Ningbo Historic Museum, by Wang Shu, 2008 - in China
Museum of Art and Archaeology of the Côa Valley, by Camilo Rebelo andTiago Pimentel, 2009 - in Vila Nova de Foz Côa, Portugal
”To build the Museum of Art and Archaeology of the Côa Valley we connected different parameters: topography, accessibilities and program. The fusion of these aspects was highly important for the concept definition – to conceive a museum as an installation on the landscape.”
Shiba Ryotaro Memorial Museum, by Tadao Ando, 2000-2001 - in Higashiosaka, Osaka, Japan
(via architectuul)
Galician Center of Contemporary Art, by Álvaro Siza, 1988-93 - in Santiago da Compostela, Spain
The Museum is located in one of the most evocative and symbolic areas of Santiago’s monumental zone: alongside the Convent of San Domingos de Bonaval.
Siza’s building reflects his admiration for rationalism and the Modernist movement, and at the same time his own personal vision of architecture and space. Line, light and volume combine to produce an architecture that is both austere and serene. Stone is used, linking with tradition and setting up a dialogue with the surrounding buildings, in an expression of respect for the sense of history that pervades Santiago.The building centers on a single long axis, its inner spaces opening out along this axis like the leaves of a fan. Externally, it is bounded by high walls; yet the inside is flooded with light.
Whitney Museum, by Marcel Breuer, 1956 - in New York, USA
The Insel Hombroich Foundation Museum, by Álvaro Siza and Rudolf Finsterwalder - in Insel Hombroich Foundation, Ruhr Valley, Germany
Caixa Forum Madrid, by Herzog & de Meuron, 2008 - in Madrid, Spain
Herzog & de Meuron explains: “The only material of the old power station that we could use was the classified brick shell. In order to conceive and insert the new architectural components of the CaixaForum Project, we began with a surgical operation, separating and removing the base and the parts of the building no longer needed. This opened a completely novel and spectacular perspective that simultaneously solved a number of problems posed by the site.
The removal of the base of the building left a covered plaza under the brick shell, which now appears to float above the street level. This sheltered space under the CaixaForum offers its shade to visitors who want to spend time or meet outside and is at the same time the entrance to the Forum itself. Problems such as the narrowness of the surrounding streets, the placement of the main entrance, and the architectural identity of this contemporary art institution could be addressed and solved in a single urbanistic and sculptural gesture.”
Castelvecchio (Romanesque from the 12th through 14th centuries),by Carlo Scarpa,1973 - in Verona, Italy
A strategy of demolition, change, and modification, which allows each layer of the building’s history to come alive and take its place next to the others.
Mimesis Museum, by Álvaro Siza +Castanheira & Bastai Arquitectos Associados + Jun Sung Kim, 2007-2009 - in Paju Book City, Republic of Korea
Sines Center for the Arts (Centro de Artes em Sines), by Aires Mateus, 2005 - in Sines, Portugal
The building is situated at the start of the main street linking the town to the sea and marking the traditional entrance to the historic nucleus. The Centre subsumes diverse activities capable of generating an exceptional building: exhibition rooms, a library, cinema-cum-theatre and a documentation centre. The wide-raging program calls for the whole plot to be occupied, enveloping the street below mean ground level and adapting its exterior volumetry to the monumental scale of the castle walls.
