Since the Center's completion,
New Caledonia has found itself
in the international architectural
spotlight, as the graceful,
ephemeral design of the
building's iconic shells has
brought fame and business in
equal parts to its island and to
Piano’s firm.
Its objective was to solicit ideas
for a center that would
celebrate the Kanak culture
native to New Caledonia, and in
the process, smooth over ethnic
tensions that had been
chronically deteriorating
between the Kanak people and
the island’s other inhabitants.
the architects manipulated and Centre Culturel Jean-Marie Tjibaou /
deconstructed their form to create a Renzo Piano
monumental sequence of rounded, airy
shells. Ten of them stretch along the
hillside, varying in height from 20 to 28
meters and casting a commanding
presence over the Pacific shoreline. Within
and between them, a carefully
choreographed procession of museum
spaces takes visitors on a journey that
weaves back and forth between intimate
indoor enclosures and the surrounding
island landscape.The form of the shells
negotiates a blend of traditional
construction methods and a tapered,
dematerializing profile that beautifully
plays off the texture of the surrounding
trees. An intelligent passive ventilation
system removes the need for air
conditioning, making the building’s clean,
natural air supply an experiential part of
the Center’s design. Even the
interrelationship of building clusters,
arranged in a layout similar to the grand
allée plan of traditional Kanak villages, is
dependent on a continuous stream of
movement between enclosed and exterior
spaces.
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.
A ridge separated the area from
the sea, which created the
ecology of the area with the bay
side experiencing strong
easterly winds. Intense heat of
subtropical sun was also
another factor which affected
the design of the building.
The formal curved axial layout,
250 metres (820 ft) long on the
top of the ridge, contains ten
large conical cases or pavilions
(all of different dimensions)
patterned on the traditional
Kanak Grand Hut design. The
building is surrounded by
landscaping, which is also
inspired by traditional Kanak
design elements.
CULTURAL CENTER
·
Another aspect of the Kanak's
building tradition was that it did NOUMÉA, NEW
not fit in with the concept of a CALEDONIA
permanent building. They lived Renzo Piano
in temporary type of buildings
made with locally available 8550.0 sqm
material which needed to be 1998
replaced from time to time in
the subtropical climate. This
involved a wood frame building
built on earthen plinths and
with roof covered by thatch. The
form of the building also varied
from island to island, generally
round in plan and conical in the
vertical elevation. They made
the houses in groups with the
headman’s house at the end of
an open public alley formed by
other buildings clustered along View of seven of the Tjibaou
on both sides. Trees lined these Cultural Centre pavilions,
alleys with a shady central spanning roughly half the entire
gathering. This theme was complex, from the facing sea
adopted in the Cultural Centre
planned by Piano and his
associates.
Taking inspiration from the Kanak people’s deep ties with nature, the project sought to meet two main objectives: one was to represent
the Kanak’s talent for building, and the other was the use of modern materials such as glass, aluminium, steel and modern light
technologies along with the more traditional wood and stone.
The Centre is a cluster of ‘huts’, small pavilions and tree-filled spaces. It is located on a spit of land called the Tina Peninsula,
surrounded by water on three sides. The site’s lush vegetation is cut through with trails and paths, amongst which there are ‘villages’:
clusters of buildings with strong ties to their context, their semicircular layout defining open communal areas.
The structure and above all, the functionality of New Caledonian huts were reproduced and adapted, architecturally as well as socially.
There are ten huts, of three different sizes, from 20 to 28m in height, all interconnected by a footpath. Within the Cultural Centre these
huts serve various functions. The first group comprises exhibition spaces, a second series of huts houses research areas, a conference
room and a library. The last series of huts contains studios for music, dance, painting and sculpture. These buildings have a curved
shape that references traditional Kanak constructions but here rather than the traditional woven vegetable fibre, these buildings are
made of wooden ribs and slats: traditional exteriors inside of which all the benefits of modern technology are provided. Low-
maintenance, termite-repellent iroko wood was chosen for the project.
The buildings have a highly efficient passive ventilation system which eliminated the need for mechanical air conditioning. Thanks to
the double outer facade, air circulates freely between the layers of slatted wood. The angling of the apertures of the external facade
was designed to harness the monsoon winds coming in from the sea, the prevailing winds. The flow of air is regulated by adjustable
louvers, which open when the wind is light to allow for fresh air, but close when wind speeds pick up. After it was first designed, this
unique solution was tested on scale models in a wind tunnel.
Materials

A case under construction

The materials used in the building of the conical domes consisted of laminated wood and natural wood, concrete, coral, aluminium
castings, glass panels, tree bark and stainless steel. The iroko (Clorophora excelsa) timber used extensively was imported from Africa
(native to tropical Africa, from Sierra Leone to Tanzania); it was decided to use iroko because it was durable, and mostly resistant to attack
by insects, fungi and mould. The frames of all cases were pre-fabricated in France and assembled on-site.

