CASE STUDY 2:
II. JEAN-MARIE TJIBAOU CULTURAL CENTER: -
The Jean Marie Tjibaou cultural center was designed to symbolize and
celebrate the traditional Kanak culture amidst much political controversy over
the independent status sought by some Kanaks from French rule.
It is dedicated to New Caledonia’s Kanak culture, named after New Caledonian
independence leader “Jean-Marie Tjibaou”, assassinated in 1989. The French
President ordered that a cultural center on the lines suggested by Tjibaou be
set up in Nouméa.
It was established in June 1998 and was designed by the Italian Architect
Renzo Piano. The idea was to establish a cultural center which blended the
linguistic and artistic heritage of the Kanak people. The Kanak building
traditions and the resources of modern international architecture were blended
by Piano.
Figure 73: View of Jean Marie Tjibaou cultural center.
"We, the Kanaks, see it as a culmination of a long struggle for the
recognition of our identity"
Respect towards traditions and culture, as well as sensitivity to nature and
being able to dialogue with such distinctive people make this project an
exemplary masterpiece of architecture.
ABOUT THE PROJECT: -
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, its culture and its
symbols, which are very old but are still very alive. The center is aimed to
present and promote the indigenous kanak culture, its traditions, languages,
craftsmanship, and arts. The concept and design of the Cultural Center Jean-
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Marie Tjibaou in Noumea in New Caledonia, was generated by the need to
maximize ventilation in a humid climate. The project builds on the topography
of land, vegetation and the breeze from the lagoon to create rising air currents,
which are then removed by extraction towers, with the distinction of being the
highest building on the top of the hill.
Figure 74: Site Plan Figure 75: View of Jean Marie
Tjibaou cultural center.
SITE LOCATION: -
The site is located on the narrow Tina Peninsula, which projects into the Pacific
Ocean along a ridge line, near the Tina golf course on the western coast of
Boulari Bay, approximately 8 kilometers northeast of the old city center of
Nouméa.
KANAK CULTURE: -
Kanak culture is also known as “Canaque” in French until 1984. They are
the indigenous Melanesian inhabitants of New Caledonia, an overseas
collectivity of France in the southwest Pacific. According to the 2019 census,
they make up 41.2% of the total population with around 112,000 people. But
the origin of the kanak people are unclear.
Kanak is the local name given to New Caledonian Melanesians. The term
Melanesians refers to the group of people who inhabit the islands in the
southwest Pacific. Their life was based on communal principles achieved
through village living. The tribe’s activities centered on the largest hut (chief’s).
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There is a common bond and understanding between all Kanaks. This aspect
of Kanak culture is very much alive today.
Figure 76: People and culture of kanak
LIVING PATTERN AND STYLE OF KANAK PEOPLE: -
The Kanaks were known to worship their ancestors. This people who believe in
environmental protection and conservation. According to the traditional beliefs of the
Kanak people, the sea is sacred as it provides them with "fish for food", so they treat it with
great reverence. They are involved in conserving the ancestral waters and natural
resources. The Kanaks’ way of life is paved by their sacred beliefs and their
deep relationship with the surrounding rugged landscape. Kanaks are very
religious. They believe in the relationships with the ancestors and the spirit
world which is demonstrated by symbolic festivals and dances.
Kanak people are mainly famous for wood sculpture, bamboo carving, stone
carving, and that was their main occupation also.
Figure 77: Traditional art and craft of kanak
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QUALITATIVE ANALYSIS:
A) BASIC CONCEPT OF THE CASE STUDY AS ENVISAGED BY
ARCHITECT
CONCEPT PLANNING: -
The architect designed the complex including many references to Kanak’s
traditional architecture. The structure and the functionality of New Caledonian
huts were reproduced and adapted, architecturally as well as socially.
ELEVATION
This was the early settlement pattern of
kanak village, similar linear planning is
PLAN
adopted in the cultural center.
Figure 78: Concept plan and elevation Figure 79: Housing of Kanak people
Renzo Piano was the imitation of the distribution of a Kanak village. Its
organization reflects those settlements, with several groups of shelters
separated by roles and connected by pedestrian central paths in a fish bones
shape.
Axis
Figure 80: Fish bone system.
Huts
Building blocks
Figure 81: Zoning of building blocks
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The kanak has a very strong cultural beliefs and extensive knowledge of
vegetation the leads to the creation of the huts.
VERNACULAR STYLE OF HUTS: -
The huts look very simple but architecturally its very complex.
