auguste huit chefs d`œuvre
Transcription
auguste huit chefs d`œuvre
AUGUSTE PERRET HUIT CHEFS D’ŒUVRE Architectures du béton armé France's Economic, Social and Environmental Council, in collaboration with Fondazione Prada, presents: 27 November 2013 – 19 February 2014 Palais d’Iéna, Paris On view from 27 November 2013 to 19 February 2014, the exhibition « Auguste Perret, Huit Chefs d’œuvre !/? – Architectures du béton armé » ("Auguste Perret: Eight Masterpieces!/? – Reinforced Concrete Buildings") is organised by the Economic, Social and Environmental Council (ESEC) in collaboration with Fondazione Prada at the Palais d'Iéna – ESEC headquarters. For this tribute to one of the most inspiring architectural careers of the 20th century, Joseph Abram, the scientific curator - together with his team of National School of Architecture in Nancy - is responsible for the theoretical and historical coherence of the project. The architectural office OMA AMO, under the direction of Rem Koolhaas, the artistic curator, is in charge of the exhibition design as well as the contemporary contributions and it conceives the cultural events program. 1 Son of a stonemason who had taken part in the Paris Commune uprising in 1871, Auguste Perret (1874–1954) played a core part in defining a specific aesthetic for reinforced concrete. His entire career was devoted to a rigorous practice of architecture based on innovative strategies that combined intellect, design and construction into a powerful creative mechanism that generated an impressive number of masterpieces. His talent received due recognition in 2005 when part of his oeuvre was added to the World Heritage List. While several exhibitions have been dedicated to Auguste Perret, this exhibition has the ambitious goal to share with a wider audience the intimacy of a creative process that is amongst the highest in the history of architecture. It is only natural that the chosen venue is the Palais d'Iéna, one of Perret's most significant projects. Perret invented a new classical order comparable to those of ancient times but rooted in modern construction techniques: the reinforced concrete order, with the Palais d'Iéna as its finest achievement. The presentation of this major event at the Palais d'Iéna reflects the ESEC's policy of hosting cultural and artistic projects as a stimulus for public dialogue, also promoted by many events and debates organized within the institution. A cultural programme will run during the exhibition dedicated to Auguste Perret: the Palais will be opening its doors to the public and will host talks, debates, workshops, concerts and screenings in the hemicycle. THE EXHIBITION: "EIGHT MASTERPIECES!/?" With a solid theoretical perspective and today's production possibilities, the exhibition aims at a thoroughgoing transformation of the way this intellectual builder is seen. The focus is on eight major works: in Paris, immeuble de la Rue Franklin (1903), Théâtre des ChampsElysées (1913), église Notre Dame du Raincy (1923), salle Cortot (1928), Mobilier national (1934) and Palais d’Iéna (1937); and in Le Havre, Hôtel de Ville (1950) and église Saint Joseph (1951). With their technical inventiveness and unique relationship with their materials, these eight buildings represent a decisive addition to 20th-century architecture. The Palais d’Iéna itself is the first exhibit. For the exhibition, located in the pillared hypostyle room, OMA AMO has reused designs made for earlier Prada events: since 2011 the office has been exploring the interior of the Palais in its staging of fashion parades and cultural events. The scenography of the exhibition is a collage of these explorations, designed as contemporary interpretations of Perret's architecture. This temporary construction – this building within a building – is a deeply contextual installation that highlights the enduring virtues of its concrete setting. Among the numerous archival items that introduce the eight masterpieces are: - Some 100 original architectural drawings from the Perret agency - Photographs from the Chevojon studio, that worked intimately with the Perret office over five decades - Analytical models - A fascinating mixed bag of personal and biographical material: letters, albums, objects, books, magazines, etc. 2 The exhibition includes over 400 original items, some of them on public display for the first time. Lenders include the Cité de l’Architecture et du Patrimoine, Le Havre municipal archives, the Musée Maurice Denis, the Bibliothèque littéraire Jacques Doucet, the Corbusier Foundation, the Musée Bourdelle, the Musée des Années 30, the Musée des arts décoratifs, the association of Friends of Auguste Perret, the Conservatoire National des Arts et Métiers (CNAM) and the Musée des beaux-arts in Grenoble. A COLLABORATIVE PROJECT As a complement to the indispensable contributions from scientific curator Joseph Abram and the OMA AMO architecture office, under the direction of artistic curator Rem Koolhaas, the National Schools of Architecture in Versailles and Nancy have provided input under the supervision of their respective directors: Vincent Michel and Lorenzo Diez. A workshop was set up early in 2013 in the School in Versailles to lead a prospective project. Sixteen students, under the supervision of their professors Cédric Libert and Thomas Raynaud, came up with eight projects for the exhibition, aimed at stimulating interest in the architectural, constructive, conceptual and cultural aspects of Auguste Perret's legacy. The School of Architecture in Nancy, with its Contemporary Architecture History Course, built a team of