exhibitions: - Aux sources du monde arabe at the IMA (1990) - Egyptomania at the Musée du Louvre (1994) - Bernard Molitor at the Villa Vauban in Luxembourg (1995) - En Égypte, sur les pas d’Auguste Mariette Pacha, at the Château-musée of Boulogne-sur-Mer (2004) - Le Grand Atelier: l’art en Europe du Ve au XVIIIe siècle at the Palais des Beaux-Arts in Brussels (2007) As far back as 2000, the agency was securing spots as a ﬁnalist in prestigious international tenders: - Islamic Gallery at the Victoria & Albert Museum in London (2003) - National 9/11 Memorial Museum - New York (2007) - Louvre Abu Dhabi (2008) Adeline Rispal is a sought after consultant in a range of countries around the world: Russia, Lebanon, Egypt, Libya, Switzerland, Algeria... and more.

Teaching / Lectures - 2016-2017, Scenography Masterclass - Penninghen High School of Art Direction and Interior Design - Paris - 2016, 2017, Ecole du Louvre - Seminaire - Paris - 2015, 2016, Ecole du Louvre - Séminaire international Paris - 2015 European Summerschool 2015 – Université Paris VIII – Paris – France - 2015 Museum Design Conference – Londres – U.K. - 2015 Master Médiations de la Culture et des Patrimoines Université d’Avignon - France - 2015 Faculté d’Information et Communication - Université Antonine - Beyrouth - Libanon - 2015 École d’architecture de Versailles - France - 2015 HEAD (High school of art and design) - Geneva Switzerland - 2014, 2015 Master Expographie Muséographie Université d’Arras - France - 2008 École d’architecture Paris Val-de-Seine – HMO – Paris - France - 2005-2007 Université Paris 1 Panthéon-Sorbonne - Projets culturels dans l’espace public / Course : Scenography – Paris - France - 2006 École d’architecture Saint-Luc / Workshops – Museum architecture – Liège – Belgium

Publications On going • Rispal, A., 2017, «Les seuils de l’espace de l’art», in Rencontres d’un seuil à l’autre, Erasmus Expertise. • Rispal, A., 2017, «La scénographie des bibliothèques (et) musées à l’ère du numérique», in Actes du colloque Architectures et espaces de la conservation - Léav/ENSA de Versailles/Archives Nationales à Pierrefﬁte/Seine, France. Published • Arnold, F., 2016, «Interview of Adeline Rispal», in En présence des livres, 85-95, Editions du EFFA, ISBN 2954554525 • Rispal, A. 2014, «La scénographie du musée d’Histoire de Marseille», in L’ami de Musée n°47, ISSN 0991–773X • Rispal, A. 2014, ICOM / ICMAH Conference 2014 – «The object, original, copy and fake - The object in history museums, mediator for the invisible», http://network.icom.museum/ﬁleadmin/user_upload/ minisites/icmah/publications/Actes-Shanghai-complet2.pdf • Rispal, A. 2013, “La scénographie du musée d’Histoire de Marseille”, in Marseille n°243 • Rispal, A. 2013, “La scénographie de la galerie de la Méditerranée”, in Marseille n°241 • Rispal, A. 2013, “Ces objets qui nous relient aux autres”, in invisibl.eu • Rispal, A. 2013, “La scénographie dans l’actualité”, in invisibl.eu • Rispal, A. 2012, “Architecture et muséographie de quelques musées de guerre”, in Becker, A. et Debary, O., Montrer les violences extrêmes, 243-266, Paris : Creaphis Editions • Rispal, A. 2011, “Audition de Madame Adeline RISPAL, architecte dplg, directrice du Studio Adeline Rispal (16 mars 2011)”, in Dumas, C., Commission de la culture, de l’éducation et de la communication du Sénat, La maison de l’Histoire de France, 210-212, Paris : Éditions du Sénat • Rispal, A. 2009, “La médiation sensible”, in Mariani, A., Muséologies, Les cahiers d’études supérieures, 3 (2) 90101, Montréal : Université du Québec • Rispal, A. 2006, “La muséographie des musées d’histoire, un “art de la mémoire””, in Histoire d’objets,

objets d’histoire, 67-81, Lyon : Les rencontres de Gadagne • Rispal, A. 1998, “La muséographie de l’Historial de la Grande Guerre”, in Joly, M-H. et Compère-Morel, T., Des Musées d’histoire pour l’avenir, 177-182, Paris : Noésis. Awards and nominations 2014 Academy of Architecture Silver Medal, Fondation1977. 2014-2018 Deputy member of the Haut Conseil des musées de France 2015 Member of the french Academy of Architecture. Chevalier de l’Ordre du Mérite agricole Professional associations Member of ICOM (International Council of Museums) Member of the Association Scénographes.

JULIE CHAUDIER Julie Chaudier is an exhibition designer and contents manager. She joined Studio Adeline Rispal in 2011. Training 2011 Master 2 Scenography and Exhibition Design Mention Très Bien Université Paul Verlaine - Metz - France 2008 École du Louvre - Paris - France 2006 Diplôme National des Arts et Techniques Design d’espace Félicitation du jury École Supérieure des Beaux Arts Marseille - France Since 2011 Studio Adeline Rispal - Paris - France SCENOGRAPHY AND CONTENTS MANAGEMENT Pavillon France EXPO 2015 - Milano - Italy Contents production manager. Musée des Civilisations de l’Europe et de la Méditerranée (MuCEM): competition, APS, APD, PRO, DCE, works follow up, installation of collections follow up. Eiffage new headquarters lobby communication concept Basilique Sainte-Madeleine à Vézelay: masterplan Showroom Lafarge: concept COMMUNICATION & DEVELOPMENT Website management Press: graphic design Development management 2009 - 2010 Agence Pascal Payeur - Paris - France SCENOGRAPHY AND CONTENTS MANAGEMENT Musée d’Histoire de Marseille: competition Exhinition “Morceaux Exquis”: Espace Electra/Paris: Installation Les Gaulois: Cité des Sciences et de l’insustrie - Paris Concours Mémoire du Camp des Milles - Aix en Provence - France Musée de la Franc-Maçonnerie - Paris // Installation

COMMUNICATION & DEVELOPMENT Website management Archives management 2005 Centre de design de l’UQAM Montréal - Canada SCÉNOGRAPHY Le mouvement moderne in Tel Aviv, architecture from 1931 to 1960: installation Fragement d’un style, 66 photographies de «la ville blanche» par Yigal Gawze: Galerie Monopoli, Installation

Languages English /Spanish

MARGAUX GEIB-LAPINTE Margaux Geib-Lapinte is an architect and exhibition designer. She joined Studio Adeline Rispal in 2014. Training 2012 Graduate Architect Ecole Nationale Supérieure d’Architecture, Clermont-Ferrand - France 2014 Master of Museography Artois University - France Since 2014 Studio Adeline Rispal - Paris - France SCENOGRAPHY AND EXHIBITION DESIGN Exhibition and garden France Pavilion EXPO 2015 - Milano – Italy APD-PRO Temporary exhibition “Anticythera” Antikenmuseum Basel und Sammlung Ludwig Basel, Switzerland Exhibition designer in charge Temporary exhibition “Silver und Gold” Historisches Museum Basel, Switzerland Exhibition designer in charge Scenography and exhibition design Musée savoisien Chambéry, France Exhibition designer in charge Temporary exhibition “Laboratoire d’Europe, Strasbourg 1880 -1930” Museum of Modern and Contemporary Art Strasburg, France Exhibition designer in charge Makkah Museum, permanent galleries Mecca, KSA Competition Languages English /Spanish

MUSEUM ARCHITECTURE & SCENOGRAPHY Main current projects 2015 - 2019 MUSÉE SAVOISIEN CHAMBERY - FRANCE Museum organization Scenography and exhibition design Prunet, conservation architecture Detry & Levy, local conservation architecture Studio Adeline Rispal, museum architects and scenographers Surface area: 4 000 m2 Budget: € 7,2 M excl. of tax Client: Conseil général de Savoie

2010 - 2017 ADDIRIYAH MUSEUM AT SALWA PALACE ADDIRIYAH – SAUDI ARABIA Exhibition design of the permanent galleries and the walkway in the ruins Ayers Saint Gross, architects – Washington Studio Adeline Rispal, scenography Surface area: 5 700 m2 Budget: € 3 M excl. of tax Client: Arriyadh Development Authority

Delivered 2014 - 2015 FRANCE PAVILION UNIVERSAL EXPOSITION MILANO 2015 «FEEDING THE PLANET, ENERGY FOR LIFE» Scenography of the garden and the pavilion Design-build contract CMC, lead contractor XTU architects Studio Adeline Rispal, lead scenographers Licht Kunst Licht, lighting InnoVision, multimedia Chevalvert, brand and signage Films d’ici, Films production Surface area of the exhibition: 1 300 m2 Surface area of the garden: 1 000 m2 Budget: € 11,5 M excl. of tax Client: FranceAgriMer / Commissariat général de la France

2012 - 2013

2005 - 2009

MUSEUM OF EUROPEAN AND MEDITERRANEAN CIVILISATIONS (MUCEM) MARSEILLE - FRANCE Exhibition design of the permanent gallery Rudy Ricciotti et Roland Carta, architects Surface area: 4 000 m² Surface area of the Mediterranean Gallery : 1 650 m² Budget: € 5,6 M excl. of tax Client: Ministry of Culture / OPPIC Finalist FX International Interior Design Awards 2013 - London Europe Council Award Museum 2015

ARCHAEOLOGICAL SITE OF TOURS MIRANDES VENDEUVRE-DU-POITOU - FRANCE Adeline Rispal / Repérages, lead architects Architecture et refurbishment Surface area: 6,5 ha Budget : € 3 M excl. of tax Client: Communauté de communes du Neuvillois, Commune de Vendeuvre-duPoitou

2011 - 2013 HISTORY MUSEUM OF MARSEILLE MARSEILLE - FRANCE Exhibition design of the permanent gallery Design built contract Léon Grosse, lead contractor Roland Carta, lead architect Studio Adeline Rispal, museum architects and lead scenographers Surface area: 6 300 m² Surface of the exhibition : 3 350 m² Budget: € 19 M excl. of tax Budget of the scenography: € 4,7 M excl. of tax Client: City of Marseille

2010 BREGUET MUSEUM ZÜRICH - SWIZERLAND Exhibition design of the historical gallery Surface area: 100 m2 Budget: NC Client: Breguet Les Boutiques SA

2006 - 2009 MUSÉE DE LA MUSIQUE PARIS - FRANCE Adeline Rispal / Repérages architectures Renovation of the permanent exhibition Surface area: 2 000 m2 Budget : € 1,2 M excl. of tax Client: Cité de la musique

2003 - 2010 ARMY MUSEUM DÉPARTEMENT MODERNE HÔTEL NATIONAL DES INVALIDES PARIS - FRANCE Adeline Rispal / Repérages, lead architects Renovation architecture and exhibition design Surface area: 3 800 m2 Budget: € 10 M excl. of tax Client: Musée de l’Armée

1998 - 2001/2004 ORSAY MUSEUM PARIS - FRANCE Adeline Rispal / Repérages, lead architects Restructuration of the public entrance facilities, museum bookshop and temporary exhibition galleries Surface area: 4 500 m2 Budget: € 10 M excl. of tax Client: Ministry of Culture and Communication/Musées de France Établissement public de maîtrise d’ouvrage des travaux culturels (Emoc)

