| Jean Nouvel， Pritzker Prize2008， is a French architect who struggled to receiverecognition from his country at the beginning of his career。 But with time， his career evolved allalong with his stature； he received awards， one after others， he became internationally renownedand like most of nowadays famous architects， he is known as a starchitect （a star combined withan architect） making as well talk about himself as about his works。This thesis aims to study Jean Nouvel‘s works and concept in order to understand， tothink and to make a statement about the contemporary architecture。 Therefore， this work isarticulated around four interrelated and evolutionary parts。The introduction part stated Jean Nouvel‘s background by first placing him with hiscontemporary fellow French architects， then presenting his career， his partnerships， his fights， hiscommitments， his passion for the world of art， his recognition and finally by describing hisrelationship with his peers。The second part introduced Jean Nouvel‘s concept and defined the guiding principles thatdirect his works and thoughts。 By stating his influences； Claude Parent and Paul Virilio， César，Jacques Le Marquet and the60s Beaux Arts generation‘s philosophical trend。The third part explained how Jean Nouvel passes from the concept to the building。 Firstwith the dematerialization that makes the relationship between the material and the building lesstangible。 Or with transparency and reflection， which are the results of the relationship betweenthe light and the glass。The fourth part was about some built and under construction representative works of JeanNouvel。 About the dematerialization there are； the Cultural and Congress Center in Lucerne， theAgbar Tower in Barcelona and the Danish Concert House in Copenhagen。 Then， about therelationship between the light and the glass are presented； the Gasometer A in Vienna， the FerrariNew Assembly Lines in Modena and the40Mercer in New York。 The under constructionprojects are； the National Museum of Qatar， the Louvre Museum of Abu Dhabi and the FrasersBroadway One Central Park in Sydney。 This thesis difference‘s lies in the fact that it is not essentially based on the analysis of thearchitect‘s work。 In fact， the answers to the problems posed are obtained from the study of thefollowing elements and the links between them。 Namely； Jean Nouvel‘s built or not yet builtworks， publications concerning the starchitect （articles， books） and his opinion and point of view（interviews， books）。 Abstract: 努维尔，普利兹prize2008，是法国建筑师努力receiverecognition从他的国家在他职业生涯的开始，但随着时间的推移，他的职业生涯是他的身材扯；他获得的奖项，后一人，他成为国际renownedand现今著名的建筑师一样，他是一位知名的明星（明星结合一个建筑师）也谈论自己的著作。本文旨在探讨以努维尔的著作和概念的理解，思考和作出声明的当代建筑。