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/11 feuillets
Chroniques d’une renaissance Musée de l’Homme, Palais de Chaillot, Paris
Museographic process
M200615T51
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The magazine /11 feuillets is available to the public during Chroniques d’une renaissance, the inaugural exhibition of the Musée de l’Homme, from 17 October 2015 to 13 June 2016. 10,000 copies were printed thanks to the support of the companies that conducted the work for the museographic renovations. Our thanks go to: Permasteelisa Interiors, display cases and furniture, language and cyclorama Cofely Axima, interior air conditioning of display cases Mercier Val de Loire, electricity CFO/CFA SDEL, display lighting La Serrurerie de la Parette, INFLEXION lamellar structure Videlio, audiovisual and multimedia equipment Boscher, graphics and display signs Creation of the museographic project team for the Musée de l’Homme Zen+dCo (design and museography) + Adequat (OPC economics) + Phung Consulting (CVC _ CFO/CFA) + Labeyrie & associés (multimedia engineering) + Polygraphik (graphics) + Locomotion (sign programming) and 8’18” (lighting design)
Printed with vegetable inks on 100% recycled paper by Frazier, FSC and ISO 14001certified printers
Zen+dCoOffice pour Design magazine www.zendco.com
/11 feuillets Chroniques d’une renaissance M200615T51 01/11
INFLEXION 02/11 REGARD 03/11 TEMPS 04/11 VERRE STAR 05/11 UPA MUSÉO 06/11 MUSÉO-DENSITÉ 07/11 PROCESSUS 08/11 NOMENCLATURE 09/11 INTÉRIEUR-EXTÉRIEUR 10/11 PLAN 11/11
Edition ZendCoOffice for design Editorial Jesus Pacheco 05/11, Zette Cazalas 01020304060708091011/11 Iconography Permasteelisa Interiors 0609/11, OttArt 10/11, SDEL 06/11, La Serrurerie de la Parette 0102/11, Cofely Axima 06/11, Labeyrie&associés 06/11, Polygraphik 09/11 and Studio Zen+dCO 01020304050708091011/11
M200615T51
An Endless Process One has got to know how to do it like anybody else. Burrow into the labyrinth of ideas, signs, dates, references, causes, research, enigmas, lies, bodies. A subjective museum of the collective. Collective Homo sapiens, the same as our modern humanity, inheritor of other humanities on the planet Earth. One with it. “The collective is nothing but the subject of the individual”, Jacques Lacan. We are on MY subject. My cycle of composition, re-composition, decomposition, through clarifications and adjustments to get closer to the fictive, unstable, chromatic substance that will make the museum. A life system. My subject is time and matter for an omnipresent permeability. The time of the telling, the matter of the site and that of the objects, the time of conception that transcends the obstacles in the night when thought travels to the mirage of an objective: the objective of an ideal museum. My subject is movement to dulcify the ideas until attaining their porosity, their permeability. The flow intermingles and museography is no longer the management of information, but the creation, the distinction, the singularization, the denomination of traces. At the beginning of the process, one looks for the tempo. One composes scales. One practices incessantly. Trance. And the line of movement in space is composition, vision. Existence. The articulation of ideas is the blueprint, urban reference, of the museography. Be one with the site, with the body of the visitor, with the visual density and that of the senses. Mystical ideal. In this conceptual gallop like drunkenness, the display-brain is invented; it is plastic, reactive, machine, memory, connection. In the theater, it would respond to the stage house visual, technical denomination. Here its new appellation to designate this communication machine that it forms as a unit or assembled with other displays. The galleries of the Palais de Chaillot will house the gallery of the evolution of Homo sapiens, derived from a diversity of human lines that the paleoanthropologists reconstitute bit by bit. The long term of our modern times, whose future is subject to debate: Beyond nature and culture? Philippe Descola The visual continuity of the space amplifying the gallery effect is metaphoric in the connection meaning/site. Adieu costumed mannequins and representations of the “noble savage”, let’s have a look at ourselves from the inside through the magnifying glass of evolution! A museum visit conceived as a stroll in a dynamic stratigraphy;
H2M Humano-muséo DENSITY / COMMUNICATION MACHINE / EVOLUTION
INFLEXION
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The magazine /11 feuillets is available to the public during Chroniques d’une renaissance, the inaugural exhibition of the Musée de l’Homme, from 17 October 2015 to 13 June 2016. 10,000 copies were printed thanks to the support of the companies that conducted the work for the museographic renovations. Our thanks go to: Permasteelisa Interiors, display cases and furniture, language and cyclorama Cofely Axima, interior air conditioning of display cases Mercier Val de Loire, electricity CFO/CFA SDEL, display lighting La Serrurerie de la Parette, INFLEXION lamellar structure Videlio, audiovisual and multimedia equipment Boscher, graphics and display signs Creation of the museographic project team for the Musée de l’Homme Zen+dCo (design and museography) + Adequat (OPC economics) + Phung Consulting (CVC _ CFO/CFA) + Labeyrie & associés (multimedia engineering) + Polygraphik (graphics) + Locomotion (sign programming) and 8’18” (lighting design)
Printed with vegetable inks on 100% recycled paper by Frazier, FSC and ISO 14001certified printers
Zen+dCoOffice pour Design magazine www.zendco.com
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Edition ZendCoOffice for design Editorial Jesus Pacheco 05/11, Zette Cazalas 01020304060708091011/11 Iconography Permasteelisa Interiors 0609/11, OttArt 10/11, SDEL 06/11, La Serrurerie de la Parette 0102/11, Cofely Axima 06/11, Labeyrie&associés 06/11, Polygraphik 09/11 and Studio Zen+dCO 01020304050708091011/11
INFLEXION