1996 - 2002 MUSEUM OF STAVELOT ABBEY STAVELOT - BELGIUM Adeline Rispal / Repérages, lead architects New wing, garden and permanent exhibition design Surface area: 1 200 m2 Budget: € 2 M excl. of tax Client: Ministère de la Région wallonne

1992 - 1996

2011 - 2012

2010

CITY MUSEUM OF LUXEMBURG GRAND DUCHY OF LUXEMBURG Adeline Rispal / Repérages, lead architects Refurbishment, extension, exhibition design Surface area: 7 000 m2 Budget: € 25 M excl. of tax Client: City of Luxembourg Special Award: European Museum 1998

ARCHÄOLOGISCHE ZONE COLOGNE - GERMANY Exhibition Design Valentynarchitekten, architects Surface area: 8 000 m² Budget: NC Client: City of Cologne

MUSEUM FOR THE BUILT ENVIRONMENT RIYADH - SAUDI ARABIA Space planning and exhibition concept FXFOWLE architects, lead ﬁrm - New York Studio Adeline Rispal, museum architects and planners Surface area: 16 000 m2 Client: Rayadah Investment Company

2011 - 2012 1990 - 1992 HISTORIAL OF THE GREAT WAR PÉRONNE - FRANCE Adeline Rispal / Repérages Finished and exhibition design of the permanent galleries Exhibition surface area: 1 500 m2 Budget : € 2 M excl. of tax Client: Conseil général de la Somme Special Award: European Museum 1994

Studies 2016 INTERPRETATION AND SCENOGRAPHY OF THE SOLAR COMPLEX OF NOOR OUARZAZATE MOROCCO Concept for the visit and scenography of the exhibitions and scientiﬁc park. Art Direction and Scenography consultant Bouillon de culture, cultural engineering AP’Culture, cultural engineering Client: MASEN

MUSEUM UBIERMONUMENT COLOGNE - GERMANY Scenography and exhibition design Valentynarchitekten, architects Surface area: 500 m² Client: City of Cologne

2012 SCENOGRAPHY OF THE LOBBY EIFFAGE CONSTRUCTION HEADQUARTERS VÉLIZY-VILLACOUBLAY - FRANCE Scenography Surface area: 500 m2 Budget: € 0,5 M excl. of tax Client: Eiffage Immobilier

2011 - 2012 BASILICA SAINTE MADELEINE OF VEZELAY - MASTER PLAN Master plan for the restauration and the valorization of the Basilica 2BDM, Frédéric Didier, ACMH lead ﬁrm Studio Adeline Rispal, scenography Client: City of Vézelay / DRAC Bourgogne

2013 - 2015 CITÉ MUSÉALE CHÂTEAU CHINON - FRANCE Renovation and grouping of two museums Museum architecture and scenography consultant Gil Fraisse, heritage architecture consultant Budget: € 4,8 M excl. of tax Client: Conseil général de la Nièvre

2011

2013

2009 - 2011

HISTORISCHES MUSEUM BASEL HAUS ZUM KIRSCHGARTEN BASEL - SWITZERLAND Renovation of Haus zum Kirschgarten Museum architecture and scenography consultant. Client: City of Basel

NATIONAL MUSEUM OF QATAR DOHA - QATAR Collaboration with Jean Nouvel Exhibition design of the permanent galleries Surface area: 8 000 m2 Client: Qatar Museums Authority

SHOWROOM LAFARGE L’ISLE D’ABEAU - FRANCE TECHNOLOGY CENTER Renovation and scenography Surface area: 600 m2 Budget: € 1.5 M excl. of tax Client: Lafarge SA

2008 - 2009 OCEANOGRAPHY MUSEUM OF MONACO MONACO PRINCIPALTY Adeline Rispal / Repérages, lead architects Valorisation of the building for the Centenary Surface area: 2 000 m2 Budget : € 3,9 M excl. of tax Client: Institut océanographique, Fondation Albert 1er, Prince de Monaco

2008 - 2009 REGIONAL MUSEUM OF GHADAMES LIBYA Refurbishment, extension and exhibition design concept Adeline Rispal / Repérages, lead architects Surface area: 2 000 m2 Surface area of urban design: 1,2 ha Client: ECOU

2005 - 2006 MAISON-MUSÉE DEBBANÉ SAÏDA - LIBANON Museum concept, interpretive and exhibition planning Surface area: 1 000 m2 Client: Debbané Foundation

2005 - 2006 TSARITSINO MUSEUM MOSCOW - RUSSIA Creation of a temporary exhibition gallery Refurbishment of Catherine II Palace XVIIIe Adeline Rispal / Repérages, museum architecture consultant with Setec Bâtiment, engineering Surface area: 30 000 m2 Client: City of Moscow Mosprokekt 2 Studio 3

Main competitions

2017 (ON PROGRESS) HOUSE OF KNOWLEDGE DUBAÏ - UAE Scenography and exhibition design X Architecture, lead architect Studio Adeline Rispal, scenography Surface area of the permament exhibition : 1 800 m2 Client: DubaÏ EXPO 2020

2017 (ON PROGRESS) MUSÉE DOBRÉE NANTES - FRANCE Scenography and exhibition design Novembre, lead architect Studio Adeline Rispal, scenography InnoVision, multimedia engineering Surface area of the permament exhibition : 3 000 m2 Client: Conseil général de la Loire

2016 GRAND EGYPTIAN MUSEUM GIZA - EGYPT Scenography and exhibition design Finalist Studio Adeline Rispal, art direction and scenography, lead ﬁrm Patriarche, architects InnoVision, multimedia engineering Surface area of the permament exhibition : 35 000 m2 Client : Ministry of Antiquities

2016 MAKKAH MUSEUM MECCA - ARABIE SAOUDITE Scenography and exhibition design Winning project Mossessian, lead architect Studio Adeline Rispal, architecture and scenography AECOM, Engineering, landscape InnoVision, multimedia engineering Surface area of the permament exhibition : 4 500 m2 Private client

2015 TOURIST AND CULTURAL FACILITIES SAINT-OMER - FRANCE Architecture, scenography and urban design Studio Adeline Rispal, lead architecture and scenography Face B, architects Parica, engineering Agence Thierry Laverne, landscape AVLS, acoustic Surface area : 1 000 m² Surface area : 2 ha Budget: 5,3 M excl. of tax Client : Communauté d’agglomération de Saint-Omer

Yann Kersalé, light design Innovision, multimedia Surface : 1 000 m2 Budget: € 5 M excl. of tax Client: City of Montreal

2013 RESTRUCTURATION OF CARRÉ D’ART NÎMES - FRANCE (Sir N. Foster building) Restructuration of the library spaces Adeline Rispal / Repérages, lead architects Surface area: 18 000 m2 / 3 000 m2 Budget: € 3 M excl. of tax Client: City of Nîmes

2015

2012

MUSÉUM OF FINES ARTS MORLAIX - FRANCE Architecture and scenography Caroline Bapst, lead architect Studio Adeline Rispal, architecture and scenography Ouvrages, structure engineering IDEA Ingénierie, M&E and economist Area : 2 500 m2 Budget : 5,35 € M excl. of tax Client : City of Morlaix

L’ADRESSE MUSEE DE LA POSTE PARIS-FRANCE Building restructuration and scenography Adeline Rispal / Repérages, lead architects Surface area: 4 000m² Budget: € 15 M excl. of tax Client: SCI TERTIAIRE / POST IMMO

2015 LES FRANCISCAINES DEAUVILLE - FRANCE Museum planing Scenography of the permament exhibition Rudy Ricciotti, lead architect Studio Adeline Rispal, scenography Surface area : 2 000 m2 Budget : 3 € M excl. of tax Maîtrise d’ouvrage : City of Deauville

2014 PAVILLON DE VERRE BOTANIC GARDEN MONTREAL - CANADA Architecture and scenography Saucier/Perrotte, lead architect (Montreal) Studio Adeline Rispal, architecture consultant & scenography Michel Desvignes, landscape

2010 MUSÉE-CITÉ DE L’ÉCONOMIE ET DE LA MONNAIE PARIS - FRANCE Refurbishment, interpretive planning and exhibition design Adeline Rispal / Repérages, lead architects Surface area: 7 600 m2 Budget: € 20 M excl. of tax Client: Banque de France

2010 ODYSSEY 21, CITÉ DES OCÉANS ET DU DÉVELOPPEMENT DURABLE LE HAVRE - FRANCE European restrictied competition Collaboration with Jean Nouvel Exhibition design of the exhibition Surface area: 2 800 m2 Budget: € 10 M excl. of tax Client: Ville du Havre

2009

2000

INSTITUTE OF THE ARAB WORLD PARIS - FRANCE Scenography of the permanent exhibition Restricted competition Surface area: 2 000 m2 Client: Institut du monde arabe (IMA)

CITÉ DE L’EAU ET DE L’ASSAINISSEMENT COLOMBES - FRANCE Refurbishment Adeline Rispal / Repérages, lead architects Surface area : 12 000 m2 Budget: € 23 M excl. of tax Client: SIAAP

2008 THE WAR MUSEUM OF 1870 GRAVELOTTE - FRANCE Architecture and exhibition design Adeline Rispal / Repérages, lead architects Surface area: 2 500 m2 Budget:€ 6 M excl. of tax Client: Conseil général de la Moselle

2008 LOUVRE ABU DHABI PERMANENT GALLERIES ABU DHABI – UNITED ARAB EMIRATES Restricted competition Finishes and exhibition design Adeline Rispal / Repérages, lead architects Surface area: 6 700 m2 Budget: NC Client: TDIC

2006 - 2007 9/11 MEMORIAL MUSEUM GROUND ZERO NEW YORK - U.S.A. Finalist international restricted competition Exhibition design Surface area of the exhibition: 9 000 m2 Client: 9/11 Memorial Foundation

2003 VICTORIA & ALBERT MUSEUM ISLAMIC GALLERY LONDON – UNITED KINGDOM Finalist international restricted competition Renovation and exhibition design of the gallery Surface area: 800 m2 Budget: € 3,6 M excl. of tax Client: Victoria & Albert Museum

1998 MUSÉE GADAGNE LYON - FRANCE Renovation and exhibition design Adeline Rispal / Repérages, lead architects Budget : € 9 M excl. of tax Surface area : 6 000 m2 Client: City of Lyon

TEMPORARY SCENOGRAPHY Competitions 2016 (ONGOING) EXHIBITION «PASTEUR» PALAIS DE LA DÉCOUVERTE - PARIS Scenography Studio Adeline Rispal, lead scenographers Surface area: 1 000 m2 Client: Universciences

2015 EXHIBITION «D’UN LOUVRE À L’AUTRE» LOUVRE ABU DHABI UNITED ARAB EMIRATES Scenography Studio Adeline Rispal, lead scenographers Surface area: 1 300 m2 Maîtrise d’ouvrage: Agence France-Muséums

Delivered 2016 - 2017 (ONGOING) EXHIBITION «LABORATOIRE D’EUROPE, STRASBOURG 1880 - 1930» MUSÉE D’ART MODERNE ET CONTEMPORAIN, MUSÉE DES BEAUX ARTS, MUSÉE ZOOLOGIQUE. STRASBOURG - FRANCE Scenography Studio Adeline Rispal, scenography, lead ﬁrm Dépli, signage Client: Direction des musées de Strasbourg

2015 EXHIBITION «SILVER & GOLD REFLECTS» HISTORISCHES MUSEUM BASEL HAUS ZUM KIRSCHGARTEN BASEL - SWITZERLAND Scenography. Studio Adeline Rispal, lead scenographers Client: Historisches Museum Basel

