JMMag & Partners: Museos

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Museo del Holocausto de Los Angeles: Belzberg Arquitectos–Belzberg Architects: Los Angeles Museum of the Holocaust

Belzberg Arquitectos, del estudio de Santa Mónica, han finalizado el diseño del nuevo Museo del Holocausto de Los Ángeles (LAMOTH). Abierto ahora al publico, el museo tiene un techo ondulado verde que termina en la esquina noroeste de Los Ángeles "Pan Pacific Park” actuando como un anexo al monumento del Holocausto ya existente. El museo multicultural tiene como objetivo integrarse completamente en el espacio verde público, minimizando el impacto visual sobre la atmósfera del parque.
El techo, de sutiles alturas, cuenta con líneas gráficas de hormigón que divide la superficie en una serie de zigzagueantes caminos peatonales. Con un corte a través del centro se encuentra la rampa de entrada descendente, que se estrecha en un espacio interior ya que es flanqueada por techos inclinados alterando la perspectiva de las plantas. El diseño de la distribución y circulación mantiene vivo el instituto de 50 años de historia, la utilización de los elementos subterráneos del edificio evoca ciertas emociones a los visitantes. El uso inteligente de la luz natural desde la planta superior alivia la oscuridad y la atmósfera de compresión proporcionada por las columnas de hormigón proyectado.

santa Mónica based office belzberg architects has finished the design of the new los ángeles museum of the holocaust (LAMOTH). now open to the public, the museum features an undulating green roof that pulls up the northwest corner of los angeles' pan pacific park. serving as an annex
to the already existing holocaust monument, the multi-cultural museum aims to integrate completely into the public green space, minimizing the visual impact on the park's atmosphere.
the roof, while subtle in height, features graphic lines of concrete that divides the surface into a series of zigzagging pedestrian paths. slicing through the center is the descending entry ramp, which tapers in to an interior space that is flanked by sloped ceilings and perspective-altering floors. the design
of the layout and circulation kept conscious the institute's 50 year history, utilizing the building's underground elements to evoke certain emotions from the visitors. clever usage of natural light from above alleviates the darkness and compressive atmosphere provided by the shotcrete columns.

Render a vista de pajaro del techo de yerba - rendered bird's eye view of the green roof

De noche - - At nigh

Elevación sur – south elevation

Rampa de entrada - entry ramp

(left) lobby area - (top right) shotcrete columns - (bottom right) underground gallery spaces

Luz natural desde el piso superior - natural light wells reaching the darker lower level

rendered plan with the roof off

Vista de sección - sectional view

roof components and geometry

Fases de construcción - construction phase

Piezas de hormigón - shotcrete pieces

en el contexto - in context

images courtesy belzberg architects

Musée Hergé by Atelier Christian de Portzampar

Este museo esta dedicado al artista belga Herge autor de Tintin. Diseñado por Christian de Portzamparc abierto en Louvain-la-Neuve; Belgica.

A museum dedicated to Belgian artist and Tintin author Hergé, designed by Atelier Christian de Portzamparc, opened earlier this month in Louvain-la-Neuve, Belgium (via yatzer).

El museo esta situado en un bosque y conectado con la ciudad por un puente peatonal.

The Musée Hergé is situated in a forest and connected to the city of Louvain-la-Neuve by a footbridge.

Large, comic-strip-like bay windows allow natural light to fill the large reception area, from which the four large exhibition spaces can be accessed.

Meandering footbridges link the exhibition spaces.

The museum features permanent and temporary exhibition spaces, a video projection venue, cafeteria, shops and studios.

Photographs are copyright Nicolas Borel unless otherwise stated.

Here’s further info from Christian de Portzamparc:

–

MUSEE HERGE

Louvain-la-Neuve, Belgium
2001, Building works began in July 2007 – End of the building May 2009
Commission.

An elongated prism floats in the forest while a footbridge connects it to the city. Vast bay windows seem to suggest comic strips spaces, while the prism offers a colorful oneiric and fancied hall.

