Carré d’Art in Nîmes, designed by Foster + Partners and inaugurated in 1993, stands as an example of contemporary architecture embedded within a historic context. Located opposite the Maison Carrée, an ancient Roman temple, Carré d’Art presents a dialogue between the ancient and the modern, a recurring theme in Norman Foster’s design approach.
The building is conceived as a multifunctional cultural center, housing a library, a contemporary art museum, and exhibition spaces. The choice of materials, predominantly glass and steel, reflects the intention to create a transparent and open structure, contrasting sharply with the solidity and opacity of the nearby Roman architecture.
Integration into the urban context was a key aspect of the project. Foster carefully ensured that the new building would not overwhelm the Roman temple but rather complement it. The light and transparent structure of Carré d’Art allows continuous views of the temple, maintaining a visual dialogue between the two eras.
Functionally, Carré d’Art is an example of spatial flexibility. The interiors are organized to allow a variety of uses, from temporary exhibitions to cultural events. This flexibility is achieved through an open plan and movable wall systems that can be easily reconfigured.
Critically, the project has received mixed reactions. While it is appreciated for its innovative blend of ancient and modern, some critics have raised concerns about its actual integration into the city’s historic fabric. The contrast between the transparency of glass and the heaviness of Roman stone has been seen by some as too stark, creating tension rather than harmony.
Overall, Carré d’Art in Nîmes remains a significant work in Norman Foster’s career and an important reference point for discussions on the integration of contemporary architecture in historic contexts.
