Zen+dCo book English Version Avril 2016

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April 2016 edition

musEo NEWS

Currently

the studio is working on

All the Perfumes of Arabia preview exhibition.... and the Origins of Perfume Museum, Muscat, Sultanate of Oman Permanent museography, art direction and museology for the development and production of multimedia content for the interpretation centre and interpretive visit at the Cucuruzzu and Capula site, Corsica, France with the Paul Franceschi architectural agency, Ajaccio, contracting authority: CTC

Museographic conception, museology, acquisition of collections for MKKO, private interpretation centre for chocolate, client chocolatier Sève, Lyon, France

Scenography for Moby Dick or the Sperm Whale, based on Herman Melville’s novel written and directed by Chantal Mélior for the Théâtre du Voyageur troupe, in 4 episodes from January 2017 onwards

In competition: Museography and art direction for the Musée national de l’Archéologie et des Sciences de la Terre, Rabat, Morocco with the Abdelouahed Mountassir architectural agency, Casablanca, contracting authority: Ministry of Culture, Morocco

Museography of the Albert I room at the Oceanographic museum of Monaco, with the Alexis Blanchi architectural agency, Monaco

Feasibility study for the development of a Dino Parc in Azilal province,

Morocco, contracting authority: Ministry of Tourism, Moroccan tourism

engineering company, with Avesta Group, Bertrand Houin, landscaper, Triki engineering and Atelier Abdelouahed Mountassir, representative

CORPOREA, Museo virtuale del corpo umano, permanent

museographic layout (conception-production) for the Città della Scienza in Naples, with Frédérique de Vignemont, scientific advisor, Permasteelisa, interior designer, Pietro Nunziante, architect, Stéphano Gargiulo, cross-media, Maurizio Braucci, scriptwriter and Mariana Rondon, artist

Recently

the studio’s notable projects

- permanent museography, graphics and art direction of the

Musée de l’Homme, Palais de Chaillot, Paris, 2015

- permanent museography, graphics and art direction of the summary

benchmark exhibition “Species, the web of life” at the Musée des Confluences,

Lyon, France - 2014

- mise en scène for MuCEM (ex MNATP) historical collections, “Le temps des loisirs”, museography, graphics and art direction, MuCEM Fort Saint Jean, Marseille - 2013 - permanent museography of the Musée national de porcelaine Adrien Dubouché, Limoges - 2012

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Paris - Musée de l’Homme – April 2016 Galerie de l’Homme, permanent exhibition, Espace Qui sommes-nous? (part 1) The length of a large wall showcase... In the foreground the presentation area shared by the History of Sciences sections: here phrenology.

Is “museum” the most pertinent name for the Galleries of Man? Maybe not but it has become a label! The term musée-laboratoire (laboratorymuseum) Paul Rivet used in 1937 places the Galerie de l’Homme in the realm of research: a scientific and philosophical meeting-place where thoughts, ideas, knowledge, objects, and observations are in interaction with visitors. Despite this the museum is not yet defined and feels confined in anthropology. These are the “what’s this” in all directions that are exhibited. A Trans-museum then between contemplation of existing things and things that pre-existed?!

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PRINCIPAL PROJECT REFERENCES

musEUMs - permanent exHIBitions

2015

Musée de l’Homme, Palais de Chaillot, Paris Museum national d’Histoire naturelle, OPPIC 2,400m² - 6.2 M€ project manager for museography and graphics, architects Olivier Brochet and Emmanuel Nebout, Bordeaux, France

2014

“Species, the web of life”, Musée des Confluences, Lyon

2013

MuCEM Fort Saint Jean, Marseille

2012

Musée national de la porcelaine Adrien Dubouché, Limoges

2008

Musée Masséna, Nice

2006

Musée Bernard d’Agesci, Niort, France Communauté d’agglomération de Niort 5 000m² - 1 M€ project manager for museography, architects BLP and King-Kong, Bordeaux

2004

Zoorama de Chizé, forêt de Chizé, France

2002

Extension of the Peace Memorial, Caen, France

2001

Musée basque et d’histoire de Bayonne, Bayonne, France

1999

Musée de la nacre et de la Tabletterie, Méru, France

1997

Musée des Bastides, Monflanquin, France

Département du Rhône, SERL 1,000m² - 2.35 M€ project manager for museography, architect Wolf Prix, Vienna

Ministry of Culture, OPPIC 1,100m² - 3.5 M€ project manager for museographic installations, architects Roland Carta and Rudy Riccioti, Marseille and Bandol

DRAC Limousin and Service des Musées de France, ICADE 2,400m² - 1.55 M€ project manager for museography, architect Boris Podrecca, Vienna

City of Nice 1,000m² - 1 M€ project manager for museography, architect Philippe Mialon, Nice

Conseil Général des Deux Sèvres 900m² - 0,54 M€ project manager for museography

City of Caen 4,000m² - 3.4 M€ project manager for museography and graphics, architect Jacques Millet, Caen

Bayonne City Hall 4,000m² - 3.46 M€ project manager for museography, architect ACMH Bernard Voinchet, Tarbes and architect Bernard Althabegoity, Paris

District of Sablons, Villeneuve Les Sablons 1,200m² - 2 M€ project manager for museography, design and project supervision

Monflanquin City Hall 0.54 M€ museological and museographic conception and graphics

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MUCEM-FORT SAINT JEAN - Le temps des loisirs - 2013 - Installation l’oEil et l’eSprit sont Ouvert aux Nuées under construction at the workshop in Marseille.

A folly (in the 18th century sense of the term) consisting of four women’s faces assembled and oriented according to the cardinal points on the fort’s Place du Dépôt is a marionette or puppet theatre. It recalls and is inspired by ancient Greece. A few months later in Naples on one of the hills of the city, in the atelier of Bruno Leone, the last heir of Neapolitan Pulcinella, some bundles of wood are stored to make his figures: “Where does this wood come from?” - “From Ithaca”, he replies, “I’m particular about their origins”. A trip around the Mediterranean…

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PRINCIPAL PROJECT REFERENCES

TEMPORARY EXHIBITIONS Principal realisations classified according to our main clients

AFEX

CMN Centre des Monuments Français Hôtel de Sully

Le monde de Proust

Claude Perrault ou la curiosité d’un classique

Le Marais, mythe et réalité

Le Corbusier, le passé à réaction poétique

The projected city - Beijing and Shenyang The projected city - Sao Paulo

French Visions - Beijing, Shanghai, Chongqing

2007 500m² 2005 600m² 2005 400m²

1991

300m²

1988

600m²

1987 1200m² 1987 1200m²

Conciergerie

Un canal des canaux

Trouver Trieste

1986 1700m²

2004 2500m²

Le Compa, Chartres

Parfums, le pouvoir des odeurs

Plaine Terre

2000 2500m²

CSI Cité des Sciences et de l’Industrie (Universcience)

Contrefaçon, la vraie expo qui parle du faux L’Homme transformé

Une vie électrique, voyage dans le quotidien

Shanghai World Exposition

Pavilion of the Bolivarian Republic of Venezuela

Grand Palais-RMN

Force de l’art 02

1985 1700m²

2010

450m²

2001

900m²

1996 1200m²

2010 Pavillon

2009 4 000m²

INRAP

C’était là ! Sous nos pieds...

100 000 ans sous les rails

2014-2016 2006-2010

500m² 300m²

Musée Galliéra

Le monde selon ses créateurs

1991

600m²

2006

400m²

Sotheby’s galerie Charpentier, Paris

Turkophilia Révélée

2011

350m²

Ville de Besançon

L’arpenteur du Roi

2007

900m²

Musée Granet, Aix en Provence

Cézanne, voir autrement

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* Boris Achour, Kader Attia, Véronique Aubouy, Fayçal Baghriche, Gilles Barbier, Olivier Bardin, Dominique Blais, Michel Blazy, Xavier Boussiron et Arnaud Labelle-Rojoux, Alain Bublex, Butz&Fouque, Stéphane Calais, Mircea Cantor, James Coleman, Pascal Convert, Damien Deroubaix, Dewar&Gicquel, Nicolas Fenouillat, Jean-Baptiste Ganne, Fabien Giraud et Raphaël Siboni, Grout/Mazéas, Fabrice Hyber, Le Gentil Garçon, Guillaume Leblon, Frédérique Loutz, Stéphane Magnin, Didier Marcel, Philippe Mayaux, Anita Molinero, Bruno Peinado, Philippe Perrot, Julien Prévieux, Cannelle Tanc et Frédéric Vincent , Fabien Verschaere, Wang Du , Virginie Yassef.

La Force de l’ART 02 - Grand Palais, Paris - 2009 - Axonometric view of Géologie Blanche, architect Philippe Rahm’s Space-Time concept for the exhibited works of 40 “Resident”* artists: a world of tectonic plates, topped by volumes springing from the ground, that unfold and divide according to the singular expressivity of each work or body of work. Project studies, development, dimensioning, distribution, construction choices, project management (construction management, planning, financial monitoring), and interfaces with the works management were the main functions of our assignment for the project led by the RMN with the scientific expertise of Jean-Louis Froment, Jean-Yves Jouannais and Didier Ottinger.

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PRINCIPAL PROJECT REFERENCES

CONCOURS

2016

2014

Permanent exhibition: CORPOREA, museo virtuale del corpo umano, Città della Scienza, Naples, 2,500m² - 4 M€ design-realisation with Frédérique de Vignemont, scientific advisor, Permasteelisa, interior designer, Pietro Nunziante, architect, Stéphano Gargiulo, cross-media, Maurizio Braucci, scriptwriter and Mariana Rondon, artist

Creation of a museum space, Cité du Cuir, Saint Junien, France 2,500m² - 1.5 M€ project manager for museography and graphics

2013

French Pavilion, Architecture Biennale 2014, Venice

2012

Cité internationale de la tapisserie et de l’art tissé, Aubusson, France

2012

Musée Arthur Rimbaud Rehabilitation, Charleville Mézières, France

2011

Musée du Compa, Chartres

2010

Pyramid Project, Musée du Louvre, Paris

2007

Permanent exhibition Terre vue de l’espace, CSI, Paris 500m² - 0.5M€ project manager for museography and lighting

2004

Cité des Matières Interpretation Centre, Valasse, France 1,800m² - 2.1M€ project manager for museography, co-contractor representative agency Brochet-Lajus-Pueyo, Bordeaux

2003

Freedom Park Architectural, Pretoria, South Africa 3,700m² - 6.7M€ International Ideas Competition

2003

Museo de la Indumentaria, centro de documentacion del patrimonio etnografico, Madrid, Espagne 2 000m² project manager for museography

2002

The Grand Egyptian Museum, Giza, Egypt 86 000m² - 327M€ International competition

Cité de l’architecture et du patrimoine, Palais de Chaillot project manager for museography

5 000m² - 5,7 M€ project manager for museography, co-contractor representative architect Frédéric Borel, Paris 500m² - 3,6 M€ project manager for museography, co-contractor representative architect Stéphane Malka, Paris Conseil Général d’Eure et Loir 2 300m² - 0,6 M€ project manager for museography, co-contractor representative architect Stéphane Malka, Paris

8 000m² - 8M€ interior architecture - museography, principal associate to architect Amanda Levete, London

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Charleville Mézières - Musée Arthur Rimbaud - 2012 - View of the vertical cave of the Great Nave of the Mill.