Humano-museo The museographic plan conjugates two grammars: spatial and conceptual. It designs the chosen syntax. Here open space, without breaks in the gallery areas, punctuated by volumes connected to addressing an intuitive behavior of the visitor. Pay tribute to a generation long past that lent their bodies to testify to the diversity of human beings, reflecting in the type of exhibition display the permanence of our species on this same planet are the objectives of the lamellar sculpture INFLEXION (h/incl. floor between 40 centimeters and 10.87 meters). It serves as a hub for deploying the three major sections of the museum. It connects the various levels of the visit. It summarizes the humanistic view of the Musée de l’Homme. It abolishes the architectural layers and becomes museographic identity. It’s a partner in a new geometry of the curved expanse of the galleries. Its burst of laughter. Aluminum 6061-T6 Tautened by the implicit musicality of the blades and cross struts assembled at mi-aluminum, its modular progression comes from a vanishing point outside the walls, cosmic, imaginary point of the position of a fictitious star, M200615T51: Musée de l’Homme star. The design of the sculpture optimizes the material used (aluminum alloy 6061-T6) and its realization applies techniques of digital die cutting and construction on several axes for an economy of means, without producing waste. One and all The museographic function of INFLEXION is to showcase the exceptional collection of sculpted portraits of men and women made by the anthropologists of the Muséum at the end of the 19th c.: researchers, collectors, witnesses, translators, and certainly admirers of the mysteries of human societies. Like the princes of the Renaissance assembling in their private studies the substratum of the world’s curiosities to marvel at them and try to conquer it, here is displayed the curiosity cabinet, the public kunstschrank dedicated to our species. Their codes and conventions are broken, as racial and social abuses perpetrated by men on men should be. Progression An architectural anti-partition gesture, INFLEXION makes a break between the components of the deconstructed body of the museum’s introductive section “Who are we?” stated in the museum display by what are we? and the pragmatic trajectory of linear time of “Where do we come from?” Remembering a trip to Japan, where the jutting wooden structure of the pillars or the fences of traditional houses obliges one, in politeness to one’s host, to lower one’s head at the risk of falling on one’s face on the wet stones of a summer garden: threshold. The architecture or the relationship of man with his milieu, a tool that museography uses to escape conscious perception and to make the heart of the subject the driving force regulating the progression of the visit.
VIEW
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The magazine /11 feuillets is available to the public during Chroniques d’une renaissance, the inaugural exhibition of the Musée de l’Homme, from 17 October 2015 to 13 June 2016. 10,000 copies were printed thanks to the support of the companies that conducted the work for the museographic renovations. Our thanks go to: Permasteelisa Interiors, display cases and furniture, language and cyclorama Cofely Axima, interior air conditioning of display cases Mercier Val de Loire, electricity CFO/CFA SDEL, display lighting La Serrurerie de la Parette, INFLEXION lamellar structure Videlio, audiovisual and multimedia equipment Boscher, graphics and display signs Creation of the museographic project team for the Musée de l’Homme Zen+dCo (design and museography) + Adequat (OPC economics) + Phung Consulting (CVC _ CFO/CFA) + Labeyrie & associés (multimedia engineering) + Polygraphik (graphics) + Locomotion (sign programming) and 8’18” (lighting design)
Printed with vegetable inks on 100% recycled paper by Frazier, FSC and ISO 14001certified printers
Zen+dCoOffice pour Design magazine www.zendco.com
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VERRE STAR 05/11 UPA MUSÉO 06/11 MUSÉO-DENSITÉ 07/11 PROCESSUS 08/11 NOMENCLATURE 09/11 INTÉRIEUR-EXTÉRIEUR 10/11 PLAN 11/11
Edition ZendCoOffice for design Editorial Jesus Pacheco 05/11, Zette Cazalas 01020304060708091011/11 Iconography Permasteelisa Interiors 0609/11, OttArt 10/11, SDEL 06/11, La Serrurerie de la Parette 0102/11, Cofely Axima 06/11, Labeyrie&associés 06/11, Polygraphik 09/11 and Studio Zen+dCO 01020304050708091011/11
VIEW
[...]vision takes place somewhere in the tactile space»
« M. Merleau-Ponty
Guessing game or “Who is it?”… 1 - Not a film!? 2 – Not really, there are but, not a cinema version. 1 - Not an image? 2 - Image… (separately: fragment factory. But how of fragments – of possible images make it a constructive principle that we see, that sees us?). 1 - No paintings? 2 – Some canvasses to show the different “ways”, throughout history, to represent prehistoric man, “cave man”… 1 - Sculptures? 2 - Sculptures, absolutely. 1 - No frescoes? 2 - Only surveys, in rotation for their conservation, very moving, those by Lhote in the Tassili an’Ajjer massif. 1 - Animals? 2 - Lots! 1 - No photos? 2 - Three, and more than sixty multimedia. 1 - Original objects? 2 - Yes, originals! And plaster casts and replicas, and artifacts. 1 - Tools, works of art, everyday objects, archives? 2 - All that. 1 - No music!? 2 - Yes, chants, language… 1 - Natural curiosities? 2 - Nothing but. 1 - Antiques? 2 - As far back as 7 million years ago! 1 - No houses? 2 - Yes, even a house. A game, an enigma, a labyrinth, a mess, a fear. Would an inventory be enough to define the substance of the Musée de l’Homme? Resume through reason and discourse, slightly tough, but that’s really what it is. And confront very quickly what Joyce called “the ineluctable modality of the visible.” The work of museum display means giving material existence to the objective reality of ideas, things that are thought, and from which the scientific program is written. An exercise like a tightrope walker, for the line wishes to be respectful of the universality and perfection of the thought. Creating the spatial characteristics so that “the object may be given in some way or another” and foster knowledge, “so that a link will emerge” to activate the process of memory and perception, this is the modus operandi for the loving ceremony that we imagine between the museum and its visitor. A dialectic of desire
TIME
« The child twists and turns the toy, scratches it, shakes it, bangs it against the wall, hurls it to the ground. From time to time he forces it to continue its mechanical movement, sometimes in the opposite direction. Its marvelous life comes to a stop. The child, like the populace besieging the Tuileries, makes a last supreme effort; finally he prises it open, for he is the stronger party. But where is the soul» C. Baudelaire, « Moral of the Toy».