2015

1998

EXHIBITION ANTICYTHERA ANTIKENMUSEUM BASEL BASEL - SWITZERLAND Scenography. Studio Adeline Rispal, lead scenographers Client: Antikenmuseum Basel

EXHIBITION VIOLINS, VUILLAUME MUSÉE DE LA MUSIQUE PARIS - FRANCE Adeline Rispal / Jean-Julien Simonot / Repérages Surface area: 500 m2 Budget : € 0,25 M excl. of tax Client: Établissement public de la cité de la musique

2011 EXHIBITION OPEN UNESCO UNESCO HEADQUARTERS PARIS 7° - FRANCE Artistic direction and exhibition design of the permanent exhibition Surface area: 700 m2 Budget: € 0.7 M excl. of tax Client: UNESCO / ERI

1994 - 1995 EXHIBITION MOLITOR VILLA VAUBAN - LUXEMBURG Exhibition design Surface area: 300 m2 Client: City Museum of Luxemburg

2007 EXHIBITION LE GRAND ATELIER, CHEMINS DE L’ART EN EUROPE DU VE AU XVIIIE PALAIS DES BEAUX-ARTS BRUSSELS - BELGIUM Adeline Rispal / Repérages architectures Exhibition design Surface area: 1 600 m2 Budget: € 4,5 M excl. of tax Client: Europalia International

1993 - 1994 EXHIBITION EGYPTOMANIA LOUVRE, PARIS - FRANCE Adeline Rispal / Repérages Exhibition design Surface area: 800 m2 Budget: NC Client: Établissement public du musée du Louvre

1990 - 1993 2006 - 2007 EXHIBITION «CÉLIANE BY LEGRAND» PAVILLON DE L’ARSENAL PARIS - FRANCE Commercial exhibition Adeline Rispal / Repérages architectures Surface area : 100 m² Budget : € 0,1 M excl. of tax Client: Legrand SNC

2003 - 2004 EXHIBITION IN ÉGYPTE, ON AUGUSTE MARIETTE PACHA FOOTSTEPS BOULOGNE-SUR-MER - FRANCE Adeline Rispal / Repérages architectures Exhibition design Surface area: 1 100 m2 Budget : € 4,6 M excl. of tax Client: Conseil régional Nord Pas-de-Calais

EXHIBITION AUX SOURCES DU MONDE ARABE INSTITUT DU MONDE ARABE PARIS - FRANCE Adeline Rispal / Repérages Exhibition design Surface area: 400 m2 Budget: € 0,1 M excl. of tax Client: Institut du monde arabe, Louvre

AWARDS

SERVICE OFFERING

European Museum Award 1994 Historial of the Great War - Péronne Special Award

Service offering by the Studio

European Museum Award 1998 City Museum of Luxemburg - Grand Duchy of Luxemburg Special Award FX International Interior Design Awards 2013 (Londres, U.K.) MuCEM (Museum of European and Mediterranean Civilisations) - Marseille Scenography award - Finalist Europe council Museum Award 2015 MuCEM (Museum of European and Mediterranean Civilisations) - Marseille 1st Award Exhibitor Magazine’s EXPO 2015 Awards Editor’s Choice (Chicago, U.S.A.) France Pavilion - Milano 2nd Award BIE Award at EXPO 2015 France Pavilion - Milano 1st Architecture and Landscape award

Art Direction Architecture Refurbishment Urban Design Project management Fonctional diagnostic Museum concept Production of contents Films production Exhibition design Scenography Interior design Contents Design Coordination Works follow up Mouting follow up Collections Installation follow up

Service offering in conjunction with our network Cultural engineering Scientiﬁc planning Interpretive planning Functional briefs Public studies Collections management Flux studies Technical studies Natural and artiﬁcial lighting Multimedia design and engineering Multimedia production Sound environment Acoustics Brand and signage Costs management

OUR CLIENTS FRANCE Agence France Muséums Banque de France Bibliothèque nationale de France Clarins Conseil général des Ardennes Conseil général de l’Isère Conseil général de la Loire Conseil général du Nord Pas-de-Calais Conseil général du Rhône Conseil général de la Savoie Conseil général de la Somme Direction des musées de France Direction régionale des affaires culturelles Auvergne Direction régionale des affaires culturelles Bourgogne Direction régionale des affaires culturelles Rhône-Alpes Eiffage Construction Établissement public de la cité de la musique Établissement public du musée de l’Armée Établissement public du musée du Louvre Établissement public du musée d’Orsay Institut du monde arabe Lafarge SA Legrand SNC Ministery of Culture and Communication OPPIC Réunion des musées nationaux SCI TERTIAIRE / POST IMMO Sers Siaap UNESCO / ERI City of Deauville City of Lyon City of Marseille City of Montluçon City of Morlaix City of Nîmes City of Oyonnax City of Paris City of Vezelay

ALGERIA

SWIZTERLAND

Ministry of Culture ARPC

Ministry of Culture

Antikenmuseum Basel Audemars Piguet City of Basel Historisches Museum Basel Swatch Group Immobilien

BELGIUM

UNITED ARAB EMIRATES

Europalia Ministery of Wallony Region City of Liege

TDIC EXPO 2020

BAHREIN

UNITED KINGDOM CANADA

Victoria & Albert Museum

City of Montréal

TUNISIA EGYPT

Ministry of culture

Hassan Allam Sons Ministry of Antiquities

U.S.A. 9/11 Memorial Foundation

EUROPE European Parlement

GERMANY City of Cologne

KINGDOM OF SAUDI ARABIA Arriyadh Development Authority Rayadah Investment Company - RIC Samaya

LIBANON Debbané Foundation

LIBYA ECOU

LUXEMBURG Ministery of Culture City of Luxemburg

MOROCCO MASEN

PRINCIPALITY OF MONACO Institut océanographique, Fondation Albert 1er, Prince de Monaco

QATAR Qatar Museums Authority

RUSSIA Mosproekt 2 - Moscow

MAKKAH MUSEUM MECCA - SAUDI ARABIA Architectural scenography and contents of the permanent exhibition

MOSSESSIAN ARCHITECTURE AND STUDIO ADELINE RISPAL WIN MAKKAH MUSEUM London based practice Mossessian Architecture, together with Paris based exhibition architecture practice Studio Adeline Rispal, have won an invited competition to design a museum of the Islamic faith in the city most holy to Muslims, Mecca, or Makkah, as it is known. The Makkah Museum will be located 7km from the Grand Holy Mosque and will offer a unique interpretation and reﬂection of faith to the millions of Muslims who visit Makkah from around the world and who, up until this point, have had no cultural institution of this kind to enhance their visit to the holiest of Muslim cities. The scheme places the exhibition scenography at its core. Studio Adeline Rispal evolved the central concept for the museum form: the core of the building is occupied by helical void, a virtual minaret that visitors ascend as they pass through the exhibition galleries. Mossessian Architecture has delivered this by devising a continuous ramp system to ascend the void, with a parallel spiral staircase for the descent.

2015 (FIRST PRICE) ARCHITECTURAL SCENOGRAPHY AND CONTENTS OF THE PERMANENT EXHIBITION SURFACE AREA Total: 11 600 m2 Permanent exhibition: 4 600 m2 CLIENT Samaya Holding Riyad - Saudi Arabia ARCHITECTURE Architect: Mossessian Architecture - Londres Cultural heritage: Aylin Orbasli SCENOGRAPHY Architects and exhibition designer, art direction and coordination: Studio Adeline Rispal - Paris Multimedia engineering and design: InnoVision - Paris Interpretive planning: AP’Culture Calligraphy: Ali Sarmardi Images: Antoine Buonomo, Arthur Reboul-Salze INGINEERING Engineering: AECOM Landscape: AECOM Ligthing: AECOM Cost Management: AECOM

MAK project

Both circular (like the celestial sphere) and ascending (symbolising the spiritual journey), the central minaret-shaped void calls upon the Muslim community to transcend earthly concerns through their faith - and pursuing the quest for knowledge onwards into infinity. Standing in a dedicated gallery at the base of the spiral, one can gaze up at the 99 Beautiful Names of Allah inscribed on the underside of the cupola formed by the ascending spiral. As visitors journey through the museum, they learn about the life of the prophet through exhibits and panoramic films installed to either side of the ramp, ultimately arriving at a ‘garden of delight’ at the top of the building. Here there are a series of climactically regulated geometric gardens where small and larger groups of visitors can gather in even the hottest months. Appreciating the need to appeal to Muslims from all over the world, the scheme proposes using stones sourced from all of the countries where Islam is practiced in the construction of the building’s exterior wall and Hijaz rock from the local mountains of Mecca for the interior. Inside, the rock is used to create alcoves and plinths that visitors encounter as they mount the ramp. These house the exhibition displays, which tell the story of the life of the Prophet and enrich understanding about Islam. The brief specified an imaginative use of technology, which is being interpreted in this project not only through the installation of exhibits but also through the immaculate engineering of the building form, offering a unique synthesis between creative faith, heritage and modern technology.

FRANCE PAVILION UNIVERSAL EXPOSITION EXPO 2015 MILAN - ITALY Scenography

France is showcasing its methods for tackling the food challenge in line with the general theme of the Universal Exposition in Milan: «Feeding the planet, energy for life». At the request of the Commissariat General of France, the pavilion’s architecture, designed by XTU, evokes a covered market constructed from solid wood. This «inverted landscape», symbolising the diversity of French regions which lies behind the diversity of French food, is entirely demountable. The farm-garden The journey begins with a farm-garden, a fertile plot offering a succession of crops illustrating the diversity and bounty of French agricultural landscapes through a presentation of three key sectors: cereal crops; mixed farming and cattle breeding; and specialist crops and market gardens. Three large digital screens will be showing ﬁlms in real time of the three types of landscape found around France, with the images explained through poetic and fun events.

2014 - 2015 STUDIES ON PROGRESS FRANCE PAVILION UNIVERSAL EXPOSITION MILANO 2015 SCENOGRAPHY OF THE GARDEN AND THE EXHIBITION EXHIBITION SURFACE AREA: Garden: 1 000 m2 Exhibition: 1 300 m2 GLOBAL COST: 14 M € HT CLIENT: FranceAgriMer Commissariat général of France GENERAL CONTRACTOR: CMC di Ravenna - Milan DESIGN TEAM: Architects: XTU - Paris Associated architects ALN Atelien Architecture - Milano SCENOGRAPHY TEAM Architects and scenographers: Studio Adeline Rispal - Paris Adeline Rispal Sonia Glasberg (APS-APD) Multimedia engineering and design: Innovision - Paris Lighting: Licht Kunst Licht - Bonn / Berlin Landscape: Agence Thierry Laverne Interpretive planning (APS-APD): Lord Culture - Paris Graphic design and signage: Chevalvert - Paris Films production: Les ﬁlms d’ici - Paris Denis van Waerebeke, ﬁlm maker CONSULTANTS André Giordan, mediation PHOTOS : Luc Boegly, Antoine Duhamel, Thierry Laverne projet MILAN

A luxuriant design Beneath the arched roof of the pavilion, visitors enter an explosion of materials, fragrances, plants, products and technologies, from the most local to the most global, the most traditional to the most innovative – 1,300m2 of inverted landscape woven from real plants and real produce resting on powerful pillars. The world of farming and food is a complex system in which all factors and participants are interdependent. France has an important role to play in promoting understanding of this impressive complexity, proposing research paths and actions to enable the world’s citizens to find their bearings in this interconnected world. A landscape to fertilize with new approaches In this giant «market», Studio Adeline Rispal’s design embodies a physical, social and cultural landscape to be fertilized with new approaches. Like a living organism, the design colonises the pavilion’s structure above the crowd of visitors to reveal the quality and diversity of France’s strengths. Contact with real produce and real objects expresses the deep roots of our connection with food. The pavilion is both a market, a barn and a wine cellar, a cathedral and a hive with more than 300 cells, a laboratory of innovations, and a place of delectation and education. Digital promotion of France’s messages Perched on vast agricultural platforms to raise them above the crowd, three more digital screens display short animation films presenting a poetic, fun and easily accessible introduction to the main focuses of French initiatives. Speakers also take to these platforms for a weekly programme of events. A collaborative design The collective approach required to tackle the food challenge is also reflected in the collaborative method chosen for the exhibition’s design: - the scientific programme has been organised by the Commissioner General of France, Alain Berger, and his scientific advisor, Alain Blogowski, in collaboration with 150 French public and private bodies; - the set design and definition of content has been developed by Studio Adeline Rispal to showcase the diversity and depth of research in every field.

