Posts tagged with "Museums":

Placeholder Alt Text

A new museum in Paris celebrates the 75th anniversary of the Liberation

The story of the resistants in the 1944 liberation of Paris from Nazi control is being told at a new museum opening on August 25. The Musée de la Libération celebrates two towering figures of the Resistance: Jean Moulin and Philippe Leclerc de Hautecloque—two men who never met but who both sparked local and international support for the city during the occupation.  Originally, a selection of the artifacts now on view in the museum’s permanent collection was on display in a haphazard and little-known exhibition hall in the Montparnasse district. However, with efforts directed by Parisian mayor Anne Hidalgo, a more cohesive curatorial effort is now housed in a grand 18th-century mansion that was ground zero for the final days of the Resistance movement. Originally owned by Henri Rol-Tanguy, who outfitted the basement for use by Moulin, the house and its subterranean bunker have undergone a $22 million refurbishment over the past four years. It's been filled with the photographs, personal items, and letters of the resistants and its celebrated leaders, as well as from the general Parisian public.  The bunker was integral to the final days of the Resistance since its useful amenities were located 99 steps below ground. These included a pair of airtight steel doors that could be used in the event of a gas attack, a 250-line telephone exchange that could connect leaders to the police (bypassing Nazi-run lines), and a bicycle-powered electricity generator that could keep ventilation moving despite being so far underground.  All of these elements have been meticulously restored and revealed to the public in the new museum. Hanna Diamond, an expert on World War II from Cardiff University, told The Guardian that the aim of the museum's display was to be "as engaging and as accessible as possible." "There’s a real republican responsibility here,” she said. The materials collected by the museum include everything from a schoolboy’s wallet filled with ration cards to the walking stick that Leclerc was never without. The narrative told is centered around the heroic events of August 25, 1944, so it's also fitting that the museum will open its doors on the Liberation’s 75th anniversary.  “The museum’s potency is greatly enhanced by the fact that 'it all actually happened here,'" Diamond said. The Musée de la Libération sits directly across from the entrance to Paris’ famous catacombs and is poised to welcome up to 14,000 visitors per year, according to Le Monde. It will serve as a lasting monument to the stories of the resistants and their chapter of French history for years to come. 
Placeholder Alt Text

Some survivors and activists oppose Orlando's Pulse memorial and museum

While efforts to build the National Pulse Memorial and Museum at the site of the deadly Pulse nightclub shooting in Orlando, Florida, are moving forward, certain LGBTQ activists, survivors, and loved ones of victims are voicing opposition to the plan. Last month, organizers who are against the onePULSE Foundation’s initiative to establish the museum formed the Community Coalition Against a Pulse Museum (CCAPM), which aims to develop an alternative vision for how to remember the victims of the deadliest anti-LGBTQ act of violence in U.S. history. 

As AN reported earlier this year, six major architecture firms have already been shortlisted from an initial 68 submissions for onePULSE’s international design competition. The finalists include Diller Scofidio + Renfro, MASS Design Group, MVRDV, and Studio Libeskind. While no winner has been announced yet, the process of soliciting proposals and selecting the designer has progressed steadily since the shooting in June 2016. The foundation’s plan for the site includes using the original nightclub building and constructing an additional 30,000-square-foot museum nearby. There is also an effort to integrate the memorial and museum into a broader urban design plan that would connect the former nightclub to downtown Orlando. If this is executed, visitors will be able to walk along the planned Orlando Health Survivors Walk, leading them to various sites involved in the aftermath of the shooting.

As for CCAPM, activists argue that funds used for the construction of the museum building should be directed towards victims’ families and survivors of the incident, not towards a tourist attraction. According to the organization’s website, opponents of the construction project maintain that: “All funds raised should be used to expand existing services and ensure that all survivors get the financial support, medical services, community support programs, and mental health care they need for life.”

The museum is expected to cost $45 million, including $40 million in construction costs and additional funds for staff salaries. As the Orlando Sentinel reported earlier this summer, onePULSE’s proposed budget includes a $150,000 annual salary for Barbara Poma, who established the Pulse nightclub in 2004 in memory of her brother, a victim of the AIDS epidemic. Poma is now the CEO of the onePULSE foundation. 

With an exhibition of the proposed designs set to open at the Orange County Regional History Center in Orlando this October, there is no sign that onePULSE will significantly alter its plan to construct the museum. According to NBC News, the foundation responded to continuing allegations that it is profiting off of victims’ traumatic experiences by assuring that it is listening to all concerns closely: “We respect the thoughts and opinions of everyone in the community who was affected by this tragic event and are taking them all into consideration on how we move forward.”