young researchers and specialists in 20th-century architecture and in its transmission to the public. In addition artists have been called in to give a contemporary outlook on the buildings' ongoing existence and evolution: Gilbert Fastenaekens' photographs show the traces of human activity while Louise Lemoine and Ila Bêka film the residents and the use of these places. The result is an eloquent expression of the buildings' intangible aspects. "Since 1959 the Economic, Social and Environmental Council has been making Auguste Perret's Palais d'Iéna a lively, welcoming venue for the endless diversity of human activity: discussion and debate for the honing of convictions through dialogue; art and culture as a window onto otherness through shared feelings; and festive events. In a somewhat bewildered society looking to the future with anxiety and seeing rapid, radical change in a world it can no longer grasp nor control, art remains a vital challenge, a way of projecting ourselves into the times ahead. I sincerely hope that this exhibition, in bringing together the Palais d'Iéna and other major works by Auguste Perret, will represent a further step in ESEC's responsiveness to cultural and artistic initiatives." - Jean-Paul Delevoye, President ESEC Joseph Abram Architect/historian Joseph Abram is a teacher at the National School of Architecture in Nancy and a researcher at the History of Contemporary Architecture Workshop. He has published many books on 20th-century architecture and curated some thirty exhibitions. He prepared Le Havre's application for UNESCO World Heritage listing. The OMA AMO agency OMA is a leading international partnership practicing architecture, urbanism, and cultural analysis. The research studio AMO operates in areas beyond the traditional boundaries of architecture, including media, politics, sociology, renewable energy, technology, fashion, curating, publishing, and graphic design. 3 HONOUR COMMITTEE The Honour Committee of the exhibition « Auguste Perret, Huit Chefs d’œuvre !/? – Architectures du béton armé » is composed by Jean-Paul Delevoye, President of the Economic, Social and Environmental Council (ESEC); Miuccia Prada and Patrizio Bertelli, Presidents of Fondazione Prada; Édouard Philippe, Seine Maritime Deputy and Mayor of Le Havre; Antoine Rufenacht, former Mayor of Le Havre; Vincent Berjot, General Director for Heritage, Ministry of Culture and Communication; Guy Amsellem, President of the Cité de l’Architecture et du Patrimoine; Raymond Soubie, Chairman of the Board of the Théâtre des Champs-Élysées; Annie Perret; Christophe Perret and Benjamin Mouton, President of the association of Friends of Auguste Perret. VISIT INFORMATION The exhibition is open daily from 27 November 2013 to 19 February 2014 (11am - 6pm) Closure days: 14 December, 25 December and 1 January Free admission Address: Palais d’Iéna, ESEC headquarters | 9 place d'Iéna - 75016 Paris Underground: Iéna stop (Line 9) and Trocadéro stop (Line 6) Bus: Iéna stop (Lines 32, 63 and 82) PRESS CONTACTS ESEC Heymann, Renoult Associées Agnès Renoult & Adeline Suzanne +33 (0)1 44 61 76 76 [email protected] Fondazione Prada Andrea Goffo +39 02 54 67 09 81 / +39 33 46 94 46 71 [email protected] OMA AMO Jeremy Higginbotham +31 10 24 38 200 [email protected] Further information: www.expositionperret.fr | #expoperret to follow the exhibiton on With the support of: 4 « AUGUSTE PERRET : HUIT CHEFS D’OEUVRE !/? »: AN INTRODUCTION “Masterpiece!/? A discredited notion? Far from it. Drawing on emotion and reason, the hallowing of works of art is generating as much knowledge, savoir faire and skill as ever. The supreme link between artist and public, the masterpiece remains, as ever, the driving force for art in all its diversity.” Roland Huesca, Dance historian Auguste Perret (1874-1954), one of the most important architects of the 20th century, played a major role in defining an aesthetic of reinforced concrete. The son of a stonecutter in the Paris Commune, with his two brothers, Gustave and Claude, he created an innovate enterprise combining an architectural office and a construction business. Perret was a passionate reader of Viollet-le-Duc and a brilliant pupil of Julien Guadet at the Paris École des beaux-arts. With the apartment building on the rue Franklin in 1903 and the 1913 Théâtre des Champs-Élysées, he began to affirm his role as an exceptional builder - a pioneer of reinforced concrete - and a genuine architectural theoretician. In 1923, following in the vein of his industrial warehouses, he created the église of Notre Dame du Raincy, a model of economy of materials. His projects in the 1930s respond to a unique cultural challenge: the creation of a new classical order comparable to the orders of antiquity but derived from modern construction techniques. His order of reinforced concrete, first developed in 1937 for the Palais d’Iéna, found a vast field of application after World War II in the reconstruction of the city of Le Havre. The city’s inscription on the World Heritage List in 2005 brought public attention to Auguste Perret's work. But his creative path remains largely unknown. The exhibition « Auguste Perret : Huit Chefs d’œuvre !/? » (“Auguste Perret: Eight Masterpieces!