Their extensive knowledge in vegetation and strong cultural beliefs led to the
creation of key constructional elements in the Kanak hut.
Male
Framework
for earthen Female
base
Towering thin columnar pine planted Rafters tied together to the
to mark human occupation (male towering columnar pine
symbol). Coconut tree as female.
Circular wood frame structures Roof covered by thatch
that rise from the built-up
earthen base
Figure 82: Vernacular style of huts
Exploring adaption of the vernacular form Reinterpretation of the
and framework Kanak hut to cultural vernacular form.
center ‘shell’
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Figure 83: Vernacular form Figure 84: Reinterpretation of form
C). USER INTERVIEWS AND SATISFACTION LEVELS:
1. “The Tjibaou Cultural Center is a unique structure, filled with an
extensive collection of photograph, artifacts and history. It is set in
beautiful grounds, with history walks overlooking the sea. Staff are
helpful and courteous. A must see if you want to learn about the New
Caledonian history. A recommended half day excursion while in
Noumea”. - visitor
2. “Wonderful introduction to the cultural history of New Caledonia. Both
indoor and outdoor exhibitions were worthwhile”. – visitor.
3. “Beautiful architect of the cultural center inside and out.
Expected the whole cultural center to be based on the Kanak people,
culture and traditions.
They have displays about the building history, other nesian island
artifacts and a room dedicated to Jean-Marie Tjibaou.
In my opinion, best part was the traditional huts and the lookout with the
statue of Jean-Marie Tjibaou.
Don't base your decision on whether to visit it or not by other reviews -
it’s always good to experience it for yourself”.- Visitor.
4. “We enjoyed our visit to the Cultural Center. It is in a lovely setting which
is pleasant to walk around and the buildings are amazing”.
Figure 85: Traveler rating
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QUANTITATIVE ANALYSIS:
A) ARCHITECTURAL DRAWINGS AND PHOTOGRAPHIC
DOCUMENTATION
SITE PLAN: -
The building plans, spread over an area of 8,550 square meters (92,000 sq ft)
of the museum, were conceived to incorporate the link between the landscape
and the built structures in the Kanak traditions.
LAKE ENTRANCE
Parking
Building
Open exhibition
Café restaurant
SEA
Figure 86: Site plan
NORTH
The center mainly includes, parking, administration office, permanent exhibition
galleries, a pavilion for temporary exhibition, open exhibition space, artist
workshops, storage areas, café, restaurants, a shop, 400-seat auditorium, an
open-air theater for 4500 and various visitor facilities provided.
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ZONING: -
Figure 87: Zoning
Entire site is divided into 2 styles:
1. Traditional huts
2. Contemporary style with flat roof
NORTH
Figure 88: Segregation of spaces.
All buildings are circular and they are gathered in 3 groups, each one with a
particular function.
1. The first part is designed for permanent as well as temporary exhibitions.
It contains an auditorium and an Amphitheatre.
2. On the other hand, the second group of cabins is constituted by
administration spaces, investigation laboratories, a library and a
conference room.
3. The last compilation is composed by studies for traditional activities like
music, dancing, painting and sculpting.
A covered way looking at the ocean connects the is structures, while on the
other part we can see the thicken vegetation of the island. The shells sprinkle
the landscape like the kanak huts.
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PLANNING: -
Figure 89: Sectional elevation
5 7
4
3
2 6 8
Figure 90: Plan NORTH
1. Entrance Lobby 5. Open Spillover Place
2. Indoor Exhibition 6. Administration
3. Corridor with Outdoor Exhibition 7. Courtyards
4. Huts or Cases 8. Traditional Activates
The entire complex has been built along 250 meters (820 ft) long ridge of the
peninsula. The arrangement consists of 10 units called "cases," or hut pavilions,
arranged in three groups or village clusters with one tall hut (the largest is 28
meters high) in each cluster representing the traditional "Great Hut" of the
Kanak Chiefs.
The complex constitutes is buildings, all of them of a different size and function.
Small ones are 63 square meters, medium ones 95 square meters and big ones
140. Heights are different as well, from 20 meters to 28 meters.
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As all the huts are of different sizes and different functions, but with the
consistent form of vertically positioned shell-like structures which resemble the
traditional huts of a Caledonian Village.
Figure 91: View of huts Figure 92: Cases in different sizes
The main axis of the Cultural Center consists of many covered walkways, green
spaces, outdoor rooms, and gardens that are interlinked with the pavilions or
cases and also with the smaller office buildings. The arrangement of the
structures around the main axis has a symbolic content for the Kanaks.
