Thematic Museums PDF

Thematic Museums
Thematic
No matter how glorious a culture used to be, it will be replaced
by a new culture, without any exception. Human beings are
creating new cultures continually, while the culture itself
cannot be immortal. However, we can still seek the traces of
Museums
these cultures through some vehicle, which is the museum.
This book takes the architecture and display features of
museums as its content, displaying various thematic museums
features in modeling and space design. From the use of
materials to their cultural and regional embodiment, the book
analyses the cultural and historical connotations of museum
design systematically.

Thematic
Museums

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CONTENTS

HISTORY MUSEUM ART MUSEUM 158 Tel Aviv Museum of Art 240 Polish Aviation Museum

172 The Bronx Museum of the Arts Expansion, North Wing 248 Nestl Chocolate Museum
6 The New Museum Aan de Stroom 74 Yokosuka Museum of Art

178 Erie Art Museum 256 Fort Worth Museum of Science and History
12 Los Angeles Museum of the Holocaust 80 Museum Villa Vauban

186 Lam - Lille Museum of Modern, Contermproary and Outsider Art 262 Museum of Energy
20 Voyager New Zealand Maritime Museum 86 Grand Rapids Art Museum

194 Museo Soumaya 268 National Automobile Museum
24 Shimane Museum of Ancient Izumo 97 ARoS Arrthus Museum of Art

202 Museum ABC Illustration and Design Centre 274 Canadian Museum of Nature
28 Museum of Liverpool 102 Crpatoa Museum of Contemporary Art ABC

34 New Mexico History Museum 110 Extension of the Denver Art Museum SCIENCE MUSEUM COMPREHENSIVE MUSEUM

44 Madinat al Zahra Museum 122 Musee Herge

208 Labyrinth of Sciences and The Arts Museum 282 Lyon House Museum
52 Carabineros Museum of Chile 128 Mecenat Art Museum

214 Riverside Museum 288 Mimesis Museum
60 Extension of the National Maritime Museum 134 Museum of Culture, Fine Arts and Science, Changchun

220 National Automobile Museum Renovation and Extension 296 ECO MUSEUM in Rennes
68 Waterloo Region Museum 140 Crocker Art Museum

226 Welios Science Museum
146 Jiangsu Provincial Art Museum

234 National Glass Museum 302 INDEX
152 Bechtler Museum

The New Museum Aan de Stroom
Location: Antwerp, Belgium Designer: Neutelings Riedijk Architects Completion Date: 2010 The MAS is designed as a sixty-metre-high tower. Ten gigant natural stone boxes
Construction Area: 19,557m2 Photographer: Neutelings Riedijk Architects and City of Antwerp are piled up as a physical demonstration of the gravity of history, full of historical
2010 19,577
objects that our ancestors left behind. It is a storehouse of history in the heart of
the old docks.
Each floor of the tower is twisted a quarter turn, so that creates a huge spiral
staircase. This spiral space, which is bordered by a wall of corrugated glass, is a
public city gallery. A route of escalators carry visitors up from the square to the top
of the tower. The spiral tower tells the story of the city, its port, and its inhabitants.
60

Left: Situation
Facing: Overview east side

East Faade North Faade West Faade South Faade
-
Left: Night view hall
Right: Evening view east
Facing Above: Inside view
Facing Below: Internal space

The Museum Aan de Stroom (MAS) is located between the old docks in the heart of
Het Eilandje. This old port area is the major urban renewal project in the centre of
Antwerp and is developing as a vibrant new city district.
Faades, floors, walls and ceilings of the tower were completely covered with large
slabs of red Indian sandstone hand cleaved, making the image of a monumental
stone sculpture. The four colours of the stone slabs based on a computerised pattern
are divided on the faade.
The spiral gallery is lined with a huge curtain of corrugated glass. With its play of light
and shadow, transparency and translucency of the undulating glass faade brings a
lighthearted counterweight to the gravity of the stone sculpture.
To soften the monumental tower volume a pattern of metal ornaments has been put
like a veil over the faade. The ornaments are shaped like hands, the logo of the City
of Antwerp. Inside the building, this pattern continued through metal medallions,
molded by a design of Tom Hautekiet with a text of Tom Lanoye.
On each floor the visitor can enter the museum hall and go into the history of the
dead city, while on his way to top breathtaking panoramas of the living city itself
unfolds. At the top of the tower are a restaurant, a party room and a panoramic
terrace, where the present is celebrated and the future planned.
The Museum square at the foot of the tower is an integral part of the design. The
square is decorated in the same red stone as the tower and surrounded by pavilions
and terraces, as an urban space for events and outdoor exhibitions. The central
part of the square is half sunken and forms a framework for a large mosaic of Luc
Tuymans.
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6 6 6 8
11
9 9
2 1 12
4
10
7
3
Ground Floor Plan: Level 1 Plan: Level 2 Plan:

1. Entrance hall 1. 7. Gallery 7. 11. Gallery 11.
2. Information desk 2. 8. Offices 8. 12. Exhibition room 12.
3. Cafetaria 3. 9. Meeting rooms 9.
4. Logistic centre 4. 10. Staff canteen 10.
5. Garage 5.
6. Workshops 6.
11
13
16
12 15
12 11
14
Level 3 Plan: Level 4 Plan: Level 9 Plan:

11. Gallery 11. 11. Gallery 11. 13. Restaurant 13.
12. Exhibition room 12. 12. Exhibition room 12. 14. Conference room 14.
15. Kitchen 15.
16. Roof terrace 16.
Facing Above and Below: Interior with window

2
10 - 11
Los Angeles Museum of the Holocaust
Location: Los Angeles, CA,USA Designer: Belzberg Architects Completion Date: 2010 Photographer: The design intent of this museum is to allegorically relate the visitors
Belzberg Architects, Benny Chan-Fotoworks, Iwan Baan chronological experience of the building to that of Holocaust victims. In order
2010
to achieve this, the experience of the building is largely dictated by the timeline
of a visitors passage from point of arrival through to his/her ascension back to

park level from the underground exhibit spaces.
It is a museum building in a public park, submerged into landscape terrain to

maintain open park space. The museum is one of the largest intensive green
roofs in California, and is on track to receive LEED Gold Certification from the
USGBC.
Below: Museum Roof Plan

12 - 13
The new building for the Los Angeles Museum of the Holocaust (LAMOTH) is located
within a public park, adjacent to the existing Los Angeles Holocaust Memorial.

Paramount to the design strategy is the integration of the building into the
surrounding open park landscape. The museum is submerged into the ground
allowing the parks landscape to continue over the roof of the structure. Existing park
pathways are used as connective elements to integrate the pedestrian flow of the
Exhibit Plan:
park with the new circulation for museum visitors. 1. Taper atrium
2. Gallery
The pathways are morphed onto the building and appropriated as surface patterning. 3. Audio room

The patterning continues above the museums galleries, further connecting the parks
1.
landscape and pedestrian paths. By maintaining the material palette of the park and 2.
extending it onto the museum, the hues and textures of concrete and vegetation 3.
blend with the existing material palette of Pan Pacific Park. These simple moves 2 2
2
create a distinctive faade for the museum while maintaining the parks topography
1
and landscape.
2
The museum emerges from the landscape as a single, curving concrete wall that
splits and carves into the ground to form the entry. Designed and constructed with 3
sustainable systems and materials, the LAMOTH building is on track to receive a
LEED Gold Certification from the US Green Building Council.
2 2
2
2
Above Left and Right: Ramp wall
14 - 15
Section:
1. Planter continous
2. Beam
3. 6 Gravel
1 2 1
1.
2.
3. 6
3
Cross Section:
2 1. Parking
2. Gallery
1 3. Lobby

1.
2.
3.
16 - 17
Section
2 6
3
5 1
4
North Ramp Elevation
Mezzanine Floor Plan:

1. Open to below 1.
2. Ramp to garage below, 2.
ramp slope 20% 20%
3. Storage 3.
4. Conference room 4.
5. Library stacks 5.
6. Admin office 6.
18 - 19
Voyager New Zealand
Maritime Museum
Location: Auckland, New Zealand Designer: Pete Bossley Architects Total Floor Area: 1,456m 2 This extension to the New Zealand Maritime Museum is designed to house an
Completion Date: 2009 Photographer: Simon Devitt Awards: 2011 Property Council NZ, Excellence exhibition of New Zealand yachting, from early small boats through to NZL32, which
Award in Special Purpose Category; 2010 NZ Institute of Architects, Auckland Public Architecture Award
first won the Americas Cup for this country. NZL32 was gifted to Te Papa, and is
2009
20112010
now exhibited as a collaboration between Voyager and Te Papa.
The alteration expands the building outwards and upwards, in a series of planes,
which explode the traditional form of the sheds. To the east an extension pushes
over the sea, housing a series of beautiful yachts portraying the history of New
Zealand small boat sailing.
Built to a tight budget and programme, this building attempts to encourage

exploration of the technology and form of the yachts, offer a new twist to the
museum by virtue of exciting internal spaces, and provide dynamic external faade,
which announce the presence of its interior purpose.
NZL32
NZL32

Facing Above: North elevation
Facing Below: East elevation at night
20 - 21
2
4 5
1
3 8
Large planes of polycarbonate cladding contrast with the traditional building. Subtle 6
7
shifts away from the orthogonal, combined with the ever-changing variety of colour,
transparency and reflectivity of the polycarbonate, suggest the ephemeral and
constantly shifting conditions of wind, light and swell, which are integral to the world
of yachting. The main eastern panel lifts to follow the ramp inside and partially reveal 9
the exhibits through a slither of glazing underneath, and of the sea from within.
Despite achieving the low light levels required for artefact protection, the spaces Ground Floor Plan
glow with the softly transmitted light passing thought the double-skin multi-cellular
polycarbonate, which has good UV and thermal protection properties.
1. Existing gallery 1.

2. Hobson Wharf 2.
Soon after entering from the older galleries, visitors confront the powerful form of the NZL32100 3. Entrance 3. 11
black hull hovering in the space above. Rather than being supported on the usual 4. Introduction 4.
cradle, the boat is suspended from above by its own rigging: there is no additional 5. Local segment 5.
13
mechanism other than that used on the boat in action. 6. Technology segment 6. 12
7. NZL32 hanging above 7. NZL
14
1
8. Store 8.
Visitors then follow an extended architectural promenade, from the main space out to Above Left: Black Magic NZL32 9. Gallery of yachts 9. 10 15
the wharf edge, and onto the ramp, which winds up past the small boats, in the soft Above Right: Hall of yachting 10. NZL32 segment 10. NZL
Facing Above: Exhibition space 11. Sir Peter Blake segment
light and dappled reflections from the sea, then back into the main space to continue 11.
NZL32 12. Ramp up over 12.
climbing, this time around NZL32 and up to the high point where the Americas Cup is
16
17
13. Blake Theatre 13.
displayed. Along this 100-metre ramp the visitors experience numerous displays and 14. Void 14.
viewpoints of the yachts. 14
15. NZL32 15. NZL32
16. Blue water segment 16.
At night the large plane facing Prince Wharf becomes a huge light box with magical 17. Theatre 17.
First Floor Plan
light effects across the water.
22 - 23
Shimane Museum of Ancient Izumo
Location: Izumo City, Japan Designer: Fumihiko Maki + Maki and Associates Completion Date: 2006 The Shimane Museum of Ancient Izumo was established to exhibit the artifacts and
Construction Area: 11,855m2 Photographer: Toshiharu Kitajima, Makoto Yoshida culture of the Izumo area, one of the cradles of culture and civilisation on the Japan
+ 2006 11,855
seaside and the source of valuable archaeological remains and cultural artifacts.
The building exterior is compact, with a pair of layered folding roofs that create a
lilting skyline, and blend into the gentle undulations of the garden and mountains in
the background.
The museum itself is a low-lying structure with an entryway that is clearly marked
by a row of trees that lead to a glazed entrance hall. This hall separates the
forecourt from the garden in the north, and its transparency provides a distinct
connection between the interior and exterior of the building.
Facing Above: Southwest elevation

Faicng Below: Night view

South Elevation and Section: West Elevation and Section:

1. Entrance hall 1. 1. Lobby 1.
2. Lobby 2. 2. Permanent exhibition 2.
3. Permanent exhibition 3. 3. Lecture room 3.
4. Storage 4. 4. Library 4.
5. Shop 5. 5. Office 5.
6. Caf 6.
7. Observation deck 7.
7
6 1
1 2 3 4 2 2 3 4 5
5
24 - 25
10
5 4
3
1
2
12
4
5
6
11
8
The site measures six hectares, and was designed to appear as an extended 6
landscape gesturing towards the Shrine complex and the surrounding natural
landscape. 1209

Perpendicular to the glazed entrance hall is a 120-metre long by 9-metre high Cor-Ten
steel wall that is reminiscent of Tarata steel, an important material in the history of
Shimane. Thus, the exterior form of the building mediates between the ancient and
the modern as well as the constructed and the natural landscape.
8

After entering via the glazed entrance hall, visitors pass through the Cor-Ten steel
wall into the exhibition lobby, where remnants of the timber columns from the
original Grand Izumo Shrine are on permanent display. The exhibition lobby functions 1,200
as the centre of the museums spatial composition, from which visitors can move
easily between the exhibition spaces. Surrounding the exhibition zone is a support
zone, which consists of storage and preparation rooms, research facilities, and
administrative offices. This clear spatial distribution allows ease of movement for
museum visitors, as well as efficient museum management, maintenance, and
security.
After touring the museum, visitors can return to the glazed entrance hall and relax
in the first floor tearoom or second floor observation deck. Panoramic views of Ground Floor Plan:
the surrounding landscape and the adjacent Izumo Shrine unfold and visitors can 1. Entrance Hall 1.
2. Gallery 2.
contemplate the exhibition artifacts once used on this site over 1,200 years ago.
3. Lobby 3.
4. Permanent exhibition 4.
5. Temporary exhibition 5.
6. Lecture room 6.
Above: Building and landscape
7. Library 7.
Right: South garden
8. Office 8.
9. Storage 9.
10. Mechanical 10.

11. Caf 11.
5 12. Observation deck 12.
26 - 27
Museum of Liverpool
Location: Liverpool, UK Designer: 3XN Completion Date: 2011 Site Area: 13,000m2 Photographer: The new Museum of Liverpool, will not only tell the story of its importance as one
Pete Carr, Philip Handforth, Richard White of the Worlds great ports or about its cultural influence, such as with the Beatles
3XN 2011 13000
phenomenon. It will also serve as a meeting point for History, the People of
Liverpool and visitors from around the globe. Therefore, according to the Architect,
the structure functions as much more than just a Building or a Museum.
Left: Liverpool sketch

28 - 29
Left and Below:Hand-sketches of faade

As the largest National Museum to be built in the UK in over 100 years, and situated
on a UNESCO World Heritage Site next to Liverpools famous Three Graces, the
Principal Architect and Creative Director at 3XN, Kim Herforth Nielsen was fully aware
of the magnitude of the challenge, when it came to designing the new Museum of
Liverpool.
This is one of the largest and most prestigious projects in 3XNs 25-year history.
The Museums design is a result of a very rigorous process, where it was of utmost
priority to listen to the city inhabitants, learn the citys history and understand the 100
potential of the historical site that the Museum now sits upon. 3XN
The result is a dynamic low-rise structure, which enters into a respectful dialogue 3XN25
with the harbour promenades taller historical buildings. This interaction facilitates a
modern and lively urban space. The design is reminiscent of the trading ships, which at
one time dominated the harbour, while the faades relief pattern puts forward a new
interpretation of the historical architectural detail in the Three Graces. The enormous
gabled windows open up towards the City and the Harbour, and therefore symbolically
draw history into the Museum, while at the same time allow the curious to look in.
30 - 31
Ground Floor