The first envelopes were there. The museum’s galleries, still empty, and cluttered with tools and equipment, made a projected anachronistic metamorphosis possible. Prefiguring is usually done on a scale of 1 or virtually in the reserves. Figurations of the onsite projection of the museographic project, we were “on the grounds” in the light of the beams and the dust of the worksite, at the drafting of the project. The project in site and illusion. In connection with the visible world built from fragments of the history of humanity that researchers of the musée-laboratoire de l’Homme deposited in the museological scenario. Outside the identity of time, in the cluster of temporalities in which the future discoverers of the MDH will continue to circulate once the museum is opened.
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The magazine /11 feuillets is available to the public during Chroniques d’une renaissance, the inaugural exhibition of the Musée de l’Homme, from 17 October 2015 to 13 June 2016. 10,000 copies were printed thanks to the support of the companies that conducted the work for the museographic renovations. Our thanks go to: Permasteelisa Interiors, display cases and furniture, language and cyclorama Cofely Axima, interior air conditioning of display cases Mercier Val de Loire, electricity CFO/CFA SDEL, display lighting La Serrurerie de la Parette, INFLEXION lamellar structure Videlio, audiovisual and multimedia equipment Boscher, graphics and display signs Creation of the museographic project team for the Musée de l’Homme Zen+dCo (design and museography) + Adequat (OPC economics) + Phung Consulting (CVC _ CFO/CFA) + Labeyrie & associés (multimedia engineering) + Polygraphik (graphics) + Locomotion (sign programming) and 8’18” (lighting design)
Printed with vegetable inks on 100% recycled paper by Frazier, FSC and ISO 14001certified printers
Zen+dCoOffice pour Design magazine www.zendco.com
/11 feuillets Chroniques d’une renaissance M200615T51 01/11
INFLEXION 02/11 REGARD 03/11
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UPA MUSÉO 06/11 MUSÉO-DENSITÉ 07/11 PROCESSUS 08/11 NOMENCLATURE 09/11 INTÉRIEUR-EXTÉRIEUR 10/11 PLAN 11/11 Edition ZendCoOffice for design Editorial Jesus Pacheco 05/11, Zette Cazalas 01020304060708091011/11 Iconography Permasteelisa Interiors 0609/11, OttArt 10/11, SDEL 06/11, La Serrurerie de la Parette 0102/11, Cofely Axima 06/11, Labeyrie&associés 06/11, Polygraphik 09/11 and Studio Zen+dCO 01020304050708091011/11
TIME
ON AIR On June 24, 2015, we spent the night in the museum. Our night in the museum. Spike and Suzy’s adventure. Spread Spike and Suzy on the left, hands crossed behind the back (Suzy is the one who holds the visitor’s book, the way women held the road map _before GPS with female voices), Ambrose on the right, reticent about taking a look at the work, stands in the foreground before The Peasant Wedding (I know the title now). Scroll caption left
Spike, Suzy, and their excellent friend Mr. Ambrose, spend their leisure time admiring masterpieces in art museums.
Scroll caption right
Panel idem with Ambrose in the doorway hurrying toward another darkened room. Speech balloon
One day, when they stop before a painting by Pieter Breughel the Elder, Mr. Ambrose criticizes the master’s colors. - If you think these colors are ugly, Mr. Ambrose, it’s because you know nothing!
Suzy, light hair, dress with small white collar, buttoned at the neck, long slightly flowing sleeves, gathered at the cuffs, wide tennis stripes, à la Suzanne Lenglen, gathered at the waist to give a touch of femininity to her girlish silhouette, hair tied back (shorn? anyway looking as short as the boy Spike’s) and bowtie to put the finishing touch to the bun. It’s you, it’s me? It’s me! Panel Close up on Ambrose’s reel. Speech balloon
- What? Just wait until I paint my henhouse. It’ll be a lot more beautiful than these smears! And I won’t overload my painting with these horrible little guys!
Ambrose, three tufts of hair over his ears the opposite of the beak that passes off as a nose, and a mouth-chin surrounded by jowls. That one’s not me! Panel Zoom on the figure in the picture’s foreground: a child sitting on the ground and holding a dish. Caption
But as soon as Mr. Ambrose has spoken these sacrilegious words suddenly! Lo and behold! One of the figures in the picture starts to move…
Panel The dish is suspended, stew in the wind. Caption
Thrown with a sure hand, a bowl of gruel whizzes through the room…
Panel And here’s impeccable Ambrose splattered, reeling with the shock of the bowl of gruel hitting the back of his skull, and Suzy, dropping the visitor’s sheet from the shock, taken aback. Speech balloon
- ?.
End of the first page of the Spanish Ghost by Willy Vandersteen, and what if everything had started with « Yikes! There’s no time to lose! » uttered by the ghost himself, transporting the other three to the wedding with a magic formula and cabalistic sign. Caption
And suddenly a blinding light appears.
Page 4
That night we did a replay of the Ghost. Secret. Backwards.