Such distinctive pattern is designed due to the climatic reasons as well in
response to the topography of the site, as 'hard' and 'soft' side of the site
additionally asserting of its value.
Figure 93: Central axis Figure 94: Green spaces with walkway
The layout takes note of the prevailing easterly wind directions from the sea
and the structures as a whole are built to take full advantage of the wind and
are also oriented to control sunlight and solar heat gain.
SECTIONS: -
The cases facing to the eastern trade winds. An open, chimney-like space was
created between the curved, outer wooden façade and the vertical, glazed inner
façade. On the west side, the roofs were held level and the rise and fall of the
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site was used for floor-level variations, creating the necessary volumes of the
building.
The convex shape of the screen diverts wind over the building.
A
B
A’
B’
KEY PLAN
SECTION A-A’
Figure 95: Section through zone 2
SECTION B-B’
Figure 96: Section through zone 3
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EXHIBITION BLOCKS: -
This cultural center got a very long corridor, that interconnects 3 different
buildings like village 1,2 and 3. And corridor acts as a temporary exhibition
along the length.
Figure 97: Temporary exhibitions
There are 10 cases, each case represents the kanak culture in terms of
exhibition spaces like, multimedia, library, conference rooms, administration,
cafeterias, performing areas etc.,
After each village there is an open space provided and that connects to the
indoor and outdoor courtyard.
1. 1st case exhibits the life of TJIBAOU.
Figure 98: Space exhibits about Tjibaou
2. 2nd case exhibits the space we have a collection of the Totem poles,
beautifully carved of wood.
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Figure 99: Space exhibits traditional totem poles.
3. 3rd case exhibits art gallery which displays the art of kanak.
Figure 100: Space exhibits about kanak art form.
4. 4th case displays the architecture prototype that where submitted by
various architectural firms for the design proposal of cultural center.
Figure 101: Space exhibits cultural center design proposals
5. 5th case has a lecture hall.
Figure 102: Space for lecture halls
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6. 6th and 9th case is an informative center which has all sorts of information
here concerning to kanak culture.
Figure 103: Space for lecture halls
7. 7th and 8th case is for the multimedia center.
Figure 104: Space for multimedia center
8. 10th case school for children where they are taught the local art forms.
There are 10 structure, each of them represents a house in kanak village. Each
cases interconnect with a curved fairway.
Figure 105: Classes for learning of art form
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LANDSCAPING: -
The landscape layout of the cases is set amidst transplanted Norfolk Island
pines, which are as tall as the cases.
Smaller trees are also planted in the areas near the lower offices.
This layout presents a "planted indigenous landscape". A Melanesian food
garden with taro and yam are also grown. Paths to the Great House are planted
with column pine and coconut trees.
Figure 106: Indoor landscape Figure 107: Outdoor landscape
MATERIAL USED FOR THE CONSTRUCTION: -
One of the main challenges of the project was its intention of taking advantage
of the natural wind from the Pacific Ocean. The exterior facade is composed by
wood. Wind filters from an inner layer of glass shutters that can open or close
natural ventilation.
The complex is completely made by Iroko, a type of wood which is highly
resistant to humidity and insects. The Iroko structure presents a comb shape,
imitating the cabins and Kanak craftwork. Its svelte ribs and the trips that put
them together is perfectly integrated in the lush landscape as well as in the
culture of local people.
Mixing local and contemporary materials was a successful strategy:
Traditional: - Wood curved strips form the main structure creating a traditional
fish bones shape that avoids the warping of the long sticks, while elements are
joined by stainless steel diagonal braces, giving an efficient solution for the
fastening of the buildings.
Contemporary: - Concrete is used for the construction of walls. Coral,
aluminum castings, glass panels, and stainless steel are also used in the
design.
The roof is made of corrugated aluminum sheets. It has a double roof system,
which contributes to the play of shadows.
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Wooden louvers are used for the windows.
Straw mats are used for the flooring in the huts.
Figure 108: Aluminum casting Figure 109: Double skin iroko wooden
strips
Figure 110: Concrete floor
CONSTRUCTION AND DESIGN TECHNIQUES: -
Design of the cases:
The exterior part of the cases is given an ancient appearance whereas the
interior of each cases has rectangular space (for housing permanent and
temporary exhibitions, administration offices and studio spaces), all amenities
feature modern technology.
The walls of the cases where comprised of two concentric rings creating a
double skin or a hybrid system.
The interior ring/wall was composed of vertical columns of laminate iroko wood
while the exterior ring/wall used curved laminated wooden members.
