MAXXI, Rome. Zaha Hadid, 1998 - 2009

In 1998, Italian Ministry of Culture held an international competition for a new museum of modern art and architecture in Rome; 273 entrants submit a proposal for it.

Three months was the deadline for the shortlist. The site had been chosen a year earlier, in Flamino; a district that had become lost in time. The jury´s deliberation was spread delayed until 1999, when they decided that the winning design was Zaha Hadid's contorted futuristic form. The Project was inaugurated in 2010.

Zaha Hadid intended ‘a new fluid kind of spatiality of multiple perspective points and fragmented geometry, designed to embody the chaotic fluidity of modern life’.

Although the programme is clear and organized in plan, as one passes across the spaces, one perceives the flexibility of use.

The main elements of the Project can be seen even from outside: concrete curved walls, suspended black staircases, or open ceilings that allow the catching natural light to stream through.

Elena Lozano Castillo

Joan Miró Foundation, Mallorca. Rafael Moneo, 1992

Hide from the urban with contrast.

Moneo's building intention is to withdraw the visitor from the reigning urban atmosphere since it's approach. The Foundation consists of two concrete volumes clearly differentiated but after analyzing it deeply you realize that are truly connected between them.

On the one hand, Moneo designed an extended building of three storeys and flat roof, whose lonely opening is oriented to the north. The portal frame which faces to the south is equipped with brise-soleis that sieve filter the light creating a magical ambiance. On the other hand, the second volume contrasts with the first one being star-shaped and having a flood roof which pretends has a lake on the roof which creates a visual link with the sea, bringing it to the observer.

The fortress-like star-shaped plan acts as a fortress that defends itself from the hostile urban environment using his bastions. On the contrary, the interior differs totally from a fortress providing an unexpected freedom.

The exterior concrete wall filters the light by using through brise-soleils, while inwardly the building is faced with translucent alabaster blinds. It enhances the contrast between interior and exterior in this building. When the sun shower the building, The harsh sun transforms this star-shaped space into a resonating box of light reflected in the surrounding ponds. The low windows allow the visitor to establish visual contact only with view only the ponds and the gardens trying to disengage them from the urban surroundings environment of the place.

Carlos Afán de Riber

Hide from the urban with contrast.

Moneo´s building intention is to withdraw the visitor from the reigning urban atmosphere since it´s approach. The Foundation consists of two concrete volumes clearly differentiated but after analyzing it deeply you realize that are truly connected between them. On the one hand, Moneo designed an extended building of three storeys and flat roof, whose lonely opening is oriented to the north. The portal frame which faces to the south is equipped with brise-soleis that sieve the light creating a magic ambiance. On the other hand, the second volume contrast with the first one being star-shaped and having a flood roof which pretends to bring the sea to the observer.

The star-shaped plan acts as a fortress that defends itself from the hostile urban environment using his bastions. On the contrary, the interior differs totally from a fortress providing an unexpected freedom.

The exterior concrete wall filters the light by using brise-soleils, while inwardly is faced with translucent alabaster blinds. It enhances the contrast between interior and exterior in this building. When the sun shower the building, this star-shaped space become a resonance box of the light reflected in the surrounding ponds. The low windows allow the visitor to establish visual contact only with the ponds and the gardens trying to disengage him from the urban environment of the place.

MUCA (Music Hall and House) Cor & Associated

MUCA is located in the interior Alguena, a small village in the interior of Alicante County where the local economy is based on agriculture and marble quarrying industries. This building has been designed to bring together all the activities related to music and culture that take place in the village.

The plan of the building is square. The interior courtyard is composed by the old quarters of the Civil Guard and the new Auditorium.

• Rehabilitation: The old Guardia Civil quarters has a load-bearing wall structure in good state of repair maintenance. And its shaped in U with an interesting central courtyard for this architectural programme.
• New construction: The new auditorium is separated from the old by new adapted stairs that are enclosed in glass boxes lighted lit from overhead, that try to add fragility to the solidity rotundness of the whole.
• Central Courtyard: It is designed without any permanently fixed element for maximum flexibility.

In the existing building they propose the rehabilitation without any structural formal changes. Simply re-covering (can be confused with recovering: recuperando) all the old constructive techniques and turning them white with different grades of shine with the intention of generating tension between what the users remember about the building and what it is now. Instead the new hall is a blind box, a strange element because of its shape and dimensions.

The architects have been generated a landmark with a low cost solution. They use expressive iridescent ceramic cladding which changes with the varying light and harmonises with the site and the surrounding. This way, they have made a ¿highly? (could be insightful)  and intelligent choice of material because not only does it give an ¿ethereal, temple-like? presence to the building it is also an economical solution. it solved the purpose of giving economical solution along with the grand look.