First Floor

Second Floor

32 - 33
New Mexico History Museum
Location: Santa Fe, New Mexico State, USA Designer: SaylorGregg Architects Completion Date: 2009 Casting new light on a proud history, the New Mexico History Museum venerates its
Construction Area: 8.919m2 Photographer: Kirk Gittings, Gallagher & Associates Award Name: 2010 N. predecessors and offers a new civic outlook.
M. Heritage Preservation Award for Urban Design with an Historic Context
2009 8,919
2010
The oldest continuously occupied public building in the United States, the Palace
of the Governors in Santa Fe was constructed in 1610 as Spains citadel in the
American Southwest. A striking adobe building with an extraordinary history, the
Palace served for years as the repository of artifacts from other eras. When the New
Mexico History Museum opened adjacent to the Palace, it lifted the burden from the
400-year-old building, and proved transformative for the interpretation of history
throughout the State.
1610
400

4
Site Plan (Left):
1.The Palace of the Governors
2. New Mexico History Museum
1 3. Fray Angelico Chaves History Library and Photo Archive
4. Meem Community Room
5. The Plaza

5 1.
2.
3.
4.
5.
Facing: Museum at dusk

34 - 35
Facing Left Top: The Palace courtyard portal
Facing Right Top: The Palace court
Facing Below: Lobby view to The palace
Above: Entrance lobby
3 Below Right: Entrance detail
6 2 7
3 2 A B
10 1 2 2 4

3
8 5
8 3
3 9 9
Two Above: West-east Section/North-south Section: 2/

A. The Palace of the Governors A.
B. Meem Community Room B.
1. Tickets 1.
2. Exhibit lobby 2.
A contemporary building in design, the new State History Museum is the first
3. Exhibit 3. institution in New Mexico to fully interpret the States unique history of conquest
4. Learning centre 4. and liberation. It complements the Palace of Governors in scale, size and style. It
5. Theatre 5. contains expansive exhibition and administrative space, gallery-quality lighting and
6. Board room 6.
environmental controls for a priceless collection of maps, photographs, textiles,
7. Catering/caf 7. /
8. Collections 8. artifacts and art. A 200-seat theatre for performances and research space for
9. Storage 9. historians are also contained within the Museum, and the large, two-storey lobby has
10. Palace / History Museum portal 10. / become the chosen site for social events. Two storeys above grade and two storeys
below, the Museum captures the celebrated Santa Fe sun, illuminating interiors
through skylights and clerestories. Deep-set windows temper the summer sun and
provide expansive views of the Palace and historic courtyard.
The History Museum unites other civic buildings in addition to the Palace to form
a museum campus. The Museum has been praised for being a good neighbour to
other buildings in the Santa Fe Historic District, and more importantly, it has been
embraced by the community for its success as a dynamic modern building and
making the States history accessible to all New Mexicans.

200

36 - 37
Above: Entrance to The Palace Ground Floor Plan: First Floor Plan:
Facing Above: The second floor A. The Palace of the Governors A. The Palace of
Facing Below Right: Entrance B. Fray Angelico Chavez History Library the Governors
and Photo Archive B. Fray Angelico Chavez
C. Meem Community Room History Library and
8 8
1. Tickets Photo Archive
7 5 2
2. Museum shop C. Meem Community Room 2 5 7
8 8 7 2
3. Exhibit lobby 1. Board room
4. Exhibit 2. Admin/curatorial offices
6 5. Learning centre 3. Exhibit lobby B
B 6
6 6. Administration/security 4. Exhibit 2
2
7. Receiving 5. Volunteers
8. Mechanical 6. Conservation lab
4 4
9. Palace / History Museum portal 7. Mechanical
8. Catering/caf
6 A. 9. Terrace
1
B.
A. 8
3
3 5 C C. B. 1 3 C
1.
2. C. 9
3. 1.
9 4. 2. /
5. 3.
6. / 4.
7. 5.
8. 6.
9. / 7.
8. /
9.
A A
38 - 39
Facing Above: Lower level core exhibit
Facing Below: Changing exhibit gallery

40 - 41
7 7 4
7
6 7 7
7 6 7
2
3
1 1
1
1
6 5 5
Lower Level and Mezzanine Plan (Left Above and Above):

1. Exhibit 1.
2. Exhibit staging 2.
3. Collections storage vault 3.
4. Collections processing 4.
5. Theatre/lecture Hall 5. /
6. Storage 6.
7. Mechanical 7.
Facing Above and Below: Interior view of theatre