We wanted a place free of all conditions of time and space, like in Barbarian (Illuminations): “Long after the days and the seasons, and the beings and countries…” in order to plunge the visitor into a space suggesting excess, chaos, new beginnings, and create a new reality, a hallucinatory vision so that the visitor discovers a new world in this museum dedicated to the poet.

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CORPOREA - Citta della Scienza, Naples 2016 - The building designed by the architect Massimo Pica Ciammara has an organic shape with floors receiving the exhibition organised on three levels.

Above a study of the regulating layout to place the museographic installations based on the lines extracted from the drawing of the building, circulation constraints, the impact of data, and the objectives of connections between the various themes.

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2016

Projet CORPOREA, Citta della Scienza, Naples

“The contour of my body is a border that ordinary spatial relations do not cross.”

Maurice Merleau- Ponty Extraits du texte de Fréderique de Vignemont, scientific advisor, member of CNRS and the Jean Nicod Institut

THE BODY: A UNIQUE OBJECT What differences exist between the limited portion of space that is my body and the rest of the world? In one sense none. The body is an object like any other, possessing a certain shape with delineated boundaries evolving in a larger space occupied by a multitude of other objects. It can be measured, drawn, sculpted, even cut up. At first sight nothing seems to differentiate it from the chair it may be seated on.

Yet the body is an object like no other in more ways than one. First of all it is the only object that never leaves us. It’s also the object that I know best, or at least the one I should know best given the wealth of permanent information that I receive about it (...).

In addition to the information given by the five classic senses (sight, touch, hearing, smell and taste), we constantly receive signals on the state of our bodies from a set of sensory receptors, such as the nociceptors (for pain), the proprioceptors (for the body’s position), the thermoreceptors (for the temperature), and the vestibular system (for balance). While the classic senses inform us about an almost infinite number of objects, the interior “senses” specialise in processing information solely about our bodies. Our daily life revolves around a wide range of bodily experiences, more or less agreeable and more or less in the background of our consciousness, experiences that we have only for our own bodies. This familiar body has however no immunity to illusions (...).

THE BODY-SUBJECT It is important to differentiate a purely anatomical description of the body, which differs in no way from other objects, and a psychological description, which represents the body as we perceive it from the inside through our sensations. This body as we feel it in our mental life is what Merleau-Ponty calls the bodysubject. In Descartes’ terminology, the body is felt as res extensor, or material substance. In one sense, the first definition of the body is a space defined by its boundaries and by its inner parts. But the body’s space as it is felt from inside is not a mere reflection of our biological, objective bodies. “The contour of my body is a border that ordinary spatial relations do not cross.” This is how the philosopher Maurice Merleau- Ponty maintained the specificity of the body-subject’s space in his work Phenomenology of Perception in 1945.

But what is this body-subject’s space centred on? Our anatomy books speak of feet, hands, faces, but what is the psychological reality of these body parts? Note that the linguistic categorisation of body parts varies considerably from one culture to another. For example, the arm and the hand are completely individualised in French but this is not the case in more than a third of the world’s languages (...).

THE BODY: OUR NATURE AND OUR PROPERTY The alien hand syndrome calls into question what is obvious to everyone: the nature of our relationship with our body. The body seems to be both our nature (“I am a body, even I am this body”) and our property (“this is my body”). When I move it it’s not just any hand I move, it’s mine. When I hurt it’s not in any back that hurts, it’s my back. As Descartes says, we are not just pilots in command of our bodies.

Our relationship with our body is much more intimate, to such an extent that one might believe that nothing could call into question that it is really my hand and my back. Yet this is not always the case (...).

FROM PERIPERSONAL SPACE TO INTERPERSONAL SPACE The boundaries between the bodily self and the rest of the world can sometimes be blurry. In fact, research has shown the existence of an intermediary space, close to our body, which plays the role of a buffer zone: this is known as peripersonal space.

Peripersonal space would seem to play a role of prediction and anticipation (...).

From peripersonal space we must move to interpersonal space (...).

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CORPOREA - Citta della Scienza, Naples 2016 - Above: axonometric view of a SUPER EXHIBIT + COROLLARY + SUBSTANCE installation (as defined in the block diagram of each device) of the cardio-circulatory system Below: views of the devices: endocrine system, digestive system Each device is equipped, besides 3D projections and simulations or interactive displays, with an explanatory sensitive holographic card.

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CORPOREA - Citta della Scienza, Naples 2016 - Above: studies of the possibilities for circulation in the building and the different devices (12 in all) without cross-flow to obtain maximum fluidity between the elements generated by their contours and interlocking.

Below: views of the devices: nervous system and reproductive system based on Mariana Rondon’s work.

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Big Data, a Revolution. What Revolution ?

View of Stage 3: The Uses of Data. On carved panoramic tables, called datascape, video projection on narrative horizontal volume screens (interactive or not according to the scripts) a sort of relief map-like model of each theme.

Significant landscapes, directly suggestive, on which scripted animated films are projected according to complex and often innovative concepts of the use of data in industry, sports, information, etc.

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2016

Big Data, a Revolution. What Revolution ?, Cité des Sciences et de l’Industrie (Universciences), Paris

The general approach, whose punctuations such as progression, immersion, perception, discrepancy and the topics, visibility, immateriality, are the ingredients, consists of the implementation of a resonant graphic and scenographic space to trigger visual and emotional perceptions in a constant diversified dynamic. The objectives are two-fold.

First to obtain an atmosphere of construction and deconstruction in spaces created from different scansions of the programme to generate graphic movement while ensuring disruptive continuity.

Second to show in space, and instantly, a fragmented and mobile milieu.

The perception of the visitor, who comes to see this exhibition on the order of the visible and the non-visible, is engaged by the abolition of the limits of concrete space to reach, like a mirror effect, the fusion of opposites.

To achieve this we propose a two-fold operation, “an architecture whose physical presence has a direct emotional effect” (Peter St John): visual crosscutting of the visit versus linearity of the body’s movement, and architectured structures in space versus open space.

We use the sensorial potentialities of the body in a kinetic promenade to be in the filiation of the subject on the basis of the work on space.

It is by an assembly of elementary and economical shapes, like a poor, essential landscape, whose narration is not perceptible but which is constantly glimpsed in the travelling shot of the visit, that a sober, sensitive space where constructive syntax with a minimum of matter will generate maximum space. A space or successive spaces will be both a medium of perceptive experiences and places for events as much as movement. The obstacles are hors champ like the huge beams of the CSI which eliminate all underside support structures, only the events corresponding to thematic organisation limit proximate relations and form a topological space where measure and distance are less preponderant than created relationships.

Drawn from an Euclidean shape, the topological relations break down into progressive experiences with visual sequences that follow one another so that what predominates in fine is the “feeling of place, of concentration, when suddenly that envelope surrounds us and brings us together and holds us, alone or in a group”(Peter Zumthor).

This installation is our answer to the “digital net” thrown on the world by calculus. The museological scenario’s superposition and modulation of the space and its light with significance (“mood”), must function in a natural, almost intuitive way. The approach in space is the aesthetic side of the scientific project, helping to understand it, a vehicle that adopts the same rhythm, process or demonstration.

Or how to make a space “visitable” without wandering from one idea to another (a synonym for boredom or despondency) but create an environment that attaches the visitor to reality?

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Big Data, a Revolution. What Revolution ?

View of the space: Vertige des données. In a circus freak show spirit, creation of a contemporary period room, a Data Farm interior. The outer walls obtained by superposition of planes placed in perspective are, following the segments printed with interior views, close-ups on connections, cables, and distribution network infrastructures, and form a shortened perspective of the alignment of racks. The interior that serves as an immersive room combines video projections and reflecting walls so that the visitors participate in “data vertigo”.

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SSaint-Germain-en-Laye – Merovingian Austrasia View of the exhibition’s integration in the Saint-Louis chapel, Musée d’Archéologie nationale. In the upper part, the “folded” frieze of Austrasian territory superposed over the present area informs the visitor about the political and territorial dimensions of the subject to establish research and archaeological works as a contemporary tool of knowledge.

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2015

Merovingian Austrasia, musée de la ville, Saint Dizier and Saint Germain en Laye, France

Merovingian objects with a poetic response Enclosures, motifs, geometries, labyrinths, games.

Forms of art, of ornaments, of the powerful, of a kingdom.

Inspiration to design the bases for the mediation objects (horizontal landscape) Landscapes and territory “The ways of folding space and flying, are a quest heading towards an unknown future that is at once an end and an origin.”

Moon Kyungwon and Jeon Joohno, artists The Austrasian territory of the 6th century is superimposed on the divisions of existing regions.

The presence of landscapes in this same area yielding up previously invisible key elements to archaeologists is the second argument for the spatial installation.

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Saint Dizier - Merovingian Austrasia The plan of the exhibition is composed according to the museological division of the exhibition’s content in OPEN SPACE punctuated by display furniture whose design is inspired by Merovingian jewellery found during archaeological excavations.

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Oceanographic Museum, Monaco, Albert I room er View from the levelgalerie of the walkway towards the reconstituted oceanographic ective depuis coursive, d’activitÊs espace S.A.S. le Prince Albert Ilaboratory P3 of the Hirondelle, research vessel of HSH Albert I, the rear bulkhead of which is perceptible on the photo. Made of thin slabs of marble, it will be used as a surface and projection screen visible on both sides.

At the level of the existing walkway seen in the foreground a wavy ceiling in reflecting metal unfolds, symbolising the surface of the ocean, which will serve to define two milieus developed in the content: that of sub-oceanic waters and sub-oceanic air for the sciences connected to meteorology.