MARSEILLE HISTORY MUSEUM ARCHAEOLOGICAL SITE OF THE OLD PORT MARSEILLE - FRANCE Interior design and scenography of the permanent galleries

THE ARCHAEOLOGICAL SITE DISCOVERED DURING THE CONSTRUCTION OF THE CENTRE BOURSE SHOPPING MALL FURNISHED MATERIAL PROOF OF MARSEILLE’S GREEK ORIGINS, MAKING IT THE OLDEST CITY IN FRANCE. IT IS THUS THE MUSEUM’S FOCAL POINT, CENTRAL TO ITS POLICY AND MUSEOGRAPHY. THE PERMANENT EXHIBITION ROOMS ARE ADJACENT TO THE LARGEST URBAN ARCHAEOLOGICAL SITE EVER EXCAVATED IN FRANCE. The baladoir [terrace], at present located on street level (Cours Belsunce, Centre Bourse), will be renovated and incorporated into the museum to become the main walkway overlooking the Jardin des Vestiges. From this new walkway, the garden will be seen behind glass, as if to better pierce its secrets.

2011 - 2013 PERMANENT EXHIBITION DESIGN SURFACE AREA: 6,300 m2 PERMANENT EXHIBITION SURFACE AREA: 3,250 m2 OVERALL BUDGET: €19.8 M excl. of tax CLIENT: City of Marseille DESIGN BUILT PROJECT Lead contractor:Léon Grosse Entreprise Design team: C+T Architectures, Roland Carta Heritage architect: Stéphane Baumeige Exhibition design, museography: Studio Adeline Rispal Adeline Rispal Sonia Glasberg Engineering and design ofﬁce: Coteba, Groupe Artelia Acoustics: Atelier Rouch Multimedia design and engineering: InnoVision IMAGES: Antoine Buonomo, artistic direction Arthur Reboul Salze and Ginger

MHM project

The exhibition design highlights the building’s relationship with the port, using: - bays perpendicular to the site, - ships installed as in an arsenal, - alignments of columns shown to advantage in the spaces: no longer restrictive, they are positive design features. The low-ceilinged spaces require a specific strategy to convey the verticality – transcendence – of the city’s history: - showcases use the full height of the space, they enhance the structure and reinforce links with the archaeological garden; - their rhythm alludes to the port and the prows of ships lined up; - their generous size makes all sorts of display techniques possible and guarantees the flexibility and safety of the collections in the long term. The display furniture is comprised of modifiable units stacked up like goods on dockside, in “bundles”. These units made on a human scale (i.e. which can be carried by a man) bring the museum to life, in the same way as they enliven the wharves alongside ships. Augmented reality, multimedia devices, interactive, tactile screens, special children’s tours, resting places conducive to contemplation, to watching film projections, to enjoying the experience or simply dreaming… This furniture can be adapted to all the needs of visitors today and in the years to come.

EAU EXPOSITION PERMANENTE VITRINES

JARDIN EXPOSITION TEMPORAIRE LIMITATION DU SITE

ORIENTATION POINT DE VUE BALLADOIR

MUSEUM MUSÉE DES OFCIVILISATIONS EUROPEAN DE L’EUROPE AND MEDITERRANEAN ET LA MÉDITERRANÉE CIVILIZATIONS (MuCEM) (MuCEM) BÂTIMENT J4 BUILDING J4 MARSEILLE - FRANCE Scénographie Design of the permanent de l’exposition exhibition permanente

MULTIMEDIA DESIGN AND ENGINEERING : InnoVision SOUND DESIGN: Diasonic LIGHTING : Licht Kunst Licht CONSTRUCTION BUDGETING : AEI SCHEDULING, STEERING AND

2011-2013 DESIGN FOR THE PERMANENT EXHIBITION SPACE AND CHILDREN’S AREA SURFACE AREA OF EXHIBITION SPACE: 3 850 m2 COST: 5,6 M € HT CLIENT: Ministry of Culture and Comm unication CLIENT AGENT: Opérateur du patrimoine et des projets immobiliers de la culture (OPPI C) CLIENT ASSISTANT: IC Programm ation CURATOR S, THE MEDITERRANEAN GALLERY: Zéev Gourarier, directeur scientiﬁque et des collections du MuCEM et son équipe MAÎTRISE D’OEUVRE ARTISTIC DIRECTION AND EXHIBITION DESIGN Studio Adeline Rispal: Adeline Rispal Sonia Glasberg (with Anna Larré Pérez, Julie Chaudier, Ruth Pérez Jiménez, Delphine Miel, Namju Kim, Antony Fitoussi, Jean Christophe Dumont, Tristan Ahrweiler, Thomas Pilati)

MUCEM project

COORDINATING: Ingénierie des Chantiers FILM PRODUCTION Paysages méditerranéens (Mediterranean Landscapes) ; Mare Nostrum ; Jérusalem, ville trois fois sainte (Jerusalem, Thrice-Holy City) ; Istanbul ; Forum des citoyennetés (Citizenship Forum); Henri le Navigateur (Henry the navigator) Scientiﬁc direction: MuCEM Delegate production: Studio Adeline Rispal Executive production: Les Films du Soleil Codirectors: Jimm y Glasberg, Bernard Dumas Film editor: Catherine Galodé, Gilles Bour Technical coordination: InnoVision Pictures technical coordination: Philippe Ros Sound coordination: Diasonic CONSULTANT S Mediation: André Giordan, Exhibition signage: Line Célo (Nicolas Vrignaud for compétition stage) Structure engineering: Ardi Ingénierie Electrical engineering: Ingelec Climate control (Showcase): Alto Ingénierie Fabric (veil): Béatrice Moreau PHOTO: Antoine Buonomo, artistic direction Arthur Reboul Salze Luc Boegly Philippe barrés

THE MUSEUM AND EXHIBITION DESIGN OF THE J4 BUILDING The role of the project management group headed by the Studio Adeline Rispal involved the permanent exhibition spaces inside the J4 building: the artistic direction and exhibition design of the Mediterranean Gallery (1,700 square metres) and the production of six of the films screened there: Paysages méditerranéens (Mediterranean Landscapes); Mare Nostrum; Jérusalem, ville trois fois sainte (Jerusalem, Thrice- Holy City); Istanbul; Forum des citoyennetés (Citizenship Forum); and Henri le Navigateur (Henry the Navigator). It also involved the lighting and safety infrastructures for all of the permanent and temporary exhibition spaces (3,850 square metres), the educational activity space for children on the ground floor, the reception area for school groups on Level -1 and the Medina Library on Level +1. THE MEDITERRANEAN GALLER Y Designed by the architect Rudy Ricciotti in association with Roland Carta, the J4 building owes its now iconic status to the new urban itinerary it so generously offers Marseille residents and to the quality of its architecture and its technical innovations. On the ground floor is the Mediterranean Gallery, comprised of two exhibition spaces, the first (550 square metres) facing Fort Saint-Jean and the second (1,150 square metres) overlooking the entrance to the port of Marseille and the open sea. Visitors may access its reception hall either from the J4 pier or along the two walkways that wind their way around the exhibition spaces between the columns and the lace-like cladding in BFUP (Ultra High Performance Fibre-Reinforced Concrete), from the terrace of the building to the ground floor. Through its fully glazed façades, visitors catch glimpses of the exhibitions from atypical standpoints intermingling with countless reflections of the lace-like cladding and the surrounding landscape on the glass. THE MUCE M’S SCIENTIFIC PRO GRA MME Implemented by Zéev Gourarier, MuCEM’s scientific director, and his team, the exhibition’s scientific programme revolves around the Mediterranean Basin’s four singular features that distinguish it from those of South-East Asia and the Pacific: the Mediterranean is a region where wheat, vines and olives are grown. It is also the area in which the Religions of the Book, the three great monotheisms (Christianity, Islam and Judaism) developed. The first forms of citizenship emerged in Greece and Rome. Lastly, the first great maritime trade routes across the globe were drawn up, based on the knowledge and experience gained by explorers from the Mediterranean. These four singularities, which have shaped landscapes, built places of worship, provided frameworks for societies and encouraged travel, form the four parts of the Mediterranean Gallery.1 THE EXHIBITION IN THE J4 BUIL DIN G J4 is more than a piece of architecture; it is also a territory now integrated into Mediterranean geography. The Bay of Marseille faces west; the façades of the Mediterranean Gallery look south, south-east and south-west. Who knows if this 90° rotation was intended by its designers? Be that as it may, the consequences in both symbolic and architectural terms are real: through the J4 Building’s permeability to sunlight, wind and the distant horizon, the MuCEM appeals for dialogue with the other banks of the Mediterranean so as to reflect collectively on its history and future.

MUCEM project

THE EXHIBITION DESIGN CONCEPT Exhibition design is the art of bringing people together with the works of humankind. It is also the art of making this encounter memorable for visitors. In order to achieve this, the exhibition layout plays a primordial role, since the seat of memory and spatial perception occupy the same part of our brain. But what anchors our experiences even more deeply in our long memory is emotion. The exhibition design must not only arrange the space to resonate with the scientific approach to the exhibition, but also anchor it profoundly in archaic, symbolic and poetic strata that interact harmoniously or discordantly with the spirit of the site, in order to create the right conditions for arousing emotions. For through its sublimated language, poetry, more than anything else, is the first means of reaching the widest possible public. The ease with which visitors can move in and out of the J4 Building, and the constant haziness of its physical boundaries, gives rise to an exhibition that, on the one hand, seeks to create strong links between the pier, walkway, entrance hall and the exhibition – i.e. makes visitors want to come inside – and, on the other hand, extends the exhibition beyond its architectural and urban limits across to other Mediterranean shores. Within this geographical, political and cultural context, the design of the exhibition in the gallery is based on the sensuality, gentleness and movement of peoples on 3 Edgar Morin, 2000, « Penser la Méditerranée et méditerranéiser la pense » in J. Vidal-Beneyto et G. de Puymège, La Méditerranée: modernité plurielle, Unesco/Publisud, p. 15-16. Mediterranean land and sea, on ideas and the sharing of these ideas. For since Early Antiquity, populations are known to have constantly moved around the Mediterranean Basin, safe in the knowledge of “being at home elsewhere”. The fertile cultural permeability between Mediterranean peoples is expressed here in the fluidity of the spaces, in the absence of partitions, except for the veil-like hangings over the cinematographic “windows” onto other Mediterranean spaces, and in the permanent references to the sea, the common matrix and vehicle for interchange. Layout: INSPIRED BY COASTAL NAVIGATION The gallery takes the form of a showcase which visitors pass alongside, moving from the outer walkways through the sounds of twelve Mediterranean ports. Listening to the different voices and noises – in markets, streets, ports, cafés, etc. – recorded and broadcast “in real time”, introduces visitors to the sound of Mediterranean people. Once inside J4, starting from the reception hall, the main exhibition circuit skirts around the façades between sunlight and shadow, offering magnificent views of this exceptional site and people strolling about. From there, visitors can move from one sequence to another, like ships calling in at different ports along the coast, and progressively discover the singular and diverse features of the Mediterranean. Each of these singularities revolves around three sequences: 1. CAPTURING ATTENTION One or several items indicate the theme of each singularity. Each object evokes a myth, a pre-conceived image of the Mediterranean drawn from the visitor’s imagination. It challenges, disconcerts, creates a surprise (for example, the penguin at the beginning of the first singularity). Its goal is to unsettle, stir emotion, captivate and be thought-provoking.