42 - 43
Madinat al - Zahra Museum
Location: Cordoba, Spain Designer: Nieto Sobejano Arquitectos S.L.P Completion Date: 2008 Site The tenth-century palace city of Madinat al-Zahra is widely considered to be one of
Area: 9,125m2 Photographer: Preparar Y Enviar Award Name: 2010 Shortlist of Aga Khan Award for the most significant early Islamic archaeological sites in the world, and the most
Architecture
extensive in Western Europe. Excavations at the site are still ongoing. The museum
2008 9,125
Y 2010
was conceived as a place to interpret the site and display the archaeological
findings, as well as to serve as a training and research centre and the headquarters
of the archaeological team.
A refined and subtle design by the architectural firm Nieto Sobejano, the museum
complex blends seamlessly into the site and the surrounding farmland - a series of
rectangles composed of walls, patios and plantings which, taken together, seem
more like a landscape than a building.
Below: Landscape around the museum

Facing Above: Aerial view
Facing Below: Archaeological site of al-Zahra
44 - 45
Above: View of approach and entrance
46 - 47
The building will articulate its new uses around a sequence of full and empty spaces; The new Madinat al-Zahra Museum will be an introverted building with no outward
covered spaces and open patios, which will guide the travellers on their visits. disclosure of the sequence of its spaces: it will have appeared silently in the
From the main vestibule, a broad patio spreads out on a square plan, blue from landscape, unearthed over the coming years like the remains of the ancient city of
the reflection of the pond presiding over it. Like a cloister, the main public spaces Abd al Rahman III.
will be organised around it: model exhibits, book and catalogue sales, coffee shop,
auditorium and exhibition hall. Another long, deep patio, green in this case from the
surrounding vegetation, will articulate the private areas: administration, conservation
and research workshops. A final patio will reflect the golden light of the Atauriques
and other archaeological remains on display, constituting the outdoor extension
of the museum exhibition area. A mezzanine basement completes the exhibition, Facing Above: Access ramp to the museum
auditorium and workshop areas, while also housing ample zones for storage and Facing Below Left: Access ramp
equipment. Above: View of Mashrabiyya-type openings and reflecting pool

The materials respond to the prevailing criteria of the project: the walls unearthed

