In the historical center of Puebla, the Amparo Museum is housed in a complex of colonial buildings. The Amparo Foundation wanted to improve the visitor’s experience and increase the museum’s exhibition capacity without destroying the original historic construction. With a limited site, TEN Arquitectos modernized Amparo’s spaces and updated its circulation through the insertions of glass vestibules of varying scales.
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.
Compared with the world’s other economically ascendant regions such as Asia and the Middle East, Latin America has a skyscraper deficit. Poised to harness the economic and symbolic potential of the Bicentennial, Mexico City will celebrate a historic moment with the emergence of a new skyscraper, the Torre Bicentenario. In an architectural age defined by the pursuit of expression at all costs, the Torre Bicentenario is building whose unique form is responsive rather than frivolous; a building whose form facilitates rather than complicates its use: the stacking of two pyramidal forms produces a building simultaneously familiar and unexpected, historic yet visionary.
Team: Shohei Shigematsu, Christin Svensson, Gabriela Bojalil, Noah Shepherd, Natalia Busch, Leonie Wenz, Jan Kroman, Leo Ferretto, Max Wittkopp, Jason Long, Margaret Arbanas, Jonah Gamblin, Amparo Casani, Jin Hong Jeon, Jane Mulvey, Michela Tonus, Matthew Seidel, Nobuki Ogasahara, Justin Huxol, David Jaubert, Mark Balzar, Charles Berman, James Davies, Jesse Seegers
Site: Northeast corner of Chapultepec Park, adjacent to the interchange of two major highways
Associate Architect: Laboratory of Architecture – Max Betancourt, Fernando Romero, Dolores Robles-Martinez
Engineers: Arup – David Scott, Chris Carroll, Ricardo Pittella, Michael Willford, Bruce McKinlay, Julian Sutherland, Alistair Guthrie, Huseyin Darama, Yuvaraj Saravanan, Betsy Price, Keith Frankllin, Matt Clarke, Renee Mackay-Lyons
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.
Jade Museum Xintiandi inspiration comes from Chinese jade and contemporary interpretation of calligraphy. The space is mainly for traditional jade exhibition, but the challenge is how to express a special space with East Zen and integrate into the commercial atmosphere of Xintiandi in a contemporary way. Although the overall volume is small, we try to see much in little and deal with the possibilities of a small-scale space abstractly. The experience inside the space is like in a shadowy painting scene with the power of nature like waves and thunders of a waterfall. We take the simplest sphere as the geometric object of operation, hide the structure and highlight the intention of space. Of course, during a very short-time construction period, digital fabrication method provides the quality assurance.
“We are home at last. Don’t stop, don’t wait. What can you do? Help!” Those words, proclaimed by famous actors and other participants of public life, could be heard from TV sets in the time of the Tadeusz Mazowiecki government. This phrase served as the motto for the 8th edition of the annual Warsaw Under Construction festival organized by the Museum of Modern Art in Warsaw and the Museum of Warsaw with guest curators from Architecture Institute from Cracow.
The new building is developed more like an annex than as a singular object – its appearance is more linked to its place of location than to its function.
The existing vegetation at the site are only trees without any bushes so there is a horizontal level of about two meters free-view on the whole open-air-museum which we didn´t want to disturb with our work.
Finaly the clients received a showcase-extension on these groundfloor forming a new open public yard together with the existing buildings.
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
We try to produce a building that is invisible from La Almudena Square by occupying a buried space that is yet to exist. The Royal Collection Museum contains the plinth of the Royal Palace, constructing a linear space that follows the lines of the Palace itself. A simple, compact building, a construction that is aware that maximum flexibility and potential is only possible within a strict order, which uses the materials of the Royal Palace and its dignified construction as a feature, with a modern layout, heavy yet light, opaque yet transparent.
The museum consists of a completely closed, opaque and abstract box. Just the main façade has a concavity that marks the entrance of the building. It houses a private colection of mechanical music boxes.
The organization is cruciform, around a central patio, that distributes to the buildings four sides. In one side there is the lobby, that works as a vertical distribution space, and to the other sides are three galleries of varying sizes. The transition between each of these four spaces is done through four antechambers.
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