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La cr\u00e9ation du nouveau b\u00e2timent visait \u00e0\u00a0propulser le MNBAQ vers l\u2019avenir, en cr\u00e9ant un v\u00e9ritable carrefour, un lieu de convergence au sein de son complexe mus\u00e9al. Il devait renouveler compl\u00e8tement l\u2019exp\u00e9rience mus\u00e9ale, magnifier les lieux en pla\u00e7ant l\u2019humain au centre de cette nouvelle aventure, dans un espace qui favoriserait la rencontre en plus d\u2019accro\u00eetre l\u2019accessibilit\u00e9 \u00e0 la collection nationale.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>GRANDEUR NATURE<\/strong><\/p>\n<p><em>\u00ab Je ne tire pas de la nature, je vais vers la nature. \u00bb<\/em><\/p>\n<p>Riopelle a \u00e9t\u00e9 un homme de mouvement qui inventa et r\u00e9inventa sans cesse son langage formel. Le pavillon Riopelle doit, \u00e0 notre sens, s\u2019accorder au diapason de la fougue et de l\u2019audace de cet artiste immense. Bien pr\u00e9sentes dans son \u0153uvre, les courbes de B\u00e9zier sont des courbes polynomiales param\u00e9triques d\u00e9velopp\u00e9es pour concevoir des pi\u00e8ces de carrosserie d\u2019automobiles au tournant des ann\u00e9es soixante pour Citro\u00ebn et Renault. Connaissant l\u2019amour de Riopelle pour les belles voitures, ce d\u00e9tail devient inspirant. Ces courbes sont pr\u00e9sentes dans certains tableaux, comme des signes et des codes qui racontent, sous forme symbolique, des \u00e9pisodes de la vie de l\u2019artiste. Les courbes de B\u00e9zier repr\u00e9sentent une source d\u2019inspiration pour la volum\u00e9trie du b\u00e2timent \u00e0 construire. Elles engendrent un dialogue en contraste avec les pavillons existants, qui sont organis\u00e9s selon des trames architecturales classiques. La forme participe au caract\u00e8re h\u00e9t\u00e9rog\u00e8ne de l\u2019ensemble et garantit une signature architecturale forte, distinctive et identitaire.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>LA GR\u00c8VE \u2013 PROMENADE PAYSAG\u00c8RE <\/strong><\/p>\n<p>Le projet propose une mont\u00e9e paysag\u00e8re qui invite, d\u00e8s le parvis central, \u00e0 monter sur les toits afin d\u2019atteindre un belv\u00e9d\u00e8re unique qui permet de saisir, en toute saison, l\u2019immensit\u00e9 et la puissance du site. Un parcours lin\u00e9aire qui reprend le langage des gr\u00e8ves, un lieu d\u2019\u00e9chouage en bord de fleuve fait de sable, de gravier, de bois flott\u00e9 et de champs herbac\u00e9s. L\u2019accessibilit\u00e9 \u00e0 ce toit terrasse assure le renouvellement des publics et permet au b\u00e2timent de s\u2019engager g\u00e9n\u00e9reusement dans la communaut\u00e9.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>L\u2019\u00c9CRIN<\/strong><\/p>\n<p><em>\u00ab Il ach\u00e8te de Matisse, Le Serica. Matisse lui transmet l\u2019amour de la voile, et des voitures de luxe, qui deviennent une sorte de refuge pour Riopelle. \u00bb<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>Telle une grande voile de bateau ondulant sur le fleuve, le projet rev\u00eat une enveloppe l\u00e9g\u00e8re, diffuse et myst\u00e9rieuse. Servant \u00e0 la fois de filtre, de protection solaire et de contr\u00f4le \u00e9nerg\u00e9tique, la v\u00eature se veut une m\u00e9taphore des longs canevas de l\u2019artiste, \u00e9vocatrice du travail en multiples \u00e9paisseurs de Riopelle. Elle est constitu\u00e9e d\u2019un mur performant, fait en partie de panneaux d\u2019acier isol\u00e9s et de murs-rideaux, l\u2019ensemble \u00e9tant habill\u00e9 d\u2019un voile en membrane PTFE (Teflon haute r\u00e9sistance) tendue sur une structure d\u2019aluminium. La r\u00e9sultante constitue une double peau dont la performance \u00e9nerg\u00e9tique permettra la r\u00e9cup\u00e9ration de chaleur et contribuera \u00e0 l\u2019atteinte du niveau LEED souhait\u00e9. L\u2019interstice entre les deux parois de la double peau est dimensionn\u00e9 pour permettre le passage d\u2019un ouvrier. Cet interstice permet entre autres l\u2019entretien facile des composantes et structures des murs, le nettoyage des vitrages et l\u2019entretien des appareils d\u2019\u00e9clairage int\u00e9gr\u00e9s servant \u00e0 mettre en lumi\u00e8re l\u2019objet architectural de nuit. Cet architecture-textile n\u2019est pas sans \u00e9voquer l\u2019architecture nomade autochtone en temps de chasse et de p\u00eache. La l\u00e9g\u00e8ret\u00e9 sugg\u00e9r\u00e9e apporte une notion de mouvance et de migration, exprim\u00e9e de mani\u00e8re contemporaine. Le jeu des c\u00e2bles qui maintiennent la toile tendue en place fait \u00e9galement \u00e9cho aux <em>\u00ab Jeux de ficelles \u00bb<\/em> inuit, <em>Ajaraq, <\/em>chers \u00e0 Riopelle.<\/p>\n<p><strong>LE SIGNAL<\/strong><\/p>\n<p>Une forme qui \u00e9pouse et fait \u00e9cho au rond-point de l\u2019avenue. Un volume qui accueille et \u00e9tablit des relations avec les parcours courbes du Parc des Champs-de-Bataille. Un b\u00e2timent-signal qui dialogue avec le monument Wolfe. Une mat\u00e9rialit\u00e9 qui sugg\u00e8re une toile qui se d\u00e9roule, une voile qui appelle au voyage et \u00e0 l\u2019aventure.<\/p>\n<p><strong>L\u2019AVENUE WOLFE-MONTCALM<\/strong><\/p>\n<p>Le nouveau basilaire offre une large fenestration qui favorise l\u2019accueil ainsi qu\u2019une transparence en direction du fleuve \u00e0 partir de l\u2019axe de l\u2019avenue Wolfe-Montcalm. Le volume flotte au-dessus de l\u2019ancien pavillon et d\u00e9stabilise le visiteur. La g\u00e9om\u00e9trie circulaire sugg\u00e8re le rassemblement et la rencontre comme accolade r\u00e9confortante.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>LE PARVIS<\/strong><\/p>\n<p>L\u2019esplanade est couverte en partie pour prot\u00e9ger les visiteurs des intemp\u00e9ries et permettre la tenue d\u2019activit\u00e9s. La sous-face en bois rappelle la coque d\u2019un voilier en cale s\u00e8che. Un gradin herbac\u00e9 offre un lieu pour les rassemblements de groupe tout en proposant un contact avec la nature invitante.<\/p>\n<p><strong>PARCOURS MUS\u00c9AL ET EXP\u00c9RIENCE<\/strong><br \/>\nLa d\u00e9couverte des \u0153uvres de l\u2019artiste se fait dans une s\u00e9rie d\u2019espaces mus\u00e9aux courbes, dispos\u00e9s intimement en relation avec le fleuve et le parc. Ce parcours s\u2019effectue \u00e0 partir du hall principal et dessine un grand mouvement circulaire qui investit tout le projet d\u2019architecture pour en faire une boucle. Il ram\u00e8ne le visiteur \u00e0 son point de d\u00e9part en lui faisant d\u00e9couvrir les \u0153uvres de l\u2019artiste. Le hall principal, repositionn\u00e9 pour inclure l\u2019extr\u00e9mit\u00e9 des tunnels des pavillons Baillairg\u00e9 et Lassonde, devient le nouveau croisement de toutes les circulations. Il regroupe les entr\u00e9es avant et arri\u00e8re du mus\u00e9e en red\u00e9finissant l\u2019amorce du parcours mus\u00e9al et tout particuli\u00e8rement la nouvelle exp\u00e9rience Riopelle. D\u00e8s la sortie des tunnels qui \u00e9mergent des autres pavillons, le visiteur est happ\u00e9 par un espace de rencontre, \u00e0 m\u00eame ce hall principal. Ce lieu initie le parcours vers le Carrefour Riopelle, une ascension vers un univers artistique conjuguant intimement architecture, rencontres et immersion dans le paysage. Cet espace, marqu\u00e9 par des gradins rassembleurs en lien avec le caf\u00e9, favorise la cohabitation des client\u00e8les. Am\u00e9nag\u00e9 sur diff\u00e9rents niveaux, il instaure au fil de la mont\u00e9e un sentiment de reconnaissance et d\u2019\u00e9ducation sur le cursus de l\u2019artiste. \u00c0 travers l\u2019ascension, le paysage se r\u00e9v\u00e8le et \u00e9tablit un dialogue progressif, amplifiant le lien direct avec la nature et le fleuve. Le parcours se termine en empruntant l\u2019escalier magistral qui ram\u00e8ne le visiteur dans le hall principal, tout en lui offrant des alternatives de visite dans les autres pavillons.