/?”) is designed to counteract that deficit by offering a privileged access to the major works of this intellectual builder, a friend of artists Antoine Bourdelle and Maurice Denis and of the poet Paul Valéry. Its ambition is to share with a broader public the intimacy of a creative approach that counts among the most complex and rigorous ever generated by the field of architecture. Out of a cultural commitment to the Palais d'Iéna, headquarters of the French Economic, Social and Environmental Council (ESEC), Fondazione Prada has, since 2011, launched and organized projects in which architecture, fashion and art have a central role. Out of a cultural commitment to the Palais d'Iéna, headquarters of the French Economic, Social and Environmental Council (ESEC), Fondazione Prada has, since 2011, launched and organized projects in which architecture, fashion and art have a central role. The desire to understand this concrete palace is the inspiration for an exhibition in this former Museum of Public Works that its architect considered to be “a shed fit for any purpose.” Via a selection of original documents and thanks to contemporary contributions, this exhibition is an invite to explore the wealth of the significance of reinforced concrete architecture and more generally seeks to question its modern heritage in all its complexities. 5 « AUGUSTE PERRET : HUIT CHEFS D’ŒUVRE !/? » : SYNOPSIS The exhibition « Auguste Perret : Huit Chefs d’œuvre !/? – Architectures du béton armé » presents eight buildings from among Auguste Perret's many projects: buildings whose universality has earned them a place in the history of 20th-century architecture. 1. 2. 3. 4. 5. 6. 7. 8. immeuble de la Rue Franklin (1903) Théâtre des Champs-Élysées (1913) église Notre Dame du Raincy (1923) salle Cortot (1928) Mobilier national (1934) Palais d’Iéna (1937) Hôtel de Ville of Le Havre (1950) église Saint Joseph (1951) The exhibition is made up of sections that bring together different modes of existence of the architectural object. In two main parts, it is organised lengthwise in the hypostyle room. On one side a metal enclosure referencing modern museum spaces is home to a range of documentary material: - A selection of original drawings, mainly from the 20th-century Architecture Archives’ Perret collection at the Cité de l’architecture et du patrimoine in Paris, provides the projects' design background - A collection of photographs produced by the Studio Chevojon, whose intimate working relationship with the Perret agency lasted fifty years, expresses the materiality of the construction/building - A group of structural models from the Cité de l’architecture et du patrimoine, the Musée des arts et métiers and the Le Havre municipal archives, display the buildings' structural geometry. On the other side a stepped wooden structure offers present-day responses to the Perret oeuvre: - Photographic albums by Gilbert Fastenaekens describe Perret's architecture and its current uses - A film by Louise Lemoine and Ila Bêka shows users using the buildings - Objects and materials having a special connection with the buildings in the exhibition conjure up their everyday character and their duration - Projects carried out with architecture students explore the potential of Perret's architecture today Down the middle of the room a line of tables presents the biographical background to the buildings concerned: - A mixed bag of letters, photos, albums, personal possessions, books, magazines and stereoscopic images immerses the visitor in the intimacy of Perret's life. - These different strata of the architectural reality are complemented by furniture designed by Perret and various works by his artist friends. 6 AUGUSTE PERRET: A CRONOLOGY 1874-1880: Birth of Auguste Perret, February 12, 1874 in Ixelles (Brussels). His father Claude-Marie Perret, an activist during the Paris Commune, had taken refuge in Belgium with his family to escape repression. Birth of Gustave, March 14, 1876 and Claude, July 16, 1880. 1882-1893: After the Amnesty of 1880, Claude-Marie returns to Paris where he creates a general contracting business. Auguste and Gustave study at the École Alsacienne, then the École des beaux-arts, in the Guadet studio. 1896-1902: The family business constructs several buildings in Paris (rue du Faubourg Poissonnière, avenue de Wagram...). Auguste marries Jeanne Cordeau, student at the École des arts décoratifs in Paris. 1903-1905: Construction of the apartment building on the rue Franklin. The Perret enterprise moves into the ground floor. Claude-Marie dies in 1905. His three sons create the firm Frères Perret and devote themselves to the study of reinforced concrete. 1906-1912: Construction of the garage on the rue Ponthieu, of the cathedral at Oran (for the architect Albert Ballu). Charles-Édouard Jeanneret (Le Corbusier) interns for fourteen months in the office on rue Franklin. Auguste travels to Algeria, Morocco, and Turkey. 1911-1913: Construction of the Théatre des Champs Élysées, of studios for Maurice Denis and Théo van Rysselberghe. Member of the Cercle des Artistes de Passy, where he meets Apollinaire, Raymond Duchamp-Villon, Francis Picabia... 1914-1918: Called for service in August 1914, Auguste is assigned to the 39th Infantry Regiment in Blois. He works in Luçon, where he designs dirigible hangars. The Perret firm builds docks in Casablanca. Vice-President of the association Art et Liberté, Auguste works alongside Amédée Ozenfant, Albert Gleize, Gino Severini... 1919-1923: Industrial hangars (Wallut, Esders, Voirin-Marinoni studios...). Construction of the église Notre Dame du Raincy. Travels through Italy in 1922 with Antoine Bourdelle: Genoa, Turin, Cuneo, Florence, Bologna, Rome, Naples, Pompei and Paestum. Develops the “Villes-Tours” (City-Towers) concept. 1924-1926: Founding member of the Salon des Tuileries. Construction of the Palais de Bois. Auguste begins his first teaching studio. Theater for the 1925 Exhibition. Observation tower in Grenoble. Maison Cassandre, the Chana Orloff studio. Competition entry for the basilica Sainte-Jeanne-d'Arc in Paris. Paul Valéry backs the project. 