The memorial and museum are slated to officially open in 2022.

Placeholder Alt Text

Museum of Modern Art receives massive gift of African contemporary artwork

French-Italian art collector Jean Pigozzi has gifted New York’s Museum of Modern Art (MoMA) a substantial collection of contemporary artwork from across Africa. The 45 pieces included in the donation feature work by Sierra Leonean artist Abu Bakarr Mansaray, Malian photographer Seydou Keïta, and Congolese sculptor Bodys Isek Kingelez, whose fantastical models of cityscapes formed the retrospective exhibition Bodys Isek Kingelez: City Dreams at MoMA last year. According to MoMA, Pigozzi’s is the largest single gift of African art that the museum has ever received and will contribute significantly to future displays of its permanent collection.

Born in Paris to Italian businessman and Simca-founder Henri Pigozzi, Jean Pigozzi amassed his fortune through inheritance and a variety of enterprises, including photography and fashion design. He jumpstarted his collection of African contemporary art in 1989, soon after seeing the exhibit Magiciens de la Terre at the Centre Pompidou in Paris. Curator André Magnin lent considerable guidance as Pigozzi accumulated upwards of 10,000 pieces, now widely recognized as one of the largest collections of African contemporary art in the world. Pigozzi has maintained his holdings as the Contemporary African Art Collection (CAAC) in Geneva, which has no permanent galleries for exhibition. Pieces from the CAAC have been lent to museums and galleries across Africa, Europe, and North America for a range of temporary exhibits.

The move by Pigozzi sheds light on a broader effort by MoMA to overcome its longstanding focus on American and European modernism. The museum’s leaders have been appealing to donors with collections that highlight other regions of the world, including Patricia Phelps de Cisneros, who has given Latin American artwork to the institution twice since 2016. For MoMA, the acquisition may represent an opportunity for both redemption and growth. Between 1984 and 1985, the museum held an exhibit titled ‘Primitivism’ in 20th Century Art: Affinity of the Tribal and the Modern, which many have excoriated for promoting reductive, racist, and deeply ingrained notions of African inferiority. The Pompidou show that catalyzed Pigozzi’s collection was largely considered a rebuttal to MoMA’s own curatorial efforts, prompting Pigozzi himself to spend much of his life advocating for African contemporary art as on-par with, and often more interesting than, Western examples.

The growing stature of African contemporary art on the global stage extends well beyond MoMA’s walls. Earlier this year, the 1-54 Contemporary African Art Fair made its Manhattan debut at New York’s Industria, six years after its founding in London and four years after popping up in Brooklyn. In 2016, the international auction house Sotheby’s opened a department dedicated to African art in London, which has been frequented not only by Europeans but also by wealthy collectors from Nigeria, Kenya, and elsewhere in Africa. MoMA is likely looking to get in on the action, and Pigozzi’s gift presents the institution with its best opening yet.

While it is still unclear exactly how curators will incorporate Pigozzi’s pieces into the MoMA’s permanent collection displays, they are sure to play a role in the museum’s continuing growth. MoMA’s newly expanded facility, including its reconfigured permanent collection galleries, will open to the public on October 21, 2019.

Placeholder Alt Text

The Cayton Children's Museum turns an L.A. mall into a playscape

395 Santa Monica Place, Suite 374 Santa Monica, CA 424-416-8320 The 21,000-square-foot Cayton Children’s Museum is a new multilevel experience curated to engage children with the physical world. OFFICEUNTITLED (formerly R&A Design), a Culver City, California–based firm, has designed a space for children to explore unhindered, as the nets, colorful palette, costume lockers, full-size helicopter and firetruck, and even a wall covered in pool noodles are all intended to spur tactile interaction without requiring constant adult supervision. The museum is on the third floor of the open-air Santa Monica Place mall, an adaptive reuse project on the top floor of the Frank Gehry-designed building. Despite being titled as a children's museum, the space provides a welcome respite for parents and children alike. However, if visitors walk past the enormous aardvark carved from plywood that houses the reception desk, they’ll find the “Courage Climber,” an entire level made from nets, which only children can access and that spans 20 percent of the museum’s footprint. Other architecturally scaled objects house the museum’s various non-exhibition programmatic elements such as ticketing and security, including the “Armadillo, Porcupine, Onion, Egg, Houses and Drum.” The space is broken into five exhibition “neighborhoods” with distinct educational elements. Launch Your is a space for zero-to-two-year-old children to explore different topological arrangements through touch and is intended to help them strengthen their coordination. In Let’s Help, children can explore what it means to be a farmer, veterinarian, or first responder. The Together We section has been stocked with exhibitions meant to promote group activities and team building. In Reach for, visitors can stretch their legs and climb all over the web of nets. Finally, things slow down in Reflect On, where children are encouraged to take a more contemplative attitude about the world and consider how they can better connect with nature. The museum is open from 10:00 a.m. through 7:00 p.m. Monday through Saturday, and noon to 7:00 p.m. on Sunday. Admission is $14, but the museum will be free for low-income families during the first year.
Placeholder Alt Text