<\/p>\n<p><strong>EXPOSITION R\u00c9F\u00c9RENCE ET SALLE ROSA LUXEMBURG<\/strong><\/p>\n<p>Le Carrefour Riopelle relie la salle Revendiquer au niveau haut. Cette salle assure un lien continu dans le parcours en donnant acc\u00e8s \u00e0 la salle d\u2019exposition r\u00e9f\u00e9rence. Sur un mode privil\u00e9giant la flexibilit\u00e9 par des cloisons rectilignes propices \u00e0 un accrochage mus\u00e9ologique efficace, l\u2019immense salle est l\u2019aboutissement permettant d\u2019appr\u00e9cier le corpus principal de l\u2019artiste. Dot\u00e9e d\u2019une enveloppe architecturale qui assure une gestion efficace de la lumi\u00e8re et un contr\u00f4le des conditions mus\u00e9ales, la salle r\u00e9f\u00e9rence permet des contacts visuels avec l\u2019ext\u00e9rieur sur presque 360\u00b0. Au paroxysme de la visite de la salle r\u00e9f\u00e9rence, le visiteur aboutit \u00e0 l\u2019\u0153uvre majeure de l\u2019artiste, <em>L\u2019Hommage \u00e0 Rosa Luxemburg<\/em>. Dispos\u00e9 en deux h\u00e9micycles, l\u2019immense tableau se d\u00e9ploie sur des surfaces galb\u00e9es dimensionn\u00e9es en fonction de l\u2019\u0153uvre et offre au passage des vues sur le paysage et le fleuve. La lecture et la d\u00e9couverte de l\u2019\u0153uvre peuvent alors se faire selon la conception originale de l\u2019artiste, les deux premiers tableaux du triptyque se lisant de gauche \u00e0 droite et le troisi\u00e8me de droite \u00e0 gauche.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>AMBIANCE ET NORDICIT\u00c9<\/strong><\/p>\n<p>La nordicit\u00e9 du projet s\u2019exprime par un int\u00e9rieur chaleureux en r\u00e9ponse au climat froid. Un id\u00e9al imaginaire partag\u00e9 de souvenirs de p\u00eache et de chasse \u00e0 la recherche de cette autochtonie, une cabane d\u2019\u00e9t\u00e9 au bord de l\u2019eau ou un refuge d\u2019hiver dans la for\u00eat. Des typologies qui ont des r\u00e9sonances et qui habitent in\u00e9vitablement l\u2019imaginaire nordique. Le travail des int\u00e9rieurs recr\u00e9e des ambiances nouvelles par des formes inusit\u00e9es et des circulations claires qui innovent en mati\u00e8re d\u2019exp\u00e9rience mus\u00e9ale. Caract\u00e9ris\u00e9es par la blancheur et l\u2019apport chaleureux du bois, les atmosph\u00e8res s\u2019inspirent de th\u00e8mes chers \u00e0 Riopelle: les glaces, le fleuve, la nature.<\/p>\n<p><strong>LE LIEN \u2013 CARREFOUR RIOPELLE <\/strong><\/p>\n<p>Un tiers-lieu culturel qui cr\u00e9e et anime la vie de l\u2019Espace Riopelle. Le carrefour d\u00e9mocratise le travail de l\u2019artiste et agit comme un lien entre les acteurs de la culture, la communaut\u00e9 et le territoire. Compos\u00e9 de grands paliers, l\u2019espace est un lieu flexible au gr\u00e9 de la rotation souhait\u00e9e des tableaux et des c\u00e9ramiques.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>LE JARDIN-TERRASSE PELLAN <\/strong><\/p>\n<p>Un soul\u00e8vement qui d\u00e9gage une terrasse surprenante, v\u00e9g\u00e9tale et sculpturale. En partie couvert, l\u2019entre-deux permet un apport en lumi\u00e8re naturelle dans les espaces interconnect\u00e9s du foyer et de la salle multifonctionnelle. Ce nouveau Jardin Pellan, redonn\u00e9 g\u00e9n\u00e9reusement au public, est situ\u00e9 au coeur des activit\u00e9s et offre une vue imposante.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>LA LUMI\u00c8RE <\/strong><\/p>\n<p>Le projet propose une mise en lumi\u00e8re de la salle d\u2019exposition principale. L\u2019illumination de la sous-face en bois g\u00e9n\u00e8re un effet de flottement et \u00e9voque le jeu de couches et de strates de l\u2019artiste. La double-peau est illumin\u00e9e dans son \u00e9paisseur permettant de mettre en valeur sa forme ondul\u00e9e et ses textures. Le syst\u00e8me propose un contr\u00f4le de mani\u00e8re \u00e0 moduler l\u2019intensit\u00e9 et la couleur de l\u2019\u00e9clairage afin d\u2019en faire un moyen d\u2019expression qui permet d\u2019animer les grandes toiles et d\u2019en faire un lieu en mouvement.<\/p>\n<p><strong>LE PASSAGE REVENDIQUER\/RIOPELLE <\/strong><\/p>\n<p>Un entre-deux g\u00e9n\u00e9reux lie les espaces et permet la mise en valeur du tableau immense de Riopelle, <em>Le Bestiaire. <\/em>L\u2019utilisation de la double hauteur (8m) permet d\u2019inclure l\u2019\u0153uvre au parcours Riopelle, qui autrement n\u2019aurait pu l\u2019exposer consid\u00e9rant le 5m de hauteur pour la salle d\u2019exposition r\u00e9f\u00e9rence.<\/p>\n<p><strong>APPROCHE CONTEMPLATIVE \u2013 EXPOSITION R\u00c9F\u00c9RENCE<\/strong><\/p>\n<p>Des moments pour \u00e9tablir un contact signifiant avec les \u0153uvres et pour acc\u00e9der \u00e0 un univers qui demande de l\u2019attention, un rythme plus lent et de la r\u00e9flexion. Une mise en relation entre l\u2019art et la nature qui permet de se poser. Des ouvertures sur l\u2019ext\u00e9rieur qui pr\u00e9sentent le paysage, comme des \u0153uvres encadr\u00e9es.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u00c9CLAIRAGE<em> \u00ab A\u00c9ROSOL \u00bb<\/em><\/strong><\/p>\n<p>La mise en lumi\u00e8re a\u00e9rienne \u00e9voque paradoxalement l\u2019absence de mati\u00e8re. Entour\u00e9e d\u2019une zone floue de lumi\u00e8re, la silouette de l\u2019espace Riopelle devient une empreinte au sol. Un effet visuel laissant une trace en n\u00e9gatif, presque feutr\u00e9e, \u00e0 l\u2019image du travail \u00e0 l\u2019a\u00e9rosol de l\u2019artiste.<\/p>\n","en":"<p><strong>CONTEXT<\/strong><\/p>\n<p>Last spring, the Mus\u00e9e national des beaux-arts du Qu\u00e9bec organized a multidisciplinary competition to design the future Espace Riopelle, a pavilion dedicated to the work of Jean Paul Riopelle, integrated into the existing architectural complex. The creation of the new building was intended to propel the MNBAQ into the future, by creating a true crossroads, a place of convergence within its museum campus. It was to completely renew the museum experience, magnify the premises by placing the human being at the center of this new adventure, in a space that would encourage encounters, and increase accessibility to the national collection.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>LIFE-SIZE <\/strong><\/p>\n<p>\u00ab Je ne tire pas de la nature, je vais vers la nature. \u00bb \u2013 <em>\u00ab\u00a0I don\u2019t take from nature, I go towards nature.\u00a0\u00bb<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>Riopelle was a man of movement who constantly invented and reinvented his formal language. The Riopelle pavilion must, in our opinion, be in tune with the energy and audacity of this immense artist. B\u00e9zier curves are parametric polynomial curves developed to design car body parts at the turn of the 1960s for Citro\u00ebn and Renault. Knowing Riopelle\u2019s love for beautiful cars, this detail becomes inspiring. These curves are present in certain paintings, as signs and codes that tell, in symbolic form, episodes in the artist\u2019s life. The B\u00e9zier curves represent a source of inspiration for the volumetry of the building to be constructed. They create a dialogue in contrast with the existing pavilions, which are organized according to classical architectural patterns. The form participates in the heterogeneous character of the whole and guarantees a strong architectural signature, distinctive and identitary.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>SHORELINE \u2013 LANDSCAPED PROMENADE <\/strong><\/p>\n<p>The project proposes a landscaped ascent that invites, from the central square, to climb on the roofs to reach a unique viewpoint that allows one to grasp, in any season, the immensity and the power of the site. A linear path that recalls the language of the shoreline, a place of stranding on the river\u2019s edge made of sand, gravel, driftwood and grassy fields. The accessibility of this roof terrace ensures the renewal of the public and allows the building to engage generously with the community.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>THE SCREEN<\/strong><\/p>\n<p>\u00ab Il ach\u00e8te de Matisse, Le Serica. Matisse lui transmet l\u2019amour de la voile, et des voitures de luxe, qui deviennent une sorte de refuge pour Riopelle. \u00bb \u2013\u00a0 <em>\u00ab\u00a0He buys from Matisse, The Serica. <\/em><em>Matisse passes on his love of sailing, and luxury cars, which become a kind of refuge for Riopelle.