It opened in June 1998 and was designed by Italian architect Renzo Piano and named after Jean-Marie Tjibaou, the leader of the independence movement who was assassinated in 1989 and had a vision of establishing a cultural centre which blended the linguistic and artistic heritage of the Kanak people.

The formal curved axial layout, 250 metres (820 ft) long on the top of the ridge, contains ten large conical cases or pavilions (all of different dimensions) patterned on the traditional Kanak Grand Hut design.

[2][3][4] Marie-Claude Tjibaou, widow of Jean Marie Tjibaou and current leader of the Agency for the Development of Kanak Culture (ADCK), observed: "We, the Kanaks, see it as a culmination of a long struggle for the recognition of our identity; on the French Government's part it is a powerful gesture of restitution.

The French President ordered that a cultural centre on the lines suggested by Tjibaou be set up in Nouméa.

[9] The building plans, spread over an area of 8,550 square metres (92,000 sq ft) of the museum, were conceived to incorporate the link between the landscape and the built structures in the Kanak traditions.

The people had been removed from their natural landscape and habitat of mountains and valleys and any plan proposed for the art centre had to reflect this aspect.

Thus, the planning aimed at a unique building which would be, as the architect Piano stated, "to create a symbol" ..."a cultural centre devoted to Kanak civilization, the place that would represent them to foreigners that would pass on their memory to their grand children".

The model as finally built evolved after much debate in organized 'Building Workshops' in which Piano’s associate Paul Vincent and Alban Bensa, an anthropologist of repute on Kanak culture were also involved.

The centre is also termed as "A politicized symbolic project", which evolved over long period of research and intense debate.

[11] The entire complex has been built along a 250 metres (820 ft) long ridge of the peninsula (a cape that extends southeast into the Pacific Ocean[3]).

The sunlight engulfs the structure and casts a continually changing pattern of shadows through the louvers and members of the staves of the cases.

The main sides of the paths are not covered with walls, as it would prevent air circulation and make the corridors intolerable.

In the circular design of the hut’s shells, the height to diameter ratio was reduced giving more space, which also resulted in greater dynamic ventilation, as was corroborated by wind tunnel tests.

[2] The cases have giant curved ribs or staves, which are made of iroko slats and steel connections and which also act as climate control devices.

The village at the end of the path, which is located slightly away from the visitors' area and which has studios, is devoted to creative activities such as dance, painting, sculpture, and music.

The Case Bwenaado or pavilion, a customary assembly place, houses the artifacts created by artists of the region.

They symbolize the link among ethnic groups of the Pacific in respect of the traditions of their oral beliefs and rituals that govern their life.

[13] The Case Jinu or pavilion has six exhibits that are titled "The spirit of Oceania" which depict the origin of the world, people and their habitats from across the Pacific.

The Case Mâlep has exhibits depicting the life and work of Jean-Marie Tjibaou, charismatic leader of the independent movement who initiated action to set up the Kanak cultural centre.

They have been given a deliberate "unfinished" appearance as a reminder that Kanak culture is still in the process of evolution – a belief held by the deceased Canaque leader, who was the inspiration for the site.