Ennead to transform its Newseum building for Johns Hopkins University

Ennead Architects, the New York-based firm formerly known as Polshek Partnership, will team up with SmithGroup to redevelop the Newseum building in Washington, D.C. for Johns Hopkins University. The Baltimore-based university announced its plans to purchase the building from the nonprofit Freedom Forum earlier this year for $372.5 million. Johns Hopkins will consolidate its existing real estate holdings in the city at the new offshoot building on Pennsylvania Avenue, which will host various academic and administrative initiatives.

Ennead is an appropriate choice to head the project for obvious reasons. Led by architect James Polshek, the firm designed the current Newseum building before changing its name from Polshek Partnership in 2010. Opened in 2008, the building has several distinct features, including a 75-foot-tall marble slab engraved with an excerpt from the First Amendment. A so-called “window on the world” also occupies the structure’s Pennsylvania Avenue frontage, allowing for views between the street, the National Mall, and visitors inside the museum. Ennead has handled multiple high-profile museum projects around the world, such as the Rose Center for Earth and Space at New York’s American Museum of Natural History and the Clinton Presidential Center in Little Rock, Arkansas.

Ennead submitted initial drawings for the major remodeling to the U.S. Commission on Fine Arts (CFA) on July 3. Before construction can begin, the commission must provide informal feedback and officially approve of the final design. The filing sent to the CFA indicates that certain aspects of the building’s facade will change. The marble tablet with the excerpt from the Constitution, as well as the newspaper headlines that line the avenue, will be removed. The entrance will be reimagined as more transparent and open. Due to boundary line regulations on Pennsylvania Avenue, though, much of the structure’s original massing will remain in place.

The interior will undergo a significant transformation as well. The university has announced plans to reconfigure floor slabs and circulation within the building—currently, much of the museum is positioned around a large, multistory central void. With more than 400,000 square feet of floor space available inside, the facility will house classrooms, offices, and event spaces that will be open to the public. No plans for alterations to the 135-unit Newseum Residences have been released.

As for the Newseum itself, administrators at Freedom Forum have not yet announced where the museum will move. After years of serious budget deficits, the institution will close temporarily at the end of 2019. Employees will work out of a provisional office in Washington until a new home is found. Hopkins has suggested that construction on its facility could begin as early as 2020, and as late as 2023, with no estimated completion date.

