DEREK JAMES KLEYNHANS

Advanced Building Technology

APG4041S | 30 October 2019

Image Source: http://it.trekearth.com/gallery/Europe/France/North/Ile-de-France/Paris/photo1531085.htm

THE INTERSECTION

BETWEEN SCUPLTURAL

ARCHITECTURE

AND THE RATIONAL LOGIC OF

FORM AND SPACE MAKING

FRANK GEHRY’S
Fo n d at i o n Lo u i s Vu i t t o n

[ Deconstructivism ]
Image Source: elovart.com/25_france_paris_fondation_louis_vuitton_photo_deux
CONTENTS
* 3 ABSTRACT

* 4 DECONSTRUCTIVISM IN ARCHITECTURE

* 8 IMAGES: FONDATION LOUIS VUITTON

* 10 CONTEXT

* 12 POLITICAL CAPITAL

* 13 ARCHITECTURAL DESIGN

* 17 THE SITE & THE BUILDING

* 18 PLAN DRAWINGS

* 20 DESIGN ANALYSIS DIAGRAMS

* 22 STRUCTURE

* 24 ENVELOPE

* 26 SEQUENCE OF WORKS

* 27 BUILDING PERFORMANCE

* 29 SUSTAINABILITY

* 31 CONCLUSION

* 32 REFERENCES

* 34 LIST OF CONTRACTORS & TRADES

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making
A BSTRACT

This inquiry interrogates elements of architecture

associated with the building’s envelope or skin:

whether it be its roof or its walls or the ambiguity

between the two. The basis of the inquiry situates itself

in opposition to the historical or traditional function of

the abovementioned architectural devices.

Deconstructivism

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making
D ECONSTR UCTI V I S M

IN POST-MODERN ARCHITECTURE

DECONSTRUCTIVISM, These forms often lend themselves to a

A MOVEMENT OF THE sculptural manifestation of built works such
as the many designs of Frank Gehry, Zaha
ARCHITECTURAL ERA
Hadid and Daniel Liebeskind.
OF
It is perceived as the fragmentation of form and the manipulation
POST-MODERNISM of a building’s envelope which seeks to disrupt notions of harmony,
continuity and symmetry. It is often characterized by non-rectilinear
FINDS ITSELF IN shapes which di` and distort the architectural impression of a building,
allowing endless possibilities of alternative space making.
FORMS WHICH DEFY
But even irrational Deconstructivist architecture is faced with
RATIONAL AND the practical responsibilities of form making and tectonics. James
FUNCTIONAL Risser (1992) refers to the limitations of construction in realising
architecture as art. However, Risser concedes that the “functionalism
ARCHITECTURE. of modern architecture was more symbolic” in ordering social
forces upon the cartesian plane. In which case Post Modernism and
Deconstructivism may in itself be an architecture of freedom which
allows for uniqueness to emerge – disregarding its egoistic and self-
determined expression. Deconstructivism, according to Risser, is
perhaps the conflict between imagination and reason.

However magnificently, Deconstructivism challenges the binary

notions of form. Arguably, the most beautiful tensions which arise is
its intersection with the rigidity of functional space and form which
due to the bureaucracy of client, brief, budget and program, finds its
manifestation within the curved sheets of steel, the soaring wings,
the branches which grasp at the heavens or the melting skin. The
point at which the organic terminates and meets the rational both
spatially but also in construction – through the physical making of
these sculptural forms.

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making
“The new order is disorder. Nature has an order, but it

doesn’t all look like Greek temples. And I think, since a

human being is designing a structure, that for me, it has

to do with humanizing and engaging the user and being

episodic instead of singular in its experience.”

- Frank Gehry

Image Source: https://mag.citizensofhumanity.com/blog/2017/02/13/frank-gehry/

Through investigation, it is clear that Deconstructive forms find its voice in the
language of digital technology (Schumacher, 2009); parametric design being a key
driver for the production of irrational, organic forms. However, no matter how
irrational deconstructive architecture is perceived to be, its tectonic assembly is
usually through a kit of parts or a repeated construction method in an irregular
or algorithmic way. This merely speaks to the conception of form or its specific
design but not necessarily the process of making them.

Generally speaking, it can be assumed that the physical architecture is produced

by a variety of elements of the same nature, assembled in various ways to achieve
discontinuity and free form. However, the sculptural elements are made up of rigid
elements, small enough to appear organic or bendable, or are rigid in expression
but ununiformly so.

Frank Gehry’s Foundation Louis Vuitton has been both an architectural achievement
and an eyesore. Regardless, its intricacy in solving questions of construction are
remarkable in understanding how two incredibly different types of space can co-
exist and produce a building of multiple characters, perceived in different iterations
of space within the building. Firstly, we look at the intersection of the building’s
armour with the rational exhibition spaces and secondly, we consider how even
irrational-looking architecture requires logical methods of existing.

