Centre Pompidou Mobile Berger&Berger (Laurent P. Berger & Cyrille Berger) with T. Raynaud 2009 Restricted competition 1800 m² Mobile art museum CNAC GEORGES-POMPIDOU, France Structural Engineer : Bollinger + Grohmann (France) Mechanical Engineer : Alto Ingénierie (France)
The grid as a source of variability. In using the grid the idea was not simply to optimize the schematic composition in an economy of space, but rather to affirm its validity and continuity regardless of program and function. The grid here is not necessarily constructive, but a formal expression of spatial extension. The Centre Pompidou Mobile project is a shifting structure, without center, hierarchy, or periphery. Its boundaries are those defined by the program. Our project is an abstract space, neutral and free of iconographic connotation. It is a geometric space that does not attempt to create an anecdotal or figurative relation to the landscape. Instead it is a space that seeks to build on the physical, seasonal and climatic qualities of the different locations where it will be installed. An abstract architecture where space is defined as an availability of uses. The rationalization and economy of space assigns the architectural project to a minimum form. If the grid is more significant than ever in Superstudio's projects, it now becomes the tool of a widespread displacement. An "indifferent architecture", it guarantees changing environments of varying quality. The grid not only accepts but is enriched by any logic of exhibits and stage sets. Ironically it rejects any notion of uniform space and deviates from the temptation of the figurative or symbolic. This produces a new museum landscape. An "a-figurative" structure that becomes a locus for the production of a variety of scenarios generated by an infinity of moods. It is an "a-representative" architecture that does not seek to be a sign but which could ultimately become one. It is a space that can dissolve the natural, artificial, form and function into an ever-changing environment. This will permit multiple uses and varying scenic interpretations to emerge. The project develops an architecture beyond any formalism or subjective expression. It is an architectural style which allows for the articulation of spaces that are identical in surface (6x6m) but qualitatively unique (light, volume, temperature ...). If for the architect Peter Eisenman the grid was a way to enhance the spatial configurations in the most effective way with regards to a given program, here the grid does not serve only to optimize functional spaces. It also creates breaks, voids, a-functional spaces, pathways and unexpected scenes : unpredictable uses for the mobile museum. This project provides for an infinite number of spatial qualities, without prejudicing their programmatic value. It is the setting in abyss of the museum : there are as many museums as cubes. The mobile museum is no longer a simple museum but a collection of museums. The loss of any reference to the external or vanishing point paradoxically leads to an indeterminacy of museum program and territory, supported by a stretch that is open to the fluctuating local climate. What matters here is the search for variability and not the quest to the modularity. This is an architecture designed as the architecture of relationships, free of any distance or authority of representation. The grid becomes achieves a new status : it is the tool of a qualitative expansion, tool of decomposition and reconstruction.
Centre Pompidou Mobile Berger&Berger (Laurent P. Berger & Cyrille Berger) with T. Raynaud 2009 Restricted competition 1800 m² Mobile art museum CNAC GEORGES-POMPIDOU, France Structural Engineer : Bollinger + Grohmann (France) Mechanical Engineer : Alto Ingénierie (France)
The grid as a source of variability. In using the grid the idea was not simply to optimize the schematic composition in an economy of space, but rather to affirm its validity and continuity regardless of program and function. The grid here is not necessarily constructive, but a formal expression of spatial extension. The Centre Pompidou Mobile project is a shifting structure, without center, hierarchy, or periphery. Its boundaries are those defined by the program. Our project is an abstract space, neutral and free of iconographic connotation. It is a geometric space that does not attempt to create an anecdotal or figurative relation to the landscape. Instead it is a space that seeks to build on the physical, seasonal and climatic qualities of the different locations where it will be installed. An abstract architecture where space is defined as an availability of uses. The rationalization and economy of space assigns the architectural project to a minimum form. If the grid is more significant than ever in Superstudio's projects, it now becomes the tool of a widespread displacement. An "indifferent architecture", it guarantees changing environments of varying quality. The grid not only accepts but is enriched by any logic of exhibits and stage sets. Ironically it rejects any notion of uniform space and deviates from the temptation of the figurative or symbolic. This produces a new museum landscape. An "a-figurative" structure that becomes a locus for the production of a variety of scenarios generated by an infinity of moods. It is an "a-representative" architecture that does not seek to be a sign but which could ultimately become one. It is a space that can dissolve the natural, artificial, form and function into an ever-changing environment. This will permit multiple uses and varying scenic interpretations to emerge. The project develops an architecture beyond any formalism or subjective expression. It is an architectural style which allows for the articulation of spaces that are identical in surface (6x6m) but qualitatively unique (light, volume, temperature ...). If for the architect Peter Eisenman the grid was a way to enhance the spatial configurations in the most effective way with regards to a given program, here the grid does not serve only to optimize functional spaces. It also creates breaks, voids, a-functional spaces, pathways and unexpected scenes : unpredictable uses for the mobile museum. This project provides for an infinite number of spatial qualities, without prejudicing their programmatic value. It is the setting in abyss of the museum : there are as many museums as cubes. The mobile museum is no longer a simple museum but a collection of museums. The loss of any reference to the external or vanishing point paradoxically leads to an indeterminacy of museum program and territory, supported by a stretch that is open to the fluctuating local climate. What matters here is the search for variability and not the quest to the modularity. This is an architecture designed as the architecture of relationships, free of any distance or authority of representation. The grid becomes achieves a new status : it is the tool of a qualitative expansion, tool of decomposition and reconstruction.