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The Observatory Art Museum Buenos Aires 2011
The Observatory Art Museum Buenos Aires 2011
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The Observatory Art Museum Buenos Aires 2011
Type
Observatory
Art Museum, Buenos AiresFloating
Realities
The
site of the museum is on the banks of the Rio de la Plata in Buenos
Aires' Puerto Madre, the area is a juxstaposition of industrial
warehouses, shipping docks, commercial distirct and nearby nature
reserves.
The
museum's design attempts to choreograph images and views into the
city to highlight the ever expanding definition of what is
considered real, diluting the edges between the viewer, exhibits,
city fabric and it's immediate context. The form has no spatial
hierarchy creating an ethereal precense, the antithesis of
monumentality and the specificity of material place. The
architectural gesture is that of a glimpse, a collage of
superimposed spaces with no beginning or end, no defined boundary as
they are experienced like an edited animation.
The
structure consists of a single, laser cut aluminium, semi-monocoque
shell, prefabricated off site.The aluminium shell is made up of 3
Meter wide sections welded together, sanded and spray painted white,
it appears to float above the circulation giving the impression of
weightlessness, the observatory museum's sole support is the
circulatory ramp shaft off which the structure is cantilevered and
tied to the dock.
Window
wall openings slide back into the shell giving boundless views into
and through the museum, like an observatory. The city is brought
into the museum. The windows walls are made from toughened laminated
glass inclined by 25 degrees so as not to reflect sunlight and glare
from the river.
The
structure uses the same technology as boat manufacturers, the
interior is free of columns providing unobstructed views. The ground
floor plane restructures the embankment and dock by bringing the
river partly into the design, using a series of locks which flood
sunken platforms within the museum when needed. Ramps rise out of
the water connecting the main gallery space with the rest of the
site intervention.
The
museum's atrium has a series of lanes bridging over sections of
river water. An opening in the roof allows rainwater to collect in
the impluvium below; the space is flexible and has the option of
being more or less absorbed into the city depending to environment
and exhibit.The new edge condition reflects the nature of the nearby
reservation area which contrasts the immediate industrial and very
urban river condition. The plan brings together different geometries
similar to the varied urban fabric of the city itself.
The
glass wall windows dictate attention between exhibits and city
views, creating a collaged effect of the building within it's
context. This superimposed perception of context and design attempts
to offer new environements which we can claim and adapt, bringing us
closer to the concept that perception and the mind's interpretation
formulate the basis for understanding and exploring the changing
definitions of real and virtual.
The
semi-monocoque structural system creates an illusion of the buidling
drifting along the river, or floating over the city raising the
question what happens when an illusion, a virtual manifestation
becomes real through appropriation.
Art Museum, Buenos AiresFloating
Realities
The
site of the museum is on the banks of the Rio de la Plata in Buenos
Aires' Puerto Madre, the area is a juxstaposition of industrial
warehouses, shipping docks, commercial distirct and nearby nature
reserves.
The
museum's design attempts to choreograph images and views into the
city to highlight the ever expanding definition of what is
considered real, diluting the edges between the viewer, exhibits,
city fabric and it's immediate context. The form has no spatial
hierarchy creating an ethereal precense, the antithesis of
monumentality and the specificity of material place. The
architectural gesture is that of a glimpse, a collage of
superimposed spaces with no beginning or end, no defined boundary as
they are experienced like an edited animation.
The
structure consists of a single, laser cut aluminium, semi-monocoque
shell, prefabricated off site.The aluminium shell is made up of 3
Meter wide sections welded together, sanded and spray painted white,
it appears to float above the circulation giving the impression of
weightlessness, the observatory museum's sole support is the
circulatory ramp shaft off which the structure is cantilevered and
tied to the dock.
Window
wall openings slide back into the shell giving boundless views into
and through the museum, like an observatory. The city is brought
into the museum. The windows walls are made from toughened laminated
glass inclined by 25 degrees so as not to reflect sunlight and glare
from the river.
The
structure uses the same technology as boat manufacturers, the
interior is free of columns providing unobstructed views. The ground
floor plane restructures the embankment and dock by bringing the
river partly into the design, using a series of locks which flood
sunken platforms within the museum when needed. Ramps rise out of
the water connecting the main gallery space with the rest of the
site intervention.
The
museum's atrium has a series of lanes bridging over sections of
river water. An opening in the roof allows rainwater to collect in
the impluvium below; the space is flexible and has the option of
being more or less absorbed into the city depending to environment
and exhibit.The new edge condition reflects the nature of the nearby
reservation area which contrasts the immediate industrial and very
urban river condition. The plan brings together different geometries
similar to the varied urban fabric of the city itself.
The
glass wall windows dictate attention between exhibits and city
views, creating a collaged effect of the building within it's
context. This superimposed perception of context and design attempts
to offer new environements which we can claim and adapt, bringing us
closer to the concept that perception and the mind's interpretation
formulate the basis for understanding and exploring the changing
definitions of real and virtual.
The
semi-monocoque structural system creates an illusion of the buidling
drifting along the river, or floating over the city raising the
question what happens when an illusion, a virtual manifestation
becomes real through appropriation.
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