This large reception area accommodates the four exhibition volumes also linked with each other via footbridges.

“It was at the close of the exhibition, organized by the Pompidou Centre about me in 1996, that I met Fanny and Nick Rodwell. They had seen the exhibition, liked it, and wanted to talk to me about their project for the Hergé Museum. Above image copyright Hergé/Croix de l’Aigle.

It was wonderful as Hergé had not only cradled and enchanted my own childhood, but he was also cradling and enchanting the childhood of my children.

My first ever drawings, when I was about four or five years old, were of Captain Haddock. When it comes to my primary architectural motifs, I realise now that they were inspired by the menof-war (the Unicorn), boats, yachts, junks, hows and cargo steamers that sail through the adventures of Tintin, Snowy and Captain Haddock.

I remember them in the same way as I might remember old poems, far away in the recesses of my memory. It would take another seven years before the first sketches and the first model of the museum appeared in 2003. Seven years during which there was time for relations between Fanny and Nick Rodwell and myself to grow, to become stronger and more refined with mutual confidence and complicity. Time for us to make sure that we were speaking the same language. This sense of collaboration was, throughout the project, shared by Joost Swarte, who was in charge of the scenography, and Walter de Toffol, our building contractor.

Louvain-la-Neuve is built on a straight-edged concrete slab with a car park underneath. It immediately seemed like a good idea to disengage the museum from the town, better to move it away a little towards the woods. In this way, bathed in the light streaming through the large bays, the visitor is confronted with “four landscape objects”, which correspond to the general layout and Joost Swarte’s scenography.

Each of these objects has its own personality; each is a kind of character. Each has a specific sculptural form, colour and unique design. Each displays an aspect, disproportionately enlarged, derived from Hergé’s drawing style. One traces Tintin in America, another King Ottokar’s Sceptre… To these four “objects”, we can add a fifth: the lift shaft, vertical and coloured in white and blue, which I had first imagined as red and white, but which Fanny found too literal.

What is clear to me, now that the museum exists, is that there were infinite sources of inspiration for the project. Above image copyright Hergé/Croix de l’Aigle.

There was the programme of exhibitions, of course, and the constant discussions with Fanny and Nick Rodwell, as well as the work of Hergé in all its dimensions of course: its identity, its individuality, its unique character.

I said to myself, from this point on, that the museum was obviously a tribute to Hergé, but also as much a game played with Hergé, or a letter to Hergé.”

PROGRAM:
Cultural facilities accommodating a museum dedicated to Hergé, as well as permanent and temporary exhibitions areas, a video projection room, a cafeteria, shops, studios, storehouses and administrative premises.

SCENOGRAPHY: Joost Swarte

LANDSCAPE DESIGNER: Jacques Wirtz

SURFACE: 3 600 m_ SHON

CLIENT: « La Croix de l’Aigle » S.A. : Fanny et Nick Rodwell, Studios Hergé. Client representatives: INCA

ATELIER CHRISTIAN DE PORTZAMPARC TEAM : Céline Barda, Bruno Durbecq, Odile Pornin, Yannick Bouchet, Konrad Kuznicki

El Museo judio contemporaneo

Aunque sera de sobra conocido para todos, el formato de las imagenes y los renders os pueden gustar.
736 Mission Street, San Francisco.
California. USA

... Todo el edificio está en penetración Chai y la vida en la estructura de las páginas Talmúdica los márgenes y los comentarios son tan importantes como lo que es comentado ...

...The entire building is

a penetration of Chai/life into the Talmudic page structure where
the margins and commentaries are as important as what is commented upon ...