2. DECIPHERING Material and immaterial artistic productions – ancient and contemporary collections from the MuCEM and other French and Mediterranean institutions – are displayed to decipher the myth and explain the historical and anthropological approach to the singular theme. Collections of all sorts and disciplines, be they ethnographical, historical or artistic, are exhibited in the Mediterranean light. 3. PUTTING IN PERSPECTIVE Windows on the Mediterranean: At the end of each singular inlet or calanque, visitors will find films showing the reality of other places, two of which are forums on the subject of current issues (ecology, citizenship). These windows on reality, which encourage the exchange of opinions, open these spaces onto the territory of our common heritage: films shown on huge LED screens (4 metres high, some combined with 75-inch screens), specially made for the exhibition, establish links with Mediterranean landscapes, the holy sites of Jerusalem, statements made by nine women citizens and the era of Henry the Navigator. Ecology Forum and Citizenship Forum: The programme of events envisages occasionally replacing two of these films with live broadcasts of discussions between representatives from other cultural institutions on the Mediterranean coastline in partnership with MuCEM, guests from the world of culture and anonymous visitors. These events show how networking can bring people with ideas together to reflect upon the Mediterranean collectively, in an ongoing dialogue between all the components of society. They enable visitors to see major collections, even from a remote location. They facilitate meetings between scientists of all origins, whether in live or recorded broadcasts. They give rise to planned or chance meetings between visitors from Marseille and from other Mediterranean cities and, lastly, they encourage visitors to return to the Mediterranean Gallery.

MUCEM project

FILM PRODUCTION THE CONCEPT BEHIND THE FILMS The general design concept behind the Mediterranean Gallery seeks to extend the exhibition space beyond the limits of Ricciotti’s building to the other shores of the Mediterranean. To achieve this effect, in the heart of the four exhibition sections, the filmed reality of other Mediterranean locations and actors has been included, thus throwing bridges between the MuCEM and its area of research. Four vast “windows” – Black Face LED screens (3.70 m x 3.70 m or 4.80 m) – have thus been installed; three of them are combined with a 75-inch LCD screen. These four vast screens broadcast “film fragments” in the form of long takes. This footage was shot respecting the criteria of perspective and rhythm peculiar to long takes. The perspective resonates with that found in the galleries explored by visitors; the horizon line is about 1.55 metres above floor level. The subjects of these “films” are: - Mediterranean agricultural landscapes, - Jerusalem’s holy sites, - portraits of women citizens, - the sea beyond the Mediterranean. The museum’s programme of events envisages turning two of these “windows” into forums interacting with other cultural establishments and other publics of the Mediterranean Basin on themes treated in the exhibition. “The images invite contemplation and reflection; they are part of a visual ensemble in a museum space: a window in motion whose purpose is evocative not educational. The aim was not to put together a montage but rather a montrage, i.e. to show a rhythmic sequence of film fragments. The notion of kinetic images above all calls for rhythmic compositions of different long takes.” Jimmy Glasberg

FILM PRODUCTION Credits

PAYSAGES MÉDITERRANÉENS (MEDITERRANEAN LANDSCAPES) Boucle aléatoire Created and directed by Bernard Dumas & Jimmy Glasberg Assistant: Pauline Tonneau-Rosati Scientific supervisor: Édouard de Laubrie, MuCEM Delegate production: Studio Adeline Rispal Executive production: Films du Soleil Technical coordinators: InnoVision, Alain Dupuy Sound coordinators: Diasonic, Louis Dandrel Large screen Pictures: Jimmy Glasberg Editor: Catherine Galodé Technical advisor: Philippe Ros Small screen Pictures: Bernard Dumas & Jimmy Glasberg Editor: Gilles Bour Sound design: Florent Fournier-Sicre Maroc manager: Jawad Elabid Thanks to: Marcel Richaud, Michel et Sébastien Marchand, Valérie Fra, Charles Pelissier, Christian Colombet MARE NOSTRUM 6 minutes Created and directed by Bernard Dumas Assistant: PaulineTonneau-Rosati Scientific supervisor: Édouard de Laubrie, MuCEM Delegate production: Studio Adeline Rispal Executive production: Films du Soleil Pictures: Bernard Dumas & Jimmy Glasberg Editor: Gilles Bour Sound design: Florent Fournier-Sicre Thanks to: Marcial Lubrano, Mourad Kahoul, Bernard Di Maio et l’équipage de l’Odyssée-Sète, Spyros and Petti Malamatenios, famille Skiadas à Naoussa, Rosa Gaggiano, Provence-Aquaculture Frioul JÉRUSALEM, VILLE SAINTE (JERUSALEM, HOLY CITY) Boucle aléatoire Created and directed by Bernard Dumas & Jimmy Glasberg Assistant: Pauline Tonneau-Rosati Scientific supervisor: Émilie Girard, MuCEM Delegate production: Studio Adeline Rispal Executive production: Films du Soleil Technical coordinators: InnoVision, Alain Dupuy Sound coordinators: Diasonic, Louis Dandrel Large screen Pictures: Jimmy Glasberg & Jacques Hubinet Assistante caméra: Salomé Gadafi Editor: Catherine Galodé Technical advisor: Philippe Ros Small screen Pictures: Bernard Dumas & Jimmy Glasberg Editor: Gilles Bour Sound design: Florent Fournier-Sicre Production Israël: Micha Kovler, Batchen Kovler. Managed by Khader Nijim / Tal Ram On Sound: Amir Bovermann Thanks to: Rabbi Zeev Lanton FORUM CITOYENNETÉ (CITIZENSHIP FORUM) Boucle aléatoire Created and directed by Bernard Dumas & Jimmy Glasberg Scientific supervisor: Valérie Ranson-Enguiale, MuCEM Delegate production: Studio Adeline Rispal MUCEM project

Executive production: Films du Soleil Pictures: Jimmy Glasberg Editor: Gilles Bour Sound: Erick Pasquet Technical advisor: Philippe Ros Technical coordinators: InnoVision, Alain Dupuy Sound coordinators: Diasonic, Louis Dandrel Thanks to: Caroline Ayoub, Co-fondatrice et chef de projet de « Radio Souriali » Syrie, Esmeralda Calabria, réalisatrice,monteuse, Italie Faouzia Charﬁ, physicienne, Tunisie Meryem Cherkaoui, chef cuisinier, Maroc Désirée El Azzi, ingénieur agronome, docteur en biogéochimie, Liban Rachel Mamlok-Naaman, responsable du Centre national des professeurs de Chimie Institut de Science Weizmann, Israël Panayiota Karampatou, chef d’entreprise, Grèce Dalila Nadjem, éditrice, éditions Dalimen, Algérie Shahinaz Abdelsalam, ingénieur en informatique, blogueuse, Égypte

ISTANBUL VISIONS 6 minutes Created and directed by Jimmy Glasberg Scientific supervisor: Myriame Morel-Deledalle, MuCEM Delegate production: Studio Adeline Rispal Executive production: Films du Soleil Pictures: Jimmy Glasberg Assistant camera: Salomé Gadafi Editor: Catherine Galodé Sound design: Luc Perini ISTANBUL, ISTANBUL 6 minutes Created and directed by Bernard Dumas Assistant: Pauline Tonneau-Rosati Scientific supervisor: Myriame Morel-Deledalle, MuCEM Delegate production: Studio Adeline Rispal Executive production: Films du Soleil Pictures: Bernard Dumas & Jimmy Glasberg Editor: Gilles Bour Sound design: Florent Fournier-Sicre Istanbul Production: Sibel Voskay Managed by Sadik Deveci Sound archives: INA Voix off: Gin Candotti, Alexandre Fabre, Cyril Leconte HENRI LE NAVIGATEUR (HENRY THE NAVIGATOR) Boucle aléatoire Created and directed by Bernard Dumas Assistant: Pauline Tonneau-Rosati Scientific supervisor: Zeev Gourarier, MuCEM Delegate production: Studio Adeline Rispal Executive production: Films du Soleil Technical coordinators: InnoVision, Alain Dupuy Sound coordinators: Diasonic, Louis Dandrel Large screen Pictures: Getty Images Editor: Gilles Bour Small screen Pictures: Bernard Dumas & Jimmy Glasberg Editor: Gilles Bour Sound design: Florent Fournier-Sicre Comments: Rui Parreira & Luis Ulpiano Vieira. Thanks to: Anisio Franco, Paula Brito, Musée des Arts Antiques de Lisbonne, Musée de la Marine de Lisbonne, Citadelle de Sagres.

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film introductif

Pause rencontre

Â© Luc Boegly

A 4-D EXHIBITION THE OPEN UNESCO EXHIBITION TARGETS A VERY MIXED PUBLIC: THE MEMBERS AND THE GENERAL PUBLIC. The multiple approaches to the exhibition designed like a 4-D website include UNESCO’s history, organization and, above all, the diversity of its activities. Apart from the World Heritage Centre’s efforts, the general public knows relatively little about what UNESCO does. The exhibition is divided into seven white, island-like sections, conceived as lounge areas in which to linger and relax. Through the interactive multimedia devices put at their disposal, visitors can access information about UNESCO’s wide range of activities across the globe as well as the many people who work for the organization. The ﬁrst “island” introduces UNESCO’s missions; human rights, peace and dialogue, education, cultural diversity, knowledge sharing, post-conﬂict and post-disaster management are the themes of the other sections.

2011 ARTISTIC DIRECTION AND PERMANENT EXHIBITION DESIGN SURFACE AREA: 700 m2 COST: € 0.7 M excl. of tax CLIENT: UNESCO/ERI DESIGN TEAM: Artistic direction and exhibition design: Studio Adeline Rispal Adeline Rispal Sonia Glasberg Multimedia design and engineering: InnoVision Signage: Atelier Anette Lenz PHOTOS: Luc Boegly

UNES project

The “Key Players”, colourful, larger-than-life figures installed on six of the seven “islands”, are UNESCO’s mediators in the field. Standing upright, absorbed in their work, they are the symbols of the main spheres of intervention. They are the leading lights, epitomizing the identity of each field of action. Their presence punctuates the island landscape that dialogues with the powerful architecture of the Ségur Hall, while respecting the works of art exhibited within its walls. Giacometti’s Walking Man unites them all.

LAFARGE SHOWROOM ISLE D’ABEAU TECHNOLOGY CENTER ISÈRE - FRANCE Restructuring entrance and lobby Showroom design

THE LAFARGE TECHNOLOGY CENTER AT L’ISLE D’ABEAU, NEAR LYON, IS THE FRENCH GROUP’S SHOWCASE FOR RESEARCH AND INNOVATION. It welcomes over 20,000 visitors from across the globe each year and must thus convey the group’s values: a socially-responsible, sustainable approach to construction, ongoing innovation in all domains (processes, industrial tools, products…), abundance, diversity and development of actions undertaken, a focus on the human factor, a capacity to listen to the needs of customers and stakeholders. For those who have travelled far to get there, the Lafarge Technology Center is both a safe haven and a jealously guarded bunker. Moving around the site independently is not authorized. Hence the need to offer visitors a freely accessible, highly convivial space. The Center is the ﬂagship for the group’s scientiﬁc and technical communication strategy and represents both the intelligence applied to research at Lafarge and the relationships that this research helps build with the world today.

