Museum of Art Pudong (MAP)

Ateliers Jean Nouvel as Architects

Based on an urban domain, a medium and screens

The Invention of a “Grand Verre”

  • Museum of Art Pudong is a domain.
  • The domain is Museum of Art Pudong.
  • The domain is a medium consisting of four hectares of warm white granite stones assembled in a way that conjures up the irregular pattern of ‘crackled glass’.
  • The domain is bordered in the west by water, the Huangpu River.
  • The domain actually drops straight down to the water, with the stone becoming whiter there.
  • In its white sheerness, towering over the water, the domain creates a restaurant loggia as close as possible to the boats for people to be able to further admire the Bund.
photo_credit © Chen Hao
© Chen Hao
  • The domain is bordered, surrounded by tall trees that form an undulating landscape and a huge rim, a huge windbreak.
  • The domain is separated from the neighbouring towers by this windbreak of trees.
  • The windbreak of trees creates a thick dark frame that brings out the bright airiness of the museum domain.
  • The undulating landscape, with its large surrounding rim, is a vast V-shaped linear garden approximately 700m long showcasing trees (some of them removed from the clutches of the new museum) – tall trees of different species.
  • In the landscape there will be statues and, at the back of the landscape, lights that change from day to night.
  • Because the domain is a museum, statues and contemporary artworks will be positioned in the wooded landscape.
photo_credit © Chen Hao
© Chen Hao
  • Because the domain is a museum, there will also be artworks on the stone (‘crackled glass’) field, on the forecourt, on the terrace and on the waterfront walkway.
  • Because the domain is a museum, the forecourt and terraces will have plinths of the same texture as well as tree planters.
  • The domain’s medium will be flamed over the floor (slight non-slip relief) and mixed on the walls (smooth or flamed or very occasionally roughened).
  • The stones are essentially large different-size panels with a raindrop pattern.
  • The sharps points of the triangles will be lined with metal.
  • The ‘crackled glass’ medium will stop at the museum doors.
  • The windows of the exhibition rooms will be able to be shuttered if necessary using standing panels.
photo_credit © Chen Hao
© Chen Hao
  • The open windows will be hung with a fine sail to filter the light and create fixed shade.
  • The rooms on the top floor and the exhibition space in the atrium will be lit with natural overhead lighting provided by micro sheds.
  • The screens mark out the domain.
  • The two vertical screen-signs, one above the museum and one on top of the ventilation tower, mark off the site and indicate and highlight a break.
  • The two screens are linked at night by laser beams creating intersecting lines of light above the museum.
  • The western side screen on the Bund will be a major event.
  • The western side screen on the Bund will be mutating.
photo_credit © Chen Hao
© Chen Hao
  • The western side screen on the Bund will be a twin façade of textured glass watermarked with the ‘crackled glass’ pattern.
  • The western side screen on the Bund will be mirrors.
  • The western side screen on the Bund will be unpredictable.
  • The western side screen on the Bund will be images.
  • The western side screen on the Bund will be reflections.
  • The western side screen on the Bund will be a big long box.
  • The western side screen on the Bund will be a gallery of large-scale mirrors over two superimposed floors.
  • The western side screen on the Bund will be programmed.
  • The western side screen on the Bund will be installation spaces or performance spaces, during the day.
photo_credit © Chen Hao
© Chen Hao
  • The western side screen on the Bund will be programmed as a video space, during the evening and at night.
  • The western side screen on the Bund will be a machine for surveying the Bund, a twin panorama.
  • The western side screen on the Bund will be a reflection of this twin panorama, depending on the lighting used.
  • The western side screen on the Bund will be a reflection of the artworks superimposed periodically over the view of the Bund, depending on the lighting used.
  • The western side screen seen from the Bund will show the excitement and the museum’s visitors.
  • The western side screen seen from the Bund will be an incredible tool for image artists and installation artists, especially for Chinese artists who like large dimensions.
photo_credit © Chen Hao
© Chen Hao
  • The western side screen seen from the Bund will impose its presence through its various shades of white: The white of the sail between the two façades, a fine patterned sail that gently texturizes the landscape to make it easier for people to seize ; A total or partial white that provides an unobstructed view over the first two or three metres ; The white of the various lights, of the LEDs behind the mirrors ; The white of the installations or artworks ; The white of the background which is designed to show images and visitors most effectively.
  • The western side screen on the Bund side, starting at the walkway, is an actual vision of the “Grand Verre”.
  • The western side screen on the Bund side, starting at the walkway, is a joker designed to fascinate the crowd through fresh new images that disrupt the view of Shanghai and the Bund.
  • The western side screen on the Bund side is a testament to the art of the 21st century.
photo_credit © Chen Hao
© Chen Hao
photo_credit © Chen Hao
© Chen Hao
photo_credit © Chen Hao
© Chen Hao

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