Placeholder Alt Text

Weiss/Manfredi continues to reinvent its approach at all scales

The realities of contemporary architectural production—site, client, and program—often demand that architects incorporate a combination of open space planning, landscape, and infrastructure into their building projects. The reasons are fairly obvious, given the fraught relationship of daily life to the realities of climate change, digitally mediated landscapes, and the amount of time we spend away from home and in our workplaces. It is unfortunate that these conditions most often appear in contemporary architecture as symbols, tacked on to a facade or plaza, hinted at in a green-walled lobby, or worse still, exist only in the project’s marketing images. However, there are a handful of architecture firms that, as far back as the early 1990s, foresaw the looming urban and environmental crises that we face today. They took climate change and the need for environmentally healthy workplaces seriously and considered how architecture might address these demands. One of the firms that recognized the need to rethink architectural approaches is Weiss/Manfredi. Its formulation of design thinking and form making was best described in a 2008 interview with the designers by the late historian Detlef Mertens. “I am fascinated how you teased out commonalities across scales and disciplines,” Mertens said, “and at the same time, used each to rethink the other—landscape to rethink what a building is, infrastructure to rethink what a landscape is, architecture to rethink landscape—and so on.” The firm’s signature design approach and formal architectural response were developed at its inception, when Marion Weiss and Michael Manfredi left Mitchell Giurgola to found their own firm in 1989. Yale Tsai Center for Innovative Thinking The unique, elliptical form of Yale University’s Tsai Center for Innovative Thinking is centrally positioned in a courtyard of stepped orthogonal structures. Curved glass walls encourage circulation through and around the center and allow the rest of the university to see and participate in the building’s program. The open studio, conference, and cafe spaces create opportunities for spontaneous discussion and provide a link between public areas and adjacent instructional spaces. Olympic Sculpture Park, Seattle Art Museum The firm’s design synthesis was utilized even more powerfully in its 2007 Olympic Sculpture Park in Seattle. Its design for an industrial site on the edge of Elliot Bay creates a continuous constructed landscape for art in the form of an uninterrupted Z-shaped "green" platform, and descends 40 feet from the city to the water, capitalizing on skyline views and rising over the existing infrastructure to reconnect the urban core to the waterfront. An exhibition pavilion that provides spaces for art, performances, and educational programming links three new northwest landscapes: a dense temperate evergreen forest, a deciduous forest, and a shoreline garden. The design not only brings sculpture outside the museum walls but also establishes the park itself within the landscape of the city. Hunter’s Point South Waterfront Park The firm’s established design aesthetic of merging landscape, infrastructure, and building are no more fully developed than in this new, 11-acre continuous waterfront in Queens designed in tandem with SWA/Balsley. Its design creates places of retreat and invites intimate connections with nature at the water's edge, complementing active recreation spaces. Further, it reestablishes the site's former marshland identity and introduces a resilient, multilayered recreational and cultural destination that brings city dwellers to the park and the park to the waterfront. Museum of the Earth The firm’s approach can already be seen in its 2003 Museum of the Earth in Ithaca, New York, located on an open promontory sloping down toward Cayuga Lake. Weiss/Manfredi carefully modified the site to merge delicately into the museum’s two glass and steel pavilions through processional ramps and out to the view beyond. The site and plan merge without compromising the building’s powerful glass-and-steel form.
Placeholder Alt Text

Lorcan O'Herlihy renovates Detroit's African Bead Museum

The Detroit office of Lorcan O'Herlihy Architects (LOHA) has unveiled its initial phase of a small-budget, big-ambition renovation of one of the city's most remarkable cultural institutions: the MBAD African Bead Museum, an independent exhibition space devoted to African material culture and art. The museum comprises three townhouses and a 6,000-square-foot backyard sculpture garden that together stretch across almost a whole city block. Founder, owner, artist, and self-styled visual storyteller Olayami Dabls uses rocks, mirrors, wood, and iron to create sculptures that are parables for the development of African and African-American history and culture. According to its website, Dabls created the museum to help visitors better understand the struggles of the Civil Rights Movement through his sculptures and his collection of African objects. The African Bead Gallery, a museum store, is as intriguing as the sculptures: trays of beads are the forest floor to strung beads and artifacts from the collection that cover the walls and overhead displays. Outside, the facade is covered in Dabls's colorful glass-and-mirror mosaic murals. As beautiful as it is, the museum's physical space is in serious disrepair. One of the townhouse's roof has collapsed, and the exterior walls are precarious. Over time and if funding permits, LOHA will reinforce the structure internally and build galleries, a new entrance, and a landscape within the new envelope. The initial $100,000 renovation zeroed in on augmenting the museum's exhibition space and performing urgent repairs. LOHA turned a run-down storage room into a 600-square-foot gallery and community events space that will allow for more exhibitions from the museum's collection, plus work from artists in Detroit and beyond. Beyond the new gallery, improvements include new heating and electrical systems, new windows, and a public restroom. "For the first time in 17 years, we will have a space where we can engage the community through storytelling programs and make the museum available to the people who need a gathering space," Dabls said in a press release. "This adds a whole new dimension to our plans for the future." A celebration of the renovated gallery is planned for June 22. This round of renovations was funded by crowdsourced donations via a campaign in partnership with Allied Media Projects. Subsequent renovations are contingent on more fundraising. The museum is already looking to add a main entrance, a central gallery, new admin facilities, and a fund for visiting artist residencies.
Placeholder Alt Text

