Product Spec Sheet

ElementBrandProduct Name
Glass - SunGuard SuperNeutral 68Guardian Glass
UplightsLumenpulse
ElevatorAscenseurs Lumar
Interior AmbientElliptipar
ManufacturersFRONT
GlassGAMMA

Product Spec Sheet
Glass - SunGuard SuperNeutral 68
Uplights
Elevator
Interior Ambient
Manufacturers
by FRONT
Glass
by GAMMA

THE OPENING

OMA as architect

18/07/2016


On June 24 took place the inauguration of the new Pierre Lassonde pavilion of the Musée national des beaux-arts du Québec, whose architectural conception started in 2011. It is with a tremendous sense of pride that Provencher_Roy assists to the opening of the doors to this building that imparts a newfound architectural cohesiveness to the Musée and enables Québecers and tourists alike, thanks to a 90% increase in exhibition space, to discover in greater depth the MNBAQ's impressive art collection. Integrated in an intricate and sensitive environment, the project generated an in-depth reflection about the bond between the Battlefields Park and Québec city, the preservation of the historic Saint-Dominique church, the creation of a persuasive presence on Grande Allée and the harmonious integration of the new pavilion. The solution was to stack the required new galleries in three volumes of decreasing size - temporary exhibitions (50m x 50m), the permanent modern and contemporary collections (45m x 35m) and design / Inuit exhibits (42.5m x 25m) - to create a cascade ascending from the park towards the city. The building aims to weave together the city, the park and the museum; it is simultaneously an extension of all three. The pavilion gradually decreases in height as it retreats from the urban turbulence, creating a cascade effect that enables the museum to reach out toward the park at the back while inviting the city in on the front. A 20-metre cantilever announces the main entrance of the Lassonde pavilion. Built using a hybrid steel truss system, it accommodates galleries completely uninterrupted by support columns. The entrance opens out onto an urban plaza that leads to a series of gateways into the galleries, courtyard and auditorium. A monumental spiral staircase of 79 stairs as well as an exterior pop-out staircase of 40 stairs provide spectacular views of the park, the city and the museum. Within the gallery boxes, mezzanines and overlooks link the temporary and permanent exhibition spaces. With its triple-glazed panels, comprised of a layer of diffuser glass, two layers of fritting and a low-emissivity coating, the building's interior is bathed in light while the façade reflects the surrounding greenery. The fritting's pattern density provides sufficient solar shading to satisfy LEED's mechanical cooling requirements. Thanks to the fritting and diffuser glass, as well as the skylights and carefully curated fenestration, a translucent effect permeates the space, transforming the cultural institution into a natural extension of Battlefields Park. The new building links to the existing museum complex by a 130.6 meters long passageway. By virtue of the sheer length and change in elevation, the tunnel creates a series of linked rooms with a dramatic range of spatial and lighting conditions. Each of these serves as a distinct gallery condition, a series of spatially diverse yet visually interconnected volumes that lead the visitor, as if by chance, through the complex. The Lassonde pavilion is being launched with three days of festivities. Commissioned to endow the provincial capital with a world-class building, the consortium of OMA and Provencher_Roy have conceived a superb work of architecture that subtly, perhaps even stealthily, and certainly successfully, strengthens the links between the disparate elements of the site. The structure creates a stunning environment for showcasing the Musée's collections, and beckons visitors to discover art, creativity and local talent, and to celebrate them.


About the MNBAQ


The Musée national des beaux-arts du Québec is a museum complex unlike any other in Québec, combining art, architecture and nature. The museum’s extensive collection, a benchmark for Québec art, comprises more than 38,000 works, recounting 400 years of history. It includes one of the most important collections of religious art in Québec, the largest collection of Inuit art in Québec, as well as some 9,000 contemporary works: sculptures, engravings, ceramics, photographs, drawings, videos, installations, and digital and media art.


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The Pierre Lassonde Pavilion—the Musée national des beaux-arts du Québec's fourth building in an increasingly complicated site, interconnected yet disparate—is a subtly ambitious, even stealthy, addition to the city. Rather than creating an iconic imposition, it forms new links between the park and the city, and brings new coherence to the MNBAQ.