Changing the collective memory.

Working with anthropology and sociology to produce a change in the collective memory. Social and artistic action in the building. 60 looks, 60 artists had been invited to paint in one day the jambs and lintels, on the white planel that has become the building.

Aitor

MUCA is located in the interior Alguena, a small village in the interior Alicante County (economy based in agriculture and marble industries). This building has been designed to bring together all the activities related to music and culture that took place in the village.

The plan of the building is square. The interior courtyard is composed by the old Guardia Civil’s quarter and the new Auditorium.

• Rehabilitate: Old Guardia Civil quarters has a load-bearing wall structure in good state of maintenance. And its shaped in U with an interesting central courtyard for this architectural program.
• New construction: It’s separated from the old by new adapted stairs that are enclosed in glass boxes lighted from overhead, that try to add fragility to the rotundness of the whole.
• Central Courtyard: It is designed without any fixed element for máximum flexibility.

In the existing building they propose the rehabilitation without formal changes. Simply recovering all the old constructive techniques and turning them white with different grades of shine with the intention of generating tension between what the users remember about the building and what it is now. Instead the new hall is a blind box, a strange element because of its shape and dimensions.

The architects have been generated a landmark with a low cost solution. They use expressive iridescent ceramic cladding which changes with the varying light and harmonises with the site and the surrounding. This way, thay have made highly and intelligent choice of Material because it solved the purpose of giving economical solution along with the grand look.

Changing the collective memory.

Working with anthropology and sociology to produce a change in the collective memory. Social and artistic action in the building. 60 looks, 60 artists had been invited to paint in one day the jambs and lintels, on the white planel that has become the building.

Cultural Center in Coria del Río

This building is a cultural centre, located in Coria del Río, for Japanese people who come to visit the town. It's an isolated object on the banks of the river which stands in contrast and counterpoint to Coria's traditional buildings.

The plan of the building is a zig-zag form which makes a double connection , to the town park at one end and to the other, the river.

The almost domestic entrance emphasises the river and frames it.

Versatility is the most important aspect of the  programme; the building has to be an exhibition room, an auditorium and a stand at the fair.

The whole building is constructed of concrete with vertical glazing strips, these vertical glazing strips allow light to flood into  the building, the façade is an enormous window.

Jara Sanchez

The building is located in Coria del Río and it's a cultural center for Japanese people who come to visit Coria. It's an isolated object in the brooklet of the river which stands in contrast to the traditional Coria´s buildings.

The plan of the building is a zig-zag form which makes a doble conection , on one hand, to a park of the town and, on the other hand, to the river. The entry wants to emphasise the river and frames it.

The versatility is the most important in its programme, the building has to be an exhibition room, an auditorium, a fair´s stand,... The whole building is constructed of concrete and vertical glazing strips, this vertical glazing strips allow light entering the building,the façade is a enormous window.

Museum and Research Centre, Coria del Rio, 2003-2009

Located at one of the boundaries of a triangular lot, the building is the first contact for visitors cultural complex, inserted in a big garden which is projected as a public space as well.

The Museum of Andalucían Autonomy is situated in a large public garden. Located at one of the boundaries of the triangular plot, it is, in fact, the first point of contact for visitors to the cultural complex.

Both museum and investigation centre, joined in a sole volume despite being built in different stages, appears like a white fortress from the exterior. Only the two separate entrances are visible in the white exposed concrete facade facing outwards.

Appearing like a white fortress, the museum and research centre are united in a single volume despite being built in different stages. Hermetic from a frontal reading only the two separate entrances are visible in the white exposed concrete facade.

The building itself solves the different topographic levels existing in the site. The walls facing the interior garden are under the ground, so that vegetation covers some parts of it becoming a roof garden.

A set of courtyard-patios arranged along these walls provide light and ventilation to most of spaces below ground level. Around these patios the activities of both museum and research centre take place.

The structure consists of horizontal concrete slabs supported by load bearing reinforced concrete walls. Vertical timber slats were used for the shuttering in order to get a rough-texture with decorative qualities. The use of white textured concrete has a unifying function for the different programmatic elements.

In spite of its massive exterior, most of the interior spaces are widely brightly lit. Natural light seeps through roof windows in the permanent and temporary exhibition rooms, and glazed walls are used to enclose the courts. Artificial lighting is concealed behind wooden slats ceilings.

David F.

Located at one of the boundaries of a triangular lot, the building is the first contact for visitors with the cultural complex, inserted in a big garden which is projected as a public space as well. 

Both museum and investigation centre, joined in a sole volume despite they were built in different stages, appear like a white fortress form the exterior. Only the two separate entrances are visible in the white exposed concrete facade facing outwards.