An investigation into Frank Gehry’s Foundation Louis Vuitton suggests that the
interaction between the free form and the rigid constraints of internal program
intersect largely through visual access or after a threshold is breached (internal/
external). Alternatively, Daniel Liebeskind’s Jewish Museum in Berlin regulates
the internal program through the architectural principles of the building’s skin or
outer expression.

My argument will combine all known literature concerning the initial design
process vs. the brief, the digital technology involved in achieving irregular form
with the unknown (or known but isolated) literature of how organic architecture

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making
Image Source: joselito28.tumblr.com

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making
FO NDAT I O N LOUI S V UI TTON
BUILDING CASE SELECTION

PROJECT NAME: FONDATION LOUIS VUITTON

PROJECT TYPE: ART & CULTURAL CENTRE

LOCATION: JARDIN D’ACCLIMATATION,

BOIS DE BOULOGNE, PARIS, FRANCE

CONSTRUCTION DATES: 2008-2014

PROJECT OWNER/CLIENT: LOUIS VUITTON FOUNDATION |

LVMH MOET HENNESSEY

COST: EURO 100 MILLION INITIAL BUDGET

(ASSUMABLY EXCEEDED BY 1/3 OF)

PROGRAM: GALLERIES | EXHIBITION SPACES |

RESTAURANT | AUDITORIUM |

TERRACES FOR FUNCTIONS |

LIBRARY

SIZE: 11700SQM

ARCHITECT: FRANK GEHRY, GEHRY PARTNERS LLP.

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making
The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making
Images Source: Iwan Baan

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making
CONTE XT

BERNARD ARNAULT, CEO AND CHAIRPERSON OF LVMH (LOUIS

VUITTON MOET HENNESSEY) HAD BEEN INTRIGUED BY FRANK GEHRY’S
GUGGENHEIM MUSEIM IN BILBAO, SPAIN AND HAD WANTED TO
PARTNER WITH THE ARCHITECT EVER SINCE IN DESIGNING A HOME FOR
THE FONDATION LOUIS VUITTON.

BERNARD ARNAULT FRANK GEHRY GEORGES-EUGENE

LOUIS VUITTON AMERICAN ARCHITECT HAUSSMANN
MOET-HENNESEY

Image Source (Bernard Arnault) https://www.forbes.com/sites/luisakroll/2018/01/26/luxury-

goods-titan-arnault-now-richer-than-zuckerberg-after-record-lvmh-results/#5a1c1b4b5ff3

Image Source (George Eugene Haussmann) https://www.museeprotestant.org/en/notice/georg-

es-eugene-haussmann-1809-1891-2/

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making
Image Source: Minor Sights

JARDIN D’ACCLIMATATION

In order to free the design of the constraints of being situated within Paris’ city centre, Arnault took advantage of
LVMH’s concession to the 20-hectare Jardin d’Acclimatation in the Bois de Boulogne. (Czech and Slovak Leaders,
n.d.).

The Bois de Boulogne was established in 1852 and is the 2nd largest park in Paris today – consisting of more
than 845 hectares. A large amount of the park’s natural environment was reconstructed during the 1800s by
Napoleon III who envision streams and lakes to bring the arid promenade to life. Under Georges-Eugene Hauss-
mann (concurrently the person responsible for the transformation of Paris between 1853 – 1870) lakes were
constructed and the earth piled into islands and hills to create the landscape which is still in existence today,
along with the designed network of roads and paths (de Moncan, 2009).

The Jardin d’Acclimatation, situated to the north of Bois de Boulogne, was established in 1860 as a 19-hectare
zoo and later a children’s amusement park. During mid-colonialist times, the Jardin saw the exhibition of native
African peoples, including Bushmen and Zulus, until 1931 when it was finally deemed politically incorrect (Minor
Sights, n.d.).

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making
P OLI TI CA L CA PI TA L
According to (Wainwright, 2014), the planning codes of the Bois de Boulogne
prohibited the erection of buildings in the protected park – Certain structures
being allowed under special circumstances. The Fondation was to be built on the
site of an existing, but derelict, bowling alley. The existing structure – which was to
be demolished - defined the height limitations of the new-build to a mere 2-stories
(Giovannini, 2014), undefined by measured height restriction.

Private residents, together with environmentalists, had the building permit revoked
in court. Soon thereafter, the French National Assembly passed legislation which
considered the project part of public interest and a “Major work of art for the
whole world” (The Economist, 2014). I surmise that this decision was based on
Bernard Arnault’s intention to relinquish the ownership of the Fondation Louis
Vuitton as well as LVMH’s cessation to the Jardin d’Acclimatation back to the city
of Paris, a mere 55 years after its completion (The Economist, 2014).