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2015

Oceanographic Museum, Monaco, Albert I room

When we made our bid we evoked a “marine wave” inspired by the ironwork guardrails that line the floor of the room’s peripheral walkway and transform this great nave into a temple of learning and delectation, trailing behind them a whiff of academic libraries. All of this in a blinding light, which shading itself under the passageway, lifts up the level, to such an extent that the sky really seems higher to us.

“Architecture is only light”; the Albert I room in its formal, radical sobriety is the most direct expression of this, not letting us forget that we are on a maritime promontory, in its clouds.

Once seen, and smelled, and felt, and experienced, and heard, because the space is not mute, what more natural than to go towards the inclination already outlined. And through contemporary language jump ahead to redesign and repeat what already exists implicitly. The ocean expresses itself here, and invisibly, although with more accentuated lines, let’s see the invisible. Look at it, listen to it. We are going to tighten a wire, Oceanic Wave made by one thousand and one mirrors that will oscillate in this landscape to capture the image, and perhaps make it exist by fragments in the eyes of visitors who will be amused to observe it. A joyful way of being in the know.

PUNCTUATIONS OF INTERACTIVE AND PARTICIPATORY INNOVATIONS Behind the Vision-Capsule, scale x 3 reproduction and that of Commandant Cousteau, a wall reacting to contact gives the visitor a choice of various portraits of the oceans to form a kaleidoscope of their state of health from a database of photos and films dated and localised, selected according to four themes addressed by HSH Prince Albert II on a projection of Ange Leccia’s work The Sea. As editor-in-chief of an ephemeral journal, the visitor becomes an active implicated witness. Collaboration with other visitors makes one of the causes to defend emerge in a labyrinth of images. Horizon Ocean 21, the name of this journal to raise the issues of the 21st century, is the work of the visitors: - The fight against climate change and the acidification of the Oceans - The protection of the Arctic and Antarctic poles, sentinels of climate change and the future of the Oceans - The protection of biodiversity - The fight against pollution by plastics Other innovations will engage visitors such as Ocean Curiosity, whose centre is located in the amphitheatre.

MOVE INSIDE THE NAVE AND BUILD WITH TRANSPARENCY The transformation of a room devoted until then to testimonies; research, expeditions, collaborations, collections and visions of Prince Albert I, inventor and innovator in his time, must project the area towards the future, called for by the ecological findings on a planetary scale. A new technical system, allowing one to see the bottom of the ocean with one’s own eyes, is discussed with Jacques-Yves Cousteau, another precursor in deep sea exploration and oceanographic research techniques, two prominent personalities, at two different times, who form two “bridgeheads” of an epistemology of the discipline. The actions of HSH Prince Albert II, present and engaged on all current fronts, including under sea ice, is our opening to develop a new trajectory both in the site and as a way of disseminating ideas.

The connection with history, as with the building which is one of its receptacles, must be magnified.

Our work must be synchronic, dynamic, flirting with the limits of gravity and generating visiting ergonomics approaching a public laboratory: a new instrument for contributing to the safeguarding of marine ecosystems.

New technologies and social media will be at work.

And what could be more contemporary than ensconcing oneself in this open space free of screens, of clashes, of compartmentalization to promote a line of thought and maximum transparency.

Museography co-contractor Alexis Blanchi consortium

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Oceanographic Museum, Monaco, Albert I room Cross-section view from the entry of the room showing the distribution of themes above and below the ocean’s surface to stage around the three key personalities, their discoveries, their inventions, their struggles for the knowledge of and respect for the oceans: HSH Albert I at the beginning of the 20th century, Commander Cousteau and HSH Albert II. The programme favours an interactive, connected, participatory visit. The proposed museography privileges a combination of means of mediation in an immersive space that respects the existing architecture by using its potentialities. Transparency and light are preserved.

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Coupe longitudinale bb’

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Concours pour la réalisation de la nouvelle muséographie de la salle Albert Ier du Musée Océanographique de Monaco

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Oceanographic Museum, Monaco, Albert I room Cross-section view of the end of the gallery View on the large format reconstitution (not in scale) inspired by Commander J.Y. Cousteau and Jean Mollard’s SP350 diving saucer from the 1960s called Denise, whose place under the Hirondelle study laboratory echoes the technical progression of investigative possibilities in the “world of silence”.

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Ale Zen Ren Lab CP

14 M

Fenêtre sur le Crétacé Mapping sur diorama animant flore et faune, aquatiques, terrestres, et aériennes

L’environnement de Ahl al oughlam Fresque sculptée (faune) et reconstituée (flore)

Le récit géologique de l’ère où l’homme apparaît Un cabinet de curiosités numérique transmédia pour guider le visiteur dans le parcours didactique de l’épanouissement des marqueurs biologiques et naturels : objets, sons, images, odeurs, reconstitutions, plages graphiques

Crétacé

Trias

Cambrien Ordovicien Silurien Dévonien Carbonifère Permien

L’apparition de la vie sur Terre

La dérive des continents

Les météorites

Composants physiques roches et minéraux

Différenciation de la planète Terre

Big Bang et formation du système solaire

Principales médiations multimédia Programme scientifique et muséologique

Dans les pas d’un altasaurus imlakei Déclenchement sonore par pression du visiteur

Avant l’arrivée de l’Homme

Dérive des continents

Voûte des origines La dérive des continents Au noyau de la vie Spectacle immersif Ecran en sable modulé par Table d’exploration (hauteur 8m) les visiteurs,déclenchement virtuelle multitouch d’une projection sur le relief formé, en temps réel.

Néogène au Maroc

Dislocation de la Pangée

Paléogène du Maroc

Collision

Fac-simili des poissons crétacés du Jbel Tselfat (type diorama)

Histoire naturelle du globe Paroi ciselée dans l’interstice du parcours pour créer un lien avec les méga globes du hall

Pangée

Jurassique

La génèse des formes de vie Fac-similés (échelle x 1000) de procaryotes et eucaryotes (méduses, algues, éponges...)

Les sutures ophiolitiques Sculpture murale aboutissant à une vitrine pour support d’oeuvres (hauteur 10m)

Principaux objets de médiation à créer

Démantèlement

Processus atmosphériques et paléoclimatologie Habitacle de transition immersif

N.1

SCIENCES DE LA TERRE /

N.0

Temps de visite

Surface

Chronologie

Parcours

Méga Rodinia

ORIGINES

15 Mrd

PRÉCAMBRIEN

4,6 Mrd

ST1 226m²

PALÉOZOÏQUE

530 M

ST2 214m²

MÉZOZOÏQUE

245 M 190 M

ST3 265m²

ST TERTIAIRE

136 M

65 M

ST4 903m²

QUATERNAIRE

26M 22 M

3M

2,5 M

ST5 417m²

1M

342m²

moyen

19’

14’

15’

49’

38’

TOTAL moyen

2h15

10’

rapide

8’

6’

6’

20’

15’

TOTAL rapide

0h55

4’

National Museum of Archaeology and Earth Sciences, Morocco Above: perspective view of the Jurassic room in the Earth Sciences section, with the Altasaurus exhibition visible from several levels of the museum.

To the right of the photo the large didactic showcase, with the bottom part visible from the great reception hall, contains a herbarium on the fauna, flora and environment of the same period. An interactive hub placed to the left of the showcase proposes virtual navigation for a deeper study of the elements presented.

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Contracting authority: Kingdom of Morocco, Agence pour l’aménagement de la vallée du Bouregreg Budget n.c Surface 15,000m²

Museography co-contractor, consortium AWM Mountassir, representative architect

Demeures des morts Diffusion sonore de chants funéraires

Juba II Fenêtres Caton en Deux Maurétanie portraits Tingitane fiction série

PRÉHISTOIRE

PROTOHISTOIRE 800 1 800 600 22 000 10 000 3 000

A1 574m²

Construction d’une noria installée dans le jardin du musée

Routes chronologiques atelier de calligraphie ateliers d’artisans

Alaouites

Saadiens

Mérinides

Almohades

Almoravides

Convoitises omeyyades et fatimides

Avènement de l’Islam

Idrissides

De l’Antiquité au Moyen-Âge Restitution d’un atelier antique de fabrication de monnaies

Maurétanie et Rome

Salle des bronzes

Maurétanie

ARCHÉOLOGIE /

M 200 000

Les dynasties islamiques au Maroc fresque multimédia

d’écrans sur différents pans des installations muséographiques

Premiers métallurgistes

(Néolithique)

Vers les sociétés modernes

Restitution d’un atelier antique de fabrication de monnaies

Les rois d’un royaume Création d’un plan relief

Diorama paléoenvironnement (Paléolithique supérieur)

Sur les traces de la croyance au Maroc

(Paléolithique ancien)

(Paléolithique moyen)

Début de préhistoire au Maroc

Vers les premiers hommes modernes

Gravures rupestres Jeu ludoéducatif tactile et sonore

Création d’un jardin maroco-andalou

Levée de pierres à Erfoud Reconstitution d’un monument funéraire (échelle

National Museum of Archaeology and Earth Sciences, Rabat, Morroco

Sur les traces des chasseurs Sculpture d’un site de dépeçage

2015

A

jardin maroco-andalou restitution d’une noria restitution d’un puits avec margelle

l’eau le commerce et échanges culturels les sciences et savoir l’architecture, l’art et les techniques décoratifs la religion

PÉRIODE ISLAMIQUE

ANTIQUITÉ

647 788 1069 1125

0

1269

A2 635 m²

1525

1664

A3 684m²

(hors jardin maroco-andalou et noria)

accès direct par les remparts

42’

55’

58’

TOTAL moyen

2h35

Durée moyenne du parcours de visite

17’

22’

23’

TOTAL rapide

1h00

Parcours de visite rapide

4h50

National Museum of Archaeology and Earth Sciences Lower band Global synoptic of the visit and content of the two museum entities, archaeology and earth sciences, in the form of a summary chart: chronological and thematic distribution, principle means of mediation and presentation, positioning in the visit, transition space and identification of visiting time and chronological routes.

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1h55

National Museum of Archaeology and Earth Sciences, Morocco Perspective view of the salle des Bronzes. The Bronze room is one of the key elements of the future museum. Obtained from a regulating layout using the 9x9 magic square, the room is located on the first floor and overlooks the Islamic Arts section. The strikingly beautiful pieces of the collection are placed on slanting stone promontories, allowing the appearance of a void to establish a relationship between the two spaces. The surround of the room is realised in draped white and bronze zellige.