1927-1929: Paul Jamot publishes the first monograph devoted to the Perret brothers. Artist studios (Georges Braque, Mela Muter, Dora Gordin, Marguerite Huré). Auguste travels to Egypt where he builds the Aghion house. Competition for the League of Nations in Geneva. Construction works begin for the salle Cortot, the building on the rue Raynouard. The teaching studio at the Palais de Bois closes. 7 1930-1932: Auguste directs a studio at the École spéciale d'architecture. Competition for the porte Maillot in Paris, the Palace of the Soviets in Moscow. Lecture in Amsterdam. L'Architecture d'Aujourd'hui publishes a special edition Perret in 1932. The office moves into the rue Raynouard. 1933-1935: President of the Réunions internationales d'architecture, Auguste participates in the Milan conference, then meetings in Vienna, Prague, Budapest and Stuttgart. His plan for the Chaillot hill is abandoned (1934). Picasso, Matisse and Dufy sign a petition protesting. Meeting with Louis Aragon. 1936-1939: President of the Union pour l'Art, created in the wake of the Front Populaire. Le Corbusier and Maillol are vice-presidents. Lectures in Buenos Aires. Meeting with Frank Lloyd Wright in Paris (1937). Construction of the Museum of Public Works (Musée des Travaux publics). 1940-1944: Creation of the journal Techniques et Architecture. Member of the High Council of the Ordre des Architectes (with Tony Garnier, Henri Prost, Paul Tournon...) and of the National Committee for Reconstruction (Comité national de la Reconstruction). Elected to the Institut de France in 1943. Projects for the train station square in Amiens, for the airport at Marignane. Creation of the third Perret teaching studio. 1945-1951: President of the Ordre des Architectes. Tasked by Raoul Dautry to rebuild the center city of Le Havre. Construction of the Center for Atomic Studies (Centre d’études atomiques) in Saclay. Gold medal from the Royal Institute of British Architects. Gold medal from the American Institute of Architects. Perret exhibition in New York. 1952-1954: Publication of Contribution à une théorie de l'architecture. Gustave dies May 30, 1952. Auguste dies February 25, 1954. His body lies in honor at the Palais d’Iéna. 8 « AUGUSTE PERRET : HUIT CHEFS-D’OEUVRE » : THE ACADEMIC TEAM Joseph Abram Joseph Abram is a teacher at the National School of Architecture in Nancy and a researcher at the Contemporary Architecture History Workshop. He has taught at the Institute for Architecture in Geneva and for ten years was on the editorial board of Faces magazine. He has written widely for international magazines and curated some thirty exhibitions, including “Les premiers élèves de Perret” (Paris, 1984), “Oscar Nitzchké” (with Gus Dudley, New York, 1985), “Paul Nelson” (with T. Riley, New York, 1990), “Hugo Herdeg” (New York, 1993), “Claude Prouvé” (Briey, 1997) and “Perret, la poétique du béton” (with J.-L. Cohen and B. Reichlin, Le Havre/Turin/Paris, 2002–2004). Among his books are L’Architecture Moderne en France (vol. 2, Picard, 1999), Le Corbusier à Briey (JMP, 2006), Perret (Editions du Patrimoine, 2010) and Diener & Diener (Phaidon, 2011). He prepared Le Havre's application for World Heritage listing, which was accepted in 2005, and is currently working on Metz's UNESCO application. Ana Bela de Araujo Architect and historian Ana Bela de Araujo teaches at the National School of Architecture in Marseille. She has also taught at the Nantes, Paris-Malaquais and Marne-la-Vallée schools of architecture. She is a member of the LACTH workshop at the National School of Architecture in Lille and has carried out research into the history of 20th-century architecture. In 2013 she successfully defended her art history Ph.D thesis on Le Centre d’études nucléaires à Saclay. L’architecture-système d’Auguste Perret à l’épreuve de la science, at the Université de Paris I, Panthéon-Sorbonne. She has published in various art and architecture magazines and exhibition catalogues, and is the author of Marie Dormoy/Auguste Perret. Correspondance. 1922–1953 (Editions du Linteau, 2009). She was curatorial attaché for the opening of the Modern and Contemporary Architecture Gallery at the Cité de l’Architecture et du Patrimoine in Paris (2005–2007), and in charge of the scientific and cultural development of Le Havre's UNESCO label (2007–2008). Kenneth Rabin Artist/designer Kenneth Rabin is a graduate of the Cranbrook Academy of Art in Michigan. After ten years spent between France and the United States, he settled in Le Corbusier's unité d'habitation in Briey-en-Forêt, in Lorraine. An active member of the association “La Première Rue”, he founded and directed its art, architecture and design study centre. In 2000 he started Kenneth Rabin Design, specialising in visual identities, exhibitions and publishing. He has contributed to numerous architectural and cultural enhancement projects including Le Corbusier in Briey, Auguste Perret in Le Havre, Vauban's fortifications, housing estates and the legacy of luxury industries (with Studio Harcourt Paris). As an artist he has had group and solo exhibitions in France and the United States. He teaches at the School of Design in Valenciennes and as part of Columbia University's “Paris/New York” programme. 