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mmec. museum of memory of colombia.
mmec. museum of memory of colombia.
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Other Projects by estudio__entresitio
132 VPP en el Ensanche de Vallecas. Parcela 5.16 - ESTUDIO ENTRESITIO - Public Housing Vallecas (Mad
mmec. museum of memory of colombia.
Winning proposal of an international competition the design is a collaboration between estudio__entresitio and Pacheco Estudio de Arquitectura
The building for the Museum of National Memory of Bogota is considered as an ascending, sequential and emotional route, between the ground and the urban sky. It begins and ends with 24 peaks - in a vertical mirror - that lightly touch that ground and that sky as beginning and end, and vice versa. These peaks, which in their multiplicity, represent the different political-philosophical positions of the actors of the Colombian conflict, fall apart on the ground and in the sky, geographies that ultimately belong to everyone.
The building is then an urban concrete piece that slightly touches the two fundamental ends of the urban space, soil and sky and in the middle houses the exhibition halls. The ascending route, from the plane of the city to the direct relationship with the hills and the sky, transports the spectator through the set of rooms to the “garden of nostalgia”, on the deck, beyond the “place of mourning”, from there to reach the horizon. Nostalgia in its greek origin means "pain for an ancient wound", a wound that must be healed, healed with light. The six exhibition halls, of cubic proportions crowned with four vertical skylights in the form of a peak, are grouped two by two and on three levels, producing a concatenated diagonal relationship between them.
The building for the Museum of National Memory of Bogota is considered as an ascending, sequential and emotional route, between the ground and the urban sky. It begins and ends with 24 peaks - in a vertical mirror - that lightly touch that ground and that sky as beginning and end, and vice versa. These peaks, which in their multiplicity, represent the different political-philosophical positions of the actors of the Colombian conflict, fall apart on the ground and in the sky, geographies that ultimately belong to everyone.
The building is then an urban concrete piece that slightly touches the two fundamental ends of the urban space, soil and sky and in the middle houses the exhibition halls. The ascending route, from the plane of the city to the direct relationship with the hills and the sky, transports the spectator through the set of rooms to the “garden of nostalgia”, on the deck, beyond the “place of mourning”, from there to reach the horizon. Nostalgia in its greek origin means "pain for an ancient wound", a wound that must be healed, healed with light. The six exhibition halls, of cubic proportions crowned with four vertical skylights in the form of a peak, are grouped two by two and on three levels, producing a concatenated diagonal relationship between them.
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