Jean-Marie Tjibaou Cultural Centre

Map of the centre

The entire complex has been built along a 250 metres (820 ft) long ridge of the peninsula (a cape that extends southeast into the Pacific Ocean[3]). The arrangement consists of 10 units called "cases," or hut pavilions, arranged in three groups or village clusters with one tall hut (the largest is 28 metres high) in each cluster representing the traditional "Great Hut" of the Kanak Chiefs. The main axis of the Cultural Centre (somewhat off the cardinal axis) consists of many covered walkways, green spaces, outdoor rooms, and gardens that are interlinked with the pavilions or cases and also with the smaller office buildings. The arrangement of the structures around the main axis has a symbolic content for the Kanaks. All the huts are of different sizes and different functions, but with the consistent form of vertically positioned shell-like structures which resemble the traditional huts of a Caledonian Village. They are arranged in a row sequentially along a lower rectangular path that follows the gentle curve of the peninsula. It forms a unique cultural ensemble at the Cultural Centre of arts built with wood technology using long-lasting iroko wood. The overall effect is that it "looks like a unified homogenous whole". A laminated wood construction blends with engineering architecture and is suitable for everyday use. The cultural centre has thus been described as "a perfected masterpiece and a deeply impressive, earth-bound example of a new interpretation of modernism".[2][3][11] The layout takes note of the prevailing easterly wind directions from the sea and the structures as a whole are built to take full advantage of the wind and are also oriented to control sunlight and solar heat gain. The curved outer face of the huts is in direct contact with the windward side of the stormy Pacific Sea whereas the leeward side is oriented towards the serene lagoon. The sunlight engulfs the structure and casts a continually changing pattern of shadows through the louvers and members of the staves of the cases.[2][3]

Another aspect of the layout is about the design of the paths connecting the cases and providing approach to them. They are covered so that visitors can walk in the area with comfort, as the average temperature in the area is 20 °C (68 °F) to 23 °C (73 °F) from April to August and 25 °C (77 °F) to 27 °C (81 °F) from September to March. The main sides of the paths are not covered with walls, as it would prevent air circulation and make the corridors intolerable. However, where the paths are open to direct light, louvers have been installed.[3]

The landscape layout of the cases is set amidst transplanted Norfolk Island pines, which are as tall as the cases. Smaller trees are also planted in the areas near the lower offices.[3] This layout presents a "planted indigenous landscape". A Melanesian food garden with taro and yam are also grown. Paths to the Great House are planted with Araucaria columnaris or column pine and coconut trees.[4]

A case under construction

The materials used in the building of the conical domes consisted of laminated wood and natural wood, concrete, coral, aluminium castings, glass panels, tree bark and stainless steel. The iroko (Clorophora excelsa) timber used extensively was imported from Africa (native to tropical Africa, from Sierra Leone to Tanzania); it was decided to use iroko because it was durable, and mostly resistant to attack by insects, fungi and mould. The frames of all cases were pre-fabricated in France and assembled on-site.

Diagram of a case drawn by architect Renzo Piano

The exterior part of the huts is given an ancient appearance whereas the interior of each hut has rectangular space (for housing permanent and temporary exhibitions, administration offices and studio spaces), where all amenities feature modern technology. The space within each hut was achieved by discarding the central pillar, a deviation from the traditional Kanak hut design. In the circular design of the hut’s shells, the height to diameter ratio was reduced giving more space, which also resulted in greater dynamic ventilation, as was corroborated by wind tunnel tests.[2] The cases have giant curved ribs or staves, which are made of iroko slats and steel connections and which also act as climate control devices. The outer ribs are a curved assembly of slats, which are joined to a straight vertical rib that together form part of the case structure. The staves are designed in such a way that the individual pieces appear as if they are woven together. The roof is made of corrugated aluminium sheets. It has a double roof system, which contributes to the play of shadows. The bottom of the wall, formed by the arc of the staves, has special louvers, called nacos. The nacos open and close in tandem automatically by computer control calibrated to the speed of the wind. The double roof system also allows air to pass through the roof unchecked. During the monsoon season, the winds that blow over the cases are very strong, the compound curve of the cases resists the wind, with the nacos facilitating this action further by allowing air to pass directly through the cases.[3]

View of seven of the Tjibaou Cultural Centre pavilions, spanning roughly half the entire complex, from the facing sea.

In general, the exhibits in the Cultural Centre are organized in the three villages. In the first village, the emphasis is on exhibition activities. Right at the entrance is the permanent exhibition where visitors are given an insight into the Kanak culture. The cases that follow have displays related to the history of the community and the natural environment. This is followed by areas for temporary exhibitions and a theatre, a sunken auditorium where 400 people can be seated. An open-air theatre is provided behind the auditorium where cultural performances are held. The second village complex is used for the offices for historians, researchers, curators of exhibitions and administrative staff. The cases in front of the offices have a multimedia library and the halls here are used for conferences. The village at the end of the path, which is located slightly away from the visitors' area and which has studios, is devoted to creative activities such as dance, painting, sculpture, and music. There is also a school for children where they are taught the local art forms.[12]

Notable exhibition halls in the sail-like structures of the cases include Case Bwenaado, Case Jinu, Case Mâlep, Case Umatë and Salle Bérétara. The Case Bwenaado or pavilion, a customary assembly place, houses the artifacts created by artists of the region. They symbolize the link among ethnic groups of the Pacific in respect of the traditions of their oral beliefs and rituals that govern their life. A new collection in this case received in May 2008, on loan from the Musée du Quai Branly, features 16 Kanak items dating from the late 18th century to early 20th century.[13][14] These are in the form of historical pieces of Kanak sculpture and implements representing a rich Kanak heritage, though they are on loan from other museums.[12] The Case Jinu or pavilion has six exhibits that are titled "The spirit of Oceania" which depict the origin of the world, people and their habitats from across the Pacific. The Case Mâlep has exhibits depicting the life and work of Jean-Marie Tjibaou, charismatic leader of the independent movement who initiated action to set up the Kanak cultural centre.[15]

Exhibitions are rotated throughout the year, and temporary exhibitions are also part of the complex. The centre also has two workshops of artists. They have been given a deliberate "unfinished" appearance as a reminder that Kanak culture is still in the process of evolution – a belief held by the deceased Canaque leader, who was the inspiration for the site. The complex includes the Department of Visual Arts and Exhibitions which is intended to promote the creation of plastic contemporary Kanak art.[15] The Fund for Contemporary Kanak and Oceanian Art (Le Fonds d'Art Contemporain Kanak et Océanien) was created in 1995, and consists of over 600 contemporary works from Australia and the Pacific Islands including New Caledonia.[15]