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Paris - Musée de l’Homme P2SHOMI, view of “A Still Plural Humanity” Natural light is a grounding material of the new museography in the museum. The museographic installations for the support of the works and the functioning of the museum (preventive conservation of presented works, circuits, distribution of contents, organisation of group visits, upkeep and maintenance of the installations) are designed to create a play of complementary perspectives and dialogue between them.

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2015

Musée de l’Homme, Palais de Chaillot, Paris

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-museo DENSITY / COMMUNICATION MACHINE / EVOLUTION

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Paris - Musée de l’Homme P1VM1 (part, mural showcase 1): the human body between nature and culture To overcome two major disadvantages, the lack of air-conditioning in the permanent galleries and admissible low floor loads (- than 350kg/m²), the choice of large technical compartments for the collections was approved. Le concept of APU MUSEO was born: museographic autonomous performance unit.

Adaptation of the museological scenario, absorption of technical impacts (airflow and recovery, lighting, security, fastenings for glass and openings, reverberation on the building’s facade, elimination of the backing, conditions for the bases of the works, spatialisation of the script, harmonisation with the site; it was with all of these elements and constraints that the design of the showcases was developed.

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Paris - Musée de l’Homme THE STRUCTURE OF THE BUSTS OF THE ANTHROPOLOGICAL COLLECTION: chronicle of a construction This 5-module piece is made of the aluminum alloy 6061-T6, known as T651, used in aeronautics for its lightness and high mechanical performance.

The choice of this material was determined by the need to reduce the weight supported by the building’s floor, its mechanical resistance, the possibility of finishing without adding surfaces (coating, paint) and for its milling capacity.

The structure is a curved three-dimensional web composed of an assembly of curved frames (depth) and blades (length). It is entirely modelled with CAD, and fits in the space by embracing the boundaries of the volumes of the building and the atrium of the connecting stairway to L+2, at the end of its point, the ceiling situated at a height of 11m and its anchor point on the load-bearing structure hidden in the false ceiling. The latest laser survey tools make this dimensional perfection possible. From the beginning of the study to its definitive installation, a laser theodolite (a geodesic instrument) was used to make a survey of the existing structure and the placement of the sculpture in-situ.

This technology acts as a bridge between real space and the digital model.

For the manufacture of the piece, aluminium sheets 10mm thick were cut with a water jet using a 5-axis robotised head to obtain both a minimum amount of play at the crossings of frames and blades, with variable angles on both planes able to go as far as 65°, and to ensure the continuity of a double-curved surface to the back of the web, like a skin.

The blades and frames are then milled on a digitally controlled table in order to obtain a bore for mi-aluminium assembly fixed with screws made-tomeasure with a digital lathe.

Such cutting technology allows jointing with a constant play of the components of each of the five modules and assures regular, qualitativeperformance future welding.

Each module will be placed on its fibreboard jig for the soldering stage. The jigs are made of some forty equidistant sections milled on a digitally controlled table to be placed before soldering each blade and frame in its definitive position.

The welds are performed using a TIG process (Tungsten Inert Gas) on a specific pulse station that limits the heating of the piece and consequently its deformations, then milled using an angle trimmer mounted on a sliding rail in order to perfect the work.

The duo bracket-tablet that supports the busts is then milled.

The brackets come from section 40x20 rectangular bars in the same colour as the structure. They are shaped using a 5-axis machining centre to obtain hinges necessary for the assembly and adjustment of the bust’s bases.

The tablets of the vertical part are made using a machining table to integrate grooves to receive retaining claws for each bust from the anthropological collection of the Musée de l’Homme.

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Paris - Musée de l’Homme -The Treasures of Palaeolithic Art, salle des merveilles, close-up of the Lespugue Venus: INSPIRING The empty galleries of the museum, encumbered with tools and construction equipment, made a preview possible. We were “by design” in its light beams and in the dust of the worksite, at the “impression of the project” in place and in illusion. Connected with the visible world built from the fragments of the history of humanity that the researchers of the Laboratory-Museum of Man have put in the display scenario. Outside the identity of time, in the cluster of temporalities in which, it’s our hope, future discoverers of the Musée de l’Homme will continue to circulate once it opens…

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Paris - Musée de l’Homme - P1VAL1 Alcove-showcase history of science: “the art of wax in the service of the human anatomy” The three pentagonal alcoves, which fold the thickness of the receptacle to envelope the works of art 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 concepts, 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.

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Paris - Musée de l’Homme - Installation of the “7 lands” on the emergence of domestication.

7 discontinuous segments of 5 layered blades of variable length form a circle (to represent the world). Each blade is assigned to a group, itself assigned to a region, is cut out, embroidered, based on scientific documents and evidence, representing the fauna or the flora or the habitats and cities or the gods.

This installation, realised in lengths of felt is equipped for sound and describes the process of domestication ending in globalisation.

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Paris - Musée de l’Homme General view of the structure of busts on the way to “Qui sommes-nous?” (“Who Are We?”)

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Lyon - MusĂŠe des Confluences - SPECIES, THE WEB OF LIFE Sculpture of the Shrub of Life (phylogenetic tree) suspended above a multimedia system designed for deepening understanding. In the background, the adaptation to the environment illustrated by the example of various antelope species.

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2014

“SPECIES, THE WEB OF LIFE” Musée des Confluences, Lyon

Total ecosystem In the optimum, a tri-dimensional sensitive communication system, of which space, time and information to disseminate are the suspension struts.

The issue is the progression of the Museum towards the Musée des Confluences.

Which we can specifically translate to following those of the history of museography, and corresponding to the following progression, itself adapted to the development of scientific theories and knowledge: *Mystical, the sensational in the Curiosity Cabinets, 16th-18th centuries Systematic, collections of the 19th century Contextual, dioramas, end 19th- beginning 20th century Didactic, 1980s Scenographic, 3D images of the 1990s Multimedia-ICT, experimental worlds of the 21st century We have superposed all the data to optimise museographic urbanism and interpreted the set as a solid and not as a plane.

3D spatialisation immediately created the effect of freeing the horizon, maintaining an apprehension of this space without creating obstacles.

It originates in a significant division that fashions and designates the spaces for exchanging information and in the internal tension in the Coop Himmelb(L)au cloud; Sculpting a block of earth is the gesture realized for the design of this set. As for the block of earth in question it’s a composite made of existing constructions, circuits, collections, ideas, visiting experiences.

The visiting experience, like a song or a poem, is what first springs forth: the pleasure of complete immersion in an actual place imparting the invisible world of ideas become palpable.

The organisation of the museography Species, the web of life, reposes on the imbrication of lines of force and their dynamics. Immaterial lines, lines of correspondence of the elements of content, they become wires and space.

We wished to place this exhibition, called a reference overview in a new sphere, both scientific (respectful of programme narratives) and civic (amaze and divert).

We created an installation that serves as a vector for the dissemination of knowledge, in the line and descent of the sensational in the Curiosity Cabinets and the experimental of digital worlds.

The ambient black, nuanced, slightly coloured, upturned, scintillating, creates the chiaroscuro necessary to generations of close, far, blurred, asserted, discovered, impenetrable.

At the birth of ghost landscapes. (*Source Bertron Schwarz Frey in “designing exhibitions-ausstellungen entwerfen”, Birkhäuser, Basel)

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Lyon - MusĂŠe des Confluences - SPECIES, THE WEB OF LIFE Interior of the Egyptian collections showcase of animal mummies.

Close-up on the bases of the amulets: confronted with large pieces this base relying on the brilliance of the trace ensures their presence beside much larger pieces.

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Lyon - MusĂŠe des Confluences - SPECIES, THE WEB OF LIFE (during installation) Display composition to create a formal link between objects, base, showcase, mirror effect and detachment used as a means of cultural mediation.

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Lyon - Musée des Confluences - SPECIES, THE WEB OF LIFE View from the collections of Inuit shamanic works in the foreground towards the introductory section of the room. To the question “Who are we?”

(Homo sapiens) the museography imparts the affiliation of the human species to the living world, which, whatever the species, is at this moment in time at the same level of evolution.

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Lyon - MusĂŠe des Confluences - SPECIES, THE WEB OF LIFE Collection of Lepidoptera and Coleoptera installed in one of the showcases where the geometry of asymmetric volumes follows the network of the web that gave its name to the room.

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Lyon - Musée des Confluences - SPECIES, THE WEB OF LIFE The graphic line is drawn from the objects in the collection of the Musée des Confluences exhibited in the room. Lower case print is used. The overlapping in space and design of the bases tends to involve the visitor in a world shared with the other species presented. The exhibition rooms in Wolf Prix’s building CoopHimmelBlau, are designed as theatre stages without daylight, which allowed us to use lacquer finish on the furniture (excluding the inside of the showcases) to increase the sensation of reflections and dissolve the boundaries.

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Lyon - Musée des Confluences - SPECIES, THE WEB OF LIFE EXHIBITION PLAN

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titre FR / GB animation des caractères en boucle (10�) police de caractère : minuscule

100% opacitĂŠ

2

1,2,3,4 silhouettes de points, entrĂŠes de partie

3

1

4

200

266,7

T0

masque silhouette avec masque sur tressage maille à 80% d’opacitÊ

T1

200

notions - 3 Ă 4

transition par augmentation opacitĂŠ + ĂŠchelle morphing silhouettes Ă partir de points

266,7

itĂŠ

200

fond de projection tressage maille transparent

266,7

visite Êlastique mmaire Interactif de l’exposition

T3

ns du synopsis du sommaire intÊractif de dÊtection/captation, action, morphing, ement, contraction. test d’installation, novembre 2014

Lyon - MusĂŠe des Confluences - SPECIES, THE WEB OF LIFE Preparatory drawings of the synopsis for the introductory summary of the room and interactive devices: detection/capture, action, morphing, deployment, contraction times. Photo: installation test November 2014 Zen+dC

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Lyon - MusĂŠe des Confluences - SPECIES, THE WEB OF LIFE The 13m-long display case of birds with the cladistic arrangement of naturalised specimens is one of the scientific focuses on the phylogenetic systemic.

The complex design of this base, created and perfected in 3D to take into account the space occupied by each specimen, corresponds to a diagram or cladogram that formulates the hypotheses of relationships between species and groups of species.