The intricate and sensitive context of the new building generated the central questions underpinning the design: How to extend Parc des Champs-de-Bataille while inviting the city in? How to respect and preserve Saint Dominique church while creating a persuasive presence on Grande Allée? How to clarify the museum's organization while simultaneously adding to its scale? OMA’s solution was to stack the required new galleries in three volumes of decreasing size—temporary exhibitions (50m x 50m), permanent modern and contemporary collections (45m x 35m) and design / Inuit exhibits (42.5m x 25m)—to create a cascade ascending from the park towards the city. The building aims to weave together the city, the park and the museum as an extension of all three simultaneously.


While they step down in section, the gallery boxes step out in plan, framing the existing courtyard of the church cloister and orienting the building towards the park. The park spills into the museum (through skylights and carefully curated windows) and the museum into the park (through the extension of exhibitions to the terraces and the outdoor pop-out staircase).


The stacking creates a 14m-high Grand Hall, sheltered under a dramatic 20m cantilever. The Grand Hall serves as an interface to the Grande Allée, an urban plaza for the museum's public functions, and a series of gateways into the galleries, courtyard and auditorium.


The cantilevered structure is supported by a hybrid steel truss system and accommodates galleries uninterrupted by columns. The layered façade is simultaneously structural, thermal and solar, addressing the seemingly contradictory needs of natural light and thermal insulation for Québec’s harsh winter climate. The triple layered glass façade is composed of a 2D printed frit that pattern mimics the truss structure, a 3D embossed glass, and a layer of diffuser glass. In the galleries, insulated walls are located behind the translucent glass system, with a gap between that lights the building at night like a lantern in the park. The Grand Hall is enclosed by a glass curtain wall with glass fins that allow virtually unobstructed and inviting views to the Charles Baillairgé pavilion through a glass wall and ceiling. The contrast between the translucent gallery boxes and clear grand hall reinforces the reading of the building’s stacking and cantilevering massing.


Complementing the quiet reflection of the gallery spaces, a chain of programs along the museum’s edge—foyers, lounges, shops, bridges, gardens—offer a hybrid of activities, art and public promenades. Along the way, orchestrated views from a monumental spiral stair and an exterior pop out stair reconnect the visitor with the park, the city, and the rest of the museum. Within the boxes, mezzanines and overlooks link the temporary and permanent exhibition spaces. On top of each of the gallery boxes, roof terraces provide space for outdoor displays and activities.


The new building provides a 90% increase in exhibition surfaces, connected to the museum's existing buildings by a passageway rising 8.2m over its 130m length, creating a permanent home for the museum’s 40m "Hommage à Rosa Luxemburg" by Jean-Paul Riopelle. Through its sheer length and changes in elevation, the passage creates a surprising mixture of gallery spaces that lead the visitor, as if by chance, to the rest of the museum complex.


16-Apr-2010 The Office for Metropolitan Architecture (OMA), has won the competition for a major expansion to the Musée national des beaux-arts du Québec (MNBAQ). The 12,000m2 new building, a cascade of three overlapping boxes at the juncture of downtown Quebec City and the historic Battlefields Park, will be OMA’s first built project in Canada.


The winner was announced today by MNBAQ President Pierre Lassonde and the Quebec Minister of Culture, Mme. Christine St-Pierre. The design, led by OMA partners Shohei Shigematsu and Rem Koolhaas in collaboration with associate Jason Long, was chosen unanimously from five submissions by internationally renowned architecture offices.


OMA’s expansion of MNBAQ – linked underground with the museum’s three existing buildings – is located on Quebec’s main promenade, Grande-Allée, adjacent to St. Dominique Church. The design aims to integrate the building with the surrounding park and initiate new links with the city. Three stacked galleries of decreasing size – housing contemporary exhibitions (50m x 50m), the permanent contemporary collection (45m x 35m) and design / Inuit exhibits (42.5m x 25m) – ascend from the park towards the city, forming a dramatic cantilever towards the Grande-Allée and a 14m-high Grand Hall, welcoming the public into the new building.


Shohei Shigematsu commented: "Our ambition is to create a dramatic new presence for the city, while maintaining a respectful, even stealthy approach to the museum’s neighbors and the existing museum. The resulting form of cascading gallery boxes enhances the museum experience by creating a clarity in circulation and curation while allowing abundant natural light into the galleries."


The project will be executed by OMA’s New York office in collaboration with Provencher Roy + Associés Architectes, with an anticipated completion date of fall 2013.