Statue of Liberty Museum by FXCollaborative opens this week

How do you design a museum that makes the most of a small plot, honors the history and spirit of the Statue of Liberty, and can handle millions of visitors a year? The FXCollaborative-designed new Statue of Liberty Museum on Liberty Island, which opens to the public this Thursday, had to address all of these concerns. The materiality of the 26,000-square-foot museum is intrinsically linked to the Statue of Liberty it lies directly across from, and the pedestrian mall it connects to. When approaching the island by ferry, the museum’s prominent 14,000-square-foot green roof and vertically-striated exterior precast concrete firmly distinguished the building from anything else in its surroundings. The most striking feature is the 22-foot-tall wing dedicated solely to the Statue of Liberty’s original torch, which was replaced in the 1984 renovation. The glass walls provide a nearly 360-degree view of the island, the Manhattan skyline, and the statue itself from inside, but also make the torch highly visible from the exterior. To enter the museum and reach the green roof, visitors must first ascend a series of steps made from Stony Creek granite, the same stone used in the Statue of Liberty’s podium. The museum’s entrances and programming are designed to be highly permeable, as they are expected to accommodate up to 500 visitors an hour. As such, the museum offers several different branching “paths” once inside. Other than the aforementioned torch room, an immersive theater, broken into three discreet rooms, is stationed near the entrance and provides an immersive, 10-minute movie on the history and impact of the statue. After filing out, guests can either move to the “Engagement Gallery,” which dives deeper into the French workshop where sculptor Frédéric-Auguste Bartholdi assembled the statue, or to the "Inspiration Gallery." In that space, visitors can snap a selfie and append a note about what liberty means to them; that photo will then be added to a collage called “Becoming Liberty.” The interactive exhibitions were all handled by ESI Design. On the roof, visitors are afforded unobstructed views of pretty much everything in the area, including Manhattan, Staten Island, and New York Harbor. Eagle-eyed patrons might notice that the roof flares both upwards and downwards in certain points, including a dramatic dip over the main entrance. FXCollaborative extended the green roof along the harsh incline by using a series of tray planters smoothed over to appear as if they’re one continuous slope, protecting against any potential runoff. Liberty Island is also a hotspot for migrating birds, and the team specified a fritted glass to cut down on the reflectiveness of the windows and mitigate bird strikes. The Statue of Liberty Museum will open to the public on May 16, and admission is included in the cost of a ferry ticket: $18.50 for adults, $14 for seniors, and $9 for children.
Placeholder Alt Text

Studio Libeskind reveals Ngaren, museum of human history in Kenya

Studio Libeskind has revealed its design for a vertical monument to humanity just outside of greater Nairobi in Kenya. Ngaren: The Museum of Humankind, commissioned by paleoanthropologist Dr. Richard Leakey, will present over two million years of human history in a building inspired by the forms of ancient hand axes and other primitive tools. “Ngaren is not just another museum, but a call to action,” said Leakey in a press release. “As we peer back through the fossil record, through layer upon layer of long extinct species, many of which thrived far longer that the human species is ever likely to do, we are reminded of our mortality as a species.” Ngaren’s monolithic massings will sit overlooking Kenya’s portion of the Great Rift Valley. The 3,700-mile-long trench cuts across several countries, and the Kenyan site is where Leakey first discovered the nearly complete skeleton of Turkana Boy in 1984. The fossilized remains, dating back 1.5-to-1.6 million years old, is the most complete early human skeleton ever uncovered. The design of Ngaren reflects the primordial feel of the content within, with Studio Libeskind likening the museum’s form to a stalactite, a comparison furthered by the team’s use of stone-colored concrete. From the renderings, it appears that the museum will jut out from its clifftop site similar to a natural rock outcropping. A main entry will be dug into the hilltop. Inside, visitors will be able to engage with multimedia exhibition galleries that will explore millions of years of history, and the continued impact of, war, climate change, disease, evolution, biodiversity, and other factors that have shaped our species. Ngaren is expected to open in Loodariak, Kenya, in 2024 if the fundraising goes as planned. Currently, the project has $4 million of a total $7 million raised on the online social investing platform Rabble.
Placeholder Alt Text

Studio Libeskind's anthropology museum evokes the stark forms of the Chilean desert

