Issue link: https://read.dmtmag.com/i/749295
272 culturedmag.com ean Nouvel is often described as an architect without a signature style. His buildings can be decidedly eccentric, whether robustly theatrical or impressionistic and lyrical. Surveying the many notable projects the Pritzker Prize winner has completed over his nearly five-decade career— a dizzying array of cultural buildings, office towers, residential high-rises, hotels and wineries—it is almost hard to believe they were all designed by the same hand. But make no mistake: Nouvel wears his chameleon-like identity with pride. "I never design the same project twice—never, never," says the Frenchman in his heavily accented English. "I work on the specifics of the situations. I am a contextual architect." Nouvel, whose Paris-based studio currently has more than 40 projects underway, from São Paulo to Beijing to New York, has long railed against what he sees as a global scourge of "rootless buildings"—generic, preconceived structures merely dropped into this place or that. "Like a composer, you have to create the music in relationship with the climate, ambience, history, geography," he says. Context is particularly important for two highly anticipated Nouvel projects moving toward completion on the shores of the Persian Gulf: the National Museum of Qatar in Doha and the Louvre Abu Dhabi. Though an opening date is not set for the Doha museum, construction largely finished on the building—an abstract cluster of angled, interlocking discs inspired by crystalline formations known as desert roses. The sand-hued structure appears to emerge directly from the landscape, and will house galleries for exhibits about the history and culture of Qatar, as well as shops, restaurants and a research center. It wraps around a courtyard, deliberately evoking the caravansaries once central to desert culture. "The Qataris wanted a symbolic building," Nouvel says. "This museum had to talk about the identity of the Middle East, and the greatness of the desert." Similar, if slightly less literal, allusions permeate the architect's design for the Louvre Abu Dhabi, a much delayed project that is slated to open next year. The museum, whose wide-ranging exhibitions will draw heavily from French national collections, is the first of several planned buildings by Pritzker laureates (the roster includes Tadao Ando, Frank Gehry, Zaha Hadid and Norman Foster) that will anchor an ambitious arts district within the emirate's massive Saadiyat Island development. Nouvel conceived the museum as a kind of miniature floating city, a medina-like warren of gallery structures and open-air plazas that overlook shimmering pools and canals. Hovering above most of the complex is a 600-foot-diameter cupola with intricately patterned perforations that act as a protective brise-soleil, permitting filtered sunlight to dapple the interior spaces. The result is a literal oasis in the desert, but also an unabashedly romantic architectural gesture that references mosque domes and traditional Islamic latticework screens, while the play of light conjures comparisons to dusky souks. The design is a bravura melding of past and present, poetry and technology—a symbol of an ancient culture that is now enjoying, as Nouvel has often put it, a golden age. "I try to invent something positive," he remarks. "It's not to create a wow—I don't care about the wow. I want to create a deepness, a memory, a question, a little surprise." Visible in Nouvel's Persian Gulf museum projects are threads that run throughout his career, especially his masterful use of light, transparency and reflection, as well as the inventive ways he breaks down rigid geometries. Nouvel shot to prominence with the 1987 opening of his Arab World Institute in Paris, a building that reimagined the Modernist glass box by inserting a façade of light-sensitive mechanical apertures—one of the architect's early references to Islamic screens. For his 1994 Fondation Cartier across town, he employed overlapping walls of glass to create reflections that bring the trees, city and sky into the building and effectively dissolve the edifice into its surroundings. "Jean Nouvel has used the words 'haze' and 'evanescence' to describe that building, which is capable of absorbing and reflecting—not just in a literal sense but in a bigger sense—the ambience," says Terence Riley, architect and former curator at New York's Museum of Modern Art. "He understands architecture as a kind of phenomenon." Over the past decade, many of Nouvel's buildings have incorporated ever more elaborate green façades, vertical gardens and terraces overflowing with lush plantings. For the architect, it brings nature into urban settings, while taking advantage of eco benefits like energy-saving solar shading. But these green elements are aesthetic, too, softening a building's form and adding a sense of organic vitality, even a touch of the surreal. Nouvel often works with botanist Patrick Blanc, a pioneer in the field of vertical gardens, and their collaborations range from the 2006 Musée du quai Branly in Paris to the One Central Park residences that opened in Sydney in 2013. That latter award- J PHOTO BY GIASCO BERTOLI