9 OMA AMO OMA is a leading international partnership practicing architecture, urbanism, and cultural analysis. OMA’s buildings and masterplans around the world insist on intelligent forms while inventing new possibilities for content and everyday use. OMA AMO is led by six partners – Rem Koolhaas, Ellen van Loon, Reinier de Graaf, Shohei Shigematsu, Iyad Alsaka, and David Gianotten – and sustains an international practice with offices in Rotterdam, New York, Beijing, Hong Kong, and Doha. The counterpart to OMA’s architectural practice is AMO, a research studio based in Rotterdam. While OMA remains dedicated to the realization of buildings and masterplans, AMO operates in areas beyond the traditional boundaries of architecture, including media, politics, sociology, renewable energy, technology, fashion, curating, publishing, and graphic design. Rem Koolhaas, Founding partner, OMA Rem Koolhaas (Rotterdam, 1944) founded OMA (Office for Metropolitan Architecture) in 1975 together with Elia and Zoe Zenghelis and Madelon Vriesendorp. After studying at the Architectural Association in London, and at Cornell and the Institute for Architecture and Urban Studies in the US, Koolhaas wrote Delirious New York (1978). In 1995, S,M,L,XL summarized the work of OMA in a 1,200-page book that redefined architectural publishing. In 2011, Project Japan: Metabolism Talks, an oral history by Rem Koolhaas and Hans Ulrich Obrist, documented the first non-Western avant-garde movement in architecture and the last moment that architecture was a public rather than a private affair. In 2014, Koolhaas will direct the 14th International Architecture Exhibition of the Venice Biennale, under the title “Fundamentals”. He received the Golden Lion for Lifetime Achievement at the Venice Biennale of Architecture in 2010 and the Pritzker Prize in 2000. AMO team for the exhibition « Auguste Perret, Huit Chefs d’œuvre !/? »: Rem Koolhaas, Ippolito Pestellini, Alice Grégoire, Paul Cournet, Lucia Venturini, Kenny Kim. www.oma.eu/oma 10 FRANCE'S ECONOMIC, SOCIAL AND ENVIRONMENTAL COUNCIL Celebrating Auguste Perret at the Palais d'Iéna for a few weeks is not only about paying tribute to the brilliant designer of the place where the Economic, Social and Environmental Council (ESEC) has been standing since 1959. Neither is it only about fostering a post mortem glorification to the highness of his talent, acknowledged by all. I hope this exhibition will exceed the two above mentioned, yet already very ambitious, objectives. The exhibition must make us wonder what constitutes modernity and what turns innovation into progress. The history of the Perret family is unique. It is difficult to imagine that the Perret brothers’ life journey has no influence on their singular career development. First, their education was based on work: early learning of construction techniques, an intellectualism education acquired at the Ecole des Beaux-Arts in Paris. In addition, the economic and historical context clearly separated architecture from technical construction. Finally, a new material, concrete, fostered a new vision. Or the other way around. Or the two were intertwined. This vision, based on strong beliefs, feeds the work of Auguste Perret and is opposed to that of other artists and architects of his generation. A vision both amended and consolidated over the years. Innovation can only be understood by challenging the present, the established order as well as a system based on certainties and a form of comfort. It is only when propped on a credit and personal skills, on openness to others and the world, on a passion for collective adventure and on a strong belief that the future is to be built and thought, that this dispute may open the way to evolution as well as an acceptable and desirable future for all. Our society is disoriented, divided between the fear of losing an old world and the uncertainty of a future in which everyone struggles to look to. People now need to regain confidence in their own abilities and faith in the future. Throughout its history, France has often found its strength in its creativity. But today, because of its unchanging standards and lack of questioning, the system kills initiatives instead of fostering it. This exhibition is intended to remind that innovation is challenging but also inspiring. It is therefore at its rightful place at the Palais d'Iéna, echoing the many debates occurring here, that daily seek to confront visions and interests as well as contribute to collectively imagining France’s future. Jean- Paul Delevoye President of the Economic, Social and Environmental Council 11 ESEC, 3rd Assembly of the French Republic The Economic, Social and Environmental Council (ESEC) is the third assembly of the French Republic with the National Assembly and the Senate. The ESEC comprises 233 members and 72 qualified members. It is divided into three major clusters representing the actors of economic matters and social dialogue; the actors of social and territorial cohesion and community life (disability, sports, sciences and culture are represented as qualified personalities). In the spirit of the Grenelle Environment Forum, the last group is made of representatives chosen for their experience in environmental protection and sustainable development. The Council encourages dialogue between social and occupational categories, contributes to the assessment of public policies within its fields of expertise, promotes a constructive dialogue with its counterparts at a local, regional as well as international level and contributes to informing citizens. The ESEC plays a vital role in the period of economic, social and environmental change that we are living: it is both a whistleblower at the institutional level and an interface between civil society and politicians. To meet