Jean Nouvel

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 epicentre of Nouvel’s creative methods lies in the articulation of perception as opposed to technological or organisational aspects, in the need to fully implicate the architectural organism to mobilise evocations, semantic connections between the object and the world, and finally in the absolute lack of faith in organisational systems. But it is necessary to add that it is in his relationship with meaning where he becomes most cryptic and hard to follow. Because if there is anything that distinguishes the work of Jean Nouvel and draw it towards artistic processes, it is his invention of sophysticated semantification procedure. This enables connections of similarity with differing intensities to be drawn between things of the world and architecture.

One illustrative example of this is the way that Nouvel applies his “mono-material” neologism. It is obvious that a heterogeneous range of techniques and materials becomes part of a building’s material composition, so the meaning of the term will have more to do with perceptive effect generated by a complete material system than with the uniformity or diversity of its components.

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