因此，法语毕业论文，这项工作isarticulated围绕四个相互关联的和进化的部分。绪论部分阐述努维尔的BAC先把他与hiscontemporary同法国建筑师的地方，然后把他的职业生涯，他的伙伴，他的战斗，hiscommitments，热爱艺术的世界，他承认最后由同龄人描述的关系。第二部分介绍了努维尔的概念和定义的指导准则中直接陈述他的著作和思想。他的作用；克劳德的父母和保罗维瓦里奥，CéSAR，贾可Le Marquet和60s美术产生的哲学思潮。第三部分说明了如何让努维尔从概念到建筑。先化使材料、建筑或lesstangible之间的关系。透明度和反射，这之间的关系，光的效果与玻璃。第四部分是对于一些建成和在建的代表著作有JeanNouvel的减量化；琉森文化和会议中心，巴塞罗那theagbar塔和哥本哈根的丹麦音乐房子。然后，对于光的关系与玻璃之间呈现；煤气表在维也纳，法语论文题目，在纽约摩德纳和the40mercer的ferrarinew装配线，是在建设项目；卡塔尔的国家博物馆，卢浮宫阿布扎比和悉尼中央公园博物馆frasersbroadway之一。本文的区别在于它不是基于建筑师的著作略论。事实上，从下面的元素和它们之间的联系的探讨得到了问题的答案。即；努维尔的建立或尚未builtworks，对于明星的出版物（文章、书籍）和他的意见和观点（采访中，书籍）。 目录: ABSTRACT 2-3 INDEX 4-7 PART ONE: INTRODUCTION 7-29 1.1. ABOUT THE PARISIAN CONTEMPORARY ARCHITECTURE 7-13 1.1.1. JEAN NOUVEL 7-9 1.1.2. PATRICK BERGER AND JACQUES ANZIUTTI 9-11 1.1.3. DOMINIQUE JAKOB AND BRENDAN MACFARLANE 11-12 1.1.4. EMMANUEL COMBAREL AND DOMINIQUE MARREC 12-13 1.2. ABOUT JEAN NOUVEL – BIOGRAPHY 13-18 1.2.1. HIS CAREER 13-14 1.2.2. HIS PARTNERSHIPS 14-15 1.2.3. HIS FIGHTS 15-16 1.2.4. ARCHITECT AND ARTIST 16-17 1.2.5. ACKNOWLEDGED ARCHITECT 17-18 1.3. ABOUT THE STATE OF THE ART 18-27 1.3.1. JEAN NOUVEL AND HIS PEERS 19-23 1.3.2. JEAN NOUVEL AND THE NEXT GENERATION 23-27 CONCLUSION 27-29 PART TWO: THE CONCEPT 29-43 2.1. JEAN NOUVEL’S INFLUENCES 29-37 2.1.1. ARCHITECTURE 29-33 2.1.1.1. CLAUDE PARENT 29-31 2.1.1.2. PAUL VIRILIO 31-33 2.1.2. SCENOGRAPHY AND ART 33-36 2.1.2.1. CESAR 33-35 2.1.2.2. JACQUES LE MARQUET 35-36 2.1.3. PHILOSOPHICAL THOUGHTS 36-37 2.1.3.1. JEAN BAUDRILLARD 36-37 2.2. JEAN NOUVEL’S CONCEPT 37-41 CONCLUSION 41-43 PART THREE: DESIGN PROCESS AND TECHNIQUES 43-56 3.1. THE DESIGN PROCESS 43-44 3.2. THE TECHNIQUES 44-47 3.2.1. DEMATERIALIZATION 45 3.2.2. LIGHT AND GLASS 45-47 3.3. THE TECHNIQUES VS HUMANITY 47-54 3.3.1. NEMAUSUS HOUSING – NIMES - 1987 47-50 3.3.2. OPERA HOUSE – LYON – 1993 50-51 3.3.3. QUAI BRANLY MUSEUM – PARIS – 2006 51-54 CONCLUSION 54-56 PART FOUR: REPRESENTATIVE WORKS 56-76 4.1. REPRESENTATIVE WORKS SELECTION 56 4.2. FUSION WITH THE SURROUNDINGS 56-64 4.2.1. CULTURAL AND CONFERENCE CENTER – LUCERNE – 2000 56-59 4.2.2. AGBAR TOWER – BARCELONA - 2005 59-62 4.2.3. DANISH CONCERT HOUSE – COPENHAGEN - 2009 62-64 4.3. CONNECTION WITH THE SITE AND THE SURROUNDING 64-68 4.3.1. GASOMETER A – VIENNA – 2001 64-65 4.3.2. FERRARI NEW ASSEMBLY LINES – MARANELLO – 2006 65-67 4.3.3. 40 MERCER STREET – NEW YORK – 2007 67-68 4.4. FUTURE PROJECTS 68-73 4.4.1. NATIONAL MUSEUM – QATAR - 2012 68-70 4.4.2. LOUVRE MUSEUM – ABU DHABI – 2012 70-71 4.4.3. FRASERS BROADWAY ONE CENTRAL PARK – SYDNEY – 2013 71-73 CONCLUSION 73-76 PART FIVE: CONCLUSION 76-81 BIBLIOGRAPHY - REFERENCES 81-85 PUBLICATIONS 85-86 ACKNOWLEDGEMENTS 86 |