Image Source (Initial Sketchs by Frank Gehry) The sailing yacht Suzanne, designed by William Fife, 1911
https://paintingvalley.com/louis-vuitton-sketches#louis- https://www.reddit.com/r/sailing/comments/
vuitton-sketches-11.png 8doyqg/the_sailing_yacht_suzanne_designed_by_william/

Image Source (Jardin d’Acclimatation: http://mamalovesparis.com/revamped-jardin-dacclimatation-paris-2018/

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making
AR C H I T ECTURA L D ES I G N
BUILDING CASE SELECTION

Design Considerations & Constraints Generative Architectural Ideas

In an interview (Giovannini, Gehry explains that each of these two elements

2014), Frank Gehry explains that were independently developed which speaks of
the intersection between the rational and the
due to the site’s constraints, the
asymmetrical, parametrically designed façade/roof.
project was conceptualized and The reason for the disconnect in these two forms
represented as a garden building, are largely because the exhibition spaces had been
reminiscent of the garden’s history prescribed by the curator as needing to be classical
of glass architecture during the while the building itself needed to be imposing and
19th Century (Czech and Slovak almost a monumental representation for the client.
The ‘Icebergs’ were then developed to interact, subtly,
Leaders, n.d.), while drawing
with the deconstructivist elements which surrounded
on antecedents such as Joseph them by allowing natural light and circulation to occur
Paxton’s Crystal Palace in Hyde between the two.
Park.
Gehry’s initial sketches express dynamic contours
But due to the nature of the building’s throughout the façade as if it were a boat or yacht being
program, a glass pavilion would not have pushed by horizontal forces (Wiki Arquitectura, n.d.).
been suitable to house exhibition halls filled Ultimately, this was the initial idea which resulted in the
with art. As such, Frank Gehry’s Foundation dynamic design of form, evident in the undulating envelope
Louis Vuitton, integrates the pragmatic of the building in its glass canopies but also through the
use of functional exhibition space with sculpted ‘icebergs’.
Deconstructivist principles (in retrospect)
of form making and its rather sculptural Gehry was inspired by the nature of the park, its lakes and
interpretation. Gehry explains that the height streams which had all been constructed. Gehry saw reason
restriction could be and effectively was in creating a Grotto (artificial cave) beneath the structure
exceeded with the use of transparent glass in to allow for cascading water to envelope the base of the
the undulating façade – which embodied the structure. This would allow the building spatial efficiency
notions of pavilion structures. The solid two- in creating more galleries 7 meters below ground but also
storey exhibition building of solid walls (clad allow the Fondation Louis Vuitton to float, like an anchored
in fiber-reinforced concrete panels) became boat, at the entrance to the Jardin d’Acclimatation. The
known as the icebergs while the remaining building’s ground floor hovers, separated from the park with
façade elements became known as the sails – connecting paths and walkways which is considered the
an architectural interpretation of the Suzanne entrance to the Jardin. It is an active space which allows for
Yacht of 1911 (ArchDaily, 2014). social and public activity.

The Fondation Louis Vuitton reached a height Gehry’s aesthetic object was to produce a building which
of more than 56 meters, following the design situated itself in the park like a sculpture would. Gehry
articulation of the upper Gallery spaces had experimented with undulating glass facades before,
which reached this height through sculpted but now had the ability to fully explore the freedom of
skylights while the alternate spaces consisted deconstructive architecture. From the upper terraces,
of mezzanine levels, therefore not technically canopied by the sails, views extend to the City of Paris, La
exceeding the 2-storey limit. Defense and beyond while sailing through a sea of trees –
integrated due to the use of glass.

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making
Image Source: ArchDaily Image Source: ArchDaily

Image Source: ArchDaily Image Source: ArchDaily

Image Source: ArchDaily

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making
EXPRESSION OF MATERIALS & THE
CELEBRATION OF TECTONICS

While the exterior of the building is clad (hiding the

structure which supports it) and the interior of the gallery
spaces sculpted with rendered plaster, Gehry allows
glimpses of the elements which allow the Fondation its
integrity. In spaces such as stairwells, Gehry articulates
the structural use of steel by leaving it exposed. And while
much of the internal spaces represent soft, light spaces,
the exterior terraces boast steel and timber members,
allowing the expansive envelope its structure. The
Image Source: ArchDaily
representation of space within the galleries differ greatly
from those between the galleries and the exterior spaces
and thus forges a multiplicity of atmosphere, experience
and potential.

The building, which seems rather futuristic, displaced and

foreign to the architecture of Paris, is in fact aligned not
only with Paris’ prospective future (La Defense) but also
with its historical involvement in the Industrial Revolution
which saw the production of building elements through
technological advances in France. Additionally, the
building marries Architecture (and technology) with the
Fashion industry – one of Paris’ biggest economies.

Ultimately, the building consists of sleek textures of

stone, ceramic tiles, plastered walls, glass and steel while
colour is used sparingly, if at all. The materials used in
the construction of the building along with their inherent
colour qualities and chosen coatings of a softer colour
palette allow the Fondation to reflect its surroundings
while remaining true to its materiality.