GLASS STAR
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The magazine /11 feuillets is available to the public during Chroniques d’une renaissance, the inaugural exhibition of the Musée de l’Homme, from 17 October 2015 to 13 June 2016. 10,000 copies were printed thanks to the support of the companies that conducted the work for the museographic renovations. Our thanks go to: Permasteelisa Interiors, display cases and furniture, language and cyclorama Cofely Axima, interior air conditioning of display cases Mercier Val de Loire, electricity CFO/CFA SDEL, display lighting La Serrurerie de la Parette, INFLEXION lamellar structure Videlio, audiovisual and multimedia equipment Boscher, graphics and display signs Creation of the museographic project team for the Musée de l’Homme Zen+dCo (design and museography) + Adequat (OPC economics) + Phung Consulting (CVC _ CFO/CFA) + Labeyrie & associés (multimedia engineering) + Polygraphik (graphics) + Locomotion (sign programming) and 8’18” (lighting design)
Printed with vegetable inks on 100% recycled paper by Frazier, FSC and ISO 14001certified printers
Zen+dCoOffice pour Design magazine www.zendco.com
/11 feuillets Chroniques d’une renaissance M200615T51 01/11
INFLEXION 02/11 REGARD 03/11 TEMPS 04/11
VERRE STAR UPA MUSÉO
05/11
06/11
MUSÉO-DENSITÉ 07/11 PROCESSUS 08/11 NOMENCLATURE 09/11 INTÉRIEUR-EXTÉRIEUR 10/11 PLAN 11/11
Edition ZendCoOffice for design Editorial Jesus Pacheco 05/11, Zette Cazalas 01020304060708091011/11 Iconography Permasteelisa Interiors 0609/11, OttArt 10/11, SDEL 06/11, La Serrurerie de la Parette 0102/11, Cofely Axima 06/11, Labeyrie&associés 06/11, Polygraphik 09/11 and Studio Zen+dCO 01020304050708091011/11
GLASS STAR
A liquid that doesn’t know what it is. Recognized as being an extraordinarily viscous liquid element, its properties of solidity are ften questioned, nevertheless it is used in a structural or protective way: a second skin. It’s a waterproof recyclable envelope, which necessitates great precision when used. Glass alone is blind. Combined with other performance materials - glues, alloys, liquid crystal -, it opens an unexpected spectrum of applications that we used in this project. A hard, transparent material, supporting extreme temperatures without dilating, it belongs to a clean, eco-responsible industrial sector. With a clear continuous finish, it can be engraved, printed, perforated, sanded, expanded. Laminated glass is an assemblage of glass sheets and plastic dividers resulting from mistaken handling by Édouard Bénédictus in 1903. Interleaved with a polyvinyl butyral film that gives it new resistance properties, it becomes the receptacle for encapsulated and protected pictorial projections, while eliminating the two-sided baseline of the backdrop. Its specific applications to the museographic project are mirrored by a synthesis resulting from its transformation in three stages: Fusion Block out and protect from natural light while preserving transparency. Resist the structural stresses fit for a loadbearing wall. Limit air exchange to arrive at renewal over ten days, in order to guarantee optimal air conditioning, with the direct effect of savings in energy and consumption, while respecting conservation conditions for the artworks. Withstand fifty blows of an axe without splintering. A surface soft to the touch. Durability, without alteration over time. What more could we ask of this membrane? Tempering Combined with structural bonding techniques, it is used as a supporting wall and for structural reinforcement, avoiding the overuse of steel trusses. Wall-mounted display cases can thus be as much as four meters high without visible opaque uprights on the presentation perimeter. We explored the surface finish by sanding, acid baths, vat-dyeing, printing on both sides, adhesive films, in a deep bath of serendipity along with many trials and combinations. Always looking for a depth and variation of surface properties. Annealing Optimization of the volumes integrated with the building: 96 glass angles for 2,400 sq m of exhibition space (or four times less than standardized volumes used for display cases), representing vertical surfaces covering 819 sq m, inclined or horizontal surfaces representing 21 sq m. The fluidity of the visiting experience cannot be disassociated from that of natural light, from which however the objects must be protected. The three pentagonal alcoves, folding the depth of its container to envelop the works on the one hand and the visitor on the other, are associated with the fluidity of the galleries thanks to the plasticity of this material. As for the visitor, placed in the middle of these kaleidoscopes of notions, he becomes the master blender. The intriguing materiality of the enveloping surfaces of the alcoves is the culmination of a stratification of printing techniques and surfacing treatment, where enigmatic and sensual effect evolves with the natural light of the museum space.
MUSEO APU – Museographic autonomous performance unit
FLASH SNAP
version en anglais dessins muséo english version drawings collection
The magazine /11 feuillets is available to the public during Chroniques d’une renaissance, the inaugural exhibition of the Musée de l’Homme, from 17 October 2015 to 13 June 2016. 10,000 copies were printed thanks to the support of the companies that conducted the work for the museographic renovations. Our thanks go to: Permasteelisa Interiors, display cases and furniture, language and cyclorama Cofely Axima, interior air conditioning of display cases Mercier Val de Loire, electricity CFO/CFA SDEL, display lighting La Serrurerie de la Parette, INFLEXION lamellar structure Videlio, audiovisual and multimedia equipment Boscher, graphics and display signs Creation of the museographic project team for the Musée de l’Homme Zen+dCo (design and museography) + Adequat (OPC economics) + Phung Consulting (CVC _ CFO/CFA) + Labeyrie & associés (multimedia engineering) + Polygraphik (graphics) + Locomotion (sign programming) and 8’18” (lighting design)
Printed with vegetable inks on 100% recycled paper by Frazier, FSC and ISO 14001certified printers
Zen+dCoOffice pour Design magazine www.zendco.com
/11 feuillets Chroniques d’une renaissance M200615T51 01/11
INFLEXION 02/11 REGARD 03/11 TEMPS 04/11 VERRE STAR 05/11
UPA MUSÉO MUSÉO-DENSITÉ
06/11
07/11
PROCESSUS 08/11 NOMENCLATURE 09/11 INTÉRIEUR-EXTÉRIEUR 10/11 PLAN 11/11
Edition ZendCoOffice for design Editorial Jesus Pacheco 05/11, Zette Cazalas 01020304060708091011/11 Iconography Permasteelisa Interiors 0609/11, OttArt 10/11, SDEL 06/11, La Serrurerie de la Parette 0102/11, Cofely Axima 06/11, Labeyrie&associés 06/11, Polygraphik 09/11 and Studio Zen+dCO 01020304050708091011/11
MUSEO APU – Museographic autonomous performance unit
