Handover of the keys
Cleaning works begin
Call for bids
Bouygues Construction is selected
Construction permits obtained
Start of construction
Restoration and repurposing works
Concrete cylinder completed
Glass roof restoration completed
Restoration of the cupola and the roof completed
End of all structural works
Restoration of the Medicis column completed
Beginning of the works in the surrounding area
Restoration and repurposing works completed
Museographic and scenographic works
The structuring element of the plans to adapt the Bourse de Commerce into a museum is conceived as an echo to the building’s fundamental organizing principle: its circularity. Tadao Ando’s intervention within the building will dialogue with its carefully restored historic elements. We see this decision as the natural consequence of the approach Ando has consistently adopted when working within existing buildings. Here, we must contend with the history of the building and that of Paris, capital of the nineteenth century.
A concrete cylinder, its walls pierced with four identical openings and surmounted by an oculus that allows natural light to filter in, will be inserted into the building’s core. The center of the building was once used to store wheat, then was the active center of the stock market, directly open onto the recently built Paris streets that converged there; now, it will be isolated, becoming the building’s unified, abstract, and fixed core, and an ideal space in which to experience art. The main components of the architecture (its circular form, its dome, the controlled presence of light) will become the actors in a scenography intended to remove visitors from their daily lives, to allow them to focus on what’s before their eyes, on the here and now.
The goal of the conversion of the Bourse de Commerce into a museum is to create the ideal conditions for the visitor to experience art. It will be flexible and adaptable, to best accommodate the range of different media used by contemporary artists today. Our intervention in the building relies on emphasizing its most striking attributes and the remarkable features of the site while writing a new chapter in its history. The concrete and symbolic nods to its past, such as the Medici column, the double-spiral staircases, or its rotunda, emphasize the role of the past as the foundation of contemporary creation.
Because of the circularity of the site, the ways of exploring the building are virtually inexhaustible. It serves as a metaphor for the way in which history can be reinterpreted and rediscovered according to new logics. Ando has often, throughout his career, relied on circularity as a structuring principle; it recurs in his work, almost as his personal signature.
These unique conditions combine to make this space the site of an encounter between the rich past, embodied by this centuries-old building, and the modern-day desire to present a unique collection to the public, all in the hands of the renowned Tadao Ando.
Like Ando, Nicolas Le Camus de Mézières, the building’s original architect, believed in the suggestive power of forms on human emotions. His treatise The Genius of Architecture; or, the Analogy of that Art with our Sensations opened with the provocative formula, “It is not enough to please the eyes, you must touch the soul.” In 1977, Ando similarly described architecture as “a fundamentally emotive space.”
The volumes of the central rotunda, bathed in the changing light, will be the silent witnesses to a perpetual movement of exchange and originality.
In approaching the renovation of the Bourse de Commerce, the architects’ common aim is to infuse the different historic strata of the building with a new life, by adding, at the core of the building, a concrete
cylinder that disrupts the existing volumes of the space and creates a new means of circulating through the building.
This cylinder, linking two walls and two eras, will create a path through the ground floor that will become a passageway to the floors above, leading the visitor in a centrifugal movement to each of the spaces open to the public. A walkway, curled around this central cylinder along the building’s internal façade, will offer new vantage points from which to view this historic building. The path will also lead to the new auditorium, located underground
beneath the foundations of the cylinder. Its stage will be aligned with this circle, in a subtle reminder of the centrality that forms the core of the building.
The newly created exhibition spaces will be organized around the central core of the building (exhibition 01), in a strategy aimed at increasing the number of ways in which the building can be visited. Visitors will enter into a vast reception area located on the ground floor, then continue to a double-height exhibition room (exhibition 02). On the first floor, a small exhibition space will be inserted between the ancient walls (exhibition 03). As they continue up the walkway, visitors will be able to access the second floor from two points (exhibition 04, 05, 06). On the third floor, the visit ends on a stunning panorama— of the city to one side, and of the interior of the building, its skylight, and frescos on the other.
Visitors will then choose between retracing their steps back to the lobby or using the double-spiral staircase, a vestige of the building’s past as the former Halle au Blé, to return directly to the ground floor.
Lucie Niney et Thibault Marca, NeM Architectes
The Japanese architect Tadao Ando was selected by François Pinault to mastermind the conversion of the Bourse de Commerce into a museum.
Founded by Tadao Ando in 1969 in Osaka, Tadao Ando Architect & Associates (TAAA) is one of the most renowned architecture firms working today. Relying on its expertise and flexible organization, TAAA has designed buildings of all natures and scales, always combining functionality with majestic architectural gestures. It has created many remarkable buildings over the course of the last twenty-five years, including for the Modern Art Museum of Fort Worth and The Pulitzer Arts Foundation in the United States, the Langen Foundation in Germany, Benesse House in Japan, and the Benetton Factory in Treviso, Italy.
Winner of the Praemium Imperiale Award in Japan in 1996, Tadao Ando has been the recipient of many prestigious awards, such as the Pritzker Architecture Prize and gold medals from the Royal Institute of British Architects, the Académie Française, the American Institute of Architects, and the International Union of Architects.
Since 2000, Ando has collaborated with François Pinault on three projects in Venice: the renovation and preservation of Palazzo Grassi and Punta della Dogana and the construction of the Teatrino.
