#publisher Art and design RSS feed Architecture RSS feed Travel RSS feed Marseille RSS feed Culture RSS feed Turn autoplay off Turn autoplay on Please activate cookies in order to turn autoplay off * Jump to content [s] * Jump to comments [c] * Jump to site navigation [0] * Jump to search [4] * Terms and conditions [8] Edition: UK US AU * Your activity * Email subscriptions * Account details * Linked services Profile Mobile About us * About us, * Contact us * Press office * Guardian Print Centre * Guardian readers' editor * Observer readers' editor * Terms of service * Privacy policy * Advertising guide * Digital archive * Digital edition * Guardian Weekly * Buy Guardian and Observer photos Today's paper * Main section * Comment * Sport * New Review * Magazine * Observer Tech Monthly * Observer Food Monthly Subscribe The Guardian home * News * Sport * Comment * Culture * Business * Money * Life & style * Travel * Environment * Tech * TV * Video * Dating * Offers * Jobs * Culture * Art and design * Architecture Marseille's £6bn Capital of Culture rebirth Marseille â the port city once notorious for gangs, drugs and violence â is in the grip of a £6bn rebirth. Will its flashy new architecture, including a giant mirror by Norman Foster, make it a worthy Capital of Culture? * Share * Tweet this * * [pin_it_button.png] * * Email * Oliver Wainwright * + Oliver Wainwright + + The Guardian, Monday 1 April 2013 17.59 BST * Jump to comments (…) Norman Fosterâs Ombrière Inverted theatre ⦠Norman Fosterâs Ombrière. Photograph: Sam Mertens The smell of cement dust and freshly caught fish wafts through the harbour of Marseille, to a backdrop of pneumatic drills and high-pressure hoses. Everywhere you look, the city is being polished and scrubbed, renovated and repainted. Roads are being resurfaced, trees are being planted, and vast new museums are rising from the ground in preparation for the European Capital of Culture 2013 â which began three months ago. "Marseille is never in a hurry," says my taxi driver, describing how the city has been a building site for the last 10 years. As he speaks, he takes a diversion around three huge holes in the ground that will soon boast a cluster of teetering towers, part of the city's new business district. The first is complete, a brooding 140m-tall edifice by Zaha Hadid for the port's largest shipping company. It stands incongruously on the low-rise skyline, a great stack of offices squeezed into a glassy, sharply curving corset of a building. It is a good metaphor for how this unruly city is trying to adjust to its slick new clothing. A bubbling bouillabaisse of Mediterranean cultures, France's second largest city has long suffered from its seedy reputation as a centre of drug-related violence. Twenty people were shot dead last year in the city's rundown housing estates, where youth unemployment is as high as 40%. But now the gang-plagued city nicknamed Rio-sur-Mer is being rebranded as Euroméditerranée, a dynamic hub of global investment, with a â¬7bn (£5.9bn) makeover â the largest regeneration project in southern Europe. This seedy side is hard to discern from a stroll around the newly remodelled Vieux-Port, where Norman Foster's Ombrière now hangs above the repaved waterfront. A thin sheet of polished steel held 6m aloft on slender columns, Foster's sunshade (or rain shelter) turns port life upside down â from buskers to passing pedestrians, from living statues to gnarled fishermen selling their latest catch. In one single move, this giant mirror transforms the square into a magical piece of inverted theatre, a sharp rectangular slice of everyday bustle suspended in mid-air. "The space of the port is so strong," says project director Spencer de Grey. "We didn't want to make anything too visually intrusive. The structure had to have a big, transformative impact when you approached it, but disappear into the background from a distance." The Villa Meditérranée by Stefano Boeri Embarrassingly shouty ⦠the Villa Meditérranée, by Stefano Boeri. Photograph: Paul Ladouce It's a philosophy of quiet intervention that does not seem to be shared by the architects operating a little way down the waterfront. Here, on the once-abandoned J4 pier, stand the flagship projects of Marseille's bid to be recognised as a cultural centre. The Villa Méditerranée, designed by Italian architect Stefano Boeri, is the first thing you see as you turn the corner of the bay, its sheer white facade butting into the dock like the rump of a cruise liner, complete with tinted oblong windows. From the other side, the building looks like a supersized diving board, with one vast exhibition hall jutting out towards the sea in a 40m-long cantilever, suspended above a pool of water in which the detritus of construction floats in forlorn clumps. So what exactly is this curious building for? It is hard to know. "The Villa Méditerranée symbolises our desire to build a place dedicated to peace and solidarity and for reflecting upon our shared destinies," proclaims Michel Vauzelle, president of the Provence-Alpes-Côte d'Azur region, which has pumped â¬70m into this gargantuan project. It promises to be "a place for encounters, ideas and exchanges"; a site for citizens and experts to debate the future of the Mediterranean; an attraction where visitors will be "plunged into a subtle audiovisual experience". It was due to open mid-March; mystery still surrounds its ongoing delays and what exactly will happen within its cavernous halls. The Villa clamours for attention on the waterfront, the embarrassingly shouty younger sibling of its more demure neighbour, the Museum of European and Mediterranean Civilisations (Mucem). An enigmatic dark box at