Liste des projets

Farshid Moussavi

  • Site : https://www.farshidmoussavi.com/
  • Adresse : 130 fenchurch street ec3m 5dj London
FARSHID MOUSSAVI OBE RA BSC ARCH, DIPL. ARCH, M ARCH II HARVARD, RIBA Farshid Moussavi OBE RA is an internationally acclaimed architect and Professor in Practice of Architecture at Harvard University Graduate School of Design. Moussavi’s approach is characterised by an openness to change and a commitment to the intellectual and cultural life of architecture. Alongside leading an award-winning architectural practice, Farshid Moussavi Architecture (FMA), she lectures regularly at arts institutions and schools of architecture worldwide and is a published author. Moussavi was appointed Officer of the Order of the British Empire (OBE) in the 2018 Queen’s Birthday Honours for services to architecture. She was elected a Royal Academician in 2015 and Professor of Architecture at the RA Schools in 2017. At FMA, Moussavi’s completed projects include the acclaimed Museum of Contemporary Art in Cleveland, USA; La Folie Divine, a residential complex in Montpellier; a multi-tenure residential complex in the La Défense district of Paris, and flagship stores for Victoria Beckham in London and Hong Kong. Previously Moussavi was co-founder of the internationally renowned London-based Foreign Office Architects (FOA) where she co-authored many award-winning international projects including the Yokohama International Cruise Terminal and the Spanish Pavilion at the Aichi International Expo, London’s Ravensbourne College of Media and Communication and the Leicester John Lewis Department Store and Cineplex. Moussavi’s ideas and work are at the forefront of critical debate about architecture. In 2017 she was Architectural curator of the Royal Academy Summer Show where she proposed a highly original approach, showing the internal mechanisms and construction process that underpins architecture. Her work is deeply rooted in critical research which she carries out through FunctionLab, the research branch of FMA. FunctionLab explores cultural questions that find actualisation in the building commissions of the office, allowing for informed and innovative results. With the influential series of books that Moussavi published with Harvard, The Function of…, she has explored the theory and built history of ornament, form, and style. Educated at Harvard’s Graduate School of Design, University College London and Dundee University, Moussavi has taught and served as External Examiner in academic institutions worldwide. She was the Chair of the Master Jury of the Aga Khan Award for Architecture in 2004, and a member of its Steering Committee between 2005 and 2015. She continues to be a trustee of the Whitechapel Gallery since 2009, and since 2018, a trustee of the Norman Foster Foundation London and New Architecture Writers (NAW) which focuses on black and minority ethnic emerging writers who are under-represented across design journalism and curation. Moussavi also serves on the Academic Court of The London School of Architecture.

MOCA

MOCA Cleveland is a contemporary art museum designed to serve as a public ‘living room’ in a cosmopolitan Cleveland neighborhood, and to act as a catalyst for creativity and growth for the city. Its twisting architectural form shifts from a compact hexagonal base to a rectangular roof, creating a new public plaza, a soaring atrium and a dynamic double-decker staircase.

Located at a busy intersection on a triangular site, the building anchors Cleveland’s Uptown District, which is home to one of the country's largest concentrations of cultural, educational and medical institutions. Its mirror-finish black stainless steel envelope reflects the urban surroundings, changing in appearance with differences in light and weather. The building is an active agent in the relationship between the institution, the public and to the city: its envelope incorporates entrances on all sides that provide access to its entire perimeter. Three of the building’s six facets, one of them clad in transparent glass, flank a new public plaza which serves as a public gathering place and links MOCA to Uptown attractions and amenities, including the expanded Cleveland Institute of Art and new commercial space and residential units.

As a non-collecting institution, MOCA Cleveland has a constantly changing exhibition and public program. The building is designed to be generous and inclusive so that even if visitors do not pay to visit a temporary exhibition on the fourth floor, they can experience a variety of displays and events on the first three floors. Spaces are flexible and arranged to allow movement between galleries and events to enable the museum to display works in a great variety of media and genres.

Upon entering the atrium visitors can see the dynamic shape and structure of the building as it rises through four storeys. This view draws the eye towards the primary exhibition space on the top floor, encouraging visitors to explore the displays and events on the first three floors. The atrium leads to a lobby, cafe and shop, and to a double-height multi-purpose room. A grand, ‘double-decker’ staircase inverts the typical linearity of stairs by providing ten different ways to ascend, connecting the floors and reflecting the importance of transience and flexibility. An enclosed, descending egress stair doubles up as a sound gallery and is entirely painted yellow to transcend the boundaries of vision. Ascending from the atrium, the upper levels reveal themselves slowly: the stair leans forward as it climbs following the profile of the building, wide landings provide social spaces and the open route plays out as a panorama.

On the top floor the primary 6,000ft² gallery space can be sub-divided for a wide range of art works and media. Here and throughout the building ‘switch elements’ are incorporated – such as moveable walls, glass walls and guillotine walls – so that the spaces can be configured for a variety of uses. ‘Micro-agents’ also allow the building to work hard: for example, display counters in the museum store have wheels so that they can be recessed into the wall to open up the space for events.

An intense shade of blue fire-resistant paint covers the museum’s interior surfaces creating a sense of boundlessness, which suggests the sky or sea and places emphasis on the works of art. The geometry, form and reflective/absorptive surfaces of the building provide multiple perceptions of the museum, and echo its shifting program that is at once individual, collective, infinite, an exhibition and a place of production.

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