\u00a0\u00bb<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>Like a large boat sail undulating on the river, the project takes on a light, diffuse and mysterious envelope. Serving as a filter, solar protection and energy control, the cladding is a metaphor for the artist\u2019s long canvases, evocative of Riopelle\u2019s multi-layered work. It consists of a performing wall, made in part of insulated steel panels and curtain walls, the whole being clad with a PTFE (high resistance Teflon) membrane veil stretched over an aluminum structure. The result is a double skin whose energy performance will allow heat recovery and contribute to the achievement of the desired LEED level. The gap between the two walls of the double skin is sized to allow the passage of a worker. This gap allows for easy maintenance of the wall components and structures, cleaning of the glazing and maintenance of the integrated lighting fixtures used to illuminate the architectural object at night. This architecture-textile is not without evoking the aboriginal nomadic architecture in times of hunting and fishing. The suggested lightness brings a notion of movement and migration, expressed in a contemporary way. The play of cables that hold the stretched canvas in place also echoes the Inuit \u00ab\u00a0Jeux de ficelles\u00a0\u00bb, Ajaraq, dear to Riopelle.<\/p>\n<p><strong>THE SIGNAL<\/strong><\/p>\n<p>A form that embraces and echoes the traffic circle of the avenue. A volume that welcomes and establishes relationships with the curved paths of the Battlefields Park. A building-signal that dialogues with the Wolfe monument. A materiality that suggests an unfolding canvas, a sail that calls for travel and adventure.<\/p>\n<p><strong>WOLFE-MONTCALM AVENUE<\/strong><\/p>\n<p>The new basilar offers a large fenestration that favors the greeting as well as a transparency towards the river from the axis of Wolfe-Montcalm Avenue. The volume floats above the old pavilion and destabilizes the visitor. The circular geometry suggests the gathering and the meeting as a comforting embrace.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>THE PARKING AREA<\/strong><\/p>\n<p>The esplanade is partially covered to protect visitors from bad weather and to allow activities to be held. The wooden underside is reminiscent of the hull of a sailing ship in a dry dock. A grassy bleacher provides a place for group gatherings while offering contact with the inviting nature.<\/p>\n<p><strong>MUSEUM JOURNEY AND EXPERIENCE<\/strong><\/p>\n<p>The discovery of the artist\u2019s works takes place in a series of curved museum spaces, intimately arranged in relation to the river and the park. This route starts from the main hall and draws a large circular movement that invests the entire architectural project to make a loop. It brings the visitor back to his point of departure by making him discover the artist\u2019s works. The main hall, repositioned to include the end of the tunnels of the Baillairg\u00e9 and Lassonde buildings, becomes the new crossroads of all the circulations. It brings together the front and back entrances to the museum, redefining the beginning of the museum\u2019s itinerary, and in particular the new Riopelle experience. As soon as the visitor exits the tunnels that emerge from the other pavilions, he or she is drawn into a common space in the main hall. This space initiates the journey towards the Carrefour Riopelle, an ascent towards an artistic universe intimately combining architecture, encounters and immersion in the landscape. This space, marked by gathering tiers in connection with the caf\u00e9, favours the cohabitation of the clientele. Arranged on different levels, it establishes a sense of recognition and education on the artist\u2019s career. Through the ascent, the landscape is revealed and establishes a progressive dialogue, amplifying the direct link between nature and the river. The tour ends with the masterly staircase that brings the visitor back to the main hall while offering alternative visits to the other pavilions.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>REFERENCE EXHIBITION AND ROSA LUXEMBURG ROOM<\/strong><\/p>\n<p>The Riopelle Crossroads connects the Revendiquer room to the upper level. This room provides a continuous link in the itinerary by giving access to the reference exhibition room. The immense room is the culmination of the artist\u2019s main body of work, with its flexibility and straight walls that allow for an efficient museological display. Equipped with an architectural envelope that ensures effective management of light and control of museum conditions, the reference room allows visual contact with the outside world on almost 360\u00b0. At the climax of the visit to the reference room, the visitor arrives at the artist\u2019s major work, L\u2019Hommage \u00e0 Rosa Luxemburg. Arranged in two hemicycles, the immense painting unfolds on curved surfaces sized according to the work and offers views of the landscape and the river. The reading and discovery of the work can then be done according to the original conception of the artist, the first two paintings of the triptych being read from left to right and the third from right to left.<\/p>\n<p><strong>ATMOSPHERE AND NORDICITY<\/strong><\/p>\n<p>The northernness of the project is expressed by a warm interior in response to the cold climate. A shared imaginary ideal of memories of fishing and hunting in search of that autochthony, a summer cabin by the water or a winter refuge in the forest. Typologies have resonances and inevitably inhabit the northern imagination. The work on the interiors recreates new atmospheres through unusual forms and clear circulations that innovate the museum experience. Characterized by the whiteness and the warmth of wood, the atmospheres are inspired by themes dear to Riopelle: the river ice, the river, and nature.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>LE LIEN \u2013 CARREFOUR RIOPELLE <\/strong><\/p>\n<p>A cultural third place that creates and animates the life of Espace Riopelle. The crossroads democratizes the artist\u2019s work and acts as a link between the actors of culture, the community and the territory. Composed of large levels, the space is flexible according to the desired rotation of the paintings and ceramics.<\/p>\n<p><strong>THE PELLAN TERRACE GARDEN <\/strong><\/p>\n<p>An elevation that gives way to a surprising, vegetal and sculptural terrace. Partly covered, the in-between area allows natural light to enter the interconnected spaces of the foyer and the multifunctional room. This new Jardin Pellan, generously given back to the public, is located in the heart of the activities and offers an imposing view.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>THE LIGHT <\/strong><\/p>\n<p>The project proposes a lighting of the main exhibition hall. The illumination of the wooden underside generates a floating effect and evokes the artist\u2019s play of layers and strata. The double skin is illuminated through its thickness to highlight its undulating form and textures. The system offers a control to modulate the intensity and colour of the lighting to make it a means of expression that allows one to animate the large canvases and make it a place in the movement.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>THE REVENDIQUER\/RIOPELLE PASSAGE<br \/>\n<\/strong>A generous in-between space links the spaces and allows for the display of Riopelle\u2019s immense painting, Le Bestiaire. The use of the double height (8m) allows the work to be included in the Riopelle itinerary, which otherwise would not have been able to display it considering the 5m height for the reference exhibition room.<\/p>\n<p><strong>CONTEMPLATIVE APPROACH \u2013 REFERENCE EXHIBITION<br \/>\n<\/strong>Moments to establish meaningful contact with the works and to access a universe that requires attention, a slower pace and reflection. A connection between art and nature that allows us to pause. Openings on the outside and presenting the landscape, like framed works.<\/p>\n<p><strong>AEROSOL\u00a0\u00bb LIGHTING<br \/>\n<\/strong>The aerial lighting paradoxically evokes the absence of matter. Surrounded by a blurred zone of light, the silhouette of the Espace Riopelle becomes an imprint on the ground. A visual effect leaving a negative trace, almost muffled, in the image of the artist\u2019s aerosol work.<\/p>\n","original":""},"jury_text":[{"category":3191,"fr":"<p>ARCHITECTURE<\/p>\n<p>De l\u2019ext\u00e9rieur, la fenestration sera per\u00e7ue de mani\u00e8re dynamique, acceptant la chaleur ou la rejetant au besoin, tout en cr\u00e9ant une composition architectonique unique, g\u00e9n\u00e9r\u00e9e en fonction de l\u2019angle d\u2019incidence de la lumi\u00e8re et des angles de vision.