SOCIAL PROGRAMME & SPECIALISED

ACTIVITIES

The Fondation Louis Vuitton has foor area of 11700m2

of which 7000m2 are usable floor space and 3850m2 are
gallery spaces (FIDIC Awards 2015, 2015). The building
consists of 11 galleries of various shapes and sizes, a
350-seater Auditorium and multilevel roof terraces (WSP,
n.d.).

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making
Image Source: Wiki Arquitectura

Image Source: Wiki Arquitectura

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making
T HE S I TE
AND THE BUILDING

Roof +-46000 mm

NGL (Park)

Level -1 -7000 mm
Basement +-12500 mm

The Fondation Louis Vuitton is located at the midpoint between the

historical City centre of Paris (South East) and the contemporary La
Defense (North West). Situated in the north of Bois de Boulogne, it
mediates the entrance to the Jardin d’Acclimatation to the north while
being bordered on the south by the Île Aux Cèdres, Island of Cedar trees.

It also finds itself as one of the many perimeter buildings which add to the
boundedness of the Amusement Park. Regardless to say, the Fondation is
surrounded by greenery, bodies of water and constant foot traffic.

The Fondation Louis Vuitton is founded 12.5 meters below grade and the
adjacent park (in its own pool of water) and reaches a height of up to 56
meters above ground (Czech and Slovak Leaders, n.d.). Due to the nature of
the park’s existence and function as an amusement park, the topography in
this location is relatively flat without much variation in terrain. The project,
therefor, did not actively call for retaining structures. However, the artificial
pool of water which collects at the bottom of a cascading or terraced water
feature, was constructed beneath the building and mediates (at the highest
point) the level change towards the lower galleries. This constitutes the
larger part of the landscaping found on site.

At grade, the drop in level to the grotto invokes a subliminal pause, before
the user directs themselves into and through the building via bridging
pathways. The building consists of two entrance/exit thresholds: one located
to the south of the building, mediating entrance in to the building from
outside of the Jardin, and the other located to the north of the building,
mediating entrance from the building into the Jardin. The entrance hall
therefore becomes a thoroughfare. However, entrance is regulated from
outside of the building (especially on busy days) where users are permitted
access according to the allocated entrance time of their visit.

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making
Drawing Source: Architectural Review . com

Gallery

Level -1

Gallery

Level 0

Gallery

Level 1

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making
ry
lle
Ga
Gallery

Level 2

Level 3

Level 4

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making
VOLUMES

CIRCULATION & SERVICES

MASSING

Image Source: Flickr.com

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making
D ES I G N A NA LYS I S
DIAGRAMS

Mediators between Building

& Site

The south entrance, being the

main entrance, is a grander
arrival. It is accentuated by its
own floating canopy of fritted
glass above the entrance doors
Image Source: Fondation Louis Vuitton and bejeweled with the Brand
name and logo of Fondation Louis
Vuitton. The north entrance, used
ENTRANCE
mainly as the exit, retreats from
the envelope of the building and
is held by the glass structures.
The restaurant is situated on this
side of the building which opens
up to the Jardin d’Acclimatation
– and is perpetually shaded by
the building. The overall site to
park threshold is mediated by
pathways of cobblestone which
wrap around the Fondation Louis
Vuitton.
Image Source: Wiki Arquitectura
Externally, the grotto is accessible
from 4 points on the perimeter of
PROGRAM
the site via staircases which lead
directly to the basement floors
and pathwats without entering the
building. Some of these stairways
are incorporated with service
rooms situated away from the
building and tucked underneath
the steps or underneath walkways
along the perimeter.

FORM

The Intersection between Sculptural Architecture and the Rational Logic of Form and Space Making
STR UCTUR E

FONDATION LOUIS VUITTON

Very few sources interrogate the geotechnical conditions of the site, but what is known is that the building is
founded above two water sources which assist the building in terms of passive heating and cooling.

Substructure

Foundation

The Fondation Louis Vuitton, founded 12.5 meters

below the ground level, sits on a 2600mm thick
foundation of Steel Reinforced Concrete. This
slab was constructed earlier on in the process
before the studies on load distribution had been
completed. Furthermore, the deep slab allows for a
tight distribution of uniform loads. The Foundation
slab required 11000m3 of concrete and 12tons of
steel.

The rest of the surrounding construction, not

structurally linked to the main building, is founded
upon reinforced concrete rafter/slab foundations
of approximately 500-600mm in thickness.

Basements

The lowest floor, represented in diagrams as

exhibition space but may very well be space
dedicated to building services, is situated below
the level of the pool of water.

Retaining Walls

Based on calculated assumptions, all retaining walls

as well as basement walls are constructed of steel
reinforced concrete.