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The largest cultural project in Québec

Musee national des baux-arts de Quebec as Client

The largest cultural project in Québec, the Pierre Lassonde pavilion of the Musée national des beaux-arts du Québec, is opening its doors on the Grande Allée in Québec City. Resolutely turned towards the future, the new world-class building, the fourth pavilion in the museum complex, designed by the architectural consortium OMA (Office for Metropolitan Architecture) of New York and Provencher_Roy or Montréal, will transform the venerable eighty-three-year-old institution by bringing together like never before urban life in Québec City and the picturesque landscape of National Battlefields Park.


The new building, 14,900 square metres in surface area, enables the MNBAQ to double its exhibition space and will serve as a light-filled and contemporary gateway to the museum complex, which previously included three pavilions, in addition to providing it with larger spaces for presenting its collections and letting the art and artists from here and abroad shine.


A GLASS LOBBY UNDER A CANTILEVERED ROOF Among the spectacular elements of the Pierre Lassonde pavilion, the curtain wall of the main lobby boasts an impressive façade 26.5 metres wide and 12.5 metres tall, sheltered under an imposing cantilevered roof. Glass panels installed perpendicularly at regular intervals, provide a vertical motif to the impressive frontage. This majestic space serves as an interface with the Grande Allée and urban space for the Musée’s public activities. The façade is at once structural, thermal and solar, to meet the seemingly contradictory needs of natural light and thermal insulation imposed by the rigours of the Québec winter.


The lower part of the main lobby, seven metres in height, opens onto four temporary exhibition galleries as well as the inner courtyard, the bookstore-gift shop and the monumental staircase leading to the new auditorium.


The concrete wall in the main lobby, forming the new southwest gable of the presbytery, is another unique architectural element in Québec. It was cast in a single block using formwork built very meticulously horizontally and then raised to a vertical position with a crane.


TWO MAJESTIC STAIRCASES The monumental staircase rises up three storeys to the heart of the building with a dizzying spiral of three flights made out of four sections of steel. A curved glass balustrade provides all those who take this majestic staircase with a memorable experience. The Canam Group suspended staircase, connecting the second and third floors, protrudes from the building and offers a view of the park that will take visitors’ breath away and give them the impression of walking between heaven and earth.


A REMARKABLE INNER COURTYARD The inner courtyard, 500 square metres in size, joins the heritage aspect of the Saint-Dominique presbytery and church – in an English Neo-gothic style – with the new building’s contemporary lines of glass and steel. This partially-covered public space is home to a work by Ludovic Boney, Une Cosmologie sans genèse (A Cosmology without Genesis), created following a public art competition organized by the Ministère de la Culture et des Communications in collaboration with the MNBAQ. The rounded forms of the light grey granite echo one of the elements of Boney’s monumental artwork, an immense sphere made up of 800 aluminum cones.


A TERRACE OVERLOOKING THE RIVER On the third level, on the south side, a terrace with a capacity of 60 people is the site of a bronze sculpture by Patrick Coutu, Le jardin du sculpteur (The Sculptor’s Garden), created thanks to a contribution by the Monique and Robert Parizeau Foundation. The perspective afforded by the terrace lets visitors not only admire the landscape and enjoy the stunning view of the three other pavilions in the museum complex and the St. Lawrence River, but also appreciate the beauty of the green roofs, where 90,000 plants grow. Five kinds of hardy succulent plants create a motif which reproduces the site’s topographical lines.


GLASS, GLASS AND MORE GLASS Glass truly envelopes the whole building. Three kinds of glass panels – transparent, translucent and opaque – where meticulously chosen by the architects to play with this impression of inside out, but also to meet the needs of an creating an energy-efficient building that adheres to the principles of sustainable development using thermally-treated anti-UV glass. The architects chose to texture some of the translucent and opaque glass panels. Motifs in the form of points were silkscreened onto them, creating a refined optical effect, following the elements of the building’s imposing steel structure. The insulated walls of the exhibition galleries alternate with the translucent windows, making the building light up at night like a lantern in the park.


NATURAL LIGHT IN THE MUSÉE A visit to the pavilion is punctuated by light-filled spaces adjacent to the exhibition galleries. Like the circulation spaces, the exhibition galleries have openings which enable visitors to maintain visual contact with the park, the city and the other buildings in the museum complex during their visit. These perspectives allow natural light to enter, something very rare in an art museum, making visitors’ experience more dynamic and enabling them to remain in constant dialogue with the outdoor environment.

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Pierre Lassonde Pavilion, Quebec City, CA

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