Phase II of the Frederick R. Weisman Art Museum is conceived of as a natural extension of the original museum designed by Gehry Partners in 1993.
Phase II provides an additional 8,553 square feet of exhibition space on the north and east sides of the existing building.
On the southeast corner of the existing building, new gallery space is articulated as three rectangular volumes clad in the same brick as that used on the existing building. The new gallery space will provide the museum with space appropriate for the exhibition of works on paper, American art, and ceramics while animating the east side of the building that faces Coffman Memorial Plaza. These new galleries provide different scales and spatial relationships than the existing galleries, offering the museum increased flexibility in the planning of exhibitions.
We recycle ideas, architectural concepts, structures, buildings, materials. We experiment with hybrids that step out from what exists and are transformed through new programs. How do you transform the former paper factory in Marzabotto into a place for culture, development and innovation? How do you recycle this old industrial plant into new life and uses? How do you give the Green Academy strong presence?
Surrounded by residential towers and infrastructure, the site for the Bao’an Public Culture and Art Center presents several challenges. Mecanoo reinterpreted these challenges as opportunities, capitalising on the proximity of the new cultural facility to the adjacent Bao’an Central Metro Station and the Binhai School.
Location: Xinhu Road and Chuangye Road, Bao’an District, Shenzhen, China
Client: Urban Planning, Land & Resources Commission of Shenzhen Municipality, Bao’an Administration
Programme: Culture and Art Center (49,830m² above ground, 34,290m² underground), including 21,015m² Museum, 16,070 m² Art Gallery, 17,450m² Gallery, 3,170m² sports field, and 23,490m² service area with auditorium, restaurant, art bookstore, meeting room and underground parking
Since the end of the 18th century, when the Greek colonization of Sicily forced the Phoenicians to retreat to Motya, Soluntum, and Palermo, the ancient Phoenician city of Motya lies on the San Pantaleo Island, in the lagoon of Marsala in Sicily.
In 397 B.C., Dionysus of Syracuse knocked Motya down after a long siege and the survivors found a shelter on the mainland, establishing the Punic city of Lilibeo. This settlement, today known as the city of Marsala, quickly gained in importance and overshadowed the ancient city of Motya, which the Carthaginians will conquer back soon after. The archeological excavations in Motya brought back an astonishing male sculpture, considered an original Greek artwork of the 5th century B.C., and the urban design of the settlement, of the city walls, and of numerous buildings. Above all, the most significant archeological discovery is the unveiling of a unique Phoenix-Punic warship, sunk at a battle during the First Punic War between the Romans and the Carthaginians in 241 B.C.
The New Contemporary Art Wing Expansion to the Lima Art Museum located in the 19th century Exposition Palace, creates a strong architectural dialogue between the historical structure and the new expansion; they connect without touching. The project requirement to create a below grade expansion to the current museum without touching the historical structure below or above grade, resulted in a careful exploration of how to spatially connect these two buildings that cannot physically connect.
Tags: Distrito de Lima, Peru Comments Off on The Lima Art Museum New Contemporary Art Wing in Distrito de Lima, Peru by Efficiency Lab for Architecture PLLC
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
Museum Boijmans van Beuningen Rotterdam, in collaboration with the National Gallery of Modern Art in Edinburgh and the Hamburger Kunsthalle, presents ‘Mad About Surrealism’ with over 300 surrealistic works from Dalí, Ernst, Magritte, Miró and others. Most of the works have rarely ever been exhibited and some of them might never be on display again. The exhibition showcases the collections of four renowned surrealism collectors: Roland Penrose, Edward James, Gabrielle Keiller and Ulla and Heiner Pietzsch.
Tags: Rotterdam, The Netherlands Comments Off on Exhibition design for the international exhibition Mad About Surrealism in Rotterdam, The Netherlands by MAXWAN architects + urbanists
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 Pierre Lassonde Pavilion—the Musée national des beaux-arts du Québec’s fourth building is interconnected yet disparate—is a subtly ambitious, even stealthy, addition to the city. Rather than creating an iconic imposition, it forms new links between the park and the city, and brings coherence to the MNBAQ.
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