Typical museums are usually a closed building type which prevents the public from knowing what activities are going on inside and deprives them of the chance to enjoy art.
The new Len Lye Centre in New Plymouth, Taranaki, New Zealand, designed by
Patterson Architects Associates, opens as a combined art museum with the Govett-Brewster
Art Gallery on 25 July, 2015.
The lounge created by Studio Job for the Groninger Museum is a showpiece in itself.
The design duo of Job Smeets (1970) and Nynke Tynagel (1977) was inspired by 19th-century private clubs full of smoking gentlemen in top hats. These were once sophisticated bastions with thick-pile carpets on creaking wooden floors; chandeliers were suspended from richly decorated ceilings supported by solid pillars. The muffled silence was only broken by the calming spatter of the fountain at the entrance. It was an ivory tower for the elite – just as it was on the Titanic. It is not without reason that this world has vanished.
The generative concept of the museum is derived from the potent imagery of Yunnan’s famed local “stone forests”, the dramatic geography of raw, powerful beauty of the geological landscapes sculpted by nature over millennia, and the idea of stacked boxes holding fragile treasures, giving the architecture its defining metaphor as an assembled container of artifacts – a group of spatial volumes that congregates to form a larger mass, where individual pieces are still evident.
The new Museum of the Twentieth Century (Museo Novecento), dedicated to Italian art of the twentieth century, is housed in the old Hospital of San Paolo in Piazza Santa Maria Novella in Florence, Italy. Avatar Architettura was responsible for the museographic and exhibition design of the Museo Novecento. The project defines the museum setting as a suspended space. Visitors come upon it through lively devices for spatial meditation which, placed at the start of the exhibition path, on the first floor of the cloister, introduce them to contemporary experiences and artistic research. While the entrance is characterized by a clearly recognizable architectural solution, Avatar Architettura created the rest of the path as a sort of “suspended space.” More neutral, but physically present and material, the setup of the rooms starts with the metallic floor and continues in the panels that emerge from the walls in some of the rooms.
Children are naturally curious, seeking opportunities to playfully explore while wondering about the magical possibilities of the world around them. Wonder and the process of discovery are fundamental to the mission of a children’s museum and our design strategy. We seek to engage the human minds potential via an innovative architectural expression that activates the senses, ignites imagination, and heightens anticipation of new discoveries revealed as you move through space. One oscillates between interior and exterior mental, physical, and conceptual limits.
Our proposal strategically intensifies and reimagines the Guggenheim Museum producing an iconic cultural landmark by sculpting natural light through physical and conceptual layers. These strata develop a rich, dynamic and varied experience synergistically contextualizing the museum at multiple scales to the material and cultural fabric of Helsinki and Finland. The design supplants the object/icon building (visually distinct, discrete parts) with a new subtle icon, embedded in Finnish culture (emotional, connected) and redefines Helsinki as an urbanized landscape; an extension of the museum.
Article source: Hordor Design Group and Atelier Alter
Qujing is one of a kind. Two impossible miracles co-exist in city of Qujing: the Longyan Tablet and a fish fossil of 4,000-billion-year-old. While Longyan Tablet marks the invention of a prominent calligraphic style, the fish fossil rewrites geology in human history. The archaeological relics are both metaphor and subject matter of the project. According to Plato, “whatever once exists can never cease to exist,” the collective consciousness of the city and her citizens awaits a resurrection, in a contemporary setting, through the materialization of a series of significant projects.
The part of plot which virtually has no tree has been selected for deployment of the museum. In order not to prevent the existence of ODF monument, the building was finished behind the monument. The main entrance is provided via FriedrichstraBe. After entering the museum, temporary exhibition hall is reached which has been designed to take place in parallel manner to KavalierstraBe. At the end of temporary exhibition, workshop space and main exhibition hall starts. Workshop space is open to use via external access from the side of ODF monument as well. Temporary exhibition hall and workshop space are completely enabled to integrate with each other thanks to operable glass division panels.
The Water Museum – property of EPAL (portuguese water company) – is a space that focuses mostly on the general aspects of the water, with an educational and scientific approach, while transmitting also some of the highlights of EPAL’s history and legacy to society (unlike most traditional company museums that only explore the historical nature of the company itself).