Image Source: Wiki Arquiectura

22 THE INTERSECTION
Image Source: Fondationlouisvuitton.fr Image Source: Fondationlouisvuitton.fr Image Source: Trimble Consulting

Primary Structure Secondary Structure

The primary structure of the building is separated into three Situated on and joined at carefully determined
‘blocks’ of structure, located in the west, the center and the points on the primary structure, steel frames
east. Essentially, the superstructure begins at the reconstructed are constructed which support the Icebergs.
‘ground level’ of the grotto or pool of water (Level -1). Joining these steel frames back to the primary
structure allows for freedom in placing the
Substructure iceberg elements which do not necessarily ter-
minate at the level of the grotto. The second-
To the west and centre of the building, the primary structure
ary steel frames are also support structures for
consists of reinforced concrete columns and walls for the Gallery
what are referred to as ‘tripods’ – the tertiary
space as well as free-standing reinforced concrete columns
structure which will support the sails (Wiki
supporting the steel structure for the icebergs above.
Arquitectura, n.d.).
To the east, we see a combination of both reinforced concrete
columns and walls but also steel columns which support the
curtain walls surrounding the Auditorium. The free-standing
Tertiary Structure
columns located to the east continue their journey through the
ground floor (Level 0) to support structural floors and lastly the
sails of steel, timber and glass.
The Icebergs’ secondary structure, attached
Icebergs which ascend from and are built at the level of the grotto, to the steel frames, are massive cladding sup-
begin their primary structure of steel columns at the footing, port panels prefabricated in a workshop and
bypassing the need for concrete substructure. includes steel structure, insulation and water-
proofing. These panels measure 12.5 meters
All primary concrete structure not associated with the gallery by 2.5 meters.
spaces are rotated off axis and are slanted to meet the requirements
above. The rest of the tertiary structure is reserved
only for the sails. The tripods are made up
Superstructure of steel and Glue Laminated Austrian Larch
timber beams embedded with steel rods and
Throughout the building, the primary structure remains similar to
connection plates (McGuigan, 2014) to which
the above-mentioned substructure. In essence and as a rule, the
179 Glulam timber beams – ranging between
primary superstructure consists of reinforced concrete columns
3 – 28 meters in length - are bolted at angles
and walls around all gallery/exhibition spaces. The rest of the
ranging between 0-250deg. These timber
primary superstructure is made up of steel H columns, girders and
member dimensions in width range between
trusses; thus, all free-standing columns terminate at the height of
400mm x 400mm to 400mm x 1200mm
the ground floor galleries. All floors are part of the superstructure
(Archello, n.d.).
and are constructed of concrete.

THE INTERSECTION 23
E NV E LOPE

Image Source: FIDIC Image Source Fidic:

Cladding

Cladding Support Panels

Following the primary structure of the Icebergs, big composite cladding support panels are fixed to the Steel
framework. These panels are 12.5 x 2.5m in size and are prefabricated in a workshop. The composite consists of
a steel structure, insulation and waterproofing (FIDIC Awards 2015, 2015).

Ductal® Panels

The support panels are then cladded with 19’000 High Performance Fiber-Reinforced Concrete Panels or
tiles (McGuigan, 2014). The Ductal® panels (FO B3 White Titanium) are used to clad the extensive combined
9000m2 façade area of the Icebergs (Ductal Engineering Solutions, 2016). 60% of the panels are unique and
all of them are cast in silicone molds at a French factory and are installed on the support panels of welded steel
(McGuigan, 2014).

The casting-based manufacturing process of the organic fibre-reinforced concrete allows the panels to achieve
a thickness of 25mm. A Vacuum Mold (VM), developed by MSV and patented by Lafarge in 2008, is achieved by
positioning the deformable silicone mold on a template using vacuum pockets. The flexibility of the formwork
creates a smooth finish and unique curvature. The geometries are provided by a CNC-machined polystyrene
template and when flat is measured at 1500mm x 400mm.

Each panel contains a code which follows it from manufacture to assembly. There is little room for error as each
inter-panel horizontal joint is only 10mm and each vertical joint is 7mm. High durability is guaranteed by a water
and oil repellent protection solution, produced by Guard Industrie. UV weathering tests are done and any panels,
accessible to the public, are covered in an anti-graffiti coating. (Ductal Engineering Solutions, 2016)

24 THE INTERSECTION
Image Source: Trimble Consulting

Image Source: Wiki Arquitectura

Glazing Systems

The Fondation Louis Vuitton consists of

13500m2 of Exterior glazing. Produced in
Italy by Saint-Gobain the glazing panels are
Image Source: https://www.interiordesign.net/slideshows/ made with unique shapes and curvature
(1.5m x 3m). The glass panels are attached
to a base structure using a framework of
2000 tons of carbon steel, 2000 tons of
high strength duplex stainless steel and
800m3 of wooden beams, (Design Build
Network, n.d.).