\u00a0 L\u2019image du b\u00e2timent induira ainsi l\u2019id\u00e9e d\u2019un mouvement continuel.<\/p>\n<p>&nbsp;<\/p>\n<p>Servant \u00e0 la fois de filtre, de protection solaire et de contr\u00f4le \u00e9nerg\u00e9tique, la v\u00eature se veut une m\u00e9taphore des longs canevas de l\u2019artiste, \u00e9vocatrice du travail en multiples \u00e9paisseurs de Riopelle L\u2019enveloppe du b\u00e2timent est constitu\u00e9e de panneaux m\u00e9talliques isol\u00e9s performants, sur le plan de la r\u00e9sistance thermique, pare-air\/vapeur et bien adapt\u00e9e pour r\u00e9pondre aux conditions mus\u00e9ales. Ce mat\u00e9riau n\u2019est pas visible du public, puisqu\u2019il est install\u00e9 derri\u00e8re une toile de T\u00e9flon, elle-m\u00eame tendue sur une structure d\u2019aluminium, de bas en haut de la fa\u00e7ade de la salle d\u2019exposition r\u00e9f\u00e9rence situ\u00e9e \u00e0 l\u2019\u00e9tage. \u00a0La r\u00e9sultante constitue une double peau dont la performance \u00e9nerg\u00e9tique permet la r\u00e9cup\u00e9ration de chaleur et contribue \u00e0 l\u2019atteinte du niveau LEED souhait\u00e9. L\u2019interstice entre les deux parois de la double peau est dimensionn\u00e9 pour permettre le passage d\u2019un ouvrier. Cet interstice permet entre autres l\u2019entretien facile des composantes et structures des murs, le nettoyage des vitrages et l\u2019entretien des appareils d\u2019\u00e9clairage int\u00e9gr\u00e9s servant \u00e0 mettre en lumi\u00e8re l\u2019objet architectural de nuit.<\/p>\n<p>&nbsp;<\/p>\n<p>De m\u00eame, \u00e0 l\u2019int\u00e9rieur, la transmission de la luminosit\u00e9 par cet \u00e9piderme de lumi\u00e8re offrira des opportunit\u00e9s de cr\u00e9ation et de contr\u00f4le des ambiances et de bonification de l\u2019exp\u00e9rience. Les variations naturelles de la lumi\u00e8re en fonction des heures et des saisons viendront enrichir le rapport aux \u0153uvres. Source de vitalit\u00e9 et de stimulation, la lumi\u00e8re modulera des contrastes et des motifs changeants sur les parois, ouvrant dans l\u2019enveloppe elle-m\u00eame des points de vue in\u00e9dits sur le paysage, en cr\u00e9ant des \u0153uvres encadr\u00e9es au mur.<\/p>\n<p>&nbsp;<\/p>\n<p>L\u2019utilisation du bois comme mat\u00e9riau de finition est mise \u00e0 l\u2019honneur \u00e0 l\u2019int\u00e9rieur ainsi que des couleurs p\u00e2les comme autres finis des murs, planchers et plafonds. Les toitures sont de deux types, soit une premi\u00e8re en membrane de PVC blanche pour la toiture sup\u00e9rieure et la seconde une toiture v\u00e9g\u00e9tale et min\u00e9rale pour permettre au public de circuler au-dessus du carrefour Riopelle.<\/p>\n<p>&nbsp;<\/p>\n<p>STRUCTURE<\/p>\n<p>Le syst\u00e8me structural exploite les colonnes et les axes existants en limitant les interventions au sous-sol. Le concept propose une int\u00e9gration \u00ab chirurgicale \u00bb en minimisant les points d\u2019appui, sans les \u00e9liminer compl\u00e8tement, afin de trouver un juste \u00e9quilibre pour atteindre la cible budg\u00e9taire vis\u00e9e tout en \u00e9tant distinctif. La structure quasi flottante s\u2019illustre au point de vue esth\u00e9tique par la cr\u00e9ation de porte-\u00e0-faux et d\u2019un effet de l\u00e9g\u00e8ret\u00e9 en utilisant de grandes port\u00e9es et en minimisant l\u2019usage de colonnes. Ces gestes impressionnants sont g\u00e9n\u00e9rateurs d\u2019ambiances et d\u2019exp\u00e9riences pour le visiteur. Les appuis et les contreventements sont facilement dissimulables dans les espaces d\u2019expositions et ils sont exprim\u00e9s de mani\u00e8re cr\u00e9ative lorsque visibles du public. Les semelles existantes sont renforc\u00e9es aux endroits requis et aucune nouvelle colonne n\u2019est ajout\u00e9e dans les r\u00e9serves, minimisant l\u2019impact sur les \u0153uvres aux zones des renforts des appuis existants.<\/p>\n<p>&nbsp;<\/p>\n<p>Les planchers du Rez-de-chauss\u00e9e et des \u00e9tages sont fabriqu\u00e9s de dalles sur tabliers m\u00e9talliques, prenant appui sur des poutres et poutrelles d\u2019acier. Les dalles sur pontages sont arm\u00e9es pour offrir la r\u00e9sistance au feu souhait\u00e9e. Les toitures sont elles aussi form\u00e9es de poutres, de poutrelles et de tabliers d\u2019acier m\u00e9tallique. Aux fondations, des semelles appuy\u00e9es au roc sont utilis\u00e9es pour l\u2019agrandissement. Cependant il est possible que des fondations avec ancrages au roc soient requises dans la portion de l\u2019existant afin de minimiser l\u2019empreinte de d\u00e9molition et le sous-\u0153uvre.<\/p>\n<p>La structure existante du pavillon central, enti\u00e8rement en b\u00e9ton arm\u00e9, doit subir des modifications afin d\u2019assurer la transmission de charges gravitaires suppl\u00e9mentaires, de par le fait de devoir \u00e9liminer des colonnes existantes au rez-de-chauss\u00e9e. D\u00fb au nouveau volume cr\u00e9\u00e9 par la venue de l\u2019agrandissement du mus\u00e9e Riopelle, de nouvelles toitures \u00e0 neige sont construites au-dessus de certaines parties de toitures existantes.<\/p>\n<p>&nbsp;<\/p>\n<p>\u00c9LECTROM\u00c9CANIQUE<\/p>\n<p>Le projet vise une responsabilit\u00e9 environnementale globale et une volont\u00e9 de contribuer \u00e0 la lutte contre les changements climatiques. L\u2019obtention du grade LEED argent mais aussi la d\u00e9carbonation du Mus\u00e9e est souhait\u00e9e. Les capacit\u00e9s des syst\u00e8mes \u00e9lectrom\u00e9caniques sont calibr\u00e9es selon une demande en \u00e9nergie moindre gr\u00e2ce \u00e0 une performance effective am\u00e9lior\u00e9e de l\u2019enveloppe et des strat\u00e9gies bioclimatiques. Le transfert de co\u00fbts des syst\u00e8mes \u00e9lectrom\u00e9caniques \u00e0 l\u2019enveloppe pour un co\u00fbt initial neutre permet des \u00e9conomies d\u2019\u00e9nergie pour le MNBAQ durant toute la vie utile du b\u00e2timent. Une meilleure isolation de la toiture r\u00e9duit la consommation d\u2019\u00e9nergie reli\u00e9e au chauffage et au conditionnement de l\u2019air. Une toiture verte propose une saine gestion des eaux de ruissellement \u00e0 l\u2019aide d\u2019une rivi\u00e8re s\u00e8che et d\u2019un bassin de r\u00e9tention. Une toiture en membrane blanche permet de r\u00e9duire l\u2019impact des ilots de chaleur. La fenestration du projet r\u00e9duit le besoin d\u2019\u00e9clairage artificiel et favorise le bien-\u00eatre. Un verre chauffant dans les expositions supporte l\u2019optimisation et le maintien des conditions mus\u00e9ales. Une combinaison de ventilation naturelle et de ventilation double gaine plancher\/plafond dans les espaces mus\u00e9ologiques permet de rencontrer les crit\u00e8res environnementaux et assure la conservation des \u0153uvres. Nous privil\u00e9gions une approche proactive pour r\u00e9duire le carbone intrins\u00e8que des mat\u00e9riaux et la sp\u00e9cification de produits locaux, \u00e0 faible teneur en COV et \u00e0 faibles \u00e9missions. Les interventions sur les syst\u00e8mes \u00e9lectriques existants sont minimis\u00e9es et pr\u00e9voient un \u00e9clairage \u00e0 haut rendement avec d\u00e9tecteurs de mouvement et de lumi\u00e8re naturelle ainsi qu\u2019un horaire de fonctionnement bas\u00e9 sur l\u2019occupation du b\u00e2timent.<\/p>\n<p>&nbsp;<\/p>\n<p>La cr\u00e9ation d\u2019un espace interstitiel situ\u00e9 entre le carrefour Riopelle et la salle r\u00e9f\u00e9rence du dernier niveau permet d\u2019y ins\u00e9rer la nouvelle salle m\u00e9canique, r\u00e9duisant du m\u00eame coup la longueur des conduits et de la tuyauterie et \u00e9liminant d\u2019embl\u00e9e les \u00e9quipements en toiture. L\u2019enveloppe \u00e0 double peau, avec la toile de t\u00e9flon situ\u00e9e devant les fen\u00eatres murs rideaux, permet de contr\u00f4ler l\u2019entr\u00e9e de lumi\u00e8re naturelle directe tout en permettant une transparence. La protection des \u0153uvres et leur mise en valeur sont la pr\u00e9occupation principale des activit\u00e9s de conception d\u00e9taill\u00e9e, comme minimiser la pr\u00e9sence de tuyauterie dans les espaces mus\u00e9aux et par cons\u00e9quent les risques de fuite, att\u00e9nuer les vibrations, pr\u00e9voir les dispositifs coupe-feu, \u00e9viter la transmission de la fum\u00e9e, prot\u00e9ger les occupants par un syst\u00e8me d\u2019alarme incendie, pourvoir un \u00e9clairage de s\u00e9curit\u00e9 ad\u00e9quat. Le prolongement des syst\u00e8mes existants de distribution de chaleur, de vapeur et de froid est pr\u00e9conis\u00e9 ainsi que la r\u00e9utilisation des syst\u00e8mes. Des dalles radiantes dans la partie sud et de la ventilation naturelle seront pr\u00e9conis\u00e9es pour le confort des occupants et le contact avec la nature.