Off and running! The spaces in the Galerie de l’Homme are not air-conditioned: this is an energy choice. Studies and installation of air conditioning for the conservation of the heritage collections were concomitant to the museographic renovations. Three parallel layers of constraints were taken into account in the design of the renovations: - integration with the Palais de Chaillot, - requirements and performances to attain for the conservation of the collections, - minimum occupation of space to preserve fluidity for a comfortable visiting experience. The implantation, volume and proportions of the different presentation units respond to this set of conditions. Installing the collections means respecting the requirements generated by the latest knowledge about conservation of materials. A technical arborescence was deployed alongside the program of collections. CPP, or project notebooks performance, elaborated for this project, presents the results and objectives to be attained by museographic APU: lighting, temperature, hygrometry, and security levels. This implies an adaptation of prostheses to the dedicated spaces before display or hanging without temperature, hygrometric, or light regulation. The museographic exoskeleton must therefore be thought out as much as the necessarily transparent “flesh” that serves as an envelope to the collection, in terms of keeping distance, separation between the spaces dedicated to the public, technical spaces and the scientific laboratories. Developing a performing compatibility between these elements, these different skins, to cut across the functional reflexes that are usually applied to them, results in a mastery of museographic design. Grilles and terminals, often considered as functional residues have the privilege of being treated with the care usually reserved for the collections for which they make the compartment viable. The harmonization of these constraints is the guarantee of an optimal deployment of exploitation during operation and a possible reversibility: the pertinence of eco-design is at work. Museographic provision of utility services The wall spine running at the level of the three floor coverings is used as a longitudinal backbone to place an efficient presentation system. Direct connections are made possible for the fittings supported by the spine. Central or remote fittings are fed by the floor on each level, when passage allows it. An exceptional overhead extension is necessary in the case of those that cannot be reached. Air conditioning is the main vector in this invisible provision of utility services. Ten air conditioning units, spread over three levels, are either dissimulated in the technical galleries, when there is space, or integrated in the museographic service wall. In both cases, the rhythm is based on the geometric scansion of the spans of the galleries. Laminar-flow air supply at very low air velocity values and the Coanda effect, take over from air conditioning inside the compartments. Fresh air plenums, in the ceiling, and the return air plenums, in the flooring, inside the APUs, disappear by their compact design, combining lighting and technical compartments.
MUSEUM-DENSITY
FLASH SNAP
version en anglais dessins muséo english version drawings collection
The magazine /11 feuillets is available to the public during Chroniques d’une renaissance, the inaugural exhibition of the Musée de l’Homme, from 17 October 2015 to 13 June 2016. 10,000 copies were printed thanks to the support of the companies that conducted the work for the museographic renovations. Our thanks go to: Permasteelisa Interiors, display cases and furniture, language and cyclorama Cofely Axima, interior air conditioning of display cases Mercier Val de Loire, electricity CFO/CFA SDEL, display lighting La Serrurerie de la Parette, INFLEXION lamellar structure Videlio, audiovisual and multimedia equipment Boscher, graphics and display signs Creation of the museographic project team for the Musée de l’Homme Zen+dCo (design and museography) + Adequat (OPC economics) + Phung Consulting (CVC _ CFO/CFA) + Labeyrie & associés (multimedia engineering) + Polygraphik (graphics) + Locomotion (sign programming) and 8’18” (lighting design)
Printed with vegetable inks on 100% recycled paper by Frazier, FSC and ISO 14001certified printers
Zen+dCoOffice pour Design magazine www.zendco.com
/11 feuillets Chroniques d’une renaissance M200615T51 01/11
INFLEXION 02/11 REGARD 03/11 TEMPS 04/11 VERRE STAR 05/11 UPA MUSÉO 06/11
MUSÉO-DENSITÉ PROCESSUS
07/11
08/11
NOMENCLATURE 09/11 INTÉRIEUR-EXTÉRIEUR 10/11 PLAN 11/11
Edition ZendCoOffice for design Editorial Jesus Pacheco 05/11, Zette Cazalas 01020304060708091011/11 Iconography Permasteelisa Interiors 0609/11, OttArt 10/11, SDEL 06/11, La Serrurerie de la Parette 0102/11, Cofely Axima 06/11, Labeyrie&associés 06/11, Polygraphik 09/11 and Studio Zen+dCO 01020304050708091011/11
MUSEUM-DENSITY
Introducing tools that justify by reason what we are told by intuition Museography, the elaboration of the museum’s form, and by extension that of the permanent collection, is not subject to scientific work as is the museological view that underpins the program based on the objects and ideas or on research. It has no defined model for as Stanislas Adotevi was able to write, “the museum as such means nothing. It’s an action to perform…” It is a conceptual contribution based on architectural and graphic work that follows a process of elaboration according to a linear schema—contrary to the view, built around a concentric schema—whose core areas are the following: - general scientific program, - museological program divided into elements, - mediation program (scientific and educational content) of each element, - maintenance and conservation program, - visitor ergonomics program. From this inseparable duality springs a cyclical transformation resulting in a mutation in each of these fields. Inclined towards the non-production of an “area of magical concentration”, we have introduced a three-dimensional graphic semiology, so that the iterative flow of transformation may be oriented by rational arguments for which the spatial impact relative to the program and its corollary, the space dedicated to the public, is the main theme. At the Musée de l’Homme, where the cultural vocation overlaps with the scientific vocation of the research laboratories attached to the Muséum national d’Histoire naturelle, we find ourselves in an encyclopedic museum structure, opened onto a world of humans and a world of human societies, in the interdisciplinarity of knowledge that cumulates the function of conservation and teaching. What about the concept of musée-laboratoire established by Paul Rivet and Georges-Henri Rivière? The question of inheritance is undeniably posed. Insurance, life! The museum is a public institution that undergoes, and sometimes provokes, the mutations, external to its substance, coming from the societies on which it depends. The creation of the Musée du Quai Branly is one of them in the history of this museum and its collections. Let the post-traumatic ambiguity of the event be swept away! The centering on the history of man in his environment consists today in deploying the palette of all the means of mediation: from the object to the artifacts, including multimedia, facsimiles, plaster casts, participatory spaces, etc. So attaching a label to the Musée de l’Homme, even for its form, is still premature. And to evolve toward this new undefined form, the tool of museum-density allowed us to: - spatialize the scientific program, find a place for forms and views, - summarize and simplify without reducing scientific content, - integrate the different mediation components, - act as a database for all the means of mediation.