2011 COMPETITION FOR THE RESTRUCTURING OF THE RECEPTION AREA AND SHOWROOM WINNING PROJECT SURFACE AREA: 700 m2 BUDGET: 1.5 M excl. of tax CLIENT: Lafarge S.A. DESIGN TEAM: Restructuring and interior design: Studio Adeline Rispal, lead ﬁrm Adeline Rispal Sonia Glasberg Multimedia design and engineering: InnoVision Construction budgeting: MB&Co IMAGES: Arthur Reboul Salze

LAFA project

In order to establish a relationship of trust, the quality of the welcome and the comfort accorded to visitors are both vital. We propose creating a vast plateau where the functions of reception, showroom and communication interact, while simultaneously organizing individual spaces: a spacious hall bathed in light; a showroom designed as a dynamic space opening onto the hall and onto the world via interconnected, porous walls built in Ductal® concrete; a central lounge area, the heart of the showroom and a place conducive to conversation and conviviality. To attain this objective, we propose: to demolish the present entrance and build a new covered entrance, accessed by a large Ductal® ramp and a series of landscaped steps; to enlarge the hall outwards to facilitate access to the wings of the building; and to replace the central block with a vast reception and exhibition space. The showroom is a privileged space, an integral part of the hall which it brings to life. Surrounded by variable, interconnected, communicating walls, the showroom both reveals and conceals, as well as protecting personnel from the circulation ﬂow in the hall. This envelope of images and materials inserted into Ductal® structures conveys the diversity, transversality, dynamism and extent of Lafarge’s activities. Perpetually in motion, it is compatible with all multimedia devices and draws extensively on Lafarge’s documentary and audiovisual archives so as to constantly renew itself. Tactile screens and computers connected to Lafarge databases may be consulted in the large central lounge area. This convivial space is also used by the researchers working on the site.

ADDIRIYAH MUSEUM RIYADH PROVINCE - SAUDI ARABIA Exhibition design

THE TOWN OF ADDIRIYAH, LOCATED ON THE OUTSKIRTS OF THE SAUDI ARABIAN CAPITAL, RIYADH, WAS THE SEAT OF THE FIRST SAUDI STATE (1744-1818). The Addiriyah Museum is part of a vast archaeological complex in the Atturaif district, built in adobe bricks, and listed as a UNESCO World Heritage Site in 2010. The idea behind this on-site museum is to introduce a broad public to the historical and spiritual origins of Saudi Arabia in both the exhibition rooms and the exterior walkway that winds itself through the ruined Salwa palace, the royal family’s former residence.

2010 WORKS IN PROGRESS DESIGN OF THE PERMANENT EXHIBITION SPACES AT SALWA PALACE ON THE VISITOR CIRCUIT AND BUILDING BY THE ARCHITECTS AYERS/ SAINT/GROSS OVERALL SURFACE AREA: 5,700 m2 BUDGET: €3 M excl. of tax CLIENT: Arriyadh Development Authority PROJECT MANAGEMENT: Architects: Ayers/Saint/Gross - Washington Technical studies : Buro Happold - London Lighting: Gilmore - Washington Lead exhibition designer: Studio Adeline Rispal - Paris Adeline Rispal Sonia Glasberg Museology: AP’Culture - Paris Software engineering and design: Innovision - Paris Sound design: Diasonic - Paris Exhibition signage: Autobus Impérial - Paris Construction economics: Davis Langdon - London

AMSP project

MUSÉE DE L’ARMÉE MODERN DEPARTMENT HÔTEL NATIONAL DES INVALIDES PARIS - FRANCE Renovation and exhibition design

IN 2003, ADELINE RISPAL/REPÉRAGES ARCHITECTURES SUBMITTED THE WINNING PROJECT IN THE COMPETITION LAUNCHED BY THE ÉTABLISSEMENT PUBLIC DU MUSÉE DE L’ARMÉE FOR THE RESTRUCTURATIONRENOVATION AND EXHIBITION DESIGN OF THE EAST WING OF THE MUSÉE DE L’ARMÉE, HOUSED IN THE HÔTEL NATIONAL DES INVALIDES. This rehabilitation was part of the vast ATHENA renovation programme, which converted this museum of artefacts into a museum of the history of the French army, from the Middle Ages to the present day. ATHENA IV, involved the renovation of the east wing of the museum and sought to create thematic displays devoted to the history of the Invalides and the Musée de l’Armée and to rehabilitate the buildings and exhibition design of the Modern Department (from the reign of Louis XIV to the fall of Napoleon III).

2003 - 2010 WINNERS OF A RESTRICTED COMPETITION RENOVATION OF BUILDING AND EXHIBITION DESIGN OF THE PERMANENT GALLERIES IN THE EAST WING, XVIIE CENTURY HISTORICAL MONUMENT. SURFACE AREA: 3 800 m2 BUDGET: €10 M excl. of tax CLIENT: Établissement public du musée de l’Armée PROJECT MANAGEMENT: Architects and exhibition designers, lead ﬁrm : Adeline Rispal/Repérages Architectures Technical engineering: Gec Ingénierie Construction economist: RPO Multimedia engineering and design: Innovision Lighting: Raymond Belle Exhibition signage: CL Design CONSULTANTS: Fire safety : Cabinet Casso & Cie Cavaliers showcase engineering: RFR Acoustics : Avls Consultants during the competition: Jean-Marc Devocelle, Odile Roynette, historians PHOTOS: Luc Boegly

MA project

THE HERITAGE PROGRAMME Benjamin Mouton, architect-in-chief at the Department of Historical Buildings assigned to the Invalides, and Adeline Rispal jointly suggested recreating the partitions that existed in the 17th century, when a broad central corridor ran through the (occasionally disabled) retired soldiers’ rooms, which occupied three of the wings around the courtyard called the Cour de la Valeur. At different intervals, partitioned spaces highlight outstanding elements of the programme, namely battles.

SPATIAL ORGANIZATION In response to the Ministry of Defence’s commission, to convert the museum of artefacts into a history museum, the approach adopted was to specialize the space and facilitate the legibility of the interaction between the different sections of the army: from national history to military policy (right-hand rooms), from combat strategy to weaponry (central corridor), and from men to army corps (left-hand rooms). The intention behind the systematic character of the museographic approach is to enable the public to choose the type of visit they prefer: – thematic and linear: the history of the collections; – transversal, pluridisciplinary and chronological all at the same time: French army history within world history and social and cultural history.

THE ARMY ON THE MOVE... Rigour and efﬁciency govern the design of the exhibition furniture. Broad showcases, based on an 87-centimetre anthropomorphic grid pattern, contain the prestigious collections lined up in an orderly fashion that recalls troops on the march. Mirrors at the back of the showcases multiply the number of uniforms to produce a mass effect and to show the soldiers from all sides. The showcases pass through the partitions between the rooms, either virtually or in actual fact, to express army corps moving across ever vaster stretches of land.

MUSEUM OF THE PRINCIPALITY OF STAVELOT-MALMEDY STAVELOT - LIÃ&#x2C6;GE PROVINCE BELGIUM Site, architecture and exhibition design

STAVELOT ABBEY, SOUTH OF LIÈGE IN BELGIUM, HAS BECOME ONE OF THE MOST IMPORTANT CULTURAL FACILITIES IN THE WALLOON REGION. THE PILOT PROJECT, COMMISSIONED BY THE MINISTRY OF THE WALLOON REGION, BINDS TOURISM AND CULTURE TOGETHER IN A FRUITFUL PRIVATE/ PUBLIC PARTNERSHIP. The abbey’s physical territory lies in the impenetrable Ardennes Forest, which Irish monks came to Christianize in the 8th century. Its spiritual and social territory was that of the European Benedictine community.

1996 - 2003 WINNERS OF A RESTRICTED COMPETITION. CREATION OF AN INTERPRETATION CENTER, EXTENSION BY A NEW WING, LANDSCAPE AND EXHIBITION DESIGN. SURFACE AREA: 1 200 m2 BUDGET: €2 M excl. of tax CLIENT: Ministry of Walloon Region PROJECT MANAGEMENT: Architects and exhibition designers, lead ﬁrm: Adeline Rispal / Repérages Architectures Interpretive Planning: Martine Thomas-Bourgneuf Construction economist: Ace Lighting: Lichtdesign Landscape: Lydie Chauvac, Société Forestière Exhibition signage: Studio Leroy Mutterer Facades Engineering: Dya PHOTOS: Olivier Wogenscky

How could this abbey be remembered without making any speciﬁc reference to its enclosed monastic life? The open courtyards, exposed to the elements since the demolition of the abbey church during the Revolution, made any attempt at mediation futile. Our design solution was to relate the abbey to the city centre of Stavelot. A minimal gesture, focusing on the idea of reestablishing the key feature of monastic architecture – the cloister – in a contemporary vocabulary. The reconstruction of its fourth wing enclosed the garden again, not to return to monastic isolation, but to form a link between the spiritual history of the site and its new cultural vocation. The new glass wing of the cloister, identical in size to the original one, has become the visitor reception area, leading to the different cultural facilities housed in the abbey.

THE EXHIBITION DESIGN OF THE ABBEY MUSEUM Through cloistral continuity, links have been renewed with the monastic period, expressed in the repetition and application of the cosmic Benedictine rule. All that remained to be done was to attest to the history of the abbey and its principality. We consulted with remarkable abbots and listened to their different visions of this great movement’s spiritual, intellectual, political and economic objectives. The museologist identiﬁed eight periods in the history of the abbey up to its disbanding in the late 18th century. We have associated each of these periods with a colour on the light spectrum… including white, the colour of present time, the accumulation and synthesis of all other colours, of all other times. The abbey’s different existences are thus superimposed, in coloured strata, as if shining light after light on its evolution. The collections exhibited in the cloister are, for the most part, ﬁnds from archaeological digs carried out for more than 20 years on the abbey church, now a Walloon regional heritage site.

STAV project

MUSÉE D’HISTOIRE DE LA VILLE DE LUXEMBOURG LUXEMBOURG - GRAND DUCHÉ DU LUXEMBOURG Réhabilitation et muséographie

THE CITY OF LUXEMBURG, A NATURAL, THEN MILITARY FORTRESS, IS TODAY A POWERFUL FINANCIAL CENTRE AND THE SEAT OF LEADING EUROPEAN INSTITUTIONS. The buildings of the City Museum are located in a pivotal position between the upper city – the fortress – and the lower city – the suburbs. It is a museum that puts both itself and its contents on display. The container and the contents are completely indissociable: the museum is in the city; the city is in the museum. The museum treats the urban space as a huge hollow-cut ﬁgure: the inner courtyard has become a cross-section of the topography and history of Luxemburg. Four ﬂoors were dug out of the rock to enlarge the museum and reveal the raw material on which its history was founded. A new entrance on the lowest level of public spaces was opened to enable museum visitors to circulate freely between the Grand Ducal Palace and the corniche.