<\/p>\n","en":"<p>ARCHITECTURE<\/p>\n<p>From the outside, the fenestration will be perceived in a dynamic way, absorbing heat or rejecting it as needed, while creating a unique architectural composition, generated according to the angle of incidence of light and viewing angles.\u00a0 The image of the building will thus induce the idea of continuous movement.<\/p>\n<p>Serving as a filter, solar protection and energy control, the cladding is meant to be a metaphor for the artist\u2019s long canvases, evocative of Riopelle\u2019s work in multiple layers. The building envelope is made of insulated metal panels that are thermally resistant, air\/vapour barrier and well adapted to museum conditions. This material is not visible to the public, as it is installed behind a Teflon fabric, itself stretched over an aluminum structure, from the bottom to the top of the reference exhibition room\u2019s fa\u00e7ade located on the second floor.\u00a0 The result is a double skin whose energy performance allows heat recovery and contributes to the achievement of the desired LEED level. The gap between the two walls of the double skin is sized to allow the passage of a worker. This gap allows for easy maintenance of the wall components and structures, cleaning of the windows and maintenance of the integrated lighting fixtures used to illuminate the architectural object at night.<\/p>\n<p>Similarly, inside, the transmission of luminosity through this epidermis of light will offer opportunities to create and control ambiances and enhance the experience. The natural variations of light according to the hours and the seasons will enrich the relationship with the works. A source of vitality and stimulation, the light will modulate contrasts and changing patterns on the walls, opening up new views of the landscape within the envelope itself, and creating framed works on the wall.<\/p>\n<p>The use of wood as a finishing material is emphasized in the interior, as well as light colours as other finishes on the walls, floors and ceilings. The roofs are of two types, the first is a white PVC membrane for the upper roof and the second is a vegetal and mineral roof to allow the public to circulate above the Riopelle intersection.<\/p>\n<p>STRUCTURE<\/p>\n<p>The structural system takes advantage of existing columns and shafts by limiting interventions in the basement. The concept proposes a \u00ab\u00a0surgical\u00a0\u00bb integration by minimizing the support points, without eliminating them completely, in order to find the right balance to reach the budget target while being distinctive. The quasi-floating structure is aesthetically illustrated by the creation of cantilevers and a lightness effect by using large spans and minimizing the use of columns. These impressive gestures generate ambience and experiences for the visitor. Supports and bracing are easily concealed in the exhibition spaces and are creatively expressed when visible to the public. Existing footings are reinforced where needed and no new columns are added in the storage areas, minimizing the impact on the works in the areas of the existing support braces.<\/p>\n<p>The ground and upper floors are constructed of slabs on metal decks, supported on steel beams and trusses. The slabs on decks are reinforced to provide the desired fire resistance. The roofs are also made of steel beams, trusses and decks. For the foundations, footings supported on the rock are used for the expansion. However, it is possible that foundations with rock anchors will be required in the existing portion to minimize the demolition footprint and underpinning. The existing structure of the central pavilion, made entirely of reinforced concrete, must be modified to ensure the transmission of additional gravity loads, due to the elimination of existing columns on the first floor. Due to the new volume created by the expansion of the Riopelle Museum, new snow roofs are built over certain parts of the existing roofs.<\/p>\n<p>ELECTROMECHANICAL<\/p>\n<p>The project aims at a global environmental responsibility and a will to contribute to the fight against climate change. Achieving LEED Silver but also decarbonization of the Museum is desired. The capacities of the electromechanical systems are calibrated according to a lower energy demand thanks to the improved effective performance of the envelope and bioclimatic strategies. Cost shifting from the electro-mechanical systems to the envelope for a neutral initial cost provides energy savings for the MNBAQ over the life of the building. Better roof insulation reduces energy consumption for heating and air conditioning. A green roof offers sound management of runoff water with a dry river and a retention basin. A white membrane roof reduces the impact of heat islands. The project\u2019s fenestration reduces the need for artificial lighting and promotes well-being. Heated glass in the exhibits supports the optimization and maintenance of museum conditions. A combination of natural ventilation and double-duct floor\/ceiling ventilation in the museum spaces meets environmental criteria and ensures the conservation of the works. We take a proactive approach to reducing the embodied carbon of materials and specify local, low VOC, low emission products. Interventions to existing electrical systems are minimized and include high efficiency lighting with motion and daylight sensors and a schedule of operation based on building occupancy.<\/p>\n<p>The creation of an interstitial space between the Riopelle intersection and the reference room on the top level allows for the insertion of the new mechanical room, reducing the length of ducts and piping and eliminating rooftop equipment from the start. The double skin envelope, with the Teflon fabric in front of the curtain wall windows, allows for the control of direct natural light while allowing for transparency. The protection of the works and their enhancement are the main concern of the detailed design activities, such as minimizing the presence of piping in the museum spaces and therefore the risk of leakage, mitigating vibrations, providing fire protection, avoiding smoke transmission, protecting the occupants with a fire alarm system, and providing adequate emergency lighting. Extension of existing heat, steam and cooling distribution systems is recommended as well as the reuse of systems. Radiant slabs in the southern part and natural ventilation will be recommended for occupant comfort and contact with nature.<\/p>\n","original":""}],"different_jury_text":true,"different_category_text":false},"laureats":[{"cat_id":3191,"cat_id_laureat":3890,"laureat":"Certification OR"}],"contest_id":"97334","contest_title":"GRANDS PRIX DU DESIGN \u2013 16e \u00e9dition","firms":[{"name":"Agence Spatiale","website":"agencespatiale.ca","category":"","category_tax":2744,"category_label":"Architecte"},{"name":"BGLA Architecture + Design urbain","website":"bgla.ca","category":"","category_tax":2744,"category_label":"Architecte"},{"name":"Pageau Morel","website":"pageaumorel.com","category":"","category_tax":2753,"category_label":"Ing\u00e9nierie"},{"name":"SNC Lavalin","website":"snclavalin.com","category":"","category_tax":2753,"category_label":"Ing\u00e9nierie"},{"name":"Macogep","website":"macogep.com","category":"","category_tax":2746,"category_label":"Autre"}],"user":{"email":"eulalie.lecoq@agencespatiale.ca","first_name":"Eulalie","last_name":"Lecoq"},"doc_texts_web":{"fr":"<p><strong>CONTEXTE<br \/>\n<\/strong>Au printemps dernier, le Mus\u00e9e national des beaux-arts du Qu\u00e9bec organisait un concours pluridisciplinaire afin de r\u00eaver le futur Espace Riopelle, un pavillon d\u00e9di\u00e9 \u00e0 l\u2019\u0153uvre de Jean Paul Riopelle, int\u00e9gr\u00e9 au complexe \u200barchitectural existant. La cr\u00e9ation du nouveau b\u00e2timent visait \u00e0\u00a0propulser le MNBAQ vers l\u2019avenir, en cr\u00e9ant un v\u00e9ritable carrefour, un lieu de convergence au sein de son complexe mus\u00e9al. Il devait renouveler compl\u00e8tement l\u2019exp\u00e9rience mus\u00e9ale, magnifier les lieux en pla\u00e7ant l\u2019humain au centre de cette nouvelle aventure, dans un espace qui favoriserait la rencontre en plus d\u2019accro\u00eetre l\u2019accessibilit\u00e9 \u00e0 la collection nationale.