In various historical civilizations and artistic movements, from classical Greece and Rome to the Renaissance and the Bauhaus, the collaboration between art and architecture has been an important social expression. However, the 20th century ideals of modernism and mass production led to the decline and near disappearance of art in buildings.
In response, many European countries took responsibility for promoting collaboration between art and architecture. Schemes were set up requiring a percentage of the total cost of a new public building, site or space to be spent on art. This legislation, known as the “Art Percent”, originated in France and has been explored by artists and architects over the years to create new architectural experiences.
The idea for the policy was born in France in 1936, but it was not implemented until 1951. The law required the state to allocate 1% of its budget for a “school building” for art. Initially, the policy viewed the role of art in architecture primarily as “decoration” intended to enrich the school environment for students. However, the policy has been criticized due to its limitation to school buildings and the fact that funding comes only from the state. In response, the law was revised in 1972. It was expanded to include all public buildings, and the funds became a direct part of the cost of the project. This revision means that artists are required to contribute to the creation of public architecture, increasing the prominence of politics and the possibility as a goal for artists in society.
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Other countries soon adopted similar policies. Italian law from 1949 obliges all public authorities to allocate 2% of their total construction costs to decoration. In Sweden, a scheme that emerged in the 1930s required the state to provide half of 1% of art funding, with builders responsible for providing the rest. The Netherlands has developed a law that requires 1.5% of the construction costs of new public buildings to be allocated to the commissioning of integrated works of art. Similar policies have been established in Norway, Finland, the USA and many other countries, encouraging the integration of art into buildings.
Over the years, discussions about politics in France have been quite unique. There were inevitable drawbacks due to the excessive involvement of the architect in the construction process and the absence of the artist until the completion of the project. This reflects the original “decorative” ideal for the art fund. Separately, the artists sharply criticized the apparent lack of reaction to this initiative on the part of regional and local authorities, as well as private entrepreneurs. Other bureaucratic problems include inflation of initial costs, rates, fees and procedural delays.
The conversation about how modern art can integrate with architecture was important. The artists aim to go beyond facade sculptures, exploring all forms of art, including sound, light, digital art, mixed media and performance. In 1983, in response to widespread feedback, the “percentage for art” policy was applied to local authorities through the Decentralization Act. In practice, one percent of the total budget for a public building in France, including taxes, must be set aside for art or design. This decentralization provided opportunities for all artists, earning the policy its famous moniker, “The One Percent.”
The Georges Frêches school in Montpellier is an important example of the implementation of the policy. A total of 400,000 euros was allocated for work commissioned by the French designer Matali Crasset. She incorporated metal sculptures as lighting elements to enhance the interior atmosphere of the building. Since 2004, six regional school buildings have benefited from artistic interventions, along with other public buildings in the country. The 1% policy has become a highly valued commission among artists in the country, allowing them to explore the integration of their work with architecture and its interaction with the public.
Another example is “Les Turbulences at Orleans FRAC Center by Jakob + MacFarlane”, where the brief calls for experimental design. The structure has been rebuilt with an extension added to a complex of 19th century buildings. Dramatic steel-framed turbulence rose from ground level, clad in Reynobond aluminum composite panels. Through the 1% policy, a collaboration with the artistic duo Electronic Shadow enabled the integration of LEDs into Reynobond panels. This turned large parts of the Turbulence into a luminous field where images, patterns and messages could dance and scroll. The exterior of the building became a canvas to integrate digital art, making a strong urban statement.
These policies promote the advancement of architecture by challenging artists to work within the constraints of the architectural design. According to Matali Crasset, in an interview with Ivo Bonaccorsi for the Georges Frêches School commission, she said: “With 1% you know you are in the same boat as the architects and their local office. There are specific customer requirements with strict rules that must be followed. It’s not just about arranging furniture or creating an artistic installation. Seeing the Fuksas building, one immediately realizes that work on the exterior would be nearly impossible soft fiction in the light.”
The debate about the role of art in architecture continues with initiatives like this, 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 creativity, but also seeks to promote the visual arts to the widest possible audience, advocating the value of art within the architectural experience.
