Jean Nouvel
Jean Nouvel has defined his work as that of one who is devoted to the assembly and fine-tuning of concepts. A concept creates a space of free connections between ideas, generated by their mutual synergy, which constructs a force field in which certain relevant issues and strategies are trapped. In other words, it stimulates and invites us to contemplate the solution of certain unknowns, to travel unexplored paths, to think differently.For Nouvel, the concept is thus a variable, complex state of relationship between a multiplicity of ideas from different sources which enables us to takle specific problems and reformulate them effortlessy.For Nouvel, facing up to emergency problems or old themes in the light of the present necessarily requires the production of a new conglomerate. It might partially share its elementary components with another, but only with systems of forces and dependencies that are utterly distinct from each other. The result is that these concepts are systems in constant redefinition, still in a magmatic state. They are permanently in their formative period. This prevent them from achieving recognizable structures and hierarchies. In other words, they are impure lexicons, lan
The exceptionality of the object can be approachedthrough these mechanisms and not exclusively through unusual, complex or impossible geometries. Instead, he focuses on the way to generate physical environments that refer to them. Above all, all the features that can be used to define him share the common aim of a calculated and systematic lack of definition. The third reference is linked to the perceptive indefinition of matter. through the consideration of light as matter, there is a confusion of scalar limits and distances, while there is also an exponential increase in the capacity of things to fascinate. In contrast to the majority of modern architectural practice, Jean Nouvel does not establish a relationship of active inquiry into the environment. They become a direct criticism of the vacuity and overestimation of the image and, as paradoxical as it might seem, the desire for total communicability and complete transparency. It has made a substantial, decisive contribution to the construction of an aspiration of all civilizations: the creation of a space that has an intense nexus with its era. PERCEPTIVE FIELDSArchitecture, as language lacking in codification for society, is almost solely reliant on its physical presence as a tool to generate this game. Matter is arranged not using the latest technical systems and their associated processes, but rather by trying to achieve global effects of perspective that facilitate the intense evocation of emerging material values in our civilization. Nouvel is more a person who harvests, who chooses where he wants to stretch out his hand. To conclude this negative typification of what could be defined in classic terms as an aesthetic ideal, suffice to mention one that summarises the rest: the controlled absence of light - artificial night. Not without some difficulty we could enumerate these types of features that refer to his projects, but we would always have to do so using a negation: they lack hierarchies and are therefore horizontal designs. For this purpose, focusing on the interior spaces of his buildings, there is an important need by Nouvel to delete all perception predominated by a preferential perspective. This profound reluctance to demarcate things arises in JeaN Nouvel's work with homothety, the deletion of spatial references, the concealment of every scalar element, the use of selective luminous glare, material gradation and visual specularity, to mention just the most commonly used practices.
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Acceptance Essays