PROCESS
FLASH SNAP
version en anglais dessins muséo english version drawings collection
The magazine /11 feuillets is available to the public during Chroniques d’une renaissance, the inaugural exhibition of the Musée de l’Homme, from 17 October 2015 to 13 June 2016. 10,000 copies were printed thanks to the support of the companies that conducted the work for the museographic renovations. Our thanks go to: Permasteelisa Interiors, display cases and furniture, language and cyclorama Cofely Axima, interior air conditioning of display cases Mercier Val de Loire, electricity CFO/CFA SDEL, display lighting La Serrurerie de la Parette, INFLEXION lamellar structure Videlio, audiovisual and multimedia equipment Boscher, graphics and display signs Creation of the museographic project team for the Musée de l’Homme Zen+dCo (design and museography) + Adequat (OPC economics) + Phung Consulting (CVC _ CFO/CFA) + Labeyrie & associés (multimedia engineering) + Polygraphik (graphics) + Locomotion (sign programming) and 8’18” (lighting design)
Printed with vegetable inks on 100% recycled paper by Frazier, FSC and ISO 14001certified printers
Zen+dCoOffice pour Design magazine www.zendco.com
/11 feuillets Chroniques d’une renaissance M200615T51 01/11
INFLEXION 02/11 REGARD 03/11 TEMPS 04/11 VERRE STAR 05/11 UPA MUSÉO 06/11 MUSÉO-DENSITÉ 07/11
PROCESSUS NOMENCLATURE
08/11
09/11
INTÉRIEUR-EXTÉRIEUR 10/11 PLAN 11/11
Edition ZendCoOffice for design Editorial Jesus Pacheco 05/11, Zette Cazalas 01020304060708091011/11 Iconography Permasteelisa Interiors 0609/11, OttArt 10/11, SDEL 06/11, La Serrurerie de la Parette 0102/11, Cofely Axima 06/11, Labeyrie&associés 06/11, Polygraphik 09/11 and Studio Zen+dCO 01020304050708091011/11
PROCESS
The processes for creating the project are more interesting than the ideas. They produce, during the planning stages, a formal organization more sophisticated and complex than the application of an “instantaneous� idea. Process in the plural, because they are multiple and multifaceted: drawings, lists (classify, organize, assemble), matching them to ideas, materials, eco-design, interfaces with the envelope, timing strategies, technical problem-solving, budget management, moving works. The processes gave rise to micro-stories within the project, narrations in which the project entity was broken down into sequences that drifted to a form of stability that could be challenged by a related sequence. An unstable balance emerged; we had to know how to wander, navigate and recognize the potential of these emergences. The eruption of ideas remained however dormant. In the mechanics of activation of movements, the trajectories can always be changed. Rare are the pitches that go by the quickest route, without obstacles, from point A to point B. The added value is proportionate to the uneasiness of the person who expects an immediate image. A museographic project is the opposite of a finished picture. If the production of fixed images is necessary for the communication of the project in progress, the Polaroid print disaggregates them, and the unveiling produces pleasure or wonder before possibly being abandoned. The processes are the source of an easily accepted grief, like the work behind the scenes that is not seen by the public. The process invents a new language that assembles the different museum fields (museological design/museographic design) around the project. This language is unique and cannot be transposed from one project to another. Forcing it puts the process to a stop and ends in indifference to the detriment of the subject to be addressed. We participate, thanks to information technology, in the synthesis and proliferation of several stories in the elaboration of the project, enriched by a simultaneous input of knowledge about the project itself. The acquisition of this knowledge, which can participate in a revelation, is re-injected into the elaboration and development of other museographic sequences. Abolition of hierarchy and all morality when a new momentum is essential. Often equated with the stage of studies, the process of production of the museographic project does not stop at the deliverables and consultation papers, markers of a contractual stage. It extends to its material implementation. Like the distressing fascination that can be created by an operation in the process of implementation, the project continues to be written Progression.