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INRAP/RFF travelling exhibition “It was there! Under our feet…”

Version 2 folded aluminium foil museum furniture and razzle-dazzle inspired graphic treatment

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2014

INRAP/RFF travelling exhibition “It was there! Under our feet…”

Travelling exhibition on the results of archaeological digs undertaken by INRAP along the route of the LGV East railway, France.

Depending on the time need to finish the sections of the LGV route, two versions of the exhibition will be presented.

Version 1 (2006-2010) One hundred thousand years under the rails, focus on the digs undertaken during the works from the Marne to Lorraine.

Here’s the museo design folded aluminium foil supports-structures: “strips” and “planes” will be deformed, positioned, fixed, assembled, as the project develops.

This evolving and museo-transformable presentation system is divided into families (table, showcase, panel, screen, console...) according to the mediation means and the collections highlighted.

The assembly of particular elements of the system forms the general museography representative of the various media that function in connection either in vis-à-vis or in perspective, one with the other.

It is from these discontinuous elements of the system, citation excavation sites, that the knowledge of the exhibition is reconstituted, and by extension what was accomplished before by archaeologists to which is associated a movement of folding and unfolding recalling the deployment in time: a stratigraphy from past to discovery.

The visitor is conscious of this movement, a character in the museographic scenario, and takes on the action of stripping the archaeological layers and strata that show the passage from burial to surfacing and making the unsuspected traces readable.

The line of furniture can be adapted to adopt the set-up appropriate to the mediation supports and to exist whatever the configuration of the presentation area.

To guarantee the unity of the exhibition (+/- 300 sq m) this design is applied to all supports.

Works budget 2006: 162,000 HT Version 2 (2014-2015) It was there! Under our feet, focus on the digs undertaken during the works from the Marne to Lorraine.

Using the same structures, the strips and planes are repositioned, fixed, assembled again along with the new development of the display content when modified by recent discoveries.

The modular variations are operational.

A graphic redesign, accompanied by new a thematic breakdown and the integration of new objects resulting from the digs, presentation of about 300 objects, is done with a view to obtaining a readability of contents that cross chronology and theme. A narrative this time in several stratums.

A graphic design based on the disruptive camouflage in a range of different tones is proposed and, after trials and prototype, is applied to all supports.

Reconversion budget: 45,000 HT For each version of this travelling exhibition the choice of graphic modernity for an archaeological exhibition is essential.

It will serve the intention of the exhibition and correspond by the choice of materials, to a technical asset that will allow for a modularity of layout in a permanent design preserving its identity.

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INRAP/RFF travelling exhibition “It was there! Under our feet…”

Version 2 axonometry of the exhibition in its representation at the European Archaeological Park, Bliesbrück-Reinheim, France

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Marseille - MuCEM Fort Saint Jean - marionette theatre L’oEil et l’eSprit sont Ouverts aux Nuées (EAST/SOUTH/WEST/NORTH) Seen from the Folly of the place du Dépôt, Fort Saint Jean in the landscape of Marseille. This exterior puppet theatre, formed by the assembly of four faces of which one opens to reveal the stage, is designed for marionette shows. Constructed in resin with a metal framework, it needed a special truck and crane to bring the finished structure to the site.

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2013

MuCEM Fort Saint Jean, Marseille

Develop a museographic environment that uses and explores the space by knots, proximities and continuities to place original concepts to expressions of MuCEM’s objectives.

Museographic intervention weaves with what exists (heritage, history, identity) and concisely resolves in the diversity of spaces concepts of permeability of information and the evolution of thematic collections.

The bias of creation is to install an inquisitive, mobile, transformable, technological, integrated museographic presentation unit.

The CURIOSEADA created for the exhibition of the works of the MuCEM (ex MNATP) proclaims the right to pleasure and discovery and takes its place in an autonomous architecture in the historic layers of the heritage buildings on site.

Unprecedented, the project is a free access, undirected cultural circuit.

It contributes to creating a new concept of the museum of civilisation for the 21st century, whose initiatory labyrinth of the Fort Saint-Jean takes the visitor to discover a museum space in an almost involuntary manner.

The Fort, embryo and vector of the identity of the city, the castel dell’Ovo of Marseille, is harsh. One imagines its winters but in the spring one hears the children of the “Panier” in diving contests at its foot.

The Fort of a city at the entrance to a port opposite the sea…

One imagines a trip in “Le rivage des Syrtes”. In its southwest shadow the Pythagorean volume, Rudy Riciotti and Roland Carta’s “elegy of the dense and fragile”, hails the colossus towards new shores. This abduction is providential to allow us to slip into the crevices of the myth.

Le Fort follows the rugged topography of the sea promontory, and hugging it, does it gaily like a boisterous child taking pride in his escapades to allow him others; he invents his place. It emerges from the city, solitary and bold. From this profile heralding challenges to men, who have become masters of a territory, exhales a secret impenetrable strategy, poised to deliver the secrets of an existence articulated in time.

The creation part “ Le paysage, en lévitant, nos corps, naissant, se découvrent dans le lieu: oeuvre commune du voyant et du vigneron qui, depuis mille ans, ici, prépare le vu, paradis entre deux fleuves. » (Michel Serres). For one thousand years…

Resonance with the programme and proposal of a creation part: principal of “curioseada” A curioseada is an inquisitive museographic presentation unit. It is inquisitive, mobile, technological, transformable, integrated, reactive, adapted (meaning distinct one from the other).

Two examples: -Curioseada of the Chapel (the ages of life) is a glass micro-building suspended by an interior median framework integrating the whole of the accessories of museographic furniture and technical equipment (video projectors, interior partitions, machinery for partial pre-movement, screens, technical management). The interior partitions can be manipulated in order to frame the gaze and choose the transparency. An accumulation or a very restricted choice of objects is possible. The rear part of the module serves as a projection screen. Inspired by Google art-project, a presence detecting system in frontispiece of the micro-building sets off a projection of overall shots of the objects presented.

Each visitor will act, following his movements in the area, on the display case and its information. An effect of accumulation and vision in close-up of objects inaccessible to the eye may cohabit. Some partitions can be motorised if the recommendations for conservation permit it.

Some objects will then be visible on both sides. The ensemble is more than 1.5 m deep.

- Curioseada Orange tree / fortune-teller / coin device: Amplification of the orange garden by an orange tree talking like Alexander’s tree. With outside installations, the intention also is to take into account the rhythm of the seasons by an activity or its absence.

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Marseille - MuCEM Fort Saint Jean - Curioseada of the ages of life and rites of passage. Realisation of a stage well with a metal structure and self-supporting braces H 11.40 x L 7.5 x D 2.15 equipped with three levels of walkways and a winding interior staircase leading to the technical grid.

Manufacture of a contemporary museographic retable behind fifteen slanting glass sections to free the presentation space of any vertical support in which the works (costumes, furniture, objects, decors, paintings) are presented on suspended trestles at various heights.

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Marseille - MuCEM Fort Saint Jean - Upper Officers Gallery: Cyclical time.

In the narrow, cramped rooms of the upper officers gallery, occupation by the display cases is central with a support on the wall opposite the opening.

The showcases are designed to protrude at a slight slant from the floor to minimize their volume.

Here the interior arrangement corresponds to objects from MuCEM collections dealing with springtime festivals. Photo taken during installation.

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Marseille - MuCEM Fort Saint Jean - Rooms devoted to MuCEM collections of marionettes To vary the presentation of wired marionettes and hand puppets and illustrate the various theatres, each collection unit is composed according to a precise scenario. Here visitors who do not enter the room and see it through the existing windows, do not bother the marionettes who give free rein to their discreet private world.

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Marseille - MuCEM Fort Saint Jean - Building E, room E-03 For Pulcinella that Antoine Vitez makes in his image in this piece, it is his voice that is illlustrated. Sculpted even to be projected in space. The sculpture of Pulcinella’s cry, created from a 3D model that mounts as high the vault, tends to make the energy and truculence of the character visible.

Museographic exploration to create a high point that the visitor will remember.

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Marseille - MuCEM Fort Saint Jean - Lower Officers Gallery transformed into Entre-sorts “Entre-sorts”, these little museums at fairs where one enters and leaves to see “freaks”, show here the birth of leisure; of the circus with the model of an equestrian theatre, a restaurant, the sign of the Grand Véfour, of the Museum, where we see the first object that entered the MuCEM collections, of amusement parks, still called Tivoli, around a mermaid merry-go-round (photo), that of pre-cinema, in magic lanterns and perspective views, of illusionism, when it comes on stage.

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Marseille - MuCEM Fort Saint Jean - Building G, Acrobats Room Three identical vaulted rooms connect up. The Curioseadas museographic installations are identical for all of them: occupation of half of the existing space. Here a history of the circus. In the foreground the lion tamer Houcke saved by a tigress, the famous circus rider Sabine Rancy, a duo of trapeze artists, etc. The ensemble of these sculptures will be used for the MuCEM collections of circus costumes.

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Limoges - Musée national de la porcelaine Adrien Dubouché, Limoges Gallery Modified in the 1980s, the unrecognizable and denatured picture galleries no longer exist. Natural light has disappeared, the skylight obscured. The renovation project consisted of reinstating the initial space, the great height and the vertical light.

The “conques” display cases, specially designed for Limoges, simulate the transition between the severity of the architectural forms and the virtuosity of the carved porcelain.

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2012

Musée national de la porcelaine Adrien Dubouché, Limoges

Le Musée national in Limoges not only incarnates the typical urban museum; in this case it is a factor of urban identity and a historical marker. This definitely exceptional character induced us to preserve, as is, the appearance of this complex seen from the city, retaining this iconic character.

A lateral path to the east of the installation leads, by the new tearoom, to the courtyard, until then apathetic, separating buildings A and B. We introduce here a steel and glass implant that constitutes – from the viewpoint of form and material– an exciting counterpoint to the historic part. It houses the infrastructure of the museum, the reception and the end of the visit. Only the transparent, translucent lateral facades must be created. The interior space is defined by the old exterior A and B facades, which then become interior facades. It is these facades that support the lightweight glass and steel roof structure, making all other support unnecessary.

At garden level of B section, near all the functions of the foyer, is the unit containing the areas for temporary exhibitions, the conference room and its foyer, which can be used autonomously. A floating set linked to the stairway placed in the axis of the entry extends to the new wing.

It is there that the Module of Ceramic Techniques is placed, also serving as an introduction to the museum visit. It is possible to later link either the Chronological Module of the History of Ceramics or the Limoges Ceramics module to the first floor of A building.