its objectives, the Council may be appealed to by either the Prime Minister, the Speaker of the National Assembly or the Senate President, through petition or by self-referral. www.lecese.fr EESC’s commitment to culture Cultural issues are an essential part of the ESEC’s focus. They are treated by the education, culture and communication section. The notice “A new dynamic for national monuments conservation policies” (Jean-Jacques Aillagon, 2008) analyzed the means implemented to ensure that local heritage culture will be maintained as a reference shared by all French, and the means to increase monuments protection effectiveness. It also investigated about the possible sources for a larger and more stable funding. The notice “For a development policy of performing arts: promote and artistic and cultural education throughout life” (Claire Gibault, September 24, 2013) made four key recommendations to ensure access to cultural and artistic practices: to develop artistic and cultural education through artistic practice throughout life for all and everywhere, to develop complementarity between actors, to boost public education as a tool for land and societies transformation, and to educate stakeholders: teachers, artists, amateurs. The launch by the Minister of Culture and Communication of the “great project for arts and cultural education” springs from the same awareness of the importance of an artistic and cultural education, not only for youth but for all citizens throughout their lives. Besides, the EESC has already welcomed in the past few years contemporary art exhibits and rich cultural events. The exhibition “Empreintes Urbaines” organized in June 2011 with Sos Racism gathered 84 international artists from Street Art. During three days, at the crossroads of generations and the most innovative disciplines, holding this exhibition at the ESEC created a bond beyond social affiliations, a bridge of “Vivre Ensemble”. In September 2011, during the contemporary art week in Paris, the Council received the exhibition “Pearls of the North” dedicated to the Belgian, Dutch and Luxembourg scene and curated by Caroline Smulders and Jerome Lefevre. In April-May 2012 for the exhibition “Ça & là (This & There)”, the artist Davide Bertocchi installed the “Apologie de l’aléatoire (Pendolo)” piece in the 12 monumental staircase of the EESC, representing a still pendulum, within the “Laboratoire de création du Palais de Tokyo”. On October 6, 2012, during the Nuit Blanche, the ESEC welcomed a Franck Gerard installation, “En l’état, user les images” and an in situ unseen work of Antony Gormley in preview of the exhibition “Unlimited bodies”. Organized in October 2012 again with Caroline Smulders and Jérôme Lefèvre as curators, the latter had an exclusive selection of 30 international artists exploring contemporary sculpture and revealing an art deeply rooted in the present, through human size body sculptures. Finally, in 2012, Fondazione Prada opened at the Palais d’Iéna an ephemeral and imaginary museum under the title of “24h Museum”, a project by Francesco Vezzoli whose design was also conceived by OMA AMO. 13 FONDAZIONE PRADA Fondazione Prada, co-chaired by Miuccia Prada and Patrizio Bertelli since 1995, is an institution dedicated to contemporary art and culture. Its cutting-edge exhibitions conceived in dialogue with major contemporary artists like Louise Bourgeois, Walter De Maria, Thomas Demand and John Baldessari, as well as other cultural activities related to cinema, philosophy, and architecture, have enjoyed a wide international consensus. Special international projects included Carsten Höller’s “Double Club” in London, the “Prada Transformer” in Seoul by OMA and Francesco Vezzoli’s “24h Museum” at the Palais d’Iéna in Paris. In 2011 the Fondazione Prada opened a new exhibition space in Venice, Ca’ Corner della Regina, an historic palazzo on the Grand Canal, which is going to be restored over the next years with the goal of offering a stimulating cultural program. A keynote of the architectural program is the Fondazione Prada’s new exhibition space in Milan designed by Rem Koolhaas, to be unveiled in 2015. Projects and events realized by Fondazione Prada: 24 solo art exhibitions realized in Milan from 1993 to 2011, based on projects especially conceived for the Fondazione exhibition space by international artists: Eliseo Mattiacci, Nino Franchina, David Smith, Anish Kapoor, Michael Heizer, Louise Bourgeois, Dan Flavin, Laurie Anderson, Sam Taylor-Wood, Mariko Mori, Walter De Maria, Marc Quinn, Carsten Höller, Enrico Castellani, Barry McGee, Tom Friedman, Andreas Slominski, Giulio Paolini, Francesco Vezzoli, Steve McQueen, Tom Sachs, Tobias Rehberger, Nathalie Djurberg, John Baldessari. 3 collective art exhibitions in Venice at Ca’ Corner della Regina: “Fondazione Prada_Ca’ Corner”, 2011, “The Small Utopia. Ars Multiplicata”, 2012, “When Attitudes Become Form: Bern 1969/Venice 2013”, 2013. 2 design and architectural projects in Milan: AMO/OMA Rem Koolhaas and Herzog &DeMeuron; Rotor. 4 touring exhibitions abroad: “Mariko Mori Dream Temple”, Rooseum, Malmö, 2000; “Mariko Mori Pure Land”, Museum of Contemporary Art, Tokyo, 2002; “Enrico Castellani”, Kettle’ s Yard, Cambridge, 2002; “Foujita. A Japanese Artist at the Teatro alla Scala”, Prada Aoyama Epicenter, Tokyo, 2003. 2 projects realised for the city of Milan: Dan Flavin’s permanent installation for Santa Maria Annunciata in Chiesa Rossa, 1997; Laurie Anderson “Dal Vivo/Life” an exhibition based on a performance in conjunction with the the Casa Circondariale-Milano, San Vittore prison, 1998. 