Horizontal and diagonal steel bracing and connections were used to connect
the two rings and make them rigid.
This screening element is used to control the amount of heat, solar gain, and
ventilation in the cases. The roof also has a double skin system made of
corrugated aluminum sheets and glass.
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The cases have giant curved ribs or staves, which are made of iroko slats and
steel connections.
The bottom of the wall, formed by the arc of the staves, has special louvers.
ELEVATION
PLAN CASE OR HUT
Figure 111: Detail of huts or cases
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CRITICAL ANALYSIS:
PARAMETERS OF CASE STUDY: JEAN-MARIE
ANALYSIS TJIBAOU CULTURAL CENTER.
Location:
Nouméa
1. Site area and Built up area:
Site area 8,550sq.m
View
2. Zoning and Circulation:
Building has organized in 2 Fish born system
terms
By creating central axis
By showing the hierarchy
The principle of hierarchy is
maintained Concept
in terms of the forms or spaces,
reflecting degree of importance of
forms, function.
Rhythm is created in the cases.
Plan
3. Architectural Style:
Museum has a 2 style:
The building of the museum is
entirely done by modern and
traditional style.
For the exhibition space
Traditional huts which are
inspired by kanak
huts
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4. Corridor:
It has a long corridor act as a
temporary exhibition area.
Courtyards are provided
that allows natural lighting
And ventilation.
It creates a sense of connecting
Courtyard
Space to environment.
It also helps to connect from
one Village to another.
Corridor
5. Landscape:
Landscape is designed in such
A way the building is into to the
Nature.
Landscape helps to shade the
area from harsh sunlight.
Kanak’s gave more importance
to pine tree and coconut tree Landscape near to cafe
6. Material:
For the traditional style they
Used Iroko wood for the cases
or huts.
For the modern style they used
Concrete, steel, glass panels,
aluminum castings, sheets for
Cases or huts
the roof.
Wooden strip louvers are used
for the corridor to cut down
hash sun light at the interior
space.
Aluminum casting
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7. Structural system:
The cases have giant curved
ribs or staves, which are made
of iroko slats and steel
connections and which also
act as climate control
devices.
8. Cases:
The incompleteness of the
shells make it seem like a
work-in-progress. Perhaps
these incomplete geometries
reflect the sentiment that
Kanak culture is continuing to
grow and evolve from ancient
roots, even as new conditions
require it to adapt its form.
9. Climate responsive:
The cases facing to the eastern
trade winds.
The intelligent passive
ventilation system which
utilizes natural wind conditions
to cool the internal
environment, removing the
need for air conditioning and
making the building's clean,
natural air supplies an
experiential part of the
Center's design.
10. Weakness:
This museum has got a very
long corridor.
Height of the building in
contemporary style is quite
less to the proportion.
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CONCLUSION: -
1. Architect gave more importance of an influential site and environment as
a determinant factor of the design performance. And also, the design
wants to symbolize the Kanak culture, not just as an imitation of the local
architecture but as a new approach.
2. The shape of the shells blends traditional construction methods with a
texture and profile of the surrounding trees which village settlement
pattern is reflected.
3. The effect is organic and eye-catching because of cases.
4. Due to such organization, the building looks unique in its size and shape.
The differentiation of the heights of the cases is sequenced in a rhythmic
progression.
5. They gave importance to architecture of cultural and environmental
conditions that celebrates Renzo Piano's vision and the genius loci of
New Caledonia.
6. After every village courtyard is provided which act as a pause point or
resting area.
7. The contemporary building is always shaded because of the natural
vegetation and the tall cases or huts.
8. The cases are placed in such a way that prevents wind which is coming
from the western side.
9. Corridor acts as a multifunctional space.
10. They have used modern technology with the vernacular material that
addresses the kanak culture that can be related directly to the site,
vegetation and climate.
OVERALL CONCLUSION:
From the theoretical analysis cultural provision is likely to generate a surplus
value or different dimension and to find the importance of the Tribal culture, its
richness and the cultural patterns of the Banjara or lambani community.
However, with the advent of globalization, traditions are on the verge of
extinction, although the changes that come with globalization are important but
there is a need to preserve the culture that is innate to this tribe. This thesis
dissertation has been an effort to focus this tribe’s history, traditions, language
and culture which is vanishing day by day, and to preserve their culture, tourism
is such a key element where we are trying to depict the existing culture of the
place and to generate economy by selling their products like art, craft, and also
help for development of local skills keeping in the mind of local traditional
culture, art and architecture.
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