1992 - 1996 SPECIAL AWARD EUROPEAN MUSEUM 1998 REFURBISHMENT, INTERIOR AND EXHIBITION DESIGN. SURFACE AREA: 7 000 m2 BUDGET: €25 M excl. of tax CLIENT: City of Luxemburg PROJECT MANAGEMENT: Architects : Adeline Rispal / Repérages Architect of the restoration: Conny Lentz Structure Engineering: Gehl, Jacoby & Ass M&E: Goblet & Lavandier Lighting : Lichtdesign Construction economist: Atec Wayﬁnding and exhibition signage: Studio Mutterer & Associés Multimédia project management: Serge Renimel, lead ﬁrm, multimedia contents Multimedia engineering and design: InnoVision Construction economist: Atec PHOTOS: Georges Fessy

LUX1 project

Reflecting the urban density of the fortress, a 20-squaremetre glass lift shaft, with walls 3.5 metres high, cuts through the eight floors of this new complex. These vertical promenades are typically Luxemburgeis; other urban elevators enable residents to move easily from one part of town to another. Six relief maps of the city, from the Middle Ages to the present, form the framework of the permanent exhibition on three of the floors hollowed out of the rock. They emerge out of the ground in the same species of wood and face the same direction as the building. The cultural and social history of the city is presented through temporary thematic exhibitions changed annually. This flexibility is an integral part of the design for hanging mechanisms and lighting to enable exhibitions to be modified. An exceptional software device, Europe’s first à la carte museum (Serge Renimel), brings virtual reality into the exhibition rooms: the media library is in the museum.

MUSEUM OF THE GREAT WAR PÃ&#x2030;RONNE - FRANCE Exhibition design

THE MUSEUM OF THE GREAT WAR FOCUSES ON THE INTERNATIONAL CULTURAL AND SOCIAL HISTORY OF THE CONFLICT AND PROVIDES GREATER INSIGHT INTO WAR IN THE 20TH CENTURY. The layout draws parallels between the different realities of the conﬂict: World War I involved all of society, both military and civilian, in a vital complementarity. The spaces are therefore open, the collections at the back and front dialogue without intermingling, for these two worlds lived through wars at once different and inextricably linked.

1990 - 1992 SPECIAL AWARD EUROPEAN MUSEUM 1994 WINNERS OF RESTRICTED COMPETITION EXHIBITION DESIGN OF THE PERMANENT GALLERIES. EXHIBITION SURFACE AREA: 1 500 m2 BUDGET: €2 M excl. of tax CLIENT: Conseil général de la Somme PROJECT MANAGEMENT: Architects and exhibition designers, lead ﬁrm: Adeline Rispal, Jean-Jacques Raynaud and Louis Tournoux/Repérages Lighting: Lichtdesign Construction economist: Atec Exhibition signage: Studio Mutterer & Associés CONSULTANTS: Robert Levy, philosopher Jean-Marc Devocelle, historian PHOTOS: Luc Boegly

HIST project

The collections are divided up in the space depending on how deeply they were involved in the conflict. The German, English and French exhibits are shown in a comparative display. Those at the front – the relics – are arranged in the centre of the rooms on four white marble slabs (one for each nationality) referring to the world of the trenches and death. Those at the back – civilian society engaged for the first time in a global conflict – are displayed in showcases around the edge of the rooms, on three levels, to better compare the social and cultural aspect of the hostilities between the warring nations. Between the two lies the documentary evidence – drawings, watercolours, paintings, engravings, archival film excerpts, etc., which attempt to describe the indescribable and act as mediators in the museum, as they did in the society of their age. Excerpts from wartime literature and poetry punctuate the educational signage and also reinforce the mediation. In the centre of the exhibition rooms, the horizontal display of life at the front conveys the break with traditional warfare. Men no longer put on their finery to go and fight as heroes in the service of a prince, but huddled like rats in trenches for the sake of their country, as did their enemies just a few metres away. They died in millions, powerless beneath the pounding shells. The Museum of the Great War, in the heart of the Somme battlefields, was duty bound to return the soldiers’ collections to the land.

EXHIBITION LE GRAND ATELIER. CHEMINS DE Lâ&#x20AC;&#x2122;ART EN EUROPE VE - XVIIIE PALAIS DES BEAUX-ARTS BRUSSELS - BELGIQUE Exhibition design

INTELLECTUALS AND ARTISTS OF EVERY ERA HAVE ALWAYS QUESTIONED THE PERIOD THEY LIVE IN. THEY HAVE ALWAYS SOUGHT ANSWERS IN BOOKS AND IN DISCUSSIONS WITH THEIR PEERS, FELLOW ARTISTS AND SCHOLARS, PICTURE DEALERS, COLLECTORS, PATRONS, CLOSE FRIENDS AND ACQUAINTANCES, WHO ALSO QUESTIONED THE WORLD AROUND THEM. Europe has not escaped this vital phenonomen. The exhibition design expresses the mobility of men and their creations. It presents the stylistic parallels between works originating in diverse parts of Europe through 14 themes. Works from the entire continent thus hang within the walls of Horta’s Palais des Beaux Arts and not on its walls.

2007 - 2008 EXHIBITION DESIGN. SURFACE AREA: 1,600 m2 BUDGET: €0.4 M excl. of tax CLIENT: Europalia International Curator: Professor Roland Recht Assistant curators: Professor Catheline Périer d’Ieteren, Professor Pascal Griener DESIGNERS: Artistic direction and exhibition design: Adeline Rispal/Repérages architectures, lead ﬁrm Lighting: Licht Kunst Licht Signage: CL Design PHOTOS : Jean-Pierre Cousin

LGA project

They are in fact exhibited in 14 white chambers, spaces pierced with glass permitting visual relationships – planned or fortuitous encounters – between the works as visitors walk around them. The glass showcases enclose groups of works chosen by the curators. They provide colourful environments for them, offering views from all sides and revealing both the strength and fragility of these works in the course of their past, present and future travels across Europe.

AUDEMARS PIGUET PRIVATE MUSEUM EXTENSION & RENOVATION LE BRASSUS - SWITZERLAND Scenography

MINIATURISATION, THE ESSENCE OF THE WATCH IN ITS CURRENT STATE, COMBINED WITH THE CEASELESS QUEST FOR ACCURACY AND COMPLICATIONS, DISTILLS THE COSMIC DIMENSION OF TIME. For mere mortals, miniaturization places this complexity at a distance, rendering unimaginable the mechanical processes occurring in these cases just a few centimeters across. The goal of the sensory mediation that is scenography is to evoke the vast cosmic scale contained within these miniature timepieces so that visitors can begin to understand this remarkable, little known universe. Variations in scale are used both to structure the space and to create the tools for mediation. A visit to the Maison des Fondateurs, is a journey across Time itself through these different dimensions. The circle simultaneously represents perfection, the absolute, the inﬁnite, and the divine, as well as the community and friendship. A visit to the Maison des Fondateurs is also admission into a historic community founded on the quest for perfection.

2014 RESTRICTED COMPETITION EXTENSION AND RENOVATION OF MUSEUM AUDEMARS PIGUET LE BRASSUS - SWITZERLAND SCENOGRAPHY OF THE PERMANENT EXHIBITION SURFACE EREA OF THE EXHIBITION: 1 500 m2 OVERALL SURFACE AREA: 5,700 m2 CLIENT: Audemars Piguet PROJECT TEAM: Architect, lead ﬁrm: Group8 - Geneva Lighting: Licht Kunst Licht - Bonn/Berlin Museum architects and scenographers: Studio Adeline Rispal - Paris Adeline Rispal Sonia Glasberg Multimédia engineering and design : InnoVision - Paris

projet AP

CITÉ DE L’ÉCONOMIE ET DE LA MONNAIE HÔTEL GAILLARD PARIS 17e - FRANCE Rehabilitation, extension Museography and exhibition design

THE DESIGNERS FOCUSED EQUALLY ON THE HÔTEL GAILLARD, ORIGINALLY A PRIVATE MANSION, AND THE BUILDINGS SUBSEQUENTLY ADDED BY THE BANQUE DE FRANCE. They sought to both enhance the volumes by making them lighter and to render the later additions more legible. Clearing the spaces in between and introducing a cupola above the bank’s former public hall will thus open up the site, revealing the interior façades of the Hôtel Gaillard and letting the natural daylight into the heart of the building. Visitors may thus ﬁnd their bearings in space and time. Through the creation of the Cupola Room, and hence the superimposed exhibition spaces, through the installation of the Giants embodying the economic system’s key players, and through the fractal disintegration of the scenographic furniture, the architectural and exhibition design project conveys the different scales of world economy: local and global scales, scales of mediation, visitors and the economic system.

2010 LIMITED COMPETITION SURFACE AREA: 7 500 m2 BUDGET: 22 M excl. of tax CLIENT: Banque de France DESIGN TEAM: Architects and exhibition designers: Studio Adeline Rispal, lead ﬁrm Adeline Rispal Sonia Glasberg Historic monuments architects: 2BDM, Jacques Moulin Associated architects: 5+1AA, Alfonso Femia, Gianluca Peluffo Technical engineering and environmental design: Setec Bâtiment Project management: Planitec Lighting: Licht Kunst Licht Acoustics: AVLS Multimedia design and engineering: InnoVision Interactive exhibition design: AlexAndCo Construction budgeting: AEI CONSULTANTS: Structural engineering for the cupola and façades: TESS Fire prevention: Vulcaneo Museology: Martine Thomas-Bourgneuf Script for the recreational visit: ORBE Semiology: Odilon Cabat IMAGES: Antoine Buonomo, artistic direction Arthur Reboul Salze and Ginger

MCEM project

The recreational tour invites visitors to experience the world of economy via concrete situations in which they actively take part. The main ideas and concepts are explored in a specially scripted cross-disciplinary thematic tour: visitors are given missions to accomplish and thus experience these different concepts in concrete terms. As they progress along the circuit, they are rewarded with new, ever-more complex missions. They are given access to knowledge repositories and are encouraged to share their findings and cooperate with other visitors. All the elements of the project are drawn together and set in motion on this recreational tour. The Cité is simultaneously anchored in the architecture of the site and open to digital space. Design reality interweaves with virtual reality to form a coherent entity that will become a reference for a new generation of museums. Here, digital technology encompasses advance preparation for a visit, multimedia mediation, the recreational tour, visitor identification and assistance, and the informative file sent to schools or visitors’ homes.

échanges géant / participant espace géant échanges géants / géants via coupole

NATIONAL MUSEUM OF QATAR DOHA - QATAR Exhibition design

IN THE BUILDING DESIGNED BY JEAN NOUVEL, A LONG DESERT ROSE RESTING ON DOHA BAY, THE MUSEOGRAPHIC PROJECT INTENDS TO HIGHLIGHT QATAR’S TANGIBLE AND INTANGIBLE HERITAGE, IN BOTH THE MUSEUM ITSELF AND ON A NATIONWIDE SCALE. The design of the exhibition rooms proposes visions of a pensinsular country heavily inﬂuenced by the duality of desert and sea: ﬁlms on Qatar today made by international directors, material and immaterial collections. These interacting works show the origins of Qatari culture and the permanence of its traditions in a context of accelerated economic development.

2010 - 2013 STUDIES IN PROGRESS EXHIBITION DESIGN OF THE PERMANENT GALLERIES IN JEAN NOUVEL’S BUILDING. SURFACE AREA OF THE GALLERIES: 8 000 m2 BUDGET: NC CLIENT: Qatar Museums Authority Qatar Petroleum PROJECT MANAGEMENT: Architect and scenographer, lead ﬁrm: Jean Nouvel / Ateliers Jean Nouvel Associated exhibition designers, lead ﬁrm of the museography team: Studio Adeline Rispal Adeline Rispal Sonia Glasberg Interpretive Planning: AP’Culture Multimedia engineering and design : Innovision Lighting: Licht Kunst Licht Signage: Pentagram Sound coordination: Diasonic CONSULTANTS: Acoustics: Avls Structure: Ardi Ingénierie

NMOQ project

The permanent collections are installed like nomads encamped in their natural environment: protected from the north wind, with multifunctional furniture, based on simple rectangular forms recalling the recurrent use of textiles by both the nomads in the desert and the sedentary society along the coast. Qatar’s indissociable intangible heritage, handed down orally from generation to generation, is now endangered. One of the museum’s objectives is to encourage people to collect and facilitate the transmission of this oral heritage so that it may act as a creative source for future generations.