The building itself solves the different topographic levels existing in the site. The walls faced to the interior garden go under the ground, so that vegetation covers some parts of it and become a roof garden.

A set of courtyards -patios- arranged along these walls provide light and ventilation to the most of spaces below ground level and around them the activities of both museum and investigation centre take place.

The structure consists of horizontal concrete slabs supported by load bearing reinforced concrete walls. Vertical timber slats were used for the shuttering in order to get a rough-texture with decorative qualities. The use of white textured concrete has a unifying function for the different programmatic elements.

In spite of its massive exterior, most of the interior spaces are widely lit. Natural light seeps through roof windows in the permanent and temporary exhibition rooms, and glazed walls are used to enclose the courts. Artificial lighting is concealed behind wooden slats ceilings.

Zayed National Museum, Foster & Partners

Foster and Partner´s Zayed National is an astonishing museum in Abu Dhabi. Conceived as a monument in memorial to the late Sheikh Zayed Sultan, it resembles its shell-like form recalls Sidney Opera House.

Highly efficient, contemporary form and hospitality was requested by the museum's brief. As a solution, the architects  proposed a cluster of five galleries arranged in the middle of located in a giant landscaped garden, which is based on replicates  a time line of his life.The garden encloses different entrances to the public and cultural space.

The sculptural design of the five galleries resemble sea shells, this shape acts as a solar thermal tower.

The gallery's skin is made up of a steel structure which is clad in lightly tinted glass. In sunlight it shimmers, reflecting changes in the weather and takes on the colours, light and shapes of people and environment.

Apart from the unique exterior, the museum also has an impressive interior, which creates a space that soars and is flooded with light.

Maria Baturone de Dios

Foster and Partner´s Zayed National is an astonishing museum in Abu Dhabi.Concived as a monument in memorial to the late Sheikh Zayed Sultan, it resembles Sidney Opera House.

High efficient, contemporary form and hospitality was requested by the museum´s brief.As a solution, they proposed five galleries arranged in the middle of a giant landscape garden, which is based on a time line of his life.The garden encloses different entrances to the public and cultural space.

The sculptural design of the five galleries resemble sea shells, this shape acts as a solar thermal tower.

The galleries skin is made up of a steel structure which is clad in lightly tinted glass.In sunlight it shimmers, reflecting changes in the weather and takes on the colours, light and shapes of people and environment.

Apart from the unique exterior, the museum also has an impressive interior , which create a space that soars and is flooded with light.

Pinakothek der Moderne, Munich, Stephan Braunfels

The Pinakothek der Moderne is localized in the museum district of Munich which was designed by incorporated into the overall plan in 1811. This is the latest gallery in the area (there are four) and it was built in 2002 by the architect Stephan Braunfels.
 

In the new building are interpreted values like the education, the memory and the variety of artistic genres. Values like education, memory and the variety of artistic genres are interpreted in this building. It is 25 meters in height and it which is lower than the Alte Pinakothek, the oldest museum, to restraint this gallery and ¿verb missing? the history of the city. This restraint to the history, museums and architecture make the  means that this building was generated from the most classical to the most contemporary forms.

The main hall is situated in the centre of the plan and it is a circular space with an enormous skylight a space that soars and is flooded with light that allows the input of the light. The access to this hall is by a diagonal entering in the rectangular plan and it cross all the building with open edges.

  

The museum can be read like an encyclopedia of architecture where all spatial and composite elements follow an internal and consistent logic. The new building has four floors and large glazed panels run around the entire building alloing light to stream in from all directions. the light enter by all possible ways. 

Pablo Donoso Calvo
The Pinakothek der Moderne is localized in the museum’s district of Munich, that it was designed by the overall plan in 1811. This is the latest gallery in the area (there are four) and it was built in 2002 by the architect Stephan Braunfels.

In the new building are interpreted values like the education, the memory and the variety of artistic genres. It is 25 meters height and it is lower than the Alte Pinakothek, the oldest museum, to restraint this gallery and the history of the city. This restraint to the history, museums and architecture make the building was generated from the most classical to the most contemporary forms.

The main hall is situated in the center of the plan and it is a circular space with an enormous skylight that allows the input of the light. The access to this hall is by a diagonal entering in the rectangular plan and it cross all the building with open edges.

  

The museum can be reading like an encyclopedia of architecture where all spatial and composite elements follow an internal and consistent logic. The new building has four floors and the light enter by all possible ways. Now, the museum houses the Bavaria’s Modern Gallery Art, the State Collection of Graphic Works, the Museum of the Technical Architecture University of Munich and the State Museum of Applied Art.