Four walkways behind the narrow facades of the new implant, serve to link the old and new parts of the museum with their lifts following a circular network model, without crossing, to form a clearly structured unit.

A technical courtyard forms the twin to the elegant main entrance and concentrates all the technical and operating tasks.

It is from there that the workrooms, offices, storerooms reserves, maintenance, private parking spaces are served.

The historic garden of the museum constitutes with the renovated outside areas a space open to the public.

The formal and conceptual strategies at the foundation of the project follow the idea of a reanimation of an ancient substance. The dichotomy between part A – auratic – and part B – profane – is made obsolete by the implant that founds the whole in an architectural unit.

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Limoges - Musée national de la porcelaine Adrien Dubouché, Limoges Gallery View of the installation of the east room devoted to Limoges porcelain The “Conques” display cases are composed of a moulded free-standing shell acting as coating on a structural metallic frame, with an insertsupporting moulded interior backing, black glass shelves dyed in the mass, and two pivoted doors of bent glass.

The stability of the showcases only needs two floor anchors (preservation of the floor of a listed building).

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Limoges - Musée national de la porcelaine Adrien Dubouché, Limoges Gallery View of the installation of the east room devoted to Limoges porcelain seen from the “salon d’Honneur”.

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Limogesconques, Vitrines - Musée présentation national dedelalaporcelaine collection du Adrien “Limoges” Dubouché, Plateau des Techniques The presentation of the process of porcelain manufacture, from raw materials to painted decors and present ceramic techniques (prostheses, industrial filters, mirrors, aerospace, etc.) combines technical objects and tools, sketches and drawings, finished objects and multimedia on the mezzanine level of the new building designed by the architect Boris Podrecca. This space is the introduction to the visit of the national collections. The rounded showcase of the arts of fire, evoking kilns, is the first stage.

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Limoges - MusĂŠe national de la porcelaine Adrien DubouchĂŠ - Plateau des techniques, islets of technical mediation Six islets of technical mediation punctuate this part of the visit. Here the displays are a modular declension of table-showcases of various sizes adapted to the objects presented. The presence in the technical presentation of large Limoges vases on bases is to remind us of the connections between savoirfaire and art.

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Limoges - Musée national de la porcelaine Adrien Dubouché - Chronological gallery 19th and 20thc.

For this section, rich in objets d’art, double-faced showcases on a central metallic frame and glass were created. They have two functions: presentation of remarkable pieces inside and reserves that can be visited on the exterior window side. We are in the building of the old school of fine arts of Limoges where many porcelain makers were trained. The ceilings of the rooms, to the right of the implantation of the showcases are painted and echo the Zen+dC

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colours of the glass that acts as a partition to separate the modules.

The design of the interior profiles of the showcases and the consoles supporting the presentation shelves is studied to make the modularity of the hinges invisible and integrate the functions of the primary frame and secondary support without impacting the final width.

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Paris - Counterfeiting, the real expo that talks about fakes Study of 250x250 Cubes with declensions of occupation of the interior space so that each one of the four accessible sides gives a different view of the subject.

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2010

Counterfeiting, the real expo that talks about fakes, Cité des Sciences et de l’Industrie (Universciences), Paris

Fourteen 250 x 250 x 250 cubes Some 10 years after “l’Homh me Transformé”, an exhibition for which we created an environment with a distribution plan inspired by that of the François Mansard Reformed church of the Visitation, Zen+dCo returns to the Cité des Sciences et de l’Industrie for a new scenographic proposal on fakes.

So our metier is that, museography, museum design. And in this metier we have the chance to participate in projects with different scopes and of different types.

Going from an exhibition of contemporary art, to one on archaeology, a museum of objets d’art, a travelling expo on architecture abroad, or a history museum is part of our daily fare. Like choosing the quality of extra-clear float glass, correcting the line spacing of a text, improving the scenario of a film, choosing the right projection focal distance, getting the right power for electric cables, making structural or load-lowering calculations, “exposing” an object correctly and legibly, integrating handicaps, making flow charts and area calculations, etc… is our daily fare.

This diversity, we love it, privilege it. It amuses us and keeps us on our toes.

It ends up finally in a specific form for each context and typology.

Museography is in the field from which we come, architecture, a niche metier; same methodology applied to the development of key concepts, same drawing tools, same relation to the contracting authority.

Everything changes when it’s a question of immersing yourself in the necessary definition of detail, for design, for the quality of the space, for graphics, for visiting ergonomics, for visitor’s movements, for the perception of space.

To describe an architectural project the Spanish school uses the notion of “informational architecture”.

In our case, we have to make a “smoothie” between “communication architecture” “communicated architecture” all orchestrated by Merlin the Wizard to make us change scale at any time! Maybe we would find “the” definition of our metier.

And the ways of exercising it are multiple: those related to the scenography of theatre, to publicity, to event planning, to interior design.

The Zen+dCo way for a place/a subject, it’s a question above all of creating an environment; above/below, exterior/ interior, open/closed, removal/addition, full/empty, figurative/abstract, there/elsewhere, familiar/strange, green/ polluting, immersive/frontal, etc/etc...

The facets of the project that we can describe to you are the following: Origin of forms It is the fruit of interdependence between the content (segmentation), the Counterfeit theme (trouble of limits), and space in the city (framework taken in the 300x300cm of the CSI’s NSI = 250x250cubes ) Manufacture of a raw material It is made of an infinite series of questions like that related to objects to be presented (how, what lighting, what environment and what position, why, where, which one?) those related to the urbanism-museum master plan (juxtapositions, sequences, ruptures?) those related to the visit (in what place what proposal?) those related to the objective of the exhibition (what tempo, what rhythm, what attitude, what attention is demanded of the visitor, to what point?)

Beyond representation Each time we are in an enclosed, closed world, a wonderful world.

What we know today of the objective of our museographic work is that it must act to reflect in all possible dimensions and surfaces the complexity of these worlds, their systems, their beauty or their ugliness, their utopias, their networks, ways and passages, their compactness or their fluidity, their future, their history, their beings and their souls.

Because an exhibition or a museum is not a lesson or a demonstration. A curiosity surely, a maze surely, an intimacy surely when one is touched by it, a representation necessarily.

If we invented the rules?

Empty spaces are surfaces. They define the full, yes but as a window. The forms are designed for a story that doesn’t exist or isn’t ours.

The cubes will function like points of reference, markers of a country without borders.

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Paris - Counterfeiting, the real expo that talks about fakes Exhibition views (Above) Theme intellectual property, the sculpture of porcelain brains in the foreground is one of the elements created for the understanding of the visit.

(Below) General view of the declension of cubes.

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Paris - Counterfeiting, the real expo that talks about fakes Graphics, definition of devices, fine-tuning of utilisation, lighting, installation of CUBES250, a case by case setup in content detail to arrive at a diversity of visiting ergonomics in order to make the visitor captive to a legal and societal subject.

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Paris - Force de l’art 02 General view of the Exhibition, under the vault of the Grand Palais.

Foreground, artist Damien Deroubaix’s “derrick”

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2009

Force de l’art 02, Temporary Exhibition of Contemporary Art, Great Nave, Grand Palais, Paris

Project manager for scenography, on the concept of White Geology, architect Philippe Rahm.

Assignment: integration of the artists’ works, development of plans and the circulation of the public, fundraising for financing the operation.

Contracting authority: Réunion des Musées Nationaux

Budget 995,000 Euros before tax Surface 4,000 m² Zen+dCo, representative of the consortium

Axonometric views and modalities of division of spaces devoted to the works and those for the circulation of the public.

White Geology Space-Time concept of architect Philippe Rahm for the exhibited works of 40 “Resident”* artists: a world of tectonic plates, topped by volumes springing from the ground, that unfold and divide according to the singular expressivity of each work or body of work.

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Nice - MusĂŠe MassĂŠna - detail showcase in the history gallery The occupation of the angles of the building makes it possible to free greater space for circulation. A new showcase concept is developed in this way, based on the play of interior perspectives and the use of diagonals in obtaining a stage background effect, from afar.

This process of theatricalisation of the collection, disparate like all historic collections, homogenises the whole and leaves an opening for the expression of the content.

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2008

Musée Masséna, Nice

A public place, a museum, a holiday residence of the “belle époque” to bring to life, an encounter with elegance, the arts and the history of the capital of a country, these were the objectives of the museographic project for the villa of the Prince of Essling and its gardens, situated at the angle of the Hotel Negresco, bordering the Promenade des Anglais in the Bay of Nice.

The ground level of the villa has kept its initial decors; those of the other floors have been destroyed.

We have created a slip back in time, in the era when “Nice was the salon of Europe” with today’s technical and industrial materials, essentially glass treated here in the form of mirrors, silk-screened, painted and engraved, then layered, like so many filters, fogs, certitudes also, over another glass also worked, to produce an effect of blurring, an absence in time, until one hears the rustle of ball gowns on the parquet of the salons of the villa Masséna on evenings when there are receptions before the hot season.

This intention to immerse in the villa’s past was the source of inspiration for the museographic project: a perception of the presence of the past that will spring to the mind of visitors to the museum, the villa’s new guests.

The claddings, on which the works are hung, are made of double glass partitions worked and silkscreened to give an effect of perspective, of a deepening of reality.

The showcases are designed in the prolongation of the claddings, like a pleat, and form small thematic theatres, contributing to create a backless interior.

All this contributes to a feeling of vibrating space.

Such a museographic approach gives a movement to a set of diverging constraints in which the cast of the site become the receptacle of a whirlwind: - give it the status of a museum and an institution, - respect the collections and the scenario, - inhabit the villa once more in continuity with the splendid ensemble of salons and the seaside park.

The creation of museographic devices installed in the angles of the existing spatial partition is an undertakin that plays on several effects: - addition of new interior perspectives, - regulation of a geometry devoted to the exhibition of pieces forming integrated planes and volumes, - opening of a larger array to modulate the view, from transparency to opacity, - different viewpoints on the works that participate in a kinetic promenade of the site.

At the Musée Masséna, the utilisation of the building’s angles made it possible to test a new concept in showcases.

Structured on a proposal of new interior perspectives, the work of diagonals accentuates the perception of depth, stage background, far away as in a scenic space.

The existing walls and partitions are erased by this intervention to form a more unified space whose scansion is superimposed on that of the array of diverse historical content.