ODYSSEY 21 SEA, SCIENCE AND SUSTAINABLE DEVELOPMENT CENTRE AND MUSEUM LE HAVRE - FRANCE Exhibition design

ODYSSEY 21 LIVES AT THE PACE OF GLOBAL MARITIME ACTIVITY AND CAPTURES THE INVISIBLE ELEMENTS OF THE WORLD OF THE SEA AND PORTS. FROM MARINE, TERRESTRIAL AND SATELLITE OBSERVATORIES AND RESEARCH LABORATORIES ACROSS THE GLOBE, DATA IS SENT TO THE ODYSSEY 21 SENSORS. The exhibition spaces (the Watchtower and the Hub) recover this information on the Le Havre region and the rest of the world, in pre-recorded real time, or live when a special event occurs. Odyssey 21 sorts and updates the information, like a brain, and provides visitors with sensitive, entertaining tools that help understand how the system of maritime transport works and the means available to man for adapting this system to strategic, climatic, economic and technical variables.

2010 RESTRICTED COMPETITION EXHIBITION DESIGN OF THE PERMANENT GALLERIES IN JEAN NOUVEL’S BUILDING. SURFACE AREA: 2 800 m2 BUDGET: €10 M excl. of tax CLIENT: Ville du Havre PROJECT MANAGEMENT: Scenographer, lead ﬁrm : Jean Nouvel Associated exhibition designers: Studio Adeline Rispal Adeline Rispal, Sonia Glasberg & Pierre Verger Interpretive planning: Martine Thomas Bourgneuf Multimedia engineering & design: Innovision Educative design : Alex & Co Lighting: Odile Soudant Exhibition signage: Autobus Impérial Sound creation: Louis Dandrel Construction economist: RPO CONSULTANTS: Geographer: Fernand Verger Fire safety: Cabinet Casso & Cie Images: Ginger Film: Ginger / Sound: Louis Dandrel

ODYS project

THE WATCHTOWER For the Watchtower, a 90-metre-high platform suspended between the sky and sea, exhibition design is immaterial. Outside, augmented-reality binocular devices reveal what is invisible to the naked eye, and extend a visitor’s gaze in time (back into history) and space (beyond the horizon). Inside, the ground is covered with LED screens and forms a giant panorama of the environment. The Watchtower soars above the city, in phase with the region in real time: mist appears in the sky overhead and below our feet. This multimedia tool can transform space in a radical fashion while leaving it free for other purposes. At night, the ﬂickering lights on the ground are reﬂected on the stainless steel ceiling… the Watchtower oversees the region of Le Havre.

THE HUB To gain insight into and understand a complex maritime system, the exhibition design proposed is a simple one. Based on the essential elements of a singular, strong piece of architecture, it is an integral part of it. Arranged in the Hub are different-sized white Corian© parallelepipeds of the same proportions as TEUs (twenty-foot equivalent units). They are white, because then the goods inside the packaging is left up to the imagination: supports for the colourful cultural goods in the exhibition space. The contents, not the container, are rich in colour. Each different size corresponds to one or several functions: plinths, plateaux, tables, benches, screen stands, interactive wall texts, dynamic maps, toys… The black units on which these goods are placed are standard elements of maritime and terrestrial transportation, allowing a certain ﬂexibility: low plateaux, reached by ramps, reinforced plateaux, higher up, which act as tables, structures on which to manipulate interactive devices. Three large screens show images – of the port, ocean and coastline – in real time and add different rhythms to the exhibition spaces in the Hub.

THE WAR MUSEUM OF 1870 GRAVELOTTE - FRANCE Architecture and exhibition design

THE ARCHITECTURE AND MUSEOGRAPHY OF THE MUSEUM ARE LINKED BY THE OVERALL CONCEPT: THE SPIRAL ASCENT TO THE WARS OF THE 19TH AND 20TH CENTURIES, IN WHICH THE WAR OF 1870 WAS A PIVOTAL MOMENT. The building occupies the entire site with an open space in its centre, dedicated to all combatants and dialoguing with the Gravelotte ossuary, a small memorial cloister opposite. The cloister expresses the emergence of a new form of violence: war rises out of the earth, out of hand-to-hand ﬁghting between foot soldiers – peasants protected by the cavalry – to grow into greater antagonism as powerful new artillery pushes the combatants further apart. The ascending form also expresses that human spirit which, in the midst of battle, can engender the worst and best of actions, the urge to massacre as well as heroism and fraternity between men beyond any frontier. The building, like the history of mankind, is anchored in normality, that of a village street which it extends before surging upwards, like events that transcend reality.

2008 COMPETITION. COMPETITION SURFACE AREA: 3,500 m2 BUDGET: €7 M excl. of tax CLIENT: Conseil Général de la Moselle PROJECT MANAGEMENT: Architecture and exhibition design: Adeline Rispal / Repérages Architectures, lead ﬁrm Structural studies: DVVD Technical and sustainable development studies: Alto Ingénierie Lighting studies: Licht Kunst Licht Multimedia: InnoVision Signage: CL Design Construction economics: AEI Images: Germain Morisseau

GRAV project

The succession of exhibition rooms on different plateaux are joined by the ramp, a place where visitors can reflect on human violence, gradually opening onto a cloister garden, planted with wheat from the surrounding fields, and covering the material traces of conflict held in the museum collections. The end of the museum circuit is simply a halt, overlooking Gravelotte memorial: the recurrent hostilities would mark the entire 20th century, with each war bringing new forms of violence.

LOUVRE ABU DHABI PERMANENT GALLERIES ABU DABI - UNITED ARAB EMIRATES Interior and exhibition design

COMING TO REST ON WATER, THE LOUVRE ABU DHABI MUSEUM NESTLES IN THE SITE AND INSTALLS THE COLLECTIONS IN A LUMINOUS ATMOSPHERE THAT EVOKES NEAR-EASTERN ARCHITECTURE AS MUCH AS ANCIENT GREECE OR EVEN A DREAM CITY. In this timeless place, visitors will abandon their inner fortress and allow themselves to indulge in wandering, the kind of wandering propitious to encounters with the Other, aided by art works that dialogue beyond time and space and let visitors enter their secular conversations. The museographic project thus inhabits this city-museum, this imaginary palace, by slipping itself as delicately as possible into the landscape of light and water whose serenity must remain undisturbed.

IN THE CITY-MUSEUM: THE PALACE AND ITS ROOMS The leisurely stroll in and out of shadow, light and water extends into the spaces of the museum, which, like the Louvre, Paris, is a palatial complex in the heart of the city.

2008 RESTRICTED COMPETITION INTERIOR AND EXHIBITION DESIGN OF THE PERMANENT GALLERIES. GALLERIES SURFACE AREA: 6 600 m2 BUDGET: €29 M excl. of tax CLIENT: TDIC CLIENT’S ADVISOR: Agence France-Muséums - Paris PROJECT MANAGEMENT: Architects and exhibition designers, lead ﬁrm, Adeline Rispal / Repérages Architectures - Paris Multimédia engineering and design: InnoVision - Paris Lichting: LKL - Bonn Brand and signage: Pentagram - London M&E: Setec Bâtiment - Paris Acoustics : Avls - Paris Construction costs management: Faithfull & Gould - London / Abou Dhabi Project management: Orenoque - Paris Images and ﬁlm : Antoine Buonomo and Ginger - Paris

LAD project

Museographic rooms in the heart of this dream palace, together with its walls, form a twofold envelope that protects the intimacy of the encounter between visitors and the works of mankind. This double skin also protects the works from the surrounding climatic extremes. The rooms of the palace create diverse rapports between the works, architecture and landscape. Their walls with variable porosity are constructed and deconstructed according to the requirements of the works that they house and bring face to face. They also open in various manners, in compliance with contextualization strategies. The walls of this imaginary palace, built along the lines of Near-Eastern and European cities, are the guardians of global memory, of immaterial world heritage. They themselves sometimes become immaterial in order to reveal their hidden treasures to curious visitors. They thus contextualize the works and establish links between eras and cultures: brief appearances on the walls, large-scale architectural pictures, as hazy as mental images, which ﬂeetingly sharpen into focus to show a certain detail…

WORLD TRADE CENTER MEMORIAL MUSEUM GROUND ZERO NEW YORK - U.S.A. Exhibition design

ADELINE RISPAL/REPÉRAGES ARCHITECTURES, IMREY CULBERT AND INNOVISION WERE ONE OF THE THREE GROUPS RETAINED BY THE WORLD TRADE CENTER MEMORIAL FOUNDATION FOR THE FINAL ROUND OF THE MUSEOGRAPHY COMPETITION FOR THE WORLD TRADE CENTER MEMORIAL MUSEUM, AT GROUND ZERO, NEW YORK. The exercise in style focused on a museum circuit that would descend into Ground Zero via a ramp, the ﬁrst point of contact between visitors and the interior world of the devastated site. An initiatory descent into the mausoleum formed within the museum by the presence of the ashes of over a thousand unidentiﬁed victims, preserved, at the request of their families, by the City of New York at an equal distance between the Twin Towers.

2007 RESTRICTED COMPETITION FINAL ARTISTIC DIRECTION AND EXHIBITION DESIGN. SURFACE AREA CA.: 9,000 m2 CLIENT: World Trade Center Memorial Foundation DESIGNERS: Architects and exhibition designers, lead ﬁrm: Adeline Rispal/Repérages Architectures - Paris Associate exhibition designers: Imrey Culbert - New York Consultant museologist: Julen de Ajuria-Guerra - Paris Software engineering and multimedia design: InnoVision - Paris Lighting: FMS - New York Visual identity and signage: Pentagram - New York Sound design: Louis Dandrel - Paris Project management: Orenoque - Paris Images and ﬁlm: Antoine Buonomo and Ginger - Paris

WTCM project

This circuit will come to an end at the Grotto, a space beneath the ramp, leading to the permanent exhibition rooms. Along the ramp, the chronological development of the catastrophe during the day on September 11, 2001, will be expressed through images (photos, videos…), gradually recalled as if delving deep into one’s memory: mental images hovering over a long glass wall, countless, inaccessible images representing the nightmare anchored in our collective memory today and for a long time to come. The images slowly appear and disappear, projected from behind the slightly translucid glass wall that also offers a glimpe of the empty Grotto, 14 metres below, a void at the back of which the material vestiges of the tragedy can be seen. In the Grotto, these material remains, chosen for their iconic quality, also belong to the ground. They are placed there unemphatically, without plinths or bases, without stage effects or showiness, behind the same glass curtain that, 14 metres above, acts as a screen for the images. Here, the glass is only transparent when seen from the front (translucent when viewed from the side). It thus limits an overly spectacular view of the ﬁre truck being crushed or of the building changing shape under the impact of the plane or the heat of the blaze. Each visitor can only have a partial vision, an intimate relationship with these objects and what they convey. Everyone will be bathed in the same diffuse light as the exhibits. The void overhead will recall how difﬁcult it was to choose which vestiges from the Twin Towers would become items in the collection.