Yale University, School of Architecture

Doctrines and Uncertainties Questions for Contemporary Architecture; Lectures at the Centre
Pompidou
Author(s): Jean Nouvel
Source: Perspecta, Vol. 28, Architects. Process. Inspiration. (1997), pp. 52-63
Published by: The MIT Press on behalf of Perspecta.
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"The eye sees not thingsbut formsof
Italo Calvino,1980.
L'Avenirde I'architecture
n'est pas architectural

andUncertainties
Doctrines

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 thingswhichsignifyotherthings."
Architecture
isstill
today theartofchoosing
theformal
vocabulary
of
Withfewexceptions,Architecture
is sad, monotonous,and
unsurprising.

JeanNouvel
The Modernsnevercease to harkback to theirCORBU,greyand fat.The - A Parodic
Towarda Numberof Architectures
The Technocratsno
Rationalistsmaketheirfinalstand beforesurrendering. in Favorof a PluralistArchitecture:
Anti-Manifesto
longerdazzle anyone withtheirfeats in tow. The Nostalgicsare afraidof
losingtheirmemoryand make us cryoverthe lost charmsof the 17th-cen-
turycity.The Formalistsobsess over the triangle,the circle,or the square,
I lovearchitectures to be
dependingon theirgeneticdeterminism
or a bad encounternot discovered love themas one loves an epoch or civi-
I
by theirpsychiatrists. lization.As a revealingsign of savoir-faire
and of
estheticand practicalpreoccupations.I love them
The skillful,correct,and wonderfulgame of volumes no longeramuses above all as an instantof imaginationturnedinto
anyone. stone. I also love themas realisticintentions.
As
the resultof an act of willand mastery.As the
The citysuffocates,growsfatand flabbyin the so-called peripheralzones. statementof a propositionwhichknewhow, in
The circulationis poor. The bad cells are spreading.The heartis ill. The orderto exist,to have itselfadmitted.I love them
limbsare tingling. of the dated possible. I judge them
as illustrations
as witnessesof economicand culturalconsensus.
In these circumstances, Architects have perfectlyunderstood that
was not accessible to the people and decided not to speak
Architecture I am readyto love moreof them.Pure and impure
any longerexcept among themselvesin order,so they
about architecture ones. Virtuousand whorishones ...
say, to deepen theirinnerknowledge.
Spontaneous and sophisticatedones. Nude and
thattheyno longerspeak about any-
Theyspeak so muchof architecture well-dressedones. Proletarianand bourgeoisones.
thingelse. The others (non-Architects),
no longer hearinganythingsaid thattheybealive!
Provided I am afraid his
about architecture, else. When an Architect
speak about everything hears Let us leave Frankenstein
someone else (a non-Architect) he treatshimas
speak about architecture, bride.Providedthattheybe tolerant!Slave in
an incompetentand advises himto speak of somethingelse. search of mistresses,thisdoes verylittleforme.

Whensomeoneelse hearsArchitects As forthe rapportof the sadomasochistictypeand

This has nearlyturnedout badly forthem because otherpeople were no those who impose theirway of lifeand perpetually
longercallingon the Architect
forbuilding. show offtheirstrength,no thankyou! As long as
... one gets tiredeven of
theyare intelligent!
Fortunately, Architectin
the Law came to the rescue of the unfortunate bimbos!If theyare witty,that's all right!If they
decreeingthat henceforth could build forotherpeople,
onlythe Architect are culturedand do not show offtheirknowledge,
whichthe Architect
totallyaccepted,beingable to buildcalmly,withoutany I willlistento them.Iftheyare knowledgeable,
surprises,and in completelegality.As a wayto deliverhimfromeveryanx- I willpay thema visitand interestmyselfin their
iety (the solitude of the Artistin the face of his emptybuildingsite is discoveries.And whileI'm at it, I preferbeautiful
absolute), the Legislatorstronglyadvised him to heed his prescriptions. ones. It seems thatthisis no longerin fashion,
Thus, the Architect,reassured and guided, henceforthfollows the few but I can't help myself!
recipes writtentoday in the wretchedmenu of the governmentcafeteria. WhenI saybeautiful, I do not
Mistakesare no longerhis fault.As long as he followsthe CivilCode, mis- no more than ... whatI wantto say is
takes are the faultof the Administration. one withthe charmand minoryet engagingfaults
of someone like BarbraStreisand,forexample.
thendiscussedthe matterand became divided.The greatestnum-
Architects I do not like to imaginethemas systemsor as ro-
ber of them, respectfulof the EstablishedOrder,have decreed that the bots made of the same interchangeableparts and
urbanand periurban[suburban]chaos was not of theirdoing and thattheir wellprogrammedto answersome limitedques-
(break,
page 55)

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 Nouvel

ina thousand.
onebuilding Itcouldcollapsetomorrow
without
making
many

andunmistakable.
intelligent

ofmummies back to life!

and thingsbrought

speak ofarchitecture,
he does notunderstand
a wordof

Monroe,
ecessanVmeanMarilyn ,.
. .. .