1 international multidisciplinary conference “La Sfida” (“The Challenge”) in collaboration with the Casa Circondariale-Milano San Vittore prison, Milan, 2002. 4 philosophy conferences: “Philosophy facing History: thinking over Septempber 11” (2005); “Art and Terror” (2005); “Philosophical Dialogue on 20th-Century Thought in Europe and Japan” (2006) in collaboration with University Vita-Salute San Raffaele, Milan; “Art and Icon” (2006). 14 4 film festivals: “Tribeca Film Festival at Fondazione Prada”, Milan, 2004; “Italian Kings of the Bs/Secret History of Italian Cinema 1949 – 1976”, Milan, 2004; “Secret History of Asian Cinema”, Milan, 2005; “Secret History of Russian Cinema”, Milan, 2007. 12 external activities: “Mark di Suvero a Venezia”, Venice, 1995; “Angelo Savelli”, Centro per l’Arte Contemporanea Luigi Pecci, Prato, 1995; “The Secret History of Italian Cinema”, 61st Venice Film Festival, Venice, 2004; “Italian Kings of the Bs”, Tokyo Filmex, Tokyo, 2004; “Francesco Vezzoli. Trilogia della Morte (Trilogy of Death)”, Fondazione Giorgio Cini, Venice, 2005; “The Secret History of Asian Cinema” 62nd Venice International Film Festival, Fondazione Giorgio Cini, Venice, 2005; “Italian Kings of the B’s: Secret history of Italian Cinema 1949-81 at Tate Modern”, Tate Modern, London, 2006, “The Secret History of Russian Cinema” 63rd Venice International Film Festival, Venice, 2006, Thomas Demand “Processo Grottesco” and “Yellowcake”, Fondazione Giorgio Cini, Venice, 2007; Carsten Höller “ The Double Club”, London, 2008-2009; “John Wesley”, Fondazione Giorgio Cini, Venice, 2009; Nathalie Djurberg “Turn into Me”, Prada Trasformer, Seoul, 2009. 34 art publications amongst which three specific books on architecture (OMA/AMO Rem Koolhaas, Herzog & de Meuron, Rotor) and the report of the conference “La Sfida” (“The Challenge”). Fondazione Prada Chair for Aesthetic, held by Professor Massimo Cacciari, at the University of Vita-Salute San Raffaele (financial support from 2003 to 2006). www.fondazioneprada.org 15 AG2R LA MONDIALE AND CULTURAL SUPPORT AG2R LA MONDIALE, the French leader in social protection, believes in the role of culture as a force for sustainable transformation of a community’s economic, social and urban development. Empowered by local values and solidarity, AG2R LA MONDIALE has a policy of cultural support that focuses on events taking place in the regions in which it operates. It seeks to highlight the attractiveness of these areas. Additionally, the cultural sponsorship is a great means of communication for the Group. It significantly contributes to its reputation and its brand image. In this context, AG2R LA MONDIALE is very pleased to partner with the Economic Social and Environmental Council (ESEC), providing support for the exhibition: « Auguste Perret, Huit Chefs d’œuvre !/? – Architectures du béton armé », held at the Palais d'Iena. Other examples of support to museums and cultural events: The Louvre-Lens: The privileged location of the Louvre in Lens facilitates the conversion of the former highly productive mining area. Supporting the Louvre-Lens, AG2R LA MONDIALE is proud to officially participate in the ongoing attractiveness of the area. Lille 3000: already an existing partner of “Lille 2004” and “Bombaysers de Lille” in 2006, AG2R LA MONDIALE is an official partner of “Lille 3000” for 2012-2015. “Lille 3000” is characterized by events of great artistic and cultural quality brought to the wider public. This ability to unite different people of all ages and from all walks of life, form immediate resonance with the values of closeness and solidarity that drive AG2R LA MONDIALE. Marseille-Provence 2013, European Capital of Culture: empowered by its strong local presence in the South of France, AG2R LA MONDIALE was impressed by the program of the European Capital of Culture combining artistic excellence and openness to the public. AG2R LA MONDIALE is taking full part in Marseille-Provence 2013 through sponsoring the exhibition "Le Corbusier and the Question of Brutalism." The previews: AG2R LA MONDIALE supports contemporary artists through openings at its Headquarters in Paris on Boulevard Haussmann: Juliet Mills (painter), Maxime Dufour (photographer), Princess of Bourbon Parma (sculptor). The publication of works of art: it supports exhibitions through the publication of catalogues and books exhibitions: “In the Kingdom of Alexander the Great”; Louvre Museum (2011), “Holy Russia”, the Louvre (2010); “Teotihuacan”, Quai Branly (2010). Press contact : Rym Saker / Ph. +33 (0)1 76 60 90 44 / [email protected] 16 GECINA, A LEADING REAL ESTATE GROUP Gecina owns, manages and develops property holdings worth 10.7 billion euros at June 30, 2013, with 90% located in the Paris Region. This real estate company's business is built around an Economic division, including France's largest office portfolio, and a Demographic division, with residential assets, student residences and healthcare facilities. Gecina has put sustainable innovation at the heart of its strategy to create value, anticipate its customers' expectations and invest while respecting the environment, thanks to the dedication and expertise of its staff. Gecina is a French real estate investment trust (SIIC) listed on Euronext Paris, and is part of the FTSE4Good, DJSI Europe and World, Stoxx Global ESG Leaders and ASPI Eurozone® indices. In line with its commitments to the community, Gecina has created a company foundation, which is focused on protecting the environment and supporting all forms of disability. www.gecina.fr 17 ABOUT SNBPE The French ready-mix concrete producers’ organization (SNBPE) promotes the use of concrete in building and civil engineering and protects the interest of its 200 members since 1964. SNBPE members produce 80% of the French total ready-mix concrete production with nearly 1800 plants. Concrete is a composite construction material made with natural aggregates (sand, gravel) bound with a binder (usually cement). With very short distances of transport, extremely low emissions of VOC (Volatile Organic Compound), concrete is naturally part of sustainable building background. Present in every modern construction work, concrete is the more used industrial product in the world. Concrete is produced locally, everywhere in the country, with natural and reusable primary material. It had very good resistance and durability, even in extreme conditions. It also gives designers a great freedom of forms and aspects. Ready-mix concrete - Essential performer for construction sector 540 companies 3 683 M € turnover 8 374 workers - Responsible and modern performer Environmental integration of production units Part of local economy as a vicinity service Quick and easy to use Multiple use and construction performer Individual or collective housing, urban developments, industrial and commercial buildings, civil engineering, landscaping, farming equipment,… 18 ORANGE AND THE CULTURE For many years, Orange has implemented projects that bring together culture and technological innovation. We put our know-how to work to benefit culture, co-developing new uses for innovative mediation tools with institutions. Already partner of the most important institutions like Château de Versailles, RMN-GrandPalais, Louvre-Lens, Palais de Tokyo , BNF or musée du Quai Branly, Orange is really proud today to open this new partnership with ESEC and Fondazione Prada on the occasion of the exhibition dedicated to August Perret, bringing its expertise and enabling the public to live an enhanced and unique experience. www.orange.com/fr/engagements/partenariats/culture About Orange Orange is one of the world’s leading telecommunications operators with sales of 43.5 billion euros in 2012 and had 168,000 employees worldwide at 30 June 2013, including 103,000 employees in France. Present in 32 countries, the Group had a total customer base of more than 231 million customers at 30 June 2013, including 174 million mobile customers and 15 million fixed broadband customers worldwide. Orange is also a leading provider of global IT and telecommunication services to multinational companies, under the brand Orange Business Services. Orange is listed on the NYSE Euronext Paris (symbol ORA) and on the New York Stock Exchange (symbol ORAN). For more information on the internet and on your mobile: www.orange.com, www.orangebusiness.com, www.orange-innovation.tv or follow us on Twitter: @presseorange. Orange and any other Orange product or service names included in this material are trademarks of Orange or Orange Brand Services Limited. 19 L'ARCHITECTURE D'AUJOURD'HUI (‘A’A’) Founded in 1930 by the architect, sculptor and publisher André Bloc, working with Le Corbusier, L’Architecture d’Aujourd’hui ('A'A') has shaped the history of architectural thought in France and throughout the world. Supported by a renowned editorial board, its ambition is to “shed a new light on architecture” by crossing viewpoints and looking towards other disciplines: the arts and photography, but also design, urban planning and landscape design through portraits of key figures or the discovery of emerging talents. An international publication, completely bilingual in French and English, ‘A’A’ is both an essential resource for architects and an inspiration source for architecture lovers. Find out more about ‘A’A’ on www.aa-mag.com 20 France's Economic, Social and Environmental Council, in collaboration with Fondazione Prada, presents: 27 November 2013 – 19 February 2014 Palais d’Iéna, Paris PRESS IMAGES Auguste Perret, 1925 Photography © CNAM/SIAF/CAPA, Archives d’architecture du XXe siècle/Auguste Perret/UFSE/SAIF Le Havre, aerial view towards the église Saint Joseph © CNAM/SIAF/CAPA, Archives d’architecture du XXe siècle/Auguste Perret/UFSE/SAIF 21 Palais d’Iéna, Paris Former Museum of Public Works Hypostyle Room 1939 © Roger-Viollet Photo: Harlingue Viollet « Auguste Perret, Huit Chefs d’œuvre !/? – Architectures du béton armé » Palais d’Iéna (the staircase), Paris Rendering © OMA, all rights reserved « Auguste Perret, Huit Chefs d’œuvre !/? – Architectures du béton armé » Palais d’Iéna (Hypostyle room, the Archives Wall), Paris Model © OMA, all rights reserved « Auguste Perret, Huit Chefs d’œuvre !/? – Architectures du béton armé » Palais d’Iéna (Hypostyle room), Paris Model © OMA, all rights reserved 22 « Auguste Perret, Huit Chefs d’œuvre !/? – Architectures du béton armé » Palais d’Iéna (Hypostyle room, Stand), Paris Model © OMA, all rights reserved Projects by OMA AMO for Prada Palais d’Iéna (Hypostyle room) © OMA, all rights reserved Palais d’Iéna, Paris ESEC headquarters External view © Benoît Fougeirol Palais d’Iéna, Paris ESEC headquarters Hypostyle room © Benoît Fougeirol 23 Signature image of the exhibition « Auguste Perret, Huit Chefs d’œuvre !/? – Architectures du béton armé » Palais d’Iéna, Paris 27 November 2013 - 19 February 2014 © OMA, all rights reserved For high-resolution images, please contact: ESEC Heymann, Renoult Associées Agnès Renoult & Adeline Suzanne +33 (0)1 44 61 76 76 [email protected] Fondazione Prada Andrea Goffo +39 02 54 67 09 81 / +39 33 46 94 46 71 [email protected] OMA AMO Jeremy Higginbotham +31 10 24 38 200 [email protected] 24