DANIEL LIBESKIND

INFORMACIÓN TÉCNICA

Concurso: 1998
Finalización: 2008
Cliente: Museo Judío Contemporáneo
Área de construcción: 63.000 pies cuadrados
Programa del museo: 2 galerías, sala polivalente, espacio de eventos especiales, venta al por menor, el espacio de vestibulo, espacios de educación, café, espacios de apoyo administrativo en dos plantas.
Estructura: Estructura de acero en el hormigón con revestimiento de acero inoxidable
Project Manager: Consultor KPM
Ingeniero Estructural: ARUP y OLMM Consulting Engineers

TECHNICAL INFORMATION

Competition: 1998
Completion: 2008
Client: Contemporary Jewish Museum
Building Area: 63,000 sq. ft.
Museum Program: 2 gallery spaces,
multipurpose room,
special events space, retail, lobby
space, education spaces, cafe,
administrative support spaces
on two floors.
Structure: Steel structure on concrete with stainless steel cladding
Project Manager: KPM Consultant
Structural Engineer: ARUP and OLMM Consulting Engineers

DESCRIPCIÓN

... Con la apertura de su nuevo edificio en junio de 2008, el Museo Judío Contemporáneo (CJM) inaugurará un nuevo capítulo en sus más de 20 años de historia de participación de visitantes y artistas contemporáneos en el estudio de perspectivas sobre la cultura judía, la historia, el arte y las ideas. La nueva instalación será un centro vivo donde las personas de todas las edades pueden reunirse para apreciar el arte, desde diversas perspectivas, y participar en actividades manuales. Inspirado por el hebreo frase "L'Chaim" (a la vida), el edificio es una encarnación física de la misión del CJM para reunir a la tradición y la innovación en una exploración de la pertinencia de los valores y las tradiciones judías en el siglo 21.

DESCRIPTION

... With the opening of its new building in June 2008, the Contemporary Jewish Museum (CJM) will usher in a new chapter in its 20-plus year history of engaging audiences and artists in exploring contemporary perspectives on Jewish culture, history, art and ideas. The new facility will be a lively center where people of all ages and backgrounds can gather to appreciate art, share diverse perspectives, and engage in hands-on activities. Inspired by the Hebrew phrase “l’chaim” (to life), the building is a physical embodiment of the CJM’s mission to bring together tradition and innovation in an exploration of the relevance of Jewish values and traditions in the 21st century.

... El diseño de El Museo Judío Contemporáneo (CJM), en San Francisco ofrece un espacio para exposiciones, un espacio para actividades y un símbolo dedicado a la revitalización de la vida judía en San Francisco y más allá. El sitio de la CJM es una central eléctrica abandonada desde el cambio de nuevos espacios y usos. Se incorpora dentro de la antigua estructura y articula una estrecha relación con el nuevo milenio y la torre de la calle peatonal que conecta.

... The design of The Contemporary Jewish Museum (CJM) in San Francisco provides a space for exhibitions, a place for activities and a symbol dedicated to the revitalization of Jewish life in San Francisco and beyond. The site of the CJM is an abandoned power station from the turn of the century.The new spaces will be incorporated within the old structure and will articulate a close relationship to the new Millennium Tower and the pedestrian connector.

... la construccion de CJM se basa en la palabra hebrea "L'Chai'm", que significa "a la vida". Las dos cartas de hebreo Chai, con todas sus simbólica, matemática y emblemática estructura, son, literalmente, la fuente de vida y la forma del Museo. En la tradición judía, las letras no son meros signos sino que son participantes importantes en la historia que crean.

... The CJM building is based on the Hebrew word "L’Chai’m," which means "To Life." The two Hebrew letters of Chai, with all their symbolic, mathematical and emblematic structure, are literally the life source and the form of the Museum. In the Jewish tradition, letters are not mere signs but are substantial participants in the story they create.

... Todo el edificio es una penetración de Chai y la vida en la estructura de la página talmúdica, donde los márgenes y los comentarios son tan importantes como lo que es comentado. Una estructura orgánica del espacio y función. Todo el museo es una matriz que debe la iniciativa de la interpretación al visitante.

... The entire building is a penetration of Chai/life into the Talmudic page structure where the margins and commentaries are as important as what is commented upon. No place in the finished Museum is unconnected to the whole, forming an organic structure of space and function. The entire Museum is a matrix calling forth interpretation by the visitor.

SKETCH