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 (page53,pickup)
aboveall incovering
consisted
profession inon
one'sexpenses andcoming tions. prefer ofthemas uniqueand
to think
I
cry.timewitha technicallyreliableproduct.CertainArchitectstook refugeon
.people bringingwiththemthe qualitiesand defects
theirplanet of paper, in theirutopias of the futureor past, takingthem- inscribedin theirgeneticheritage.I imaginethem
selves fora PIRANESIor BOULEE. as fragileand mortal,in need of love, care, and
With,like everyone, an uncertain
attention.
(actingas is rightand proper)have decided to await the Great
A minority I love themforthemselves,for
possible once again,
make everything
Eveningwhichwould, miraculously, theirsingularpersonalities.I have a weakness for
cool ones, sensitiveto the estheticofthe times,

remain
There thehot-blooded
theDonQuixotes, ones,thosewhothink
comicbooks, television,
influencedby literature,
and the artisticcreationof
I am thatway forall the reasons whichflowfromthe perniciouspreceding movies,photography,
statement. the hour.Makingdiscerninguse of all aspects of
theirlifein orderto make it easier and make
And, against the windmills,the winds, the CityHalls, the swamps, the themselveshappy,withup-to-dateelectronic

thatthe
and aboveall thosewitha doctoraldegreein
urbanocrats,
ArchitectureI predict
devices and the most recentinventions.I am inter-
The solutionis not hiddenin the codicilsof ALBERTI,PIRANESI,LEQUEUX, ested in intellectualones, those who knowhow
or LEDOUX.The keyis not in knowingin whose wake to follow,whichmas- theyare made and who ask themselvesexistential
to impose,or whicharchitectsto excom-
terto worship,whicharchitecture questions: Wheream I? Wheredid I come from?
can no longerbe thatwhichit claims to be, some
municate.Architecture Wheream I going? I love those who organize
kind of "art of organizingspace" or some "skillfulgame of volumes." themselvesto exploitto the fullesttheirqualities
can no longerbe one buildingin a thousandfinancedby ador-
Architecture and theirfaults,conscious of the importanceof
ingpatronsor theauthoritiesin searchofstyle.Architecturemustgo beyond theirsubconscious.
its elitistguardians,and stop beinga privilegethatno
its borders,overturn
to liberatetheir
willeverabolish. Itis the roleofarchitects
social revolution I do not despair in knowingmanyof them.From
muse. one to another,I take upon myselfthe quarrels
and am the championof pluralism.To one and the
by thatwhich
Forthis,one mustexpressoneselfbyeverymeans,principally other,I add stillothers.To black and white,I add

itand advisesthemto speakofsomething

else.
is built.One mustecho an entireculture,and drawfroman entireciviliza- all the colors,nuances, ornaments,and motley
in this regard. Is
tion.The exampleof the modernmovementis significant hues. Theyare onlyvalued forbeing alive, toler-
it the historyof Architecture
whichinspiredit? Or was it the industrialrev- ant, and different.
Ratherthantaking out one or
olution,or FOURIERand PROUDHON,followedby KANDINSKY,
MONDRIAN, the other,or one and the other,I choose among
KLEE...? the othersin each cityand porton the spot.
Witha numberof them,it's moreof a sure thing.
Architecture
can no longerbe the simplevisual quest forbeauty(formany
years artists,those who workwithform[plasticians],painters,sculptors, JeanNouvel- Extractsfroma lectureat the
photographers,
filmmakers,
musicians,and poets have gone beyond aes- CentreGeorges Pompidou,January1992:
theticvalue alone to accompany,supplement,and replaceit withthe quest
forsignification). Ifasked to definearchitecture
today,we would
have to begin by saying whatit does not do. In

Architecture
Fromnow on, Architecture
must
should speak, tell,and question at the cost, ifnecessary(and moderntimes,architecture
wantedto create the
it oftenis), of technologicalpurity,
the constructedtradition,
and the con- world.It failedthroughoverambition,
withoutprop-
formity
of references
to culturalmodels (whethertheybe ofclassicalor mod- erlyunderstandingthatthe worlddoes not belong
ern origin). to the architect,but the architectto the world;
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 Nouvel

destinylinkedto chance and to the community

to whichtheybelong.