For the Undulating sails, located externally

to the building, 3600 unique panels
of curved, laminated, fritted glass was
produced by Saint Gobain. The glass is
fritted for translucency and to reduce solar
heat gain. (McGuigan, 2014).`

Image Source: Fidic

Roof Terrace Finishes

All floors in the gallery spaces are sur-

faced and finished with poured resin.
(McGuigan, 2014)

External terraces are clad in stone: Ro-

camat’s “Rocherons Dore”. The stone is
beige shade and slightly pink. Quarried in
Burgundy, the stone is sawn to heights of
30m. (SNROC, n.d.).
Image Source: https://studios.com/projects/fondation_

THE INTERSECTION 25
S EQU E N CE OF WOR K S

Construction on site began in March 2008 with the start of earthworks

and the diaphragm walls; followed by civil works which commenced in
September 2009.

By 2011, contractors had completed the construction of the carcass of the

Fondation Louis Vuitton and had fitted the Steel framing structure.

2012 saw the installation of the Ductal Ultra High Performance Fibre Rein-
forced Concrete panels and then the glass roofs.

By 18 December 2013 the final building and finishing elements had been
installed and the building was accepted on the 28 February 2014.

In 2014, all landscaping surrounding the building had been completed and
the building was opened to the public in October 2014.

Image Source:https://www.lemoniteur.fr/article/canali Image Source:https://www.lemoniteur.fr/article/canali

Image Source:https://www.lemoniteur.fr/article/canali Image Source: https://www.lemoniteur.fr/article/canali-

26 THE INTERSECTION
B U I L D I NG PE R FOR M A NCE

Image Source: https://www.interiordesign.net/slideshows/ Image Source: https://www.interiordesign.net/slideshows/

Acoustics Natural Light

Auditorium Daylighting is captured through the voluminous,

sculpted lights shafts/skylights which pass indirect
The auditorium is a space designed for various and filtered light into the gallery spaces. Most of
performances including live classical music the program on ground floor and intermittently
performances. Critical considerations included between the gallery spaces on lower and upper
the shape of the room, the glazed curtain floors are enclosed by glass curtain walls which
wall and material finishes. The acoustic brief allow the natural daylight to penetrate either
dismissed electronic sound equipment and had through the whole floor or at carefully placed
to function without it. openings throughout the building’s circulation and
ante-spaces.
Smooth surfaces were limited to the upper half
of the auditorium while the lower half consisted In the Fondation Louis Vuitton, Daylight is meant
of curved glass in order to reduce direct sound to assist in changing the quality of the cultural
reflections. Sound reflectors of cast aluminium centre by considering the ephemeral qualities of
help project the sound towards the audience. time – thereby reflecting different light quality and
Sound is further diffused by the walls (MDF, transforming the building as the day progresses
steel and wool) and ceilings (MDF, steel and from morning to evening.
melamine foam). (Nagata Acoustics, 2014)
Sunscreeding and the control of Daylight penetration
is regulated by Screen-printing on glazing (Curtain
Walls) as well as through fritted glass panels (Sails).
Both the screen-printing on glass surfaces and the
fritted glass reduces solar radiation and the amount
of light which is allowed to penetrate.
Image Source: Nagat Acoustics

THE INTERSECTION 27
Image Source: https://studios.com/projects/fondation_

Horizontal Wind Loads Service Coordination

Due to the irregular forms which constitute The majority of the MEP (mechanical, electrical
the Fondation Louis Vuitton, the building did and plumbing) services provided by Setec
not comply with the stringent application of Bâtiment are hidden. These includes cameras,
European regulations. Therefore, engineers fire detectors, switches, service panels and
had to invent a technique to allow and record more.
wind effects. Wind pressures were physically
recreated in a wind tunnel of 3000 sensors.
The data was then processed, fine-tuned and
fed back into the calculation model to ensure
that the building could accommodate dynamic
effects (FIDIC Awards 2015, 2015).

Fire Safety Engineering Technology in Paramteric Design

Fire testing, done by Efectis, was based on

conventional construction systems and rather The reality of parametric design is that it requires
confirmed the fire resistance of each element, digital tools to plot points in space which create
not considering the dismissible construction or the irrational forms and parameters. Gehry’s
finishing elements. That is: the fire resistance office adopted program software originally
of all steel member, timber Glulam beams, used for the aviation industry in France to
interior plaster boards (which required and realise the big forms which first breathed life
added additional fire resistance), concrete and as scaled physical models. Alternatively, the
laminated glazing. Rigorous testing confirmed execution of parametric design also has its
the building’s efficiency, even in rooms with tall roots in digital animation techniques of the
ceilings. mid-1990s (Schumacher, 2009).