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>GRANDEUR NATURE<\/strong><\/p>\n<p><em>\u00ab Je ne tire pas de la nature, je vais vers la nature. \u00bb<\/em><\/p>\n<p>Riopelle a \u00e9t\u00e9 un homme de mouvement qui inventa et r\u00e9inventa sans cesse son langage formel. Le pavillon Riopelle doit, \u00e0 notre sens, s\u2019accorder au diapason de la fougue et de l\u2019audace de cet artiste immense. Bien pr\u00e9sentes dans son \u0153uvre, les courbes de B\u00e9zier sont des courbes polynomiales param\u00e9triques d\u00e9velopp\u00e9es pour concevoir des pi\u00e8ces de carrosserie d\u2019automobiles au tournant des ann\u00e9es soixante pour Citro\u00ebn et Renault. Connaissant l\u2019amour de Riopelle pour les belles voitures, ce d\u00e9tail devient inspirant. Ces courbes sont pr\u00e9sentes dans certains tableaux, comme des signes et des codes qui racontent, sous forme symbolique, des \u00e9pisodes de la vie de l\u2019artiste. Les courbes de B\u00e9zier repr\u00e9sentent une source d\u2019inspiration pour la volum\u00e9trie du b\u00e2timent \u00e0 construire. Elles engendrent un dialogue en contraste avec les pavillons existants, qui sont organis\u00e9s selon des trames architecturales classiques. La forme participe au caract\u00e8re h\u00e9t\u00e9rog\u00e8ne de l\u2019ensemble et garantit une signature architecturale forte, distinctive et identitaire.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>LA GR\u00c8VE \u2013 PROMENADE PAYSAG\u00c8RE <\/strong><\/p>\n<p>Le projet propose une mont\u00e9e paysag\u00e8re qui invite, d\u00e8s le parvis central, \u00e0 monter sur les toits afin d\u2019atteindre un belv\u00e9d\u00e8re unique qui permet de saisir, en toute saison, l\u2019immensit\u00e9 et la puissance du site. Un parcours lin\u00e9aire qui reprend le langage des gr\u00e8ves, un lieu d\u2019\u00e9chouage en bord de fleuve fait de sable, de gravier, de bois flott\u00e9 et de champs herbac\u00e9s. L\u2019accessibilit\u00e9 \u00e0 ce toit terrasse assure le renouvellement des publics et permet au b\u00e2timent de s\u2019engager g\u00e9n\u00e9reusement dans la communaut\u00e9.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>L\u2019\u00c9CRIN<\/strong><\/p>\n<p><em>\u00ab Il ach\u00e8te de Matisse, Le Serica. Matisse lui transmet l\u2019amour de la voile, et des voitures de luxe, qui deviennent une sorte de refuge pour Riopelle. \u00bb<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>Telle une grande voile de bateau ondulant sur le fleuve, le projet rev\u00eat une enveloppe l\u00e9g\u00e8re, diffuse et myst\u00e9rieuse. Servant \u00e0 la fois de filtre, de protection solaire et de contr\u00f4le \u00e9nerg\u00e9tique, la v\u00eature se veut une m\u00e9taphore des longs canevas de l\u2019artiste, \u00e9vocatrice du travail en multiples \u00e9paisseurs de Riopelle. Elle est constitu\u00e9e d\u2019un mur performant, fait en partie de panneaux d\u2019acier isol\u00e9s et de murs-rideaux, l\u2019ensemble \u00e9tant habill\u00e9 d\u2019un voile en membrane PTFE (Teflon haute r\u00e9sistance) tendue sur une structure d\u2019aluminium. La r\u00e9sultante constitue une double peau dont la performance \u00e9nerg\u00e9tique permettra la r\u00e9cup\u00e9ration de chaleur et contribuera \u00e0 l\u2019atteinte du niveau LEED souhait\u00e9. L\u2019interstice entre les deux parois de la double peau est dimensionn\u00e9 pour permettre le passage d\u2019un ouvrier. Cet interstice permet entre autres l\u2019entretien facile des composantes et structures des murs, le nettoyage des vitrages et l\u2019entretien des appareils d\u2019\u00e9clairage int\u00e9gr\u00e9s servant \u00e0 mettre en lumi\u00e8re l\u2019objet architectural de nuit. Cet architecture-textile n\u2019est pas sans \u00e9voquer l\u2019architecture nomade autochtone en temps de chasse et de p\u00eache. La l\u00e9g\u00e8ret\u00e9 sugg\u00e9r\u00e9e apporte une notion de mouvance et de migration, exprim\u00e9e de mani\u00e8re contemporaine. Le jeu des c\u00e2bles qui maintiennent la toile tendue en place fait \u00e9galement \u00e9cho aux <em>\u00ab Jeux de ficelles \u00bb<\/em> inuit, <em>Ajaraq, <\/em>chers \u00e0 Riopelle.<\/p>\n<p><strong>LE SIGNAL<\/strong><\/p>\n<p>Une forme qui \u00e9pouse et fait \u00e9cho au rond-point de l\u2019avenue. Un volume qui accueille et \u00e9tablit des relations avec les parcours courbes du Parc des Champs-de-Bataille. Un b\u00e2timent-signal qui dialogue avec le monument Wolfe. Une mat\u00e9rialit\u00e9 qui sugg\u00e8re une toile qui se d\u00e9roule, une voile qui appelle au voyage et \u00e0 l\u2019aventure.<\/p>\n<p><strong>L\u2019AVENUE WOLFE-MONTCALM<\/strong><\/p>\n<p>Le nouveau basilaire offre une large fenestration qui favorise l\u2019accueil ainsi qu\u2019une transparence en direction du fleuve \u00e0 partir de l\u2019axe de l\u2019avenue Wolfe-Montcalm. Le volume flotte au-dessus de l\u2019ancien pavillon et d\u00e9stabilise le visiteur. La g\u00e9om\u00e9trie circulaire sugg\u00e8re le rassemblement et la rencontre comme accolade r\u00e9confortante.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>LE PARVIS<\/strong><\/p>\n<p>L\u2019esplanade est couverte en partie pour prot\u00e9ger les visiteurs des intemp\u00e9ries et permettre la tenue d\u2019activit\u00e9s. La sous-face en bois rappelle la coque d\u2019un voilier en cale s\u00e8che. Un gradin herbac\u00e9 offre un lieu pour les rassemblements de groupe tout en proposant un contact avec la nature invitante.<\/p>\n<p><strong>PARCOURS MUS\u00c9AL ET EXP\u00c9RIENCE<\/strong><br \/>\nLa d\u00e9couverte des \u0153uvres de l\u2019artiste se fait dans une s\u00e9rie d\u2019espaces mus\u00e9aux courbes, dispos\u00e9s intimement en relation avec le fleuve et le parc. Ce parcours s\u2019effectue \u00e0 partir du hall principal et dessine un grand mouvement circulaire qui investit tout le projet d\u2019architecture pour en faire une boucle. Il ram\u00e8ne le visiteur \u00e0 son point de d\u00e9part en lui faisant d\u00e9couvrir les \u0153uvres de l\u2019artiste. Le hall principal, repositionn\u00e9 pour inclure l\u2019extr\u00e9mit\u00e9 des tunnels des pavillons Baillairg\u00e9 et Lassonde, devient le nouveau croisement de toutes les circulations. Il regroupe les entr\u00e9es avant et arri\u00e8re du mus\u00e9e en red\u00e9finissant l\u2019amorce du parcours mus\u00e9al et tout particuli\u00e8rement la nouvelle exp\u00e9rience Riopelle. D\u00e8s la sortie des tunnels qui \u00e9mergent des autres pavillons, le visiteur est happ\u00e9 par un espace de rencontre, \u00e0 m\u00eame ce hall principal. Ce lieu initie le parcours vers le Carrefour Riopelle, une ascension vers un univers artistique conjuguant intimement architecture, rencontres et immersion dans le paysage. Cet espace, marqu\u00e9 par des gradins rassembleurs en lien avec le caf\u00e9, favorise la cohabitation des client\u00e8les. Am\u00e9nag\u00e9 sur diff\u00e9rents niveaux, il instaure au fil de la mont\u00e9e un sentiment de reconnaissance et d\u2019\u00e9ducation sur le cursus de l\u2019artiste. \u00c0 travers l\u2019ascension, le paysage se r\u00e9v\u00e8le et \u00e9tablit un dialogue progressif, amplifiant le lien direct avec la nature et le fleuve. Le parcours se termine en empruntant l\u2019escalier magistral qui ram\u00e8ne le visiteur dans le hall principal, tout en lui offrant des alternatives de visite dans les autres pavillons.