JEAN-MARIE TJIBAOU CULTURAL CENTRE
BY RENZO PIANO , ITALIAN ARCHITECT
JEAN-MARIE CULTURAL CENTER:
The Jean-Marie Cultural Center by Renzo Piano is a project that blends the
Kanak building traditions and the resources of modern international
architecture
CONCEPT :
It sought to make a tribute to a culture based on respect for its history
and traditions, past, present and future, as well as its sensitivity. The project
was based on the indigenous population of that part of the Pacific. It sought
Spaces
This is a town that has its own ways, vegetation and public spaces, and
is located in direct contact with the ocean.
The cultural complex is composed of ten houses, all of different sizes and
functions. The small houses are 63 square meters, the medium houses 95
square meters and large houses, 140 square meters.
Their heights range from 20 to 28 meters, with a circular floorplan, which
are grouped into three villages, each with a distinct role. All of them are
connected by pedestrian walkways in the form of spokes evoking the
central promenade of traditional villages.
Villa 1
One part of the cultural package is aimed at permanent and temporary
exhibitions and contains an auditorium and an amphitheater.
Villa 2
In the second group of huts are divided spaces administration, research,
library and a conference room.
Villa 3
Finally, other studies contain cabins for traditional activities such as
music, dance, painting and sculpture.
There are many systems at workwithin the building. The
innerglass shell has many louvres,which allow it to be
insulated orventilated as needed. Most of thetime,
ventilation is the most impor-tant factor in maintaing
comfort sothey are left open. When they areopen, cool,
moist air blows in offof a nearby lagoon. The chim-neys
are powered by the sun,which passes through
the glassceiling of the building, heating theair, causing it
to rise up and outand drawing in cool air.
Materials
.
Following these references were used
traditional materials and construction
systems, and also won the respect of
natural elements such as wind, light and
vegetation
The cabins are built with wooden materials
in combination with iroko sober and
discreet as steel, glass or cork, which
provide simplicity to their interiors.
According kanaka culture should have been
built with wood from young palms.
The wood siding and stainless steel, based
on the shape of huts regional kanakas
provide protection from the weather when
it is needed, but also allows the passage as
necessary to ventilate as wind strength and
direction.
Structure:
The structure and operation of the cabins Caledonia
replicated and adapted architectural and socially.
They all have created a structure shaped peineta iroko.
Reminiscent of the huts and crafts Kanak, the slender
ribs of the lath structure and among them are
seamlessly integrated in the lush landscape and the
culture of its inhabitants
Tubos estructurales
Although these ancient wooden slats were also, on
this occasion, the union has made structural tube
horizontal and diagonal bracing rods of stainless steel.
These structural elements reminiscent of traditional
mainstays such as the spine of the fish to avoid the
beams warped long.
Renzo Piano describes the structures that are curved
like huts, built with wooden beams and nerves are
looking containers archaic archaic, whose interiors are
equipped with all the possibilities offered by modern
technology.
A fundamental disconnect between the
technological sophistication of the
structures and the traditional craftsmanship
exhibited within them illustrates a
conceptual problem that undermines the
Center’s tenuous sense of heritage and
identity. This is an unintended but
nevertheless fitting theme given the
commission’s complex political context, and
one that is never completely resolved
through architecture.
