Louis Vuitton Foundation
Some parts of this article have been translated using Google’s translation engine. We understand the quality of this translation is not excellent and we are working to replace these with high quality human translations.
Introduction
The design for the building of the Louis Vuitton Foundation was commissioned by the owner and creator of the group of luxury items, Bernard Arnault, the architect Frank Gehry with the intention of opening a new space dedicated to contemporary artistic creation in all its forms.
History
In Bernard Arnault, chairman and founder of the brand Louis Vuitton, met Frank Gehry, and spoke of plans for a new building for the Foundation in the Bois de Boulogne, the project architect excited and decided to collaborate to its realization with the idea that was inaugurated in late
The city of Paris, which owns the park granted planning permission in and in the foundation stone in began the engineering and in the spring of the surrounding landscape was completed, being open to the public placed October 27 the same year.
In , an association for safeguarding the Bois de Boulogne won a court battle because the judge ruled that
Fondation Louis Vuitton / Gehry Partners
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Text description provided by the architects. The design responds to the setting of the Jardin d’Acclimatation, evoking the tradition of 19th-century glass garden buildings, the role of the Jardin in cultural memory (especially the work of Marcel Proust) and the desire to create a contemporary art museum that will be attractive and welcoming to the children and families who frequent the Jardin.
Constructed on the edge of a water garden created especially for the project, the building comprises an assemblage of white blocks (known as “the icebergs”) clad in panels of fiber-reinforced concrete, surrounded by twelve immense glass “sails” supported by wooden beams. The sails give Fondation Louis Vuitton its transparency and sense of movement, while allowing the building to reflect the water, woods and garden and continually change with the light.
The ground-level entrance hall serves as the entry to both the museum and the Jardin. It is designed as an active social space, featuring a restaurant
À Art Basel Paris, plongée au cœur de l’architecture en mouvement de Frank Gehry
Au Grand Palais, Louis Vuitton met à l’honneur la longue collaboration de la Maison avec l’architecte américain d’origine canadienne
Au Grand Palais, Louis Vuitton met à l’honneur la longue collaboration de la Maison avec l’architecte américain d’origine canadienne
Au Grand Palais, Louis Vuitton met à l’honneur la longue collaboration de la Maison avec l’architecte américain d’origine canadienne
Au Grand Palais, Louis Vuitton met à l’honneur la longue collaboration de la Maison avec l’architecte américain d’origine canadienne
Au Grand Palais, Louis Vuitton met à l’honneur la longue collaboration de la Maison avec l’architecte américain d’origine canadienne
Architecte parmi les plus influent∙e∙s de notre époque, Frank Gehry a su imposer son style, immédiatement reconnaissable, que la réalisation du musée Guggenheim de Bilbao à la fin des années a inscrit dans l’imaginaire culturel contemporain. Associant des matériaux simples à des structures complexes et dynamiques – à partir d’une conception novatrice et poétique de l’architecture qui lui est propre –, Frank Gehry œuvre d
The new center of the Fondation Louis Vuitton is located in what is called the Jardin d’Acclimatation of Paris’s Bois de Boulogne, an enclave whose name recalls large 19th- century greenhouses. Those pavilions are the inspiration for this building with warped and translucent forms emerging from a ‘water garden’ that reflects or dissolves it, depending on the varying conditions of light.
Once visitors have crossed the entrance, they traverse the different volumes while taking in the picturesque views of the park. Such visual flow between interior and exterior is achieved through the configuration of the envelope, composed of white blocks – metaphorically associated with the image of an iceberg – and glazed scales recalling sails. The 19, blocks forming the building are constructed with panels of concrete reinforced with fibers, while the 3, panels of hardened and stratified glass are supported by a triangulated structure of steel and wood.
The complexity of the building would not have been possible without digital tools. In fact the project has been a catalyst for new innovations, such as a three-dimensional computer model, uploaded to the ‘cloud,’ which has allowed the interac
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