PAG was founded in 1991 by Pierre-Antoine Gatier, architect in chief of French National Heritage since 1990. Gatier holds degrees in museology from the école du Louvre (1983) and the école de Chaillot (1987). He is currently head architect for the fifth arrondissement in Paris, the Domaine de Chantilly, the Opéra Comique, and several properties owned by the French state in Rome.
For more than twenty years, Gatier has collaborated with art historians and architects specializing in the renovation of historical landmarks, focusing on updating them for current use. One of the core principles of his methodology relies on the analysis of the materials used in architectural buildings of the past, constantly experimenting and evolving new building methods.
Gatier also shares his knowledge on the renovation of historical monuments in the courses he teaches at the école de Chaillot on the history and the restoration of reinforced concrete and metal, and at the Paris-Belleville school of architecture, as part of a graduate-degree program specializing in twentieth-century heritage. He has lectured internationally on restoration techniques.
NeM / Niney et Marca Architectes was founded in 2008 by Lucie Niney and Thibault Marca, both graduates of the Ecole Nationale Supérieure d’Architecture de Paris-La Villette.
In their commissioned work, Niney and Marca seek to achieve a formal minimalism, avoiding any superfluous technical flourishes. The firm begins by analyzing the essence of each project, in order to conceive and create it most appropriately.
Niney and Marca have collaborated with several cultural institutions, in particular by participating in the design of exhibitions. NeM was selected to design the home of the Pinault artist-residency program in Lens, opened in 2015. The firm is currently working on restructuring studio housing at the Cité Internationale des Arts de Paris. In 2016, Niney and Marca were co-curators of the French pavilion at the Venice Architecture Biennial, along with the collective AJAP14 and OBRAS-Frédéric Bonnet.
Among their ongoing projects, the architects work currently on an African arts center in Allex (Drôme, France) and will soon deliver the new French headquarters of the World Wide Fund (WWF) NGO, in Le Pré-Saint-Gervais, near Paris.
The engineers of the independent group Setec have conceived and constructed some of the most ambitious international engineering projects of the past fifty years, including the Millau Viaduct, one of the highest bridge in the world, the tallest towers at La Défense in Paris, the Beijing National Center for the Performing Arts, the Riyadh subway system, and many more.
The firm was awarded the Century’s Best Civil Engineering Project Award from the International Federation of Consulting Engineers for its work on the construction of the Channel Tunnel. Setec has collaborated on the design of several important high-tech museum projects, such as the Cour Napoléon of the Louvre by I. M. Pei, the Vesunna Gallo-Roman Museum by Jean Nouvel, the entrance to the Musée d’Orsay by Adeline Rispal, Tadao Ando’s project for the Fondation d’Art Contemporain on the Île Seguin, Albert Kahn museum and gardens by Kengo Kuma in Boulogne and the Parc des Ateliers in Arles by Frank Gehry, and the Musée de l’Homme by Olivier Brochet and Emmanuel Nebout. Setec also participated in the renovation of the Château de Versailles with Frédéric Dider and the Château de Fontainebleau with Patrick Ponsot, and with Mark Feldman of Mosproekt 2, on the adaption of Catherine the Great’s Tsaritsyno Palace into a museum.
The Bourse de Commerce — Pinault Collection has chosen Bouygues Construction as its partner for the renovation and adaptation of the Bourse de Commerce into a museum, beginning in summer 2017, working with its subsidiaries, Bouygues Bâtiments Île-de-France–Rénovation Privée and Bouygues Energies & Services.
Founded in 1952 by Francis Bouygues, the firm has undertaken and continues to manage projects in construction, infrastructure, and industry in close to eighty countries. A leader in sustainable development, Bouygues Construction is committed to remaining innovative and bold. Its clients reap the benefit of its originality and productivity, while its 50,000 collaborators enjoy exceptional working conditions.
Its subsidiary Bouygues Bâtiments Île-de-France–Rénovation Privée has established itself as the leader in renovations, working with businesses, hotels, and private residences. Bouygues Energie & Services is a leader in the fields of energy, services, and digital technology.
Bouygues has collaborated on a number of important cultural institutions, including the Hotel de la Marine, the Salle Pleyel, the Musée du Louvre, the Musée d’Orsay, and most recently the Cité Musicale on the Île Seguin.
The construction work required to convert the Bourse de Commerce into a museum of contemporary art will have to take place within a very limited timeframe. This promise made by François Pinault to the City of Paris has led to an atypical schedule for the planned works.
While the designs of the renovation were being established, an initial operation took place to reveal the original walls of the structure and protect its elements of historic value. This began in January 2017, when the Chambre de Commerce handed over the keys to the building to the Collection Pinault–Paris. A complementary analysis of the building was undertaken at this time.
Then, once surveys were completed, Bouygues was selected in April 2017 a project partner. Work on the site will begin in June 2017 and will be completed in eighteen months.
We will strive to limit, as much as possible, the perimeter of the construction site itself, being mindful to avoid interrupting the flow of traffic in surrounding streets. As the work could potentially inconvenience dockside workers nearby, we will faithfully respect the conditions of the quality charter on construction sites established by of the City of Paris, with regards to limiting hours of work, noise pollution, dust, traffic, and waste disposal. Our goal is to meet the standards required for the building to be attributed a high environmental quality award, which means that we will be paying close attention to working conditions on the site.
The project will also foster social cohesion: 7 percent of work hours will be undertaken by people doing work-training or who have been unemployed for an extended period of time.