28 THE INTERSECTION
S U STA I NA BI LI TY

Rainwater Systems

Rainwater, which is recovered from the glass canopies and stored in a separate system, is
first used to clean the facades and windows (Czech and Slovak Leaders, n.d.). Rainwater is
also collected in a separate tank of sufficient capacity, filtered and fed into the three pool
systems and all bathrooms, while excess rainwater is used to irrigate the green areas and
terraces of the building – this includes the re-infiltration of pool drain water as well as the
water accumulated after backwashing the geothermal systems due to settlement (FIDIC
Awards 2015, 2015).

Energy Efficiency

Highly detailed calculations of the building’s carbon footprint were performed early on in the
design development process to regulate the material specifications of the building moving
forward (FIDIC Awards 2015, 2015).

Geothermal energy systems (supplied by Siemens) for warming and cooling the building using
natural and renewable resources. The two sources of ground water situated underneath
the building have a constant temperature of 12deg Celsius. The first water source (Paris
Limestone Water Table) is situated 25 meters below the ground level while the second water
source (Chalk Water Table) is situated 60-80 meters below grade (Fondation Louis Vuitton,
2014). This water is pumped via a closed circuit through a heat exchanger which either
warms or cools (depending on the current climate) the secondary circuits which regulate
the temperature of the rooms. Afterwards, the water is returned to its source without being
consumed (Czech and Slovak Leaders, n.d.).

These passive systems, along with active systems, developed and produced by Siemens,
help regulate internal conditions via an automatic system which keeps the exhibition spaces
at a temperature of 24deg Celcius in summer and 20deg Celcius in winter with a humidity
rate of 50%. These temperatures are paramount in preserving the exhibits and for achieving
maximum visitor comfort (Siemens, 2014).

Considering Gehry’s vast portfolio of architecture, The Fondation Louis Vuitton is perhaps
one of his finest works with reference to Deconstructivism in that it presents itself as a
cohesive project, despite the individuality of forms and architectural elements. It responds to
its environment in an innovative way which allows the project a rationality and substantiates
its sculptural form. Interestingly, the Fondation Louis Vuitton has attained the HQE (in
France), equivalent to LEED Gold.

THE INTERSECTION 29
Image Source http://www.abitare.it/it/architettura/

30 THE INTERSECTION
CONCLUSION

Deconstructivist Architecture often boasts a complex constructive logic, which is the case for the
Foundation Louis Vuitton which, at first, conceals it throughout out the exhibition spaces but allows
the tectonics to be celebrated through the Pavilion (roof) spaces which offer views of the park and
the city (Giovannini, 2014). These pavilions are of folded and overlapping planes of glass, supported
by steel and timber members.

It is clear, through the Foundation Louis Vuitton, that when freedom of form is employed, the
tectonics and construction responsibilities of a building is not far behind in accomplishing it - and
can always be rationalised. What is also clear, through this case study, is the way in which the
envelope of a building can be manipulated to effect such form and create a multiplicity of spaces.
There is no more basis for the historical and traditional definitions for a roof and a wall.

THE INTERSECTION 31
R E F E R E NCES

ArchDaily, 2014. Fondation Louis Vuitton / Gehry Partnerss. [Online]

Available at: https://www.archdaily.com/555694/fondation-louis-vuitton-gehry-partners?ad_
source=search&ad_medium=search_result_all [Accessed 20 August 2019].

Archello, n.d. Foundation Louis Vuitton Museum. [Online]

Available at: https://archello.com/project/foundation-louis-vuitton-museum [Accessed 20 August
2019].

Czech and Slovak Leaders, n.d. The Louis Vuitton Foundation. [Online] Available at: https://www.
czechleaders.com/iva-joseph-drebitko/the-louis-vuitton-foundation [Accessed 29 October 2019].

de Moncan, P., 2009. Les Jardins du baron Haussmann. s.l.:Editions du Mécène.

Design Build Network, n.d. Louis Vuitton Foundation, Paris. [Online] Available at: https://www.
designbuild-network.com/projects/louis-vuitton-foundation-paris/ [Accessed 29 October 2019].

Drebitko, I., n.d. Czech and Slovak Leaders: The Louis Vuitton Foundation. [Online]
Available at: https://www.czechleaders.com/iva-joseph-drebitko/the-louis-vuitton-foundation
[Accessed 29 October 2019].

Ductal Engineering Solutions, 2016. The facades of the Fondation Louis Vuitton dressed with Duc-
tal® concrete. [Online] Available at: https://www.ductal.com/en/architecture/facades-fondation-
louis-vuitton-dressed-ductalr-concrete [Accessed 29 October 2019].

The Economist, 2014. Fondation Louis Vuitton: Winged Victory. [Online] Available at: https://
www.economist.com/books-and-arts/2014/10/11/winged-victory [Accessed 29 October 2019].

Wainwright, O., 2014. The Guardian: Frank Gehry's Fondation Louis Vuitton shows he doesn't
know when to stop. [Online] Available at: https://www.theguardian.com/artanddesign/2014/
oct/21/frank-gehry-fondation-louis-vuitton-shows-he-doesnt-know-when-to-stop [Accessed 29
October 2019].