<\/p>\n<p><strong>EXPOSITION R\u00c9F\u00c9RENCE ET SALLE ROSA LUXEMBURG<\/strong><\/p>\n<p>Le Carrefour Riopelle relie la salle Revendiquer au niveau haut. Cette salle assure un lien continu dans le parcours en donnant acc\u00e8s \u00e0 la salle d\u2019exposition r\u00e9f\u00e9rence. Sur un mode privil\u00e9giant la flexibilit\u00e9 par des cloisons rectilignes propices \u00e0 un accrochage mus\u00e9ologique efficace, l\u2019immense salle est l\u2019aboutissement permettant d\u2019appr\u00e9cier le corpus principal de l\u2019artiste. Dot\u00e9e d\u2019une enveloppe architecturale qui assure une gestion efficace de la lumi\u00e8re et un contr\u00f4le des conditions mus\u00e9ales, la salle r\u00e9f\u00e9rence permet des contacts visuels avec l\u2019ext\u00e9rieur sur presque 360\u00b0. Au paroxysme de la visite de la salle r\u00e9f\u00e9rence, le visiteur aboutit \u00e0 l\u2019\u0153uvre majeure de l\u2019artiste, <em>L\u2019Hommage \u00e0 Rosa Luxemburg<\/em>. Dispos\u00e9 en deux h\u00e9micycles, l\u2019immense tableau se d\u00e9ploie sur des surfaces galb\u00e9es dimensionn\u00e9es en fonction de l\u2019\u0153uvre et offre au passage des vues sur le paysage et le fleuve. La lecture et la d\u00e9couverte de l\u2019\u0153uvre peuvent alors se faire selon la conception originale de l\u2019artiste, les deux premiers tableaux du triptyque se lisant de gauche \u00e0 droite et le troisi\u00e8me de droite \u00e0 gauche.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>AMBIANCE ET NORDICIT\u00c9<\/strong><\/p>\n<p>La nordicit\u00e9 du projet s\u2019exprime par un int\u00e9rieur chaleureux en r\u00e9ponse au climat froid. Un id\u00e9al imaginaire partag\u00e9 de souvenirs de p\u00eache et de chasse \u00e0 la recherche de cette autochtonie, une cabane d\u2019\u00e9t\u00e9 au bord de l\u2019eau ou un refuge d\u2019hiver dans la for\u00eat. Des typologies qui ont des r\u00e9sonances et qui habitent in\u00e9vitablement l\u2019imaginaire nordique. Le travail des int\u00e9rieurs recr\u00e9e des ambiances nouvelles par des formes inusit\u00e9es et des circulations claires qui innovent en mati\u00e8re d\u2019exp\u00e9rience mus\u00e9ale. Caract\u00e9ris\u00e9es par la blancheur et l\u2019apport chaleureux du bois, les atmosph\u00e8res s\u2019inspirent de th\u00e8mes chers \u00e0 Riopelle: les glaces, le fleuve, la nature.<\/p>\n<p><strong>LE LIEN \u2013 CARREFOUR RIOPELLE <\/strong><\/p>\n<p>Un tiers-lieu culturel qui cr\u00e9e et anime la vie de l\u2019Espace Riopelle. Le carrefour d\u00e9mocratise le travail de l\u2019artiste et agit comme un lien entre les acteurs de la culture, la communaut\u00e9 et le territoire. Compos\u00e9 de grands paliers, l\u2019espace est un lieu flexible au gr\u00e9 de la rotation souhait\u00e9e des tableaux et des c\u00e9ramiques.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>LE JARDIN-TERRASSE PELLAN <\/strong><\/p>\n<p>Un soul\u00e8vement qui d\u00e9gage une terrasse surprenante, v\u00e9g\u00e9tale et sculpturale. En partie couvert, l\u2019entre-deux permet un apport en lumi\u00e8re naturelle dans les espaces interconnect\u00e9s du foyer et de la salle multifonctionnelle. Ce nouveau Jardin Pellan, redonn\u00e9 g\u00e9n\u00e9reusement au public, est situ\u00e9 au coeur des activit\u00e9s et offre une vue imposante.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>LA LUMI\u00c8RE <\/strong><\/p>\n<p>Le projet propose une mise en lumi\u00e8re de la salle d\u2019exposition principale. L\u2019illumination de la sous-face en bois g\u00e9n\u00e8re un effet de flottement et \u00e9voque le jeu de couches et de strates de l\u2019artiste. La double-peau est illumin\u00e9e dans son \u00e9paisseur permettant de mettre en valeur sa forme ondul\u00e9e et ses textures. Le syst\u00e8me propose un contr\u00f4le de mani\u00e8re \u00e0 moduler l\u2019intensit\u00e9 et la couleur de l\u2019\u00e9clairage afin d\u2019en faire un moyen d\u2019expression qui permet d\u2019animer les grandes toiles et d\u2019en faire un lieu en mouvement.<\/p>\n<p><strong>LE PASSAGE REVENDIQUER\/RIOPELLE <\/strong><\/p>\n<p>Un entre-deux g\u00e9n\u00e9reux lie les espaces et permet la mise en valeur du tableau immense de Riopelle, <em>Le Bestiaire. <\/em>L\u2019utilisation de la double hauteur (8m) permet d\u2019inclure l\u2019\u0153uvre au parcours Riopelle, qui autrement n\u2019aurait pu l\u2019exposer consid\u00e9rant le 5m de hauteur pour la salle d\u2019exposition r\u00e9f\u00e9rence.<\/p>\n<p><strong>APPROCHE CONTEMPLATIVE \u2013 EXPOSITION R\u00c9F\u00c9RENCE<\/strong><\/p>\n<p>Des moments pour \u00e9tablir un contact signifiant avec les \u0153uvres et pour acc\u00e9der \u00e0 un univers qui demande de l\u2019attention, un rythme plus lent et de la r\u00e9flexion. Une mise en relation entre l\u2019art et la nature qui permet de se poser. Des ouvertures sur l\u2019ext\u00e9rieur qui pr\u00e9sentent le paysage, comme des \u0153uvres encadr\u00e9es.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>\u00c9CLAIRAGE<em> \u00ab A\u00c9ROSOL \u00bb<\/em><\/strong><\/p>\n<p>La mise en lumi\u00e8re a\u00e9rienne \u00e9voque paradoxalement l\u2019absence de mati\u00e8re. Entour\u00e9e d\u2019une zone floue de lumi\u00e8re, la silouette de l\u2019espace Riopelle devient une empreinte au sol. Un effet visuel laissant une trace en n\u00e9gatif, presque feutr\u00e9e, \u00e0 l\u2019image du travail \u00e0 l\u2019a\u00e9rosol de l\u2019artiste.<\/p>\n","en":"<p><strong>CONTEXT<\/strong><\/p>\n<p>Last spring, the Mus\u00e9e national des beaux-arts du Qu\u00e9bec organized a multidisciplinary competition to design the future Espace Riopelle, a pavilion dedicated to the work of Jean Paul Riopelle, integrated into the existing architectural complex. The creation of the new building was intended to propel the MNBAQ into the future, by creating a true crossroads, a place of convergence within its museum campus. It was to completely renew the museum experience, magnify the premises by placing the human being at the center of this new adventure, in a space that would encourage encounters, and increase accessibility to the national collection.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>LIFE-SIZE <\/strong><\/p>\n<p>\u00ab Je ne tire pas de la nature, je vais vers la nature. \u00bb \u2013 <em>\u00ab\u00a0I don\u2019t take from nature, I go towards nature.\u00a0\u00bb<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>Riopelle was a man of movement who constantly invented and reinvented his formal language. The Riopelle pavilion must, in our opinion, be in tune with the energy and audacity of this immense artist. B\u00e9zier curves are parametric polynomial curves developed to design car body parts at the turn of the 1960s for Citro\u00ebn and Renault. Knowing Riopelle\u2019s love for beautiful cars, this detail becomes inspiring. These curves are present in certain paintings, as signs and codes that tell, in symbolic form, episodes in the artist\u2019s life. The B\u00e9zier curves represent a source of inspiration for the volumetry of the building to be constructed. They create a dialogue in contrast with the existing pavilions, which are organized according to classical architectural patterns. The form participates in the heterogeneous character of the whole and guarantees a strong architectural signature, distinctive and identitary.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>SHORELINE \u2013 LANDSCAPED PROMENADE <\/strong><\/p>\n<p>The project proposes a landscaped ascent that invites, from the central square, to climb on the roofs to reach a unique viewpoint that allows one to grasp, in any season, the immensity and the power of the site. A linear path that recalls the language of the shoreline, a place of stranding on the river\u2019s edge made of sand, gravel, driftwood and grassy fields. The accessibility of this roof terrace ensures the renewal of the public and allows the building to engage generously with the community.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>THE SCREEN<\/strong><\/p>\n<p>\u00ab Il ach\u00e8te de Matisse, Le Serica. Matisse lui transmet l\u2019amour de la voile, et des voitures de luxe, qui deviennent une sorte de refuge pour Riopelle. \u00bb \u2013\u00a0 <em>\u00ab\u00a0He buys from Matisse, The Serica. <\/em><em>Matisse passes on his love of sailing, and luxury cars, which become a kind of refuge for Riopelle.\u00a0\u00bb<\/em><\/p>\n<p>&nbsp;<\/p>\n<p>Like a large boat sail undulating on the river, the project takes on a light, diffuse and mysterious envelope. Serving as a filter, solar protection and energy control, the cladding is a metaphor for the artist\u2019s long canvases, evocative of Riopelle\u2019s multi-layered work. It consists of a performing wall, made in part of insulated steel panels and curtain walls, the whole being clad with a PTFE (high resistance Teflon) membrane veil stretched over an aluminum structure. The result is a double skin whose energy performance will allow heat recovery and contribute to the achievement of the desired LEED level. The gap between the two walls of the double skin is sized to allow the passage of a worker. This gap allows for easy maintenance of the wall components and structures, cleaning of the glazing and maintenance of the integrated lighting fixtures used to illuminate the architectural object at night. This architecture-textile is not without evoking the aboriginal nomadic architecture in times of hunting and fishing. The suggested lightness brings a notion of movement and migration, expressed in a contemporary way. The play of cables that hold the stretched canvas in place also echoes the Inuit \u00ab\u00a0Jeux de ficelles\u00a0\u00bb, Ajaraq, dear to Riopelle.