MAAT, the new Museum of Art, Architecture and Technology, is an outward-looking museum located on the banks of the Tagus in Belém, the district from where the Portuguese great explorers set off. Proposing a new relationship with the river and the wider world, the kunsthalle is a powerful yet sensitive and low-slung building that explores the convergence of contemporary art, architecture and technology.
The new building is the centrepiece of EDP Foundation’s masterplan for an art campus that includes the repurposed Central Tejo power station.
Project: MAAT – Museum of Art, Architecture and Technology
Location: Lisbon, Portugal
Photography: EDP Foundation, Francisco Nogueira, Hufton Crow and Piet Niemann
Client: Fundação EDP
Principal: Amanda Levete
Project Director: Maximiliano Arrocet
Team: Fernando Ruiz Barberan, Mirta Bilos, Alex Bulygin, Grace Chan, Sara Ortiz Cortijo, Alice Dietsch, Ciriaco Castro Diez, Yoo Jin Kim, Ilina Kroushovski, Michael Levy, Cristina Revilla Madrigal, Stanislaw Mlynski, Ho-Yin Ng, Giulio Pellizzon, Raffael Petrovic, Chloe Piper, Filippo Previtali, Arya Safavi, Maria Alvarez-Santullano, Joe Shepherd, Paula Vega, Konstantinos Zaverdinos
This project is based on the adaptation of a number of buildings in the historic centre of Torres Vedras so as to accommodate an innovative arts centre dedicated to music, performance, new media and the visual arts. The ambitions of the young institution, as well as the willingness to integrate and rehabilitate the urban ensemble – including a small housing scheme complete with its own street – determined that the Transforma headquarters should play on the ambiguity between public and private. While a cafeteria in the lower floor potentially expands onto the adjacent plaza through the main entrance, a newly minted urban pathway extends the existing alley to connect different levels of the city. Offering diverse spatial experiences, including the possibility of public passage, this path gives access to the multipurpose, kidney shaped auditorium that constitutes the central core of the arts organization. In general, public facades are minimally transformed, while new internal “organs” push against the old walls as a set of volumes and capsules linked to new functions and uses. Different colours are used to characterize these capsules as a basic process to claim their presence and exceptional character.
With the Akron Art Museum Coop Himmelb(l)au has developed a new museum concept – “a Museum of the Future”. The conventional functions of a museum and an urban space form together a new type of cultural center that offers digital and analog information and experience.
The building is broken up into 3 parts: the Crystal, the Gallery Box, and the Roof Cloud.
The Cleveland Museum of Art, one of the largest and most important art institutions in the United States, was built in 1916 by local architects Hubbell and Benes as a Greek revival pavilion, situated at the head of a pastoral park and lagoon landscape designed by the Olmsted Brothers. However, subsequent additions, including a noteworthy education wing by Marcel Breuer, obscured the rational plan of the original structure with a disjointed, confusing warren of spaces. In 2001, Rafael Viñoly Architects won the commission to resolve these conditions with an expansion and renovation, creating a coherent organization of galleries that accommodates projected growth and unifies disparate architectural vocabularies into a singular composition.
The new International Centre for Cave Art (Centre International d’Art Parietal) in Montignac, France welcomes visitors to an immersive educational experience of the prehistoric Lascaux cave paintings. Known by archaeologists as the ‘Sistine Chapel of Prehistory’ due to their spiritual and historical significance, the 20,000-year-old paintings are among the finest known examples of art from the Paleolithic period.
In 2012 the Tacoma Art Museum received a gift of Western art, creating an opportunity to feature two unique collections – Western art and their existing contemporary art collections–together in one building. The design brief for the new addition and remodel to house the collections was: 1) better announce the museum to the community; 2) design a new wing that is sympathetic to its surrounding historic context; 3) create a public living room that offers transparency to the street, and; 4) resolve an overly complex and obscured entry sequence.
The expansion of The Nelson-Atkins Museum of Art fuses architecture with landscape to create an experiential architecture that unfolds for visitors as it is perceived through each individual’s movement through space and time. The new addition, named the Bloch Building, engages the existing sculpture garden, transforming the entire Museum site into the precinct of the visitor’s experience. The new addition extends along the eastern edge of the campus, and is distinguished by five glass lenses, traversing from the existing building through the Sculpture Park to form new spaces and angles of vision. The innovative merging of landscape, architecture and art was executed through close collaboration with museum curators and artists, to achieve a dynamic and supportive relationship between art and architecture.
Doctor XU Hongquan is painter, and a literati who is good at writing books, calligraphy, literary review as well. Mr. Xu found us through friends this summer, to make this reconstruction of the old factory building, which will be used as his studio and home in future: Hall within the Cloud.
Located at First Street, HOME forms the cultural heart of one of the largest areas of development in Manchester city centre – a flagship building that acts as a catalyst for the surrounding area. As the base for the new organisation formed by the merger of Cornerhouse and The Library Theatre Company, HOME has been designed to allow for the commissioning, production and presentation of critically engaged and technically complex artistic projects, as well as the hosting of large scale cultural events. The overall budget for HOME was £25 million. Its striking exterior acts like beacon, while the welcoming public spaces and social areas within are designed to be inviting to all. HOME is like a second home, a cultural home: a place for making, meeting and socialising, alongside enjoying the very best in international contemporary visual art, theatre and film.
SFMOMA’s leadership worked closely with Snøhetta to create a transformational expansion that incorporates and renovates the museum’s existing Mario Botta–designed building, which debuted in 1995. The new museum accommodates the significant growth of SFMOMA’s collection, program and visitorship, nearly tripling the museum’s gallery space, including nearly 45,000 square feet of free public-access space and weaving SFMOMA into its urban setting as never before.
Project Architects: Aaron Dorf, Lara Kaufman, Jon McNeal
Senior Architects: Simon Ewings, Alan Gordon, Marianne Lau, Elaine Molinar, Kjetil Trædal Thorsen
Design Team: Nick Anderson, Behrang Behin, Sam Brissette, Chad Carpenter, Michael Cotton, Aroussiak Gabrielian, Kyle Johnson, Nick Koster, Mario Mohan, Neda Mostafavi, Anne-Rachel Schiffmann, Carrie Tsang, Giancarlo Valle
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