Throughout various historical civilizations and art movements, from Classical Greece and Rome to the Renaissance and the Bauhaus, the collaboration between art and architecture has been a significant societal expression. However, the 20th-century ideals of modernism and mass production resulted in the decline and near disappearance of art within buildings.
In response, many European countries have taken on the responsibility of promoting the collaboration between art and architecture. Schemes were created mandating that a percentage of the total cost of a new public building, place, or space must be spent on art. This legislation, commonly known as 'Percentage for Art', originated in France and has been explored by artists and architects over the years to create new architectural experiences.
The idea of the policy was born in France in 1936, but it wasn't implemented until 1951. The law required the state to allocate 1% of its 'school building' budget to art. Initially, the policy viewed art's role in architecture mainly as 'decoration', aiming to enrich the school environment for students. However, the policy faced criticism due to its limitation to school buildings and the fact that funding only came from the state. In response, the law was revised in 1972. It expanded to include all public buildings, and the funds became a direct part of the project cost. This revision meant that artists were required to contribute to the creation of public architecture, increasing the policy's popularity and the opportunity as a goal for artists in society.
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Over the years, discussions about the policy in France have been quite unique. There have been inevitable drawbacks due to the over-involvement of the architect in building production, and the artist's absence until the project's completion. This reflects the original 'decorative' ideal for the art fund. Separately, artists have strongly criticized the apparent lack of response to this initiative by regional and local authorities, as well as private developers. Other bureaucratic issues include inflation on original costings, percentages, fees, and procedural delays.
The conversation about how modern art can integrate with architecture has been prominent. Artists sought to move beyond sculptures on facades, exploring all forms of art including sound, light, digital art, mixed media, and performance art. In 1983, in response to extensive feedback, the "percent for art" policy was applied to local governments through the decentralization law. In practice, one percent of the total budget for a public building in France, including taxes, must be allocated for art or design. This decentralization provided opportunities for all artists, earning the policy its famous name, "One Percent".
The Georges Frêches School in Montpellier is a significant example of the policy's application. A total of €400,000 was allocated to commission work by French designer Matali Crasset. She incorporated metal sculptures as lighting features to enhance the interior ambiance of the building. Since 2004, six regional scholastic buildings have benefited from artistic interventions, along with other public buildings in the country. The 1% policy has become a highly-regarded commission among artists in the country, enabling them to explore the integration of their work with architecture and its interaction with the public.
Another example is "Les Turbulences at Orleans FRAC Centre by Jakob + MacFarlane", where the brief called for an experimental design. The structure was a conversion, with an extension added to a 19th-century building complex. Dramatic steel-framed turbulences rose from the ground level, covered with Reynobond aluminium-composite panels. Through the 1% policy, a collaboration with the artist duo Electronic Shadow allowed for the integration of LEDs into the Reynobond panels. This made large parts of the Turbulences a luminous field where images, patterns, and messages could dance and scroll. The exterior surface of the building became a canvas to integrate digital art, making a strong urban statement.
These policies foster the advancement of architecture by challenging artists to operate within an architectural brief's constraints. According to Matali Crasset, in an interview with Ivo Bonacorsi about the Georges Frêches School commission, she said, "With the 1%, you know you're in the same boat as the architects and their local office. There are specific client requirements with strict rules that must be followed. It's not just about arranging furniture or setting up an artistic installation. The artistic intervention must enhance the building's inherent qualities. It's also necessary to consider production, keeping in mind the steps needed to create harmony with the space. Seeing the Fuksas building, one immediately realizes that working on the exterior would have been nearly impossible. I was asked to address the issue of interior light, and that's what I chose to work with. My relationship with the architectural object turned into a soft fiction on light."
The discussion about art's role in architecture continues with initiatives like this one, providing a model for other regions to follow. Art has always had the power to inspire emotions and enhance architectural experiences, and these policies ensure its continued presence. The French Ministry of Culture also recognizes the ongoing nature of this dialogue. In 2015, it introduced the "1 building, 1 work" policy, aiming to bring art closer to everyone, including within private buildings. Their policy not only supports artistic creation but also strives to promote visual arts to the broadest possible audience, advocating the value of art within architectural experiences.