of architecture
ffuture is not Architectural.

ignify"

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 (page55, pickup)

Architecture
should
address
itself
tothespirit
more
than
totheeyeand
In orderto do this,all means are good ones: symbol,reference,
metaphor, withoutunderstanding
thatarchitecture
modifies
sign, decoration,humor,game, irony,plagiarism,innovation,tradition, and extendsthe worldthroughthe defeatof
style....All words are permittediftheyare usefulin the sense giventhem chaos, an adventureinto the involuntary.
The
and iftheyare understood. architecture
of each era mustreinventthe tools of
its evolution,togetherwithotherdisciplineswhich

From
thispointofview,thefuture
ofarchitecture
is
... who are goingto live in the space that he defines.Whathe share the same characteristics.
For an architectto
says, what he chooses to say, is at least as interesting
as his way of say- embarkon an adventureof'such magnitude
ing it. The contentof the architectural
message is no longersomethingto involvesfamiliarity
withthought.
be chosen fromhistory,
as ifarchitecture
were a literary
authorof the 17th
century,choosinghis dramafrommythology
or ancienthistory. It is nevereasy to plunge intophilosophyor to
organizethoughts.For mypart I have always
How is the Architect
goingto choose what he is goingto say? Is he always workedby displacement.In philosophicalterms,
goingto repeathimselflike an obsessed artist?Onlythe consciousnessof I'm told one should talk about conceptmigration.

It is notbyour innerknowledgethatwe can permithim

context,the knowle ge ofthe milieuin whichhe constructs, in the workof Mic FoucaultI've founda num-
to finda real sense. That is to say, a physical,historicalknowledgeof this ber of proceduralrules and exploratory
methods.
milieu- the consciousness of the possibilityof evolutionduringthe life In particular,I appreciatedthe values of the order
expectancyof the proposed building- and a humanknowledge- how the of discourse - of discontinuity - exteriority,
milieuis feltby those who live in it,what is expectedof the buildingto be and inversionas effective
specificity, methodsof
created,whetherthereis a suitable balance betweenthe programand its investigation;and the idea of developingrules of
social vocation.... whichlead to a concept.
formulation

The sense ofthispreliminary

dialogue,ofthis"participation"
so disparaged Today,I am attemptingto take this researchfur-
by some and so demanded by others,lies preciselyhere. ther.AfterFoucault,I foundthe workof Deleuze
and Guattariinteresting
and a littledisturbing-
Gatheringinformation
and verifying
hypothesesin order to orientone's theirlatest book, Qu'est-ce que c'est
particularly
choices constitutethe necessaryconditionforcreatingan architecture.
But que la philosophie?Theyexplainedthingswhich
this conditionis farfrombeing sufficient. the givens does not
Integrating have been familiarto me forten years,but in a
implyfindingthe solution.Refusingto integratethem impliesrefusingto muchmoreprecise,highlyinvolved,and intelligent
answerto them. way. But theyspeak of concept,precept,and
effect,whileI was talkingabout concept,sensa-
It is in these preliminary
dialoguesthattheArchitect
has the greatestchance tion,and emotion.And on readingthatthe notion
of findinga social sense, a commonsense to what he is goingto edify. ofconceptis reservedforphilosophyI realized
thatthiswas perhaps a misuse. ThenI read that
it is characteristic
of the Architect-Artist
to denythis. His own satisfaction "thereis no such thingas a simpleconcept.Every
is the criterion
of Good. His is the onlysolution. numberofele-
concepthas an indeterminate
WhenI read thata
ments... it is a multiplicity."
How does takingintoaccounta requestlimitthe qualityof the architectur- concept "has an irregular
form,definedby the
at response?Let us be done withthisbad processwhichwould have it that numberof its components,thateach concepthas
an architectwho integratesa preciserequestabdicates his knowledgeand a past and a futureand may be consideredas the

is
"cutshiswings."It oftenin the request that the architectfindsthe response
point at whichits composingelementscoincide
and are condensed,"I understoodthatthiscould
be applied to a purelyarchitectural
concept.That

On this level, the futureof architectureis democratic

of
But let us talkof the context,ofthe environment
in whichthe projectis sit- therecould be a linkbetweenthe world philos-
(break,page 59)

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 a living
translate civilization
rather
thana heritage.

lite"aryth ' architectural. ic tha

morelinguist r'nat.
-

,apDIa:Mrs!~

' .