Wiki Arquitectura, n.d. Wiki Arquitectura. [Online]

Available at: https://en.wikiarquitectura.com/building/louis-vuitton-foundation/ [Accessed 18
August 2019].

WSP, n.d. Fondation Louis Vuitton, Paris. [Online]

Available at: https://www.wsp.com/en-HK/projects/fondation-louis-vuitton [Accessed 29 October
2019].

32 THE INTERSECTION
FIDIC Awards 2015, 2015. The Fondation Louis Vuitton, Paris: FIDIC. Fondation Louis Vuitton,
2014. The Fondation Louis Vuitton Press Release, Paris: s.n.

Giovannini, J., 2014. Architect Magazine: Fondation Louis Vuitton, Designed by Gehry Partners.
[Online] Available at: https://www.architectmagazine.com/design/buildings/fondation-louis-vuit-
ton-designed-by-gehry-partners_o [Accessed 29 October 2019].

Giovannini, J., 2014. Fondation Louis Vuitton, Designed by Gehry Partners. [Online]
Available at: https://www.architectmagazine.com/design/buildings/fondation-louis-vuitton-de-
signed-by-gehry-partners_o [Accessed 21 August 2019].

Hartoonian, G., 2002. Frank Gehry: Roofing, wrapping, and wrapping the roof. The Journal of
Architecture, 7(1), pp. 1-31.

Johnson, P. & Wigley, M., 1988. Deconstructivist Architecture, New York: The Museum of Mod-
ern Art.

McGuigan, C., 2014. Architectural Record: Fondation Louis Vuitton. [Online]

Available at: https://www.architecturalrecord.com/articles/7525-fondation-louis-
vuitton?v=preview
[Accessed 29 October 2019].

Meghiddo, R., 2018. Cultural Weekly. [Online]

Available at: https://www.culturalweekly.com/saw-doc-part-2-paris-builds/a-louis_vuitton_5/
[Accessed 1 August 2019].

Minor Sights, n.d. France: JARDIN D'ACCLIMATATION. FROM HUMAN ZOO TO DISNEYLAND
AVANT LA LETTRE. [Online] Available at: http://www.minorsights.com/2016/06/france-jardin-
dacclimatation-Paris.html [Accessed 29 October 2019].

Nagata Acoustics, 2014. Auditorium, Fondation Louis Vuitton, Paris: Nagata.

Pritchard, O., 2004. Gehry Monster: Fondation Louis Vuitton by Frank Gehry. [Online]
Available at: https://www.architectsjournal.co.uk/buildings/gehry-monster-fondation-louis-vuit-
ton-by-frank-gehry/8671856.article [Accessed 20 August 2019].

Risser, J., 1992. Siting Order at the Limits of Construction: Deconstructing Architectural Place.
Research in Phenomenology, Volume 22, pp. 62-72.

Schumacher, P., 2009. Parametricism - A new Global Style for Architecture and Urban Design.
Architectural Digest, 79(4).

Siemens, 2014. Fondation Louis Vuitton Museum in Paris. [Online]

Available at: https://new.siemens.com/global/en/products/buildings/references/foundation-
louis-vuitton-museum-in-paris.html [Accessed 29 October 2019].

SNROC, n.d. SNROC: Fondation Louis Vuitton. [Online] Available at: http://www.snroc.fr/fr/reali-
sations-adherents/fondation-louis-vuitton_81_P36.html [Accessed 29 October 2019].

THE INTERSECTION 33
Contractors & Trades

General contractor: VINCI Construction

Architect of record: Studios Architecture, Paris office
Engineer(s):
Facade engineering: RFR + T.E.S.S.
Primary Structure and MEP: Setec Batiment
Consultant(s):

Landscape: Atelier Lieux Et Paysages

Lighting: L'Observatoire International
Lighting: Ingelux
Acoustics (Auditorium) Nagata Acoustics
Acoustics (Base Building): LAMOUREUX
Sustainable building consultants ' S'PACE/TERAO
Building Maintenance: TAW

Contractor ' Hofmeister Roof Engineering

Primary Structural system (Concrete) by VINCI Construction
Primary Structural system (Steel): Urssa

Canopy Structure (Wood Glulam): Hess Timber

Canopy Structure (Steel): Eiffage Construction Metallique

Exterior cladding (Stone Cladding): Rocheron Dore supplied by Rocamat

Exterior cladding Installer: EDM, Ateliers de France

Metal/glass curtain wall: SIPRAL

Rainscreen (terra cotta, composite, etc.):
Glass Canopy (Verriere) by Eiffage Construction Metallique
Ductal Cladding on Icebergs: LaFarge product

CAD system, project management, or other software used:

Gehry Technologies ' Digital Project

Building Case Study Report

Derek Kleynhans
30 October 2019