法国克里孟梭国家博物馆
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乔治·克列孟梭于1841年出生在法国西部的滨海省Vendée，是一位政治家和记者，他在法兰西第三共和国中占据主导地位，并作为总理为第一次世界大战的协约国胜利做出了重要贡献。被称为“胜利之父” Père la Victoire 或“老虎” Le Tigre 的他，不仅在法国政治历史上留下了遗产，还参与了世纪末巴黎的文化生活，与罗丹、莫奈和卡里埃尔建立了长久的友谊。他作为杂志《黎明》 L’Aurore 的编辑参与了德雷福斯事件，该杂志因左拉的文章《我控诉》“J’Accuse” 而闻名，并成功说服克劳德·莫奈完成他的杰作《睡莲》，在莫奈去世后严格按照他的意愿为《睡莲》画作开设展示房间。
如今，他位于穆耶龙-昂-帕雷的故居已转变为博物馆，将他的私人世界和公共生活带入公众视野。该项目源于其位置，尊重其历史结构。设计旨在提供一个开始新叙事的机会，建筑力求揭示其原始和当前的目的。
该概念提出了对建筑原始外观的最小视觉妥协的现代干预。从一个角度来看，建筑在构图和博物馆学上遵循了房屋的传统家庭特征。其本质和乡土材料得以保留，石材经过刷洗，框架被清理，为博物馆展示留出充足的空间。新元素与参观者的路径交织在一起，激活独特的体验，遵循现有建筑的节奏。
光线经过调节，以满足特定的策展要求，而场景布置、楼梯和电梯则突显了坚固的材料，使参观者能够在不干扰的建筑环境中专注于展品。现代混凝土地板暗示了进行的重大改造，同时创造了统一的氛围。博物馆展示了乔治·克列孟梭的生平与作品，将展览空间分布在房屋的两个层面。传统家具以教学展示物的形式重新诠释，而多媒体设备则展示了乔治·克列孟梭的故事与我们当今社会之间的联系。
小镇及其存在在设计过程中发挥了重要作用。为了与社区建立联系，毗邻的谷仓被重建，以增加音乐会、放映和展览的新项目机会。花园作为博物馆概念的关键元素被复兴，并积极融入方案中，创造与克列孟梭-德拉特博物馆的联系。博物馆揭示了艺术与建筑如何相互受益于彼此的挑战，为参观者揭示建筑的真实内涵，并通过非正式的学习机会，提供对历史和当代的新视角。
Born in 1841 in the Vendée, a coastal department of western France, Georges Clemenceau was a politician and journalist, who was a dominant figure in the French Third Republic and, as prime minister – a major contributor to the Allied victory in World War I. Nicknamed "Père la Victoire" (Father Victory) or "Le Tigre" (The Tiger), he left not only a legacy in the political history of France, but was engaged in the cultural life of fin-de-siècle Paris, having a long-lasting friendships with Rodin, Monet and Carrière. He was involved in the Dreyfus affair as editor of the journal L’Aurore, famous for Zola’s article “J’Accuse”, and managed to persuade Claude Monet to finish his masterpiece Nymphéas, inaugurating the rooms for display of the Water Lilies paintings in strict accordance with Monet’s wishes after his death.
Today, his native house in Mouilleron-en-Pareds is transformed into a museum, pulling his private world and public life into the public realm. The project emerged from its location, with respect to its historical structure. Designed to give the opportunity to begin a new narrative, the building seeks to uncover both its original and current purpose.
The concept proposes contemporary interventions with minimum visual compromise to the building’s original appearance. From one perspective, the architecture follows, both in compositional and museological terms, the traditional, domestic character of a house. Its essence and rustic materials are preserved, the stone is brushed, the framework is cleaned, leaving ample space for the museography. The new elements are interwoven into the visitor’s path to activate a unique experience, following the rhythm of the existing architecture.
The light is moderated to meet specific curatorial requirements, while the scenography, staircase and elevator highlight the robust materials, allowing the visitor to focus on the collections in an unobtrusive architectural environment. The contemporary concrete floor suggests the heavy modification that was carried out, simultaneously creating a uniform ambience. The museography follows the life and work of Georges Clemenceau, spreading the exhibition spaces on the two levels of the house. The traditional furniture is reinterpreted in the form of pedagogical showcases-objects, while multimedia devices illustrate the links between Georges Clemenceau’s story and our present society.
The town and its presence play a big role in the design process. To create a link with the community, the adjacent barn is reconstructed to add new programmatic opportunities for concerts, screenings and exhibitions. The gardens, a key element in the museum’s concept, are revived and actively integrated into the scheme, creating a link to the adjacent museum of Clemenceau-De Lattre. The museum reveals a new perspective on how art and architecture would benefit from each other’s challenges, unveiling the real substance of the building to its visitors, and, through its informal learning opportunities, giving a new vantage point on history and present times.