willIundlothe crisisofarchitecture. " j L.-N

?I

I
//l a

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 (page57,pickup)
uated. Does this contextpermita sensible response?Does the urbanand ophy and the worldof architecture,
even ifan
object to finda
suburban[periurban]jumble still permitthe architectural architectural in thatits aim is not
conceptdiffers
but fabrication,
Can one content formulation,
sense? If not,what good is it to thinkabout architecture? its aim is to attain
objects in makingan appeal
himselfwithcreatingisolated art/architectural reality.The question of realitybringsus back once
to an architectural whichis less and less shared?
knowledge ofthephysicalworld.
againto an exploration

becomesthismeansto conveyieas and

Ifarchitecture
stops at the object (takenin the sense of unityand mas-
Today,architecture Whena philosophersays thatphilosophyproceeds
teryof the workor the working).Should one not consideras a preliminary by concept,science by prospect,and art by pre-
problemthe rapportto be createdbetweenseveral masteries
architectural cept and effect,he is drawingour attentionto the
of the work? prospect,to that whichscience can contribute.
Heidegger'sprovocativestatementcomes to mind:
Thereinlies one of the principalarchitecturalproblems - outside the "Science doesn't think."That'snot whatit's there

Itis a problemof power,

domain of the competenceacknowledgedforarchitectsand on the other for.

barrier.
sideoftheadministrative

is urbanistic.
Underthis essentialaspect, the futureof architecture One sometimesdoubts whenone sees the state of
mathematicstoday,withits ingenuity,
its strate-
should stretchto includethe spatial organization gies or the theoriessurrounding
The fieldof architecture falsification,
for
of the vocabularyof the new neighborhoods,to the orienta- example,presentedas a kindof prototypenovel,
and definition
tions to be givento urbanmodifications.There,wherethe rules of urban- as it were,stories wherepoints of passage can be
norms
ism are in force,wherethe technocratic apply,wherethe censor of read.... One realizes,then,thatsimilarmethodsof
no longercarriesexcept by mistake.Well,
good taste reigns,architecture explorationcould well have a relevanceto archi-
then, istobedone?
what
COnstruct. way.In 90
In the mostsignificant percentof
...thenatureofwhatitshouldorcouldhavebeen.Here tecture.
are some personalexamples.Whenyou are asked to constructin a lot of
theworsttype(withall thesame consummatehouses), surroundyourhouse Seeing the images whichcan be producedby frac-
withan embankmenttwo metershighand driveit into the soil so that it tals - an iterativemathematicalprocess leading
recreatesits own landscape. Whensomeone wants to make you make a and an infinity
to infinity of forms- or the geom-
pastichewitha seated dog, in ordernot to deface the landscape, make an etryof meaningsuggested by Thom'scatastrophe
invisible,pedestrian,chameleon-likehouse withrustysteel and a chestnut theory,one suddenlyrealizes thatthe ideography
treeovergrown
withvegetation.Whenyou are refuseda buildingpermitand generatedby science is an extraordinary
founda-
are obliged to carryout some modifications,
markthemall in red on the tionforimage makerssuch as us architects.
constructedhouse. Ifyou are made to workwithan industrialized
and repet- Science supplies the conditionsin whichideas can
itivemodel,use a single elementand numberfrom1 to 3ooo on the front, change. It providesthe materialand the spark
whichkindlephilosophyand art as well as art on
People willobject,tellingme thatthese attitudesare of littleinterestto the the bordersof all of these disciplines.
man in the streetand are difficult
to comprehend.Ifthe storytold were so
simplistic,thatwould be true.But it is not easy to escape fromthe ques- For the architectof course,a man workingwith
tion posed by this attitudein relationto the context.It is an architectural reality,it is the everydayapplicationsof science
reading at different
degrees which is carriedout. The author (architect) whichare useful.The evolutionof technologyand
should know that his book (object) will be read, seen, and decoded ofnew
technicalproceduresand the contribution
[decrypted]by a verylargeaudience. materialsendowed withincrediblepropertiesare,
The characteristic
of a strongarchitecture
is to be
Whereare these positions in architectural
thoughtsituated today?Some so to speak, groundsfora reappraisal.In its rela-
people call thempost-modern.
Undercertainaspects (the different
codes of tionshipwithscience and its applications,architec-
possible readings,eclecticism,
irony),theyprobablyare. Butdoes thereexist tureaims forsynergyof performance.
(break,page 62)

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 space, then the architectis a man who says wt
,signify

4 IL

...