<\/p>\n<p><strong>THE SIGNAL<\/strong><\/p>\n<p>A form that embraces and echoes the traffic circle of the avenue. A volume that welcomes and establishes relationships with the curved paths of the Battlefields Park. A building-signal that dialogues with the Wolfe monument. A materiality that suggests an unfolding canvas, a sail that calls for travel and adventure.<\/p>\n<p><strong>WOLFE-MONTCALM AVENUE<\/strong><\/p>\n<p>The new basilar offers a large fenestration that favors the greeting as well as a transparency towards the river from the axis of Wolfe-Montcalm Avenue. The volume floats above the old pavilion and destabilizes the visitor. The circular geometry suggests the gathering and the meeting as a comforting embrace.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>THE PARKING AREA<\/strong><\/p>\n<p>The esplanade is partially covered to protect visitors from bad weather and to allow activities to be held. The wooden underside is reminiscent of the hull of a sailing ship in a dry dock. A grassy bleacher provides a place for group gatherings while offering contact with the inviting nature.<\/p>\n<p><strong>MUSEUM JOURNEY AND EXPERIENCE<\/strong><\/p>\n<p>The discovery of the artist\u2019s works takes place in a series of curved museum spaces, intimately arranged in relation to the river and the park. This route starts from the main hall and draws a large circular movement that invests the entire architectural project to make a loop. It brings the visitor back to his point of departure by making him discover the artist\u2019s works. The main hall, repositioned to include the end of the tunnels of the Baillairg\u00e9 and Lassonde buildings, becomes the new crossroads of all the circulations. It brings together the front and back entrances to the museum, redefining the beginning of the museum\u2019s itinerary, and in particular the new Riopelle experience. As soon as the visitor exits the tunnels that emerge from the other pavilions, he or she is drawn into a common space in the main hall. This space initiates the journey towards the Carrefour Riopelle, an ascent towards an artistic universe intimately combining architecture, encounters and immersion in the landscape. This space, marked by gathering tiers in connection with the caf\u00e9, favours the cohabitation of the clientele. Arranged on different levels, it establishes a sense of recognition and education on the artist\u2019s career. Through the ascent, the landscape is revealed and establishes a progressive dialogue, amplifying the direct link between nature and the river. The tour ends with the masterly staircase that brings the visitor back to the main hall while offering alternative visits to the other pavilions.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>REFERENCE EXHIBITION AND ROSA LUXEMBURG ROOM<\/strong><\/p>\n<p>The Riopelle Crossroads connects the Revendiquer room to the upper level. This room provides a continuous link in the itinerary by giving access to the reference exhibition room. The immense room is the culmination of the artist\u2019s main body of work, with its flexibility and straight walls that allow for an efficient museological display. Equipped with an architectural envelope that ensures effective management of light and control of museum conditions, the reference room allows visual contact with the outside world on almost 360\u00b0. At the climax of the visit to the reference room, the visitor arrives at the artist\u2019s major work, L\u2019Hommage \u00e0 Rosa Luxemburg. Arranged in two hemicycles, the immense painting unfolds on curved surfaces sized according to the work and offers views of the landscape and the river. The reading and discovery of the work can then be done according to the original conception of the artist, the first two paintings of the triptych being read from left to right and the third from right to left.<\/p>\n<p><strong>ATMOSPHERE AND NORDICITY<\/strong><\/p>\n<p>The northernness of the project is expressed by a warm interior in response to the cold climate. A shared imaginary ideal of memories of fishing and hunting in search of that autochthony, a summer cabin by the water or a winter refuge in the forest. Typologies have resonances and inevitably inhabit the northern imagination. The work on the interiors recreates new atmospheres through unusual forms and clear circulations that innovate the museum experience. Characterized by the whiteness and the warmth of wood, the atmospheres are inspired by themes dear to Riopelle: the river ice, the river, and nature.<\/p>\n<p>&nbsp;<\/p>\n<p><strong>LE LIEN \u2013 CARREFOUR RIOPELLE <\/strong><\/p>\n<p>A cultural third place that creates and animates the life of Espace Riopelle. The crossroads democratizes the artist\u2019s work and acts as a link between the actors of culture, the community and the territory. Composed of large levels, the space is flexible according to the desired rotation of the paintings and ceramics.<\/p>\n<p><strong>THE PELLAN TERRACE GARDEN <\/strong><\/p>\n<p>An elevation that gives way to a surprising, vegetal and sculptural terrace. Partly covered, the in-between area allows natural light to enter the interconnected spaces of the foyer and the multifunctional room. This new Jardin Pellan, generously given back to the public, is located in the heart of the activities and offers an imposing view.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>THE LIGHT <\/strong><\/p>\n<p>The project proposes a lighting of the main exhibition hall. The illumination of the wooden underside generates a floating effect and evokes the artist\u2019s play of layers and strata. The double skin is illuminated through its thickness to highlight its undulating form and textures. The system offers a control to modulate the intensity and colour of the lighting to make it a means of expression that allows one to animate the large canvases and make it a place in the movement.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>THE REVENDIQUER\/RIOPELLE PASSAGE<br \/>\n<\/strong>A generous in-between space links the spaces and allows for the display of Riopelle\u2019s immense painting, Le Bestiaire. The use of the double height (8m) allows the work to be included in the Riopelle itinerary, which otherwise would not have been able to display it considering the 5m height for the reference exhibition room.<\/p>\n<p><strong>CONTEMPLATIVE APPROACH \u2013 REFERENCE EXHIBITION<br \/>\n<\/strong>Moments to establish meaningful contact with the works and to access a universe that requires attention, a slower pace and reflection. A connection between art and nature that allows us to pause. Openings on the outside and presenting the landscape, like framed works.<\/p>\n<p><strong>AEROSOL\u00a0\u00bb LIGHTING<br \/>\n<\/strong>The aerial lighting paradoxically evokes the absence of matter. Surrounded by a blurred zone of light, the silhouette of the Espace Riopelle becomes an imprint on the ground. A visual effect leaving a negative trace, almost muffled, in the image of the artist\u2019s aerosol work.<\/p>\n"},"permalinks":{"fr":"https:\/\/int.design\/fr\/projets\/espace-riopelle\/","en":"https:\/\/int.design\/en\/projects\/espace-riopelle\/"},"titles":{"fr":"Espace Riopelle","en":"Espace Riopelle"},"wp_fields":[],"laravel_id":""},"_links":{"self":[{"href":"https:\/\/int.design\/fr\/wp-json\/wp\/v2\/project\/100792","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/int.design\/fr\/wp-json\/wp\/v2\/project"}],"about":[{"href":"https:\/\/int.design\/fr\/wp-json\/wp\/v2\/types\/project"}],"wp:attachment":[{"href":"https:\/\/int.design\/fr\/wp-json\/wp\/v2\/media?parent=100792"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}