New perspectives and openings, construction of a fluid, changing space, we install a process of theatricalisation of the collection, disparate or non-homogenous like all historic collections, to exalt the meaning with respect for these disparities, fragmentations, punctuations.

The implantation at an angle of the display cases corresponds to the prolongation of the wall claddings bent in on themselves; a design that ensures continuities: spatial, aesthetic and sensual.

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Nice - Musée Masséna - Nice Belle époque room The showcases are designed in the prolongation of the wall claddings, like a pleat. They form thematic spaces that contribute to creating an interior without the necessity to close the back. Transparency, lightness and inscription of the function of museum in the former holiday residence blend with the highlighting of the objects.

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Nice - Musée Masséna - Belle Epoque room By creating new interior perspectives, enlarging the array of transparencies, proposing several points of view and clearing the building’s geometry, the museographic objective is also to echo the city, outside. We bring a certain nuance in localising, in this instance in a private interior, to remain in dialogue with the house of the Prince of Essling, and thus in phase with the history of the city.

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Besançon - L’arpenteur du roi, Vauban exhibition - Musée du Temps View of the exhibition, ground level, Palais Granvelle: Vauban the reformer

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2007

“L’arpenteur du roi, Vauban et Besançon” Exhibition musée du Temps, Besançon

Project manager museography and design Scenographic exhibit on Vauban, engineer, builder of fortifications and reformer.

Scenography, lighting, catalogue of the exhibition, poster, signage

Contracting authority Musée du Temps, Besançon

Budget 350,000 € excluding tax Surface 900 m²

Besançon - L’arpenteur du roi, Vauban exhibition - Musée du Temps View of the exhibition in one of the 1st floor rooms, Palais Granvelle: Vauban the engineer In the rear, ourtside view of the armoire of measuring instruments

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MusĂŠe Granet, Aix en Provence, Une vie en peinture room: a chronological approach.

2 magic lanterns composed of 6 Dioramas created from a photo montage retrace the major stages in the life and work of Paul CĂŠzanne.

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2006

“Cézanne, voir autrement” Exhibition, Musée Granet, Aix-en-Provence

This multimedia installation, composed of the distinct mediation tools of image and sound, which once combined function as a didactic journey into the work and life of the painter; a museographic visit close to one in a interpretation centre open to the general public and to schools.

In the form of an exploratory scenography of Cézanne’s work, this exhibit places the visitor in a space conducive to discovery and reflection.

Multiple windows open onto the life of the painter, his pictorial work and his influence on modern art.

The aim is to introduce the major concepts of the painter’s work and in particular to help explain why the origins of this œuvre are a door opening onto the 20th century.

Four different concise approaches are proposed to address Cézanne’s oeuvre, like an object described from many different angles and seen in a single shape: a life in painting : a chronological approach the creative process: an analytical approach “So I continue my studies”: a personal approach Open œuvre: a thematic approach A chronological approach The story of the vocation and the life of the painter, the object of the first room is viewed from a chronological angle.

It is presented in two round sound theatres cut into six facets, inside which successive graphic maps form thematic sketches.

A sound piece played at these two hubs was created using Cézanne’s correspondence and expresses the artist’s intimate and human dimensions.

An analytical approach Two hubs, space and colour, are the point of departure for interpreting Cezanne’s oeuvre and giving the visitor the key to understanding the founding concepts of the painter’s painstaking research. “ The flat depth, the colouring sensation, the expression of the “motif ”, the simultaneous vision, the oneness with nature, what the canvas expresses, without theory, but through the dazzling avant-garde sensitivity and intelligence of Cézanne are some of the themes proposed for the public’s discovery.

5 ladder-easels, replicas of the one in the Lauve studio, recall a studio atmosphere and the work on the “motif ”. They are used as a support for a video projection on flat screens of films on the analytical interpretation of the works taken as examples. A sound piece is devoted to Cézanne’s own words on his creative process and those of art critics and artists close to his work. The room ends on the concept of finished-unfinished with a photo reproduction on processed glass of a work “Le Mont de Cengle”, like an immense slide.

A personal approach This room is devoted to the presentation of self-portraits, to affirm the painter’s presence, his view of himself, his quest and his doubts in this labyrinth of pictorial emotions that he experiences.

La definition of “motif ”, excerpted from a dialogue between Joachim Gasquet and Cézanne, occupy the space musically.

A thematic approach Long audiovisual sequences on the theme of bathers and that of Sainte-Victoire Mountain occupy two large-format screens suspended on the ceiling. A promenade in the painting, in a series of paintings, of two recurrent subjects of the oeuvre, this room is intended for the contemplation and immersion in the mystery of his painting and the pictorial revolution it created.

Behind a canvas covering the room’s periphery that the visitor is invited to lift are presented the major artists and movements of modern art who recognize Cézanne as a precursor..

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Aix en Provence, Musée Granet, Cézanne, voir autrement exhibition Room: The creative process: an analytical approach 5 ladder-easels, replicas of the one in the Lauve studio, evoke a studio atmosphere and the work on the “motif ”.

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Aix en Provence, Musée Granet, Cézanne, voir autrement exhibition Rooms: The creative process: an analytical approach and Open œuvre: a thematic approach Views of rooms combining initial 3D drawings and photos of the exhibition opened to the public.

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ChizÊ Forest, visitors’ house, Immersive Installation: Day, prologue to the visit of the scientific complex.

Felt strips cut out and assembled to represent real or imaginary fauna and flora defining a sound space activated by a presence detector.

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2005

Zoodyssée, Chizé Forest, France

The organisation of the building used for reception of visitors for a tour in the Chizé forest, the adjoining zoo and a Humanimal interpretive circuit, proposes a transposition in materials, forms and colours of the animal, forest and scientific research environments present on the site.

The visitors’ house is the introductory site for a walk in a forest placed under the scientific expertise of the CNRS research laboratories of the National Forestry Office.

The Chizé forest is geographically a small experimental scientific park but it enjoys innovative intellectual influence.

The project’s concept is to incite a physical, receptive attitude in the visitor rather than using informational media.

An evolving showroom, adaptable to the seasons and research developments, a place of physical rather than intellectual experiences, because the body is a thinking organ: these are some of the project’s objectives.

The Chizé RBI (integral biology reserve) intends to become a pilot site for research on the natural balance between fauna and flora (evolution of the beech grove faced with global climate changes for example) without excluding, however, supervised discovery activities.

In this context, the option of creating two interactive playful environments in the main areas of the sites concentrated on the living was chosen to the detriment of a more standard formatted communication that could not have played a motivational role for visiting the interpretative circuit, the zoo and the forest.

These environments that correspond to cyclical and biological rhythms and swing between phantasmagoria and scientific discourse are thresholds for the visit, introductory and later above all contextual without revealing the content; a sort of prologue or alert to visitors for what will happen outside the building.

Opposing day and night, the fauna and flora of the forest do not live in the same way and trigger different behaviours. It is a whole framework based on imagination that is proposed to the passers-by to arouse emotion.

1-Sas (threshold): day immersion Interactive sound space formed by lengths of gray and white acoustic natural felt 5 mm thick used in double and quadruple layers. The pieces are deformed by cutting and assembled with eyelets, evoking a real or fantastic animal. The lengths of felt, preferred for its clean contours but still a completely flexible and soft fabric, respect the organic matter in movement.

The evocation of animal shapes forms the basis of a guessing game and is the pretext for complicity among visitors.

The animals float in the air like a rock art fresco. The visitor is invited to touch the shapes, a gesture that will trigger an audio programme describing ongoing scientific contributions.

2- Sas (threshold): night immersion The visitor is immersed in a tactile sculpture evoking the inside of a membrane, a cell, a body or the starry sky. No visuals, just a sound design that, triggered by sensors, follows the visitor.

The sculpture, slightly swaying under the influence of people’s movement, is a network of rushes (woven natural wicker on an elementary metallic structure) defined by its interstices as well as its holes

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Chizé Forest, visitors’ house, Immersive Installation: Day, prologue to the visit of the scientific complex.

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Chizé Forest, visitors’ house, Detail new layout of the shop

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Bayonne - musée basque et d’histoire de Bayonne – Dagourette house View of one of the agro-pastoral rooms of the Dagourette house, a former fluvial warehouse.

A lenticular film is used at the back of the showcases to produce opacity when seen from the front and transparency above a vision angle of 15°. This material allows an in-depth implantation of the museographic device without visual discomfort for each of the sets of objects. The colorimetry of the bases in the foreground, inspired by the colours of the landscape of Basque country is used for the supports throughout the museum.

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2001

Musée basque et d’histoire de Bayonne, Bayonne

The bouquet of wild violets placed in the shadow of the large onions on the pavement of the Pont Neuf opposite the Dagourette house on that early Saturday morning, market day in Bayonne, emerges from the white mist coming from the Nive river.

Revelatory vision of the mixed, indissociable senses to introduce the Basque museum. It will accompany the project: sugar onion, onion of tears, onion with a crackly skin and tender pulp, the sphere that is peeled, coupled with dancing corollas of minute petals in the shape of butterfly wings whose velvet one feels through the eyes and which approaches us with this angelic face.

What luck to have met up with this emotion that day!

It turns out to be in this unknown world of the project, our truth, our fireman’s ladder, our rest area, our secret agent.

Paul Valéry when he came to Guethary (to visit the Basque museum?) speaks of substance.

You need it to do museography.

Psaumes de - Matin à Guéthary – Chant des coqs Bien-être – dans le seul, le frais-tiède, le bleu-noir fondant, à grosses étoiles rares et mûres Il y a un chant silencieux dans cet instant .

La paix est encore massive.

Trains et phares gardent leurs grondements et leurs éclats de nuit.

Seul à seul.

L’ennemie dort quelque part Les raisons dorment. Personne ne raisonne. Les peuples sont absents. Le Germain est sur le dos. Le Latin sur le flanc droit.

Tous ceux qui sont éveillés sont esclaves ou malades.

La substance blanchit. La masse divise.

Il y a de célestes couleurs, et des lumières terrestres que les couleurs vont faire taire.

Elles ne peuvent coexister.

Il y a des sentiments et des nettetés en présence qui ne peuvent coexister – Il est temps que vienne le jour, avec son épée qui divise l’esprit de l’âme et découpe aujourd’hui dans -(unfinished) Paul Valéry, 1928, in Cahiers, vol 2 La Pléiade p. 1292

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Bayonne - musée basque et d’histoire de Bayonne - Dagourette house View of one of the agro-pastoral rooms on the ground floor of the Dagourette house, a former fluvial warehouse.

