Add To Collection
Add to Collection
NEW TAIPEI CITY ART MUSEUM
NEW TAIPEI CITY ART MUSEUM
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
View Original
Add To Collection
Add to Collection
NEW TAIPEI CITY ART MUSEUM
NTCArt
The New
Taipei City Museum of Art should propose a new paradigm for celebrating art in Taipei,
one that brings lifestyle, art, recreation and education together to celebrate
a vibrant cultural identity for the community. The fusion of art with all
aspects of one’s daily experience is driven by ideas about the intrinsic
relationship between art and life relevant in popular contemporary culture in
Taiwan. The new museum seeks to embody these ideas and provide an iconic venue
for the spontaneous unfolding of contemporary life. The existing park located
at the meeting of the Yingge and Dahan rivers within which the Museum sits, is
one that immediately reveals a dynamic juxtaposition between the constructed
nature (the park environment) and the density and “urban” scale of the
surrounding hillside context. The somewhat
auspicious relative condition of these two abstract realities, both organic, yet
both man-made provides the perfect setting for this museum.
Our design
for the NTCArt proposes a dramatic physical intervention into the Yingge park
landscape in the form of a line. Not unlike the Spiral Jetty earthwork of
Robert Smithson, or the meandering Wall installations of Andy Goldsworthy, this
line defines a curving edge or a path at a scale that is not immediately
legible to the individual, yet acts as an ordering element in the landscape. The line emerges from the ground plane within
the park at a continuous slope and follows a spiral path that terminates
centrally within the site projecting itself skyward. Its monumental scale is born
of the undulating contours of the park landscape and the spiral movement from
park ascending into the site is a natural response to the twisting momentum of
the two diverging river beds that define the park limits.
Contained
within this spiral line, the museum’s programmatic spaces are loosely organized
in an organic cascading composition rotating around the central void defined by
the spiral. The typical galleries and program elements are conceived as
individual 3-dimensional objects. Viewed in the round, these program boxes are
given scale and identity, and yet they are clustered together to create a complex
urban form recalling the dense composition of buildings that dot the surrounding
hills and images of the famous cascading hill town of Jiufen.
Circulation
through the museum at each of the six terraced level becomes one of discovery
and surprise not unlike the experience of visiting a hilltown. As a
counterpoint, the spiral line determines the outer edge of the primary and more
direct vertical circulation path through the museum. Layered behind the screen wall, this glazed
volume contains stairs connecting each terrace level and serves as the spatial
link to breakout spaces adjacent to the clustered galleries.
The exposed exterior surfaces of the galleries, sides, top and even underside
provide multiple canvases for nonconventional exhibition use. It will be
difficult to predict where the art will be found as in this cascading configuration,
the in-between, or accidental spaces and surfaces become opportunities for the
casual discovery of surprise installations. The art will reveal itself in new
and surprising ways, suspended within the void, appearing on the ledges and
terraces, projected onto the many surfaces and engaging with the physicality of
the building.
The slipping
and sliding movement of the gallery boxes create a series of smaller scale
foreground and background objects floating delicately above the site. This
design approach maintains the relative compactness required by the desire to
impose a limited footprint, yet achieves the rich variety and mix of heights
and massing that is desired.
Within this
composition, the NTCArt Children’s Museum is conceived as a 2-story container
distinct from the main Museum, within which individual program elements as well
as a series of exterior voids are arranged. The Children’s Museum is located at
the point at which the screen wall emerges from within the landscape to provide
an immediate relationship to both the lobby and the park. The landscape slopes
up onto the roof, offering views to and from the interior and providing direct
access from the park. Conceived as a sunken “toybox” in the park, children are
encouraged to experience the park and museum together as the limits of each are
left unclear.
The New
Taipei City Museum of Art should propose a new paradigm for celebrating art in Taipei,
one that brings lifestyle, art, recreation and education together to celebrate
a vibrant cultural identity for the community. The fusion of art with all
aspects of one’s daily experience is driven by ideas about the intrinsic
relationship between art and life relevant in popular contemporary culture in
Taiwan. The new museum seeks to embody these ideas and provide an iconic venue
for the spontaneous unfolding of contemporary life. The existing park located
at the meeting of the Yingge and Dahan rivers within which the Museum sits, is
one that immediately reveals a dynamic juxtaposition between the constructed
nature (the park environment) and the density and “urban” scale of the
surrounding hillside context. The somewhat
auspicious relative condition of these two abstract realities, both organic, yet
both man-made provides the perfect setting for this museum.
Our design
for the NTCArt proposes a dramatic physical intervention into the Yingge park
landscape in the form of a line. Not unlike the Spiral Jetty earthwork of
Robert Smithson, or the meandering Wall installations of Andy Goldsworthy, this
line defines a curving edge or a path at a scale that is not immediately
legible to the individual, yet acts as an ordering element in the landscape. The line emerges from the ground plane within
the park at a continuous slope and follows a spiral path that terminates
centrally within the site projecting itself skyward. Its monumental scale is born
of the undulating contours of the park landscape and the spiral movement from
park ascending into the site is a natural response to the twisting momentum of
the two diverging river beds that define the park limits.
Contained
within this spiral line, the museum’s programmatic spaces are loosely organized
in an organic cascading composition rotating around the central void defined by
the spiral. The typical galleries and program elements are conceived as
individual 3-dimensional objects. Viewed in the round, these program boxes are
given scale and identity, and yet they are clustered together to create a complex
urban form recalling the dense composition of buildings that dot the surrounding
hills and images of the famous cascading hill town of Jiufen.
Circulation
through the museum at each of the six terraced level becomes one of discovery
and surprise not unlike the experience of visiting a hilltown. As a
counterpoint, the spiral line determines the outer edge of the primary and more
direct vertical circulation path through the museum. Layered behind the screen wall, this glazed
volume contains stairs connecting each terrace level and serves as the spatial
link to breakout spaces adjacent to the clustered galleries.
The exposed exterior surfaces of the galleries, sides, top and even underside
provide multiple canvases for nonconventional exhibition use. It will be
difficult to predict where the art will be found as in this cascading configuration,
the in-between, or accidental spaces and surfaces become opportunities for the
casual discovery of surprise installations. The art will reveal itself in new
and surprising ways, suspended within the void, appearing on the ledges and
terraces, projected onto the many surfaces and engaging with the physicality of
the building.
The slipping
and sliding movement of the gallery boxes create a series of smaller scale
foreground and background objects floating delicately above the site. This
design approach maintains the relative compactness required by the desire to
impose a limited footprint, yet achieves the rich variety and mix of heights
and massing that is desired.
Within this
composition, the NTCArt Children’s Museum is conceived as a 2-story container
distinct from the main Museum, within which individual program elements as well
as a series of exterior voids are arranged. The Children’s Museum is located at
the point at which the screen wall emerges from within the landscape to provide
an immediate relationship to both the lobby and the park. The landscape slopes
up onto the roof, offering views to and from the interior and providing direct
access from the park. Conceived as a sunken “toybox” in the park, children are
encouraged to experience the park and museum together as the limits of each are
left unclear.
Product Spec Sheet
Were your products used?
Join as a manufacturer to add your products.