Paris: The Latest Architecture and News

The Centre Pompidou is an arts and culture institution that has been present in Paris since the late 1970s. It houses the Public Information Library, the largest museum for modern art in Europe, and a center for musical research. This month, the institution signed a partnership agreement to create a museum of contemporary art in Saudi Arabia with the Royal Commission of AlUla (RCU). Additionally, the establishment signed a similar partnership agreement to develop a modern and contemporary museum in Seoul, South Korea, with the Hanwha Culture Foundation.

The simple activity of taking a walk in the evening can easily turn from a relaxing leisurely activity to a dangerous endeavor by removing just one element from the streetscape: public lighting. While not often recognized as defining aspect of urban environments, artificial illumination has played an essential role in defining the character of modern cities. Crime control, the appeal of nightlife, the rise of the shop window, revolutionary movements, utopias, and ideals of social equity are all concepts whose development is tightly linked to the history of public lighting. Technological advancements over the past centuries have continuously shaped the appearance and symbolism of streetlamps. Still, the this element has remains a constant throughout its history.

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When transparent facade elements deliberately evolve from the course of the sun, we can explore a fascinating slow movement in stark contrast to the hectic urban street life on the ground. Especially the French designer Pierre Brault has responded to the accelerated rhythm of our society with facade installations that combine the principle of the sundial with colorful pop design. His three-dimensional works made of recycled colored plexiglass mesmerize through simple but dramatic movements of colored shadows. In the interview, Brault explains his inspiration, the experimental approach and his interest in working responsibly with material.

In May this year, The Centre Pompidou in Paris will debut the largest retrospective of Norman Foster's work from the past six decades. The exhibition spans nearly 2,200 square meters, exploring the various phases of the renowned architect’s career. Essential works including the Hong Kong and Shanghai Baking Corporation's headquarters (Hong Kong, 1979–1986), the Carré d'Art (Nîmes, 1984–1993), the Hong Kong International Airport (1992–1998), and the Apple Park (Cupertino, United States, 2009-2017) will be on display.

Foster + Partners, the Norman Foster Foundation, and Norman Foster are working to develop and execute the full retrospective. Through the lenses of the seven chosen themes: Nature and Urbanity, Skin and Bones, Vertical City, History and Tradition, Planning and Location, Networks and Mobility, and Future, the exhibition is set to become a full compilation of the architect’s work.

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Snøhetta, the Norweigan-based architecture and landscape practice, has been chosen to re-imagine the French Asylum and Administrative Courts of Montreuil. The proposal puts together both institutions on one site, surrounded by luscious green areas and a biophilic landscape. Set to begin construction in 2024, and be completed by 2026, the project includes the design of the buildings, landscape, wayfinding, interior, and furniture.

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Simultaneously gripping, disconcerting, and chaotic, Djibril Diop Mambéty’s Touki Bouki is an exhilarating cinematic ride. The 1973 drama — the first full-length film by the Senegalese director — is the fantastical narration of a young couple in Dakar, eager to escape the Senegalese capital for the allure of Paris. It’s a character-driven film in many ways, primarily centered on the couple’s adventures, but it is also a subtle visual examination of the urbanism of post-independence Dakar, where the city and its architecture are essential fixtures in a surreal storyline.

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From the Tbilisi Architecture Biennial to the Sharjah Architecture Triennial, architecture exhibitions are ever-increasing fixtures on cultural calendars around the contemporary world. New editions of architecture exhibitions rest on a foundation propagated by exhibitions of the past – and these historical expositions, to a great degree, have shaped the architectural discourse we have today. But as these exhibitions were born out of a western framework, African historical representations on the biennial and triennial architectural stage have often been reductive, with an assortment of cultures flattened into one, and distinct architectural styles meshed in an incoherent manner.

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