The building is situated on a network of dunes separated from the beach by a thirty metre high plinth of sand. It is a detached, unique construction which, almost subterranean in relation to the highest points of the plot, harmonises well with the landscape. A geometrically complex floor plan intercepted by a homogeneous section generates the interior spaces necessary to accommodate a small museum dedicated to the marine world, or a sea watching centre.
Three Aspects of the Reconstruction Strategy for the Building of the Latvian National Museum of Art in Riga
Considering the unique architecture of the building, its representational importance and significant contribution to the cultural heritage, the proposed extension strategy is based on:
– retention of the existing building capacity and authentic details;
– need for renewal and extension of museum functions in the clearly expressed modern volume and subtle minimal design of the additional spaces;
In the industrialized port area of the small town of Izegem lies a somewhat odd monument with an artdeco front office and adjacent factory buildings. During the interbellum, for over a decade the “Eperon d’Or” factory received international attention for its luxurious shoe design and production.
After years of neglect, local authorities decide to revitalize the complex by refurbishing it to the national shoe and broom museum.
This art deco pearl stands solely amidst the non-attractive industrialized heavy-duty context.
Tags: Belgium, Izegem Comments Off on Eperon d’Or, National Museum for Shoes & Brooms in Izegem, Belgium by Compagnie-O + Sabine Okkerse + Geert Pauwels
On this complex site, the series of constructions is hard to decipher. Except perhaps for the Hôtel Fleury, none of the buildings really stands out. We chose to insert a contemporary facade as the new entrance to the museum. The pronounced “mineral” nature of the project, both outside and inside, unites the different periods of construction: it binds them together, so to speak, both symbolically and structurally.
Collaborators: Daniel Meszaros, partner-architect in charge, Clara Reviu, Johanna Bleicher, Colas Saint-Martin, Pierre-Alexandre Treust, Thomas Bouchet, Charlotte Billon, Juliette Turpin, Brice Launay
Museum Boijmans Van Beuningen and the Museo Nacional del Prado in Madrid both have unique collections of oil sketches by Peter Paul Rubens (Siegen 1577-Antwerp 1640). For years they have shared a wish to bring together the finest works from their collections and complement them with masterpieces from other museums to create an unprecedented overview. Pure Rubens, running in the museum’s large Bodon Wing (1500 m2) in the busiest period of the year, is aimed at a broad public.
Rubens was the master of the oil sketch. He was the first artist to prepare a great many of his important compositions by painting sketches on panel. Whereas Rubens’s large works are sometimes described as hackwork, in part because of the contributions often made by assistants, the brilliant, virtuoso – almost impressionistic – touch of the master himself is always present in his oil sketches. Four centuries later, these works have lost none of their impact.
The Asian Art housed in the Rijksmuseum forms an autonomous collection with splendid pieces, works of art that neither can easily be located within the chronological tour of the permanent collection of the Rijksmuseum, nor do they relate well to the architecture of the nineteenth century building. The goal was to design a separate building for the collection, the Asian Pavilion.
Photography: Duccio Malagamba, Arie de Leeuw, Cruz y Ortiz Arquitectos, Eran Oppenheimer, Erik Smits, Iwan Baan, Jannes Linders, Jose Manuel Ballester, Luuk Kramer, Pedro Pegenaute
Flowing with the natural inclination of the terrain, general movement on the campus finds access to the array of services that are offered in the General Services Building. There can be found the Auditorium, Library and Nursery, as well as restaurants and exhibition rooms.
The expressive will that appears in the ways connecting the main courses on the campus with the General Services Building generates a facility that has a singular, organic shape in consonance with its uses. Such uses -library, museum, cafeteria, and so on- open to free open spaces that are at a lower level than the general height of the site and are delimited by elm plantations.
The Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA), was unveiled today ahead of its public opening on 22 September 2017 at Cape Town’s V&A Waterfront. It will be the world’s largest museum dedicated to contemporary art from Africa and its diaspora and is designed by internationally acclaimed designers Heatherwick Studio, based in London.
The museum is housed in 9,500 sq metres of custom designed space, spread over nine floors, carved out of the monumental structure of the historic Grain Silo Complex. The silo, disused since 1990, stands as a monument to the industrial past of Cape Town, at one time the tallest building in South Africa, now given new life through the transformation by Heatherwick Studio.
Project: Zeitz MOCAA (Museum of Contemporary Art Africa)
Location: Cape Town, South Africa
Photography: Iwan Baan, Antonia Steyn
Client: Victoria & Alfred Waterfront Holdings (Pty) Ltd
Design Director: Thomas Heatherwick
Group Leader: Mat Cash
Project Leader: Stepan Martinovsky
Team: Simona Auteri, Ruggero Bruno Chialastri, Yao Jen Chuang, Francis Field, Sarah Gill, Xuanzhi Huang, Changyeob Lee, Julian Liang, Débora Mateo, Stefan Ritter, Luke Snow, Ondrej Tichý, Meera Yadave
Making Team: Lucie Beauvert, Einar Blixhavn, Erich Breuer, Alex Flood, Hayley Henry, Hannah Parker, Luke Plumbley, Matthew Pratt
What benefits can a museum design bring to the fragmented, undistinguished and often criticized environment of new suburban sprawl? In addressing this challenge, this project uses architecture to package the latent social potential of the museum typology in a way that redefines the suburb. By symbolically embodying the story of the region, and emotionally engaging people with its architecture, the Museum is the vehicle to spiritually connect people to where they live, giving the suburban environment a sense of community.
The Museum Garage is located in the Miami Design District, a neighborhood dedicated to innovative art, design and architecture. Featuring the work of five designers, the seven-story mixed-use structure will feature ground-floor retail spaces and capacity for 800 vehicles.
For the project, in 2015, Design District developer Craig Robins, commissioned architect and curator Terence Riley to develop the concept for Museum Garage. WORKac, J. Mayer H., Clavel Arquitectos, Nicolas Buffe were selected to create the garage’s facades, along with Riley’s own architectural firm K/R (Keenen/Riley), with TimHaahs serving as the architect-of-the-record.
Tags: Florida, USA Comments Off on Museum Garage in Miami, Florida by Clavel Arquitectos + J.MAYER.H und Partner Architekten MBB + K/R + Nicolas Buffe and WORKac
email
Facebook
Twitter
RSS Feed