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Bayonne - musée basque et d’histoire de Bayonne - Dagourette house Fairs and markets room Salle level 1 of the museum.

Showcase of traditional costumes from the Valley of Roncal.

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Bayonne - musÊe basque et d’histoire de Bayonne - Dagourette house View of the room of tales The ceiling composed of 10,000 fire-coloured glass drops has the same use as when the spectacle of the flames burning in the grate holds the eyes while the ears listen to the tale being told.

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Bayonne - musÊe basque et d’histoire de Bayonne - Dagourette house View of the Festival and Games rooms The museum occupies the 3 levels of the Dagourette house. The Festival and Games rooms, are found in the attic which has been modified by the creation of dormer windows, typical of the city of Bayonne, and are flooded with light for the visit.

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Paris - L’Homme transformé, Cité des Sciences et de l’Industrie - Inside view of the Dialogue Avatar air cell Inside the air cells, the floor is transformed and deformed, the mass rises up to become a partition, wall, volume like volcanic ground, the matter is unstable, the surface is no longer an Euclidean plane but complex, sculptural. The thick spongy membrane, air cell space, defines the closed perimeter of the museum environment and a central distribution place toward them. Its inside surface is used as a filter for the expression of content that interacts with the movement of visitors in real time.

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2001

L’homme transformé, Cité des Sciences et de l’Industrie (Universciences), Paris

Paris - L’Homme transformé, Cité des Sciences et de l’Industrie - Plan of the exhibition and views This project is a museographic renewal for the Cité des Sciences, which opens a series of exhibitions on life issues with Joel de Rosnay as scientific advisor. The project proposes a reflection and interaction beginning with the concept of thicknesses, voids, mutations: installation of dynamic systems based on evolving geometries and rhizome-like grids capable of receiving overlaid information to define a flexible organic membrane.

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Chartres - Le parfum, le pouvoir des odeurs, Le COMPA - view of the space devoted to basic materials The complexity of this exhibition is the presentation materials that we chose to exhibit: volatile for the historic scents and fragrances recomposed for the occasion, and living because except for animal matter, it is from plants and their roots, bulbs, grains, branches and sap that essences are extracted. A garden of living scents, transformed into absolutes or dry to the touch, is thus composed under a cloud of suspended cones forming a false ceiling in the old railway hall to attract the eyes and contain the odours.

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2004

Perfume, the power of odours, Le Compa, Chartres, France

At Compa we operate in the middle of a collection of agricultural machine tools by creating flexible volumes of 3.80m high and 4m in diameter made of wicker and paper that are used as a presentation space for the works and above all a semi-enclosed fragrant chamber.

These capsules are the architectural sites of identification of the exhibition in the museum.

They are designed to be a particular instant of possession of an odour, which thanks to the reconstitutions of perfumes realised by Dominique Ropion, embroider, in the invisible brocade of time, a given historic period.

Odour is a very powerful immersive tool, in an intimate sphere, as in a shared space.

For the museographic environmental design, we remained in the simplicity of that odour for which it is impossible to know where it will lead us.

The project consisted in modelling the space to reveal the uncertain limits of its evaporation.

We chose to create museographic supports in simple materials, flexible either in their texture (paper, fibreglass, textile, wicker, etc….) or in their possibility of installation (resin, Corian®…) as a way or assimilating this equation.

The gap in the wake is the decisive element chosen to “spatialise” the scientific discourse in the first part of the exhibition.

The suspended ceiling obtained by the juxtaposition of cones, special furniture made from objects diverted from their initial function and borrowed from the world of perfume (filter), frame the visitor’s “olfactory” perspective, like his view, with the combination of the elements in the lower part of the showcase or the pots for the plant specimens.

The binder issuing from the stream of odours is transposed in the crossed flexible horizontals and verticals made from wisps of rattan and wicker, themselves presentation supports for the exhibition’s elements.

The suspension made of an amalgam of cones in this first part of the exhibition finds its prolongation in the shape of the nacelles, themselves forming a concave ceiling, a sort of suspended compartment. They are seemingly simple, but took two months to devise using successive drawings, models and prototypes before arriving at a final version in harmony with the principles of volatility for the environmental project of the exhibition.

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Chartres - Perfume, the power of odours, Le COMPA - The craft and industry of perfume Presentation of stages of production of a perfume, from its composition (perfume organ), to its distillation (still: here behind the historic still used for the scent “Jicky� by Guerlain) to the contemporary headspace.

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Chartres - Perfume, the power of odours, Le COMPA - History of scents Seen from a suspended nacelle, a structure made from wisps of rattan and wicker and covered in non-woven fabric in the space of the old factory.

The manufacture of closed, isolated spaces allows a propagation of the exhibition in the existing space without impinging on the agricultural collections and gives freedom for implantation, avoiding the pitfalls of zoning or enclosure.

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Caen – Peace Memorial - The Cold War, chain of events room; dates, places, events, actors.

Wooden machinery surrounds the space and serves as a support for the various media: graphic, photographic, film, sound and objects that recall the historical events of the Cold War and the roles played by the two great blocs, East and West, and the non-aligned countries.

Recreation of a chronological theatre.

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1999

Mémorial pour la Paix, Caen

The first part of the visit features the material destructions, the havoc of those terrible years. The visitor is violently confronted with the horror of war, that human and material catastrophe. The gallery of destroyed cities enumerates the destructions, their cost, their scope, without purporting to take the place of the reality. The visit revolves around four themes: the destruction of a thousand-year old heritage, the sufferings of civilians, life in spite of it all, and reconstruction.

The space has the shape of a street that leads between buildings represented by metallic frames (destructions or reconstructions?). On their faces, projected images of these cities. And in the background, une quotation of Fénelon, readable from everywhere: “All wars are civil ones; for it is still man spilling his own blood, tearing out his own bowels.”

A moment of gravity accentuated by the monochrome ambience.

On the walls, imprints of abandoned clothes, in plaster, represent a sort of human archaeology of bombings. Of the civilians, the only trace left is their clothes (a mother and her children, a couple, an old man, a party in Hiroshima). The city is seen as souvenir, a souvenir of very commonplace things, not a construct of the mind.

The colour black, uniform, gives way little by little to red at the end of the visit. A ray of light then appears through one of the elements of the Berlin Wall. Hope, at last?

The World at the Time of the Cold War (1945 to 1990) I arrive at a more descriptive, didactic moment, anchored in the reality of the world during the Cold War and the years that followed. Over time, between the two great enemies, the confrontations are violent, frontal, or more peaceful.

The scenography recounts this perfectly, and plays on the opposition between the two blocs, communist and Western: material, visual, ideological opposition. The exceptional collections of the Memorial show these two worlds at their most tangible.

I wander between these two worlds that everything opposes. On an ideological level, totalitarianism versus democracy.

On a material level, consumer society versus non-consumption society. Emblematic objects render the reality of those years: Traban versus Cadillac, newspapers, political quotations of Truman and Lenin, objects of daily life, speeches and songs.

The atmosphere of this part is sombre: violent colours, little light, opacity, rough materials (concrete. The exhibition continues in the basement (the hidden reality of this period) where among the most spectacular elements are exhibited: a MIG 21, an SSBS missile nuclear warhead, an H-bomb carcass (Big Boy).

As if in conclusion, segments of the Berlin Wall speak of hope. 1989, historic and enthusiastic year, has it kept its promises?

Going toward the rest of the visit, I cross the Hall of Peace, a long room bathed in light. The entire space is occupied by a gigantesque reproduction of the very first peace treaty ever signed, the one that followed the battle of Kadesh (13th century BCE) between the Egyptians and the Hittites. Le diapason is given: something else is possible.

Farther on, a large object commands attention, surprising, in the form of a diamond offered in an open hand. For this object, ideal, desirable, we fight. For peace, ideal, desirable, do we have to fight?

Worlds for Peace The visit then goes on to a very luminous philosophical, reflective moment. In this space, the mind lifts toward a general reflection on peace.

As one enters, six kiosks exhibit various attitudes and thoughts about peace through six great traditions and cultures. I can linger over other ways of envisaging peace. Positive peace (how to build peace), an eminently open question, seems so much richer than negative peace (how to avoid war). Thinkers have long reflected on this: artists, painters, writers…

A milestone is reached; the visit goes up to show it. Where to turn to guarantee peace? The review of proposals is vast, and it’s the whole planet that must be questioned. The visit on the first floor mixes pedagogical (the consoles are interactive) and speculative aspects by calling on less obvious fields. The issues of peace change place. The universe becomes technical, poetic, bright.

From this light and pointillist staging comes a message: peace must be won and it is built every day, it is not given as a right. This is pointed out by a general panorama of the institutions and individuals who work for the advancement of the right to peace in the world.

Nevertheless, how many factors of violence still subsist everywhere: cultural, racial, religious conflicts, conflicts over territories and borders, over economic inequalities. In a calm atmosphere, the visit ends on this call for realism.

The descent by the stairs of the object expresses this final warning: peace is at the price of permanent attention.

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Caen – Peace Memorial - Peace, Cultures of Peace room With the actual and theoretical guidance of Johann Galtung, scientific advisor for the Memorial and theoretician of peace, the kiosks were designed to illustrate the principal concepts of peace in the world. Illustrations, sounds and characteristic objects are specific to each one. Their conical shape manages the semi-enclosed spaces to avoid sound pollution and preserve the identity and the juxtaposition of the different cultures. Rugs whose graphics are inspired by types of cultural thought, prolong the compartment on the ground by participating in the acoustics and thematic identity.

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Caen – Peace Memorial - Peace, Cultures of Peace room View of the inside of the kiosk of the Ho p’ing and Heiwa cultures of peace.

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museographer (or museum designer), museography, museographic (French term employed in 1764 to describe the art of exhibiting) as follows: architectural “or building a utopian world where objects and visitors meet” (Jean Davallon) / scenographic derived from the art of perspective applied to the theatrical stage to designate the preceding action / graphic r building and aestheticising language / plastic or creating an environment originating in narration / digital or virtual representation substituting the act of building /urban or the city as an ideal place for events cultural, touristic, social.

Zette Cazalas museographer, project leader Jesus Pacheco architect, project director Claire Feuilly plastic artist Claudia Castelletto architect, project assistant Lucas Tisné designer, project assistant fax +33 (0)1 4277 2255

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