NOMENCLATURE
FLASH SNAP
version en anglais dessins muséo english version drawings collection
The magazine /11 feuillets is available to the public during Chroniques d’une renaissance, the inaugural exhibition of the Musée de l’Homme, from 17 October 2015 to 13 June 2016. 10,000 copies were printed thanks to the support of the companies that conducted the work for the museographic renovations. Our thanks go to: Permasteelisa Interiors, display cases and furniture, language and cyclorama Cofely Axima, interior air conditioning of display cases Mercier Val de Loire, electricity CFO/CFA SDEL, display lighting La Serrurerie de la Parette, INFLEXION lamellar structure Videlio, audiovisual and multimedia equipment Boscher, graphics and display signs Creation of the museographic project team for the Musée de l’Homme Zen+dCo (design and museography) + Adequat (OPC economics) + Phung Consulting (CVC _ CFO/CFA) + Labeyrie & associés (multimedia engineering) + Polygraphik (graphics) + Locomotion (sign programming) and 8’18” (lighting design)
Printed with vegetable inks on 100% recycled paper by Frazier, FSC and ISO 14001certified printers
Zen+dCoOffice pour Design magazine www.zendco.com
/11 feuillets Chroniques d’une renaissance M200615T51 01/11
INFLEXION 02/11 REGARD 03/11 TEMPS 04/11 VERRE STAR 05/11 UPA MUSÉO 06/11 MUSÉO-DENSITÉ 07/11 PROCESSUS 08/11
NOMENCLATURE INTÉRIEUR-EXTÉRIEUR PLAN 11/11
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10/11
Edition ZendCoOffice for design Editorial Jesus Pacheco 05/11, Zette Cazalas 01020304060708091011/11 Iconography Permasteelisa Interiors 0609/11, OttArt 10/11, SDEL 06/11, La Serrurerie de la Parette 0102/11, Cofely Axima 06/11, Labeyrie&associés 06/11, Polygraphik 09/11 and Studio Zen+dCO 01020304050708091011/11
NOMENCLATURE
We announce the possibility to do A tool for insurance and consolidation of the elements of the project corollary to the magma of the process, nomenclature is the means to find a common language among the envelopes, content materials, and their production, entrusted to artisanal and industrial building sectors. It does not reveal styles, adaptations, or particularities inherent to each element in the list, it even erases the divisions. Its action is effective in a role of common denominator shareable by different working groups that practice the project without knowing how to call it or only knowing it from their viewpoint. Nomenclature goes through the filter of reason that makes the material components of the project clear and fixes them at the critical juncture of their technical pre-description. The main infrastructures qualifying the layout in terms of museum functions are then given a name. Before being classification, it is denomination. A name thus correspond to the formal logic of the element, its implantation, its function, and its number. After decantation To face this reduction, which can be equated with a lexical impoverishment and simply with impoverishment, our role is to preserve the substance of the installation: that is to say the essence (absolute of a perfume), which contains the meaning. Exigency and refinement at work, beyond a stage that is not to be considered as an outcome. With this operation of smoothing, several temporalities overlap, unaware of each other. Here the role of the museographer takes on its full meaning by ensuring a technical, esthetic, conceptual synthesis. The diversity of the different combined strata preserves a personal radiance, like an interior light of each element passing through the filter of nomenclature. Instructions for use VM, Wall showcase – 11 units VAL, Alcove showcase – 4 units VFS, Freestanding showcase – 15 units SP, Separate base – 8 units SHOMI, Hominid base – 4 units SAC, Accessibility stand – 15 units TAB, Table – 3 units AD, Sit stand – 20 units EC, Screen – 2 units TAP, Carpet – 2 units CAB, Cabin – 2 units SCULPT, Sculpture – 4 units MM, Multimedia – 62 units LANG, Language sculpture– 1 unit STB, Structure busts – 1 unit 7T, 7 Lands – 1 unit CYL, Cyclo – 1 unit
INTERIOR-EXTERIOR
FLASH SNAP
version en anglais dessins muséo english version drawings collection
The magazine /11 feuillets is available to the public during Chroniques d’une renaissance, the inaugural exhibition of the Musée de l’Homme, from 17 October 2015 to 13 June 2016. 10,000 copies were printed thanks to the support of the companies that conducted the work for the museographic renovations. Our thanks go to: Permasteelisa Interiors, display cases and furniture, language and cyclorama Cofely Axima, interior air conditioning of display cases Mercier Val de Loire, electricity CFO/CFA SDEL, display lighting La Serrurerie de la Parette, INFLEXION lamellar structure Videlio, audiovisual and multimedia equipment Boscher, graphics and display signs Creation of the museographic project team for the Musée de l’Homme Zen+dCo (design and museography) + Adequat (OPC economics) + Phung Consulting (CVC _ CFO/CFA) + Labeyrie & associés (multimedia engineering) + Polygraphik (graphics) + Locomotion (sign programming) and 8’18” (lighting design)
Printed with vegetable inks on 100% recycled paper by Frazier, FSC and ISO 14001certified printers
Zen+dCoOffice pour Design magazine www.zendco.com
/11 feuillets Chroniques d’une renaissance M200615T51 01/11
INFLEXION 02/11 REGARD 03/11 TEMPS 04/11 VERRE STAR 05/11 UPA MUSÉO 06/11 MUSÉO-DENSITÉ 07/11 PROCESSUS 08/11 NOMENCLATURE 09/11
INTÉRIEUR-EXTÉRIEUR PLAN
10/11
11/11
Edition ZendCoOffice for design Editorial Jesus Pacheco 05/11, Zette Cazalas 01020304060708091011/11 Iconography Permasteelisa Interiors 0609/11, OttArt 10/11, SDEL 06/11, La Serrurerie de la Parette 0102/11, Cofely Axima 06/11, Labeyrie&associés 06/11, Polygraphik 09/11 and Studio Zen+dCO 01020304050708091011/11
INTERIOR-EXTERIOR
How can you make the envelope of the object permeable to its environment without going against the protection it provides? The artificial distancing and separating formed by the envelopes around the coupled notions/ collections bring us closer to them. This may seem paradoxical, since a spatial boundary is put into place and this boundary defines contrary types of areas: open/confined, full/empty, accessible/inaccessible. This paradox is made possible because we assign functions to these envelopes that go well beyond those connected to the protection and preventive conservation of the works. The new functions that we bring to the project are those of the compartments on the one hand, that we use to define interior spaces, and that of the frames of vision on the other, that we use to define the exterior space. Together these two functions mirroring each other engage the visitor in an active participation in wonder, discovery and learning. Tuning frequency M200615T51 Compartments or frames, these envelopes develop the qualitative principles in the way of seeing and in those of spatially assembling and distributing, to give the meaning elaborated by the museological program. Resolution in both cases of the challenge of museum-density, these envelopes are designed in the same way as the plan, like a semantic topology. The deformations created to present the objects form a relief that modulates perception and organizes the information. The first perception of the envelopes is striking (frame) and naturally leads to a spontaneous deepening (perspective of the compartment). A blurring of interior/exterior oscillations for a continuous movement, which corresponds to their natural kinetics, is obtained thanks to the sophistication of the interior arrangement of the compartments and the contours of the frames. Whether interior (envelopes) or exterior (galleries) we no longer organize information in terms of successive plans but in terms of flow. The basis of the project consists of deploying the specter of museographic waves (perception, time, performance, density, etc.) everywhere in the Galerie de l’Homme and ensuring that the visitor is on that frequency.