Design of the cases

Diagram of a case drawn by architect Renzo Piano

The exterior part of the huts is given an ancient appearance whereas the interior of each hut has rectangular space (for housing
permanent and temporary exhibitions, administration offices and studio spaces), where all amenities feature modern technology. The
space within each hut was achieved by discarding the central pillar, a deviation from the traditional Kanak hut design. In the circular
design of the hut’s shells, the height to diameter ratio was reduced giving more space, which also resulted in greater dynamic ventilation,
as was corroborated by wind tunnel tests.[2] 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. The outer ribs are a curved assembly of slats, which are joined to a straight
vertical rib that together form part of the case structure. The staves are designed in such a way that the individual pieces appear as if they
are woven together. The roof is made of corrugated aluminium sheets. It has a double roof system, which contributes to the play of
shadows. The bottom of the wall, formed by the arc of the staves, has special louvers, called nacos. The nacos open and close in tandem
automatically by computer control calibrated to the speed of the wind. The double roof system also allows air to pass through the roof
unchecked. During the monsoon season, the winds that blow over the cases are very strong, the compound curve of the cases resists the
wind, with the nacos facilitating this action further by allowing air to pass directly through the cases
Cases

View of seven of the Tjibaou Cultural Centre pavilions, spanning roughly half the entire complex, from the facing sea.
In general, the exhibits in the Cultural Centre are organized in the three villages. In the first village, the emphasis is on exhibition activities. Right
at the entrance is the permanent exhibition where visitors are given an insight into the Kanak culture. The cases that follow have displays related
to the history of the community and the natural environment. This is followed by areas for temporary exhibitions and a theatre, a sunken
auditorium where 400 people can be seated. An open-air theatre is provided behind the auditorium where cultural performances are held. The
second village complex is used for the offices for historians, researchers, curators of exhibitions and administrative staff. The cases in front of the
offices have a multimedia library and the halls here are used for conferences. The village at the end of the path, which is located slightly away
from the visitors' area and which has studios, is devoted to creative activities such as dance, painting, sculpture, and music. There is also a school
for children where they are taught the local art forms.[12]

Notable exhibition halls in the sail-like structures of the cases include Case Bwenaado, Case Jinu, Case Mâlep, Case Umatë and Salle Bérétara. The
Case Bwenaado or pavilion, a customary assembly place, houses the artifacts created by artists of the region. They symbolize the link among
ethnic groups of the Pacific in respect of the traditions of their oral beliefs and rituals that govern their life. A new collection in this case received
in May 2008, on loan from the Musée du Quai Branly, features 16 Kanak items dating from the late 18th century to early 20th century.[13][14]
These are in the form of historical pieces of Kanak sculpture and implements representing a rich Kanak heritage, though they are on loan from
other museums.[12] The Case Jinu or pavilion has six exhibits that are titled "The spirit of Oceania" which depict the origin of the world, people
and their habitats from across the Pacific. The Case Mâlep has exhibits depicting the life and work of Jean-Marie Tjibaou, charismatic leader of
the independent movement who initiated action to set up the Kanak cultural centre.[15]

Exhibitions are rotated throughout the year, and temporary exhibitions are also part of the complex. The centre also has two workshops of
artists. They have been given a deliberate "unfinished" appearance as a reminder that Kanak culture is still in the process of evolution – a belief
held by the deceased Canaque leader, who was the inspiration for the site. The complex includes the Department of Visual Arts and Exhibitions
which is intended to promote the creation of plastic contemporary Kanak art.[15] The Fund for Contemporary Kanak and Oceanian Art (Le Fonds
d'Art Contemporain Kanak et Océanien) was created in 1995, and consists of over 600 contemporary works from Australia and the Pacific Islands
including New Caledonia.
Layout

Map of the centre

The entire complex has been built along a 250 metres (820 ft) long ridge of the peninsula (a cape that extends southeast into the Pacific Ocean[3]).
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
metres high) in each cluster representing the traditional "Great Hut" of the Kanak Chiefs. The main axis of the Cultural Centre (somewhat off the
cardinal axis) 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. 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. They are arranged in a row sequentially along a lower rectangular path that follows the gentle curve of the peninsula. It forms a
unique cultural ensemble at the Cultural Centre of arts built with wood technology using long-lasting iroko wood. The overall effect is that it "looks
like a unified homogenous whole". A laminated wood construction blends with engineering architecture and is suitable for everyday use. The cultural
centre has thus been described as "a perfected masterpiece and a deeply impressive, earth-bound example of a new interpretation of
modernism".[2][3][11] 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. The curved outer face of the huts is in direct contact with the
windward side of the stormy Pacific Sea whereas the leeward side is oriented towards the serene lagoon. The sunlight engulfs the structure and casts
a continually changing pattern of shadows through the louvers and members of the staves of the cases.[2][3]

Another aspect of the layout is about the design of the paths connecting the cases and providing approach to them. They are covered so that visitors
can walk in the area with comfort, as the average temperature in the area is 20 °C (68 °F) to 23 °C (73 °F) from April to August and 25 °C (77 °F) to 27
°C (81 °F) from September to March. The main sides of the paths are not covered with walls, as it would prevent air circulation and make the corridors
intolerable. However, where the paths are open to direct light, louvers have been installed.[3]

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.[3] 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 Araucaria columnaris or column pine and coconut trees.