A multi-level museum showcasing 6,000 years of history is slated to break ground Iquique, Chile, and Studio Libeskind has revealed the first look at its dramatic, seemingly-fragmented building. Iquique is a port city in the country’s north that, while built on mining, has transitioned towards a tourism economy in recent years, in part owing to the abundance of natural biomes found together there—mountains, desert, and the ocean all lie in close proximity. Appropriately enough, Studio Libeskind has drawn on the lush natural environment for the design of the new home for El Museo Antropológico Regional de Iquique (Regional Anthropological Museum of Iquique). The new building will replace the anthropological museum’s original home, where it has existed since 1892. While the current building can only display 20 percent of the museum’s collection, the replacement—which Studio Libeskind has dubbed “El Dragon de Tarapacá”—will be able to put 6,000 years of history on display. Focusing first on the indigenous peoples of the nearby Atacama Desert, the museum will also cover colonialism, nitrate mining in the region, and history up to modern times. El Dragon de Tarapacá was designed to harmonize with the surrounding landscape. Using three pairs of jutting, vertical walls, the massing of the museum references the Atacama Desert, nearby dunes, mountains, and the adjacent coast. The design team opted for a mixture of earth-colored concrete, which is intended to resemble the local stone historically used for construction in Iquique, and hardwood for the interiors. Programmatically, over 40,000 square feet of exhibition space will span two levels. A café over the entrance hall will look out over the shore to the south, while the educational spaces, such as classrooms and a theater, will be located below the entrance. Beneath that will sit the administrative spaces and offices, with underground parking below.

“The design is informed by acoustical space," said Daniel Libeskind. "The idea was to treat each space as a distinct atmosphere and mood as you move throughout the museum. Every volume references the surrounding landscape—dune, mountain, desert, ocean.”

The new museum will sit between two roadways leading into Iquique’s urban center, and on a serious grade. The topmost road is approximately 26 feet higher than the lower street. That means an elevated ramp was needed to unite both halves, creating a pass-through to the beach between the two streets for the first time. A sloped garden will rise from the lower side as well. Construction of the new museum is expected to begin in early 2020, though no completion date has been given yet.
Placeholder Alt Text

Diller Scofidio + Renfro beat a crowded shortlist for the Hungarian Museum of Transport

The Hungarian Museum of Transport is on the move, and Diller Scofidio + Renfro (DS+R), alongside local architecture firm Tempannon, has been chosen to design its new home in Budapest. Appropriately enough, the museum will move to a 17-acre site in the Northern Maintenance Depot in Kőbánya, a heavily industrialized area surrounded by both active and historical transportation infrastructure. The museum, one of the oldest transportation collections in Europe, is known for its wide showcase of both scale and full-sized buses, trains, cars, and other vehicles. The current building in Városliget has been closed for two years in anticipation of the move to the new site. The winning DS+R scheme heavily involves the idea of “ground transportation” and carving into the ground plane to afford visitors views from underneath the collection. By carving, lifting, and cutting into the ground, as well as using ample amounts of glass, the new museum will let guests explore the vehicles from every angle while still preserving them. Outside, a “Forecourt” will knit together the existing buildings on the site with the bike and pedestrian paths and railways. An intermingling of paved and landscaped areas, a picnic area, outdoor galleries, a café, and spaces for the nearby Törekvés Cultural Center will allow museum guests to decompress before and after entering. Carriage cars and locomotives will also adorn the Forecourt through a series of “breakout vitrines.” The museum itself will project from the Diesel Hall, a mid-century modern industrial building with nine, 360-foot-long parallel naves. Half of the new Grand Hall will remain in the Diesel building to reinforce the structure, while the other half will lie in the forecourt and create a symbolic bridge between old and new. A “second ground” will sit above the Gallery Hall and house space for special exhibitions, a museum café, and educational spaces, while providing uninterrupted views of the surrounding landscape. The museum's international design competition kicked off in August of last year. According to a statement by DS+R, the firm was selected out of a slew of other well-known practices: 3H Architecture, Amanda Levete Architects Ltd., Atelier Brückner GmbH, Bjarke Ingels Group, Caruso St John Architects, CÉH Zrt. + Foster & Partners, David Chipperfield Architects, Építész Stúdió Kft., KÖZTI Zrt. and Lacaton & Vassal Architects. No estimated completion date for the project has been given yet. As the proposed site sits on a brownfield, environmental remediation will need to be finished before construction can begin.
Placeholder Alt Text

David Chipperfield finishes hillside museum in eastern China

David Chipperfield Architects has recently finished a new museum in Anji outside Dipuzhen in eastern China that comprises a set of interlinked bars in a "red ochre" color that references local clay earth. The facility will be a branch of the Zhejiang Museum of Natural History when it opens this spring. The museum's rectangular galleries step down its hillside site and are connected by a loggia that encloses an interior courtyard. The galleries have roughly the same grand height and width but vary in length, bringing some diversity to the exhibition spaces. Altogether, the museum will enclose about 624,000 square feet. When fully landscaped, the complex will include green roofs and water features that, along with the ruddy color, will connect the building to its subtropical setting. German firm Levin Monsigny Landschaftsarchitekten and local firm Zhejiang South Architecture Design Ltd. worked on the landscape design.