PLAN
FLASH SNAP
version en anglais dessins muséo english version drawings collection
The magazine /11 feuillets is available to the public during Chroniques d’une renaissance, the inaugural exhibition of the Musée de l’Homme, from 17 October 2015 to 13 June 2016. 10,000 copies were printed thanks to the support of the companies that conducted the work for the museographic renovations. Our thanks go to: Permasteelisa Interiors, display cases and furniture, language and cyclorama Cofely Axima, interior air conditioning of display cases Mercier Val de Loire, electricity CFO/CFA SDEL, display lighting La Serrurerie de la Parette, INFLEXION lamellar structure Videlio, audiovisual and multimedia equipment Boscher, graphics and display signs Creation of the museographic project team for the Musée de l’Homme Zen+dCo (design and museography) + Adequat (OPC economics) + Phung Consulting (CVC _ CFO/CFA) + Labeyrie & associés (multimedia engineering) + Polygraphik (graphics) + Locomotion (sign programming) and 8’18” (lighting design)
Printed with vegetable inks on 100% recycled paper by Frazier, FSC and ISO 14001certified printers
Zen+dCoOffice pour Design magazine www.zendco.com
/11 feuillets Chroniques d’une renaissance M200615T51 01/11
INFLEXION 02/11 REGARD 03/11 TEMPS 04/11 VERRE STAR 05/11 UPA MUSÉO 06/11 MUSÉO-DENSITÉ 07/11 PROCESSUS 08/11 NOMENCLATURE 09/11 INTÉRIEUR-EXTÉRIEUR 10/11
PLAN
11/11
Edition ZendCoOffice for design Editorial Jesus Pacheco 05/11, Zette Cazalas 01020304060708091011/11 Iconography Permasteelisa Interiors 0609/11, OttArt 10/11, SDEL 06/11, La Serrurerie de la Parette 0102/11, Cofely Axima 06/11, Labeyrie&associés 06/11, Polygraphik 09/11 and Studio Zen+dCO 01020304050708091011/11
PLAN
What is a museographic plan? Topography of the visiting experience, entering the envelope of the galleries, to which it will adapt without depending on the strata (different levels) that are imposed. That is to say, immediately a relief. An edge, in a territory confined to the site serving as gravity but which acquires mobility through the propagation of perspectives coming from random wanderings through the museum. A museographic plan is a sort of soil-less culture that rests on a base floating on a new conquered space, as if the plan’s site only existed between two states, in perpetual mutation. Fixing it is mastering movement when it stops. The movement of invented assemblages of the objects that look at us, the movement of the absence of the absent. Between dusk and dawn, between morphology and subjectivity, technique and intuition, outdoor and indoor, discourse and silence, objects and immortality, between time and space, the plan reaches into the dialectic of meaning, devotes its vitality and energy to it, ensures its proliferation. 24% and 76% are the proportions of occupation of the museographic work of the Galerie de l’Homme on all its levels. The full and the empty distributed, results of the iterative synthesis of the contents, self-lock to create a constant membrane of porosity which is the veritable, but impalpable, production site of a territory, itself in expansion, that will be the property of each visitor. His political place. His vehicle. The plan is a technical transcription; a representation of movements, analogous to what writing is to language, artificiality, a signal of signs, that organizes, punctuates, distributes, and modulates the transmission of notions. It becomes function. The function of the plan is to offer comfort and ergonomy of expansion: returning, accelerating, crossing, targeting, going around, sheltering, etc., according to anteriority or future events, to define the necessary frame to the confrontation with the objects and the communication of ideas. The plan is the imprint (plaster cast) of tangible and intangible traces. It is neither the real, nor the “anti-real”. The silence of what is, an abstract mental construction. An irrational substance, a capacity to regulate.
In the beginning I go between the waves that contain. Vectors that orient. That seem to come from afar. Have left their traces here and there. They place me. And I find myself in an ideal field for hide and seek where there are two volumes that I don’t know how to define. We make an appointment but we get lost. Magic lanterns. Endless contours. In the middle of the kaleidoscope, I’m the doll that’s being watched. Dance floor. But I know that I have to go toward something. Towards that strange, light mass. The call of the strange attracter that means once the threshold is crossed - or the saturated sound attained -, I will be sucked up by the two-fold horizontal inflexion of the building and the vertical ascent of the busts. The two ends. And in this passage, there is oscillation; traces of falling leaves that outline isthmuses. Isthmuses of times carrying shades in stone that will drift from species to species like a sleepwalker. Expansion of the horizon until it forms a backdrop enveloping the turnaround. But curiosity, like the surf, digs a stream, incites one to go beyond the beyond. Tired, like Ulysses, I have to come back by a path that will be difficult. In resonance with the building. I see what I have just crossed. Variation of viewpoint: what was seen on the horizontal, now I overlook it. Sweeping panoramic effect. The fragments couple, and coincide. Suspensions discernable on the four sides, the hallucinating double of the surf is weightless. No more gravity. The climb may continue and never stop. This is what will happen to me. Softness, matter, whale baleen, flexibility and roundness, I could be in a nest. I want to stay here, not to move, to explore everything, to transform myself. To follow this man who has been running for a long time and to jump from hill to hill. I think that after all, the top seen from the top isn’t high at all, it’s even close. Everything has become accessible. The strange white attracter has been changed into an enchanted machine that drips into a house and then into a seed and takes me on soft soil haloed by two hands that join to play with a telescope. I’m in a strange state. Inside or outside myself?
M200615T51