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Ecotono
Ecotono
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Other Projects by MASSLAB
Ecotono
Firm
STATUS
Concept
SIZE
10,000 sqft - 25,000 sqft
The Environment Museum project aims to be more than a catalyst institution: a place of convergence, contribution, and exchange of ideas in one building, as a promoter of the dialogue between art, and science, inside a sensorial experience that transgresses the conventional limits of a cultural space.
From the Greek oikos (house) and tonus (tension), ECOTONE represents an environmental transition area, where different ecological communities engage between them. Eugene Odum described an ECOTONE as “an area or zone of transition between two or more diverse communities.” The places of transition between two ecosystems are where the greatest diversity and opportunity exist for both flora and fauna. At the edges, the populations, resources, nutrients, lights, and food from both ecosystems mix. Some species exist only in ecotones, given the uniquely fertile environment that the combination of the two worlds creates.
We define an “edge” as the outer rim that frames what you do and separates it from what you don’t. Edges are frontiers beyond which something changes. Edges are not necessarily clear. On the contrary, many edges are quite fuzzy. Edges have another interesting property; they are the places where the inside and the outside meet. As such, they tend to be where the action is. In nature, in civilization, and in ecology, the peripheries teem with the most fascinating interactions. Where things meet, opportunities abound.
Seeking to promote the dialogue that links art, science, and atmosphere, the building explores what happens in all boundaries: interior, exterior, and the spaces in between. The new museum will provide different points of social convergence. Thresholds are “spaces between” in the flow between the public and the private. Threshold zones are neither completely free nor controlled. Entering public life is a threshold process. It means moving from a controlled environment to a more open environment. Activities usually grow from the edge to the middle. Threshold behavior highlights three conditions: spatial nature; perceptions-art and social essentials-people.
Progressively, art and the environment become the heart of the city’s experience and culture, projecting their influence beyond institutions. The collection of exhibition spaces forms a sequential or ubiquitous narrative, based on the use of spaces. They can open themselves up to the natural biomes that surround the program, or close themselves off in autonomous spaces. The form and organization of the exhibition spaces respond to the four different external conditions of the place: the cultural axis, the urban forest, and two side streets. The volumes adapt to the spatial context of the place, adjusting their orientation and connecting the museum and city.
From the Greek oikos (house) and tonus (tension), ECOTONE represents an environmental transition area, where different ecological communities engage between them. Eugene Odum described an ECOTONE as “an area or zone of transition between two or more diverse communities.” The places of transition between two ecosystems are where the greatest diversity and opportunity exist for both flora and fauna. At the edges, the populations, resources, nutrients, lights, and food from both ecosystems mix. Some species exist only in ecotones, given the uniquely fertile environment that the combination of the two worlds creates.
We define an “edge” as the outer rim that frames what you do and separates it from what you don’t. Edges are frontiers beyond which something changes. Edges are not necessarily clear. On the contrary, many edges are quite fuzzy. Edges have another interesting property; they are the places where the inside and the outside meet. As such, they tend to be where the action is. In nature, in civilization, and in ecology, the peripheries teem with the most fascinating interactions. Where things meet, opportunities abound.
Seeking to promote the dialogue that links art, science, and atmosphere, the building explores what happens in all boundaries: interior, exterior, and the spaces in between. The new museum will provide different points of social convergence. Thresholds are “spaces between” in the flow between the public and the private. Threshold zones are neither completely free nor controlled. Entering public life is a threshold process. It means moving from a controlled environment to a more open environment. Activities usually grow from the edge to the middle. Threshold behavior highlights three conditions: spatial nature; perceptions-art and social essentials-people.
Progressively, art and the environment become the heart of the city’s experience and culture, projecting their influence beyond institutions. The collection of exhibition spaces forms a sequential or ubiquitous narrative, based on the use of spaces. They can open themselves up to the natural biomes that surround the program, or close themselves off in autonomous spaces. The form and organization of the exhibition spaces respond to the four different external conditions of the place: the cultural axis, the urban forest, and two side streets. The volumes adapt to the spatial context of the place, adjusting their orientation and connecting the museum and city.
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