re is weal(.
hitectu
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r

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 (page59,pickup)
a post-modern I do notthinkso. Forme,at present,the post-mod- Here a new factorintervenesin the evolutionof
thinking?
ern is definedby a process of elimination.Those who are post-modern
are our discipline,a factorwhich,historically
or criti-
the ones who are not pre-modern
and who are not modern.The pre-mod- callyspeaking,is rarelyconsidered:ifarchitecture
ern ones are those in love with Quincyde Quatremere,those fromthe integratesthissynergyof performance,
its relation-
Versaillesschool who reverently
make everything
fromthe windowto the ship withmodernity
is no longerone of uncritical
theconstructed
as language)andwhospeaksto those
gardenin the Frenchstyle,the doctrinaire
ones who prophesythatthe laws wonderment.Technicalprowess,once the guiding
of estheticismand architectural
knowledgeare goingto overturn
economic lightforarchitectsof heroicmodernity,
has lost its
phenomena,those who preacha Europeancitywitharcaded plazas and tri- value as a symbol.The role of the engineerloses
umphantobelisks,the carvers,copiers,and masters.The modernones are none of its power,its nobility,or its prestige.But
in line, the repetitiveones, the square ones, the boxes, the socio-social today we no longerwantto see the workings.
ones, the legitimateoffspring
of Corbu,the bastardsof Mondrian,the invol- Architecture
has to be a forceof its own; to be
thesimplifiers,
untarysupremacists, those witha limitedoutlook,thevocab- guided by somethingotherthan contingenciesand
ularyamnesicswho have forgotten
wordsfromothercenturies, the harshrealitiesof construction.

Thereremain
theothers,
Philosophy,science, and art are all indispensable
theimpure
ones.
Those who formulatethreeideas at once, who remember,who actualize, foundationsforthe conscious developmentof a
who decorate,who denounce,who keep theirdistances,who laugh,who trueworkof architecture.
It is importantto remem-
multiplythe signs, whose eyes fillwithtears, who mixtogethercultures, ber thatthe evolutionof ideas, of science and the
memories,hopes, despair,and fantasies. arts,is not withoutconsequence forarchitecture.
Withthisin mind,in whatdirectionshould archi-
"Radicaleclectics,"manufacturers
of"canards"or "decoratedsheds," "sym- tectureevolve?
bolists,""uglyand common,"spectacular,and ironic.Theylivein and trans-

questioning, andironic.
late theirepoch.
Eachbuilding a question
shouldprovoke on ...

mystery
and also to give rise to some questions withouthope of an answer.

"TheArab WorldInstitute" montage,textand photograph

Paris,France,1981-1987
detail view of interior 62

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NOUVEL, Jean. French. Born 12 August, 1945. Educated at The ?cole

Nationale Sup4rieure des Beaux-Arts, 1966; DLPG Degree, 1974. Co-

founder of the Movement of French Architects "March 1976," 1972; Co-

founder of the Architectural Union and one of the key organizers of the

International Consultants for the Development of the Paris Halles,

1979; Founder and Artistic Director of the Architecture Biennial, part

of the Paris Biennial, 1980. Merger with Emmanuel Cattani of all activ-

ities and projects, 1988. Vice-President of the French Institute of

Architecture, 1991. Exhibitions: Paris Universal Exhibition, 1989; "Les

Chemins de la Liberte" (The Road to Freedom) Competition, 1983, Paris,

La Villette Biennial, 1985; Paris, CCI Exhibition, "Chemin du Virtuel"

(The Road to the Virtual) Study, 1987; Paris, French Institute of

Architecture, 1987; Paris, Centre Georges Pompidou , "Les Annees 50"

(The Fifties), 1988; Paris, Hauts de Seine, "Les Lumieres de la Ville"

(The City Lights), 1989; Paris, Arab World Institute, "tgypte, Egypte,"

1989; Barcelona, Spain, "Jean Nouvel - College of Architecture" Nouvel-

Cattani, 1990; Austrian Biennial, Expo 95, Nouvel-Cattani Competition,

1991; Paris Austerlitz Station, "Georges Boudialle" Nouvel-Cattani,

1991; Nara, Japan, Workshop for Architecture Nouvel-Cattani, 1992;

Tokyo, Japan, "La M4tropole selon Jean Nouvel" Nouvel-Cattani, 1992.

Awards: Chevalier of the Order of Arts and Letters, 1983; Silver Medal

of the Academy of Architecture, Doctor "Honoris Causa" of the

University of Buenos Aires, and Winner of the Grand Prize of

Architecture, 1987;, Aga Khan Prize, honorable mention, 1987; Winner of

Silver Square for the Arab World Institute, 1987; Prize for the Best

French Building, 1987; Creator of the Year, 1987; Architectural Record

Prize for the Hotel St. James, 1990. Address: Jean Nouvel, 4 Cite

Griset 75 011 Paris, France

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