the end of the pier, Mucem is almost eclipsed by the Villa â a strange piece of urban planning, given that this â¬190m national museum is of greater importance, and has been planned for over 10 years. A result of the French government's decade-long decentralisation programme â which brought an undulating outpost of the Pompidou to Metz, north-eastern France, and a series of minimalist metallic sheds to the northern city of Lens for a Louvre satellite â Mucem is the first stand-alone national museum outside Paris. Due to open in June, Mucem is something of a coup for Marseille. Nestling beneath the craggy wall of Fort Saint-Jean, a 17th-century stronghold that once housed the Foreign Legion, the squat glass building is shielded from the harsh Mediterranean sun by a dark filigree veil. Stretched like a taut fishing net across the facade, this concrete shroud echoes the mashrabiya latticework screens used in much of the architecture of north Africa to keep buildings cool â an appropriate touch, given Mucem will explore the culture of this land just across the water. Rudy Riciottiâs Mucem Brilliant, brazen move ⦠Rudy Riciottiâs Mucem. Photograph: Lisa Ricciotti It is the work of Algerian-born French architect Rudy Ricciotti, a tempestuous and provocative iconoclast described by designer Philippe Starck as "a clairvoyant, untamable wild animal". Ricciotti's work has a raw energy to it, wrenching concrete into primal, twisted forms. Beneath Mucem's enveloping skin, a line of crooked, bony columns marches around the perimeter, supporting a ramping walkway. This fires out from the roof in a thin spear of concrete that stretches 115m across the water to pierce Fort Saint-Jean (the museum continues inside) and then leaps further across a gulley to connect the complex to the town. Exploiting the natural drama of Mucem's steep hillside setting, this is a brilliant, brazen move that, no matter what the museum houses, will provide one of Marseille's most thrilling new walks. The idea of creating a spiralling route, off which public spaces extend, recurs in the city's major contemporary arts centre, located on the corner of a tight urban block further into town. Designed by Japanese architect Kengo Kuma, maestro of the V&A's troubled Dundee outpost project, the new home for the Regional Contemporary Art Fund is clad in a shimmering cloud of angled glass panels. "I wanted to recreate the effect of Japanese rice-paper screens," Kuma tells me, standing in one of the triple-height gallery spaces, a hard-edged mixture of exposed concrete and metal mesh screens. "The handmade glass filters the light in a more natural way." Unfortunately, his panels do nothing of the sort, being suspended in front of a mostly opaque concrete facade. Instead, they give the building's exterior a flimsy cheapness that belies its â¬22m cost, and undermines the simple power of the sequence of galleries within. It reflects perhaps the most prominent symptom of the Capital of Culture: wherever it descends, it results in a spasm of accelerated projects, favouring exterior image and the power of spectacle over long-term, joined-up thinking. The Euroméditerranée development will continue until 2020 â in total bringing 24,000 new homes, 1m square metres of offices, and 150 acres of public space. This will no doubt give Marseille the economic boost it needs, although how far this will filter out into the impoverished peripheries is questionable. The city's bold embrace of such grands projets is, however, nothing new. When Louis XIV had Fort Saint-Jean built, way back in 1660, he said: "We noticed that the inhabitants of Marseille were extremely fond of nice fortresses." Little did he know that, 350 years on, they would still be building them. Daily Email close Sign up for the Guardian Today Our editors' picks for the day's top news and commentary delivered to your inbox each morning. Sign up for the daily email * Print this Print this * Share * Contact us Send to a friend Close this popup Sender's name ____________________ Recipient's email address ____________________ Send Your IP address will be logged Share Close this popup Short link for this page: http://gu.com/p/3ezqp * StumbleUpon * reddit * Tumblr * Digg * LinkedIn * Google Bookmarks * del.icio.us * livejournal * Facebook * Twitter Contact us Close this popup * Contact the Arts editor arts@theguardian.com * Report errors or inaccuracies: reader@theguardian.com * Letters for publication should be sent to: letters@theguardian.com * If you need help using the site: userhelp@theguardian.com * Call the main Guardian and Observer switchboard: +44 (0)20 3353 2000 * + Advertising guide + License/buy our content Article history About this article Close this popup Marseille's £6bn Capital of Culture rebirth This article was published on the Guardian website at 17.59 BST on Monday 1 April 2013. A version appeared on p16 of the G2 section of the Guardian on Tuesday 2 April 2013. It was last modified at 21.32 BST on Wednesday 3 July 2013. Art and design * Architecture Travel * Marseille Culture More features * More on Marseille * A shiny shade structure for Marseille by Foster and Partners Marseille's moment As European Capital of Culture, Marseille is shaking off its seedy image, says Vanessa Thorpe, with a year of extraordinary arts events and a series of breathtaking architectural projects * An art and shopping tour of Marseille * Le Corbusier's Cité Radieuse rooftop gym transformed into art space * Marseille * Share * Tweet this * * * Email Comments Click here to join the discussion. We can't load the discussion on theguardian.com because you don't have JavaScript enabled. 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