in the excavations will be in white-face concrete using wooden formwork; the roofs
resting on them will be in thin slabs; the patio will be paved in limestone. The concept
of this project is implicitly prepared for future growth, especially in the museum and
workshop areas which, in the manner of new excavations, can have new pavilions
added on.
48 - 49
Above Left: Patio nearby the working areas
Above Right: Corridor in the working areas
Facing: View of the two levels of exhibitions
11
50 - 51
Carabineros Museum of Chile
Location: Santiago, Chile Designer: Gonzalo Mardones Viviani Completion Date: 2008 Construction The proposed new Carabineros Museum of Chile and the renovation of historic
Area: 4,550m2 Photographer: Gonzalo Mardones Viviani museum was born of an order of the General Alejandro Bernales, director of
2008 4,550
Carabineros RIP of the Republic of Chile. The Generals idea was to get as a
challenge to the expansion of the existing museum and the new museum, and to
put an outlook on the integrity value.
The programme provides the showrooms of both museums. The building also
has underground parking. Inside the museum are located a caf and restaurant
terraces expansion to allow for proper ventilation and natural light.
Left: Detail
Facing Above: Museum front 1. Concrete slab (SC) for rain water runoff
Facing Below: Cultural centre at dusk 2. BUDNIK Pastel on 50 X 50 (OPTION 2)
: 1 3. PLOT (pivot adjustable FPM) (OPTION 2)
2 4. Asphalt membrane system of double elastomeric SBS
3 protect themselves according to paragraph 2.9.2 of EETT
4
5 5. Navy thermal insulation over read protections
6. Concrete slab (SC) for rain water runoff
7. BUDNIK Pastel on 50 X 50 (OPTION 2)
8. PLOT (pivot adjustable FPM) (OPTION 2)
9. Asphalt membrane system of double elastomeric SBS
protect themselves according to paragraph 2.9.2 of EETT
6 48
10. Navy thermal insulation over read protections
7
8
11. Thermal insulation Bayma polyurethane 3 CMS
33
9 5518 AD, BAYER
10 12. Volcanic
11
13. Metal structure
14. Exposed concrete
12
13 15. Aluminum window
14 34 16. Dust in cedar plywood
35 17. Porcelain 30 X 90 cm
15 36
18. Concrete over read
16 19. Dust guard
17 20. Volcanic
18 37 21. Metal structure
19 38 22. Gypsum plaster
20
23. Aluminum window
21
22 39 24. Aluminum window
40 25. Porcelain 30 X 90 cm
23 41 26. Concrete over read
27. Dust guard
24 28. Glass thermo panel
25 42
26 43 44 29. Gypsum plaster
27 45 46 30. Porcelain 30 X 90 cm
32. Dust guard
28 33. Glass thermo panel
34. Volcanic plaster to receive water glaze
35. Thermal insulation
29
37. Dust in cedar plywood
38. Dust guard
30 40. Thermal insulation
31 41. Volcanic plaster to receive water glaze
47 42. Dust in cedar plywood
32 43. Dust guard
44. Porcelain 30 X 90 cm
46. Dust guard
47. Dust guard
48. Gypsum plaster
52 - 53
11. 3 CMS 5518 AD 23. 36.
1. 24. 37.
2. 50 X 50 2 12. 25. 30 X 90 38.
3. 2 13. 26. 39.
4. 14. 27. 40.
EETT2.9.2 15. 28. 41.
5. 16. 29. 42.
6. 17. 30 X 90 30. 30 X 90 43.
7. 50 X 50 2 18. 31. 44. 30 X 90
8. 2 19. 32. 45.
9. 20. 33. 46.
EETT2.9.2 21. 34. 47.
10. 22. 35. 48.
54 - 55
This project, built in 2008 and designed by the famous architectural studio Gonzalo
Mardones Viviani, is situated in the city of Santiago de Chile, the capital of the
Republic of Chile.
The first consideration was complete re-design of the interior of the historic buildings
faades, reformulating its distribution and internal with respect, and entirely painting
their faades and interiors in white to establish the necessary connectivity between
the new, the remodeled and intervened. The second action was the determination
of architectural elements in which it was decided to excavate and put buildings on
several levels underground.
With this the designers got the dual purposes of not touching the park and trees and
putting the building in place along with the house value, which now reflects historic
faades with two huge lakes, toward the Avenue Antonio Varas. It is then a building
that serves mostly submerging land, piercing but allowing the passage of light and
sun through courtyards and terraces that also allow for the exterior route.
All elements of the faades of new volumes are solved through concrete with Facing Above: Show room
titanium dioxide (in order to achieve blanch). The white walls stand out between the Facing Below: Lobby

green of trees and grass-covered buildings.
2008
56 - 57
Facing: Gallery
Above: Painting on the wall
Right: Steps

58 - 59
Extension of the National
Maritime Museum
Location: London, UK Designer: C. F. Mller Architects Completion Date: 2011 Construction Area: The National Maritime Museum in London contains the worlds largest maritime
7,300m2 Photographer: Julian Weyer collection, housed in historic buildings part of the Maritime Greenwich World
CF 2011 7,300
Heritage Site.
The project encompasses the creation of a new wing for the National Maritime
Museum, named the Sammy Ofer Wing - named after the international shipping
magnate and philanthropist Sammy Ofer, who has funded most of the project.
The aim has been open up and reveal for everyone the fascinating stories of
people and the sea.
1. Greenwich Park 8. Entrance plaza 15. Lantern 1. 8. 15.

2. Lower cross avenue 9. Extension part 16. Interactive gallery 2. 9. 16.
3. Herbaceous border 10. Special exhibition gallery 17. Archives 3. 10. 17.
4. Water rill 11. Exhibition lobby/shop 18. Reading room 4. 11. / 18.
5. King William statue 12. Entrance 19. Treasures zone 5. 12. 19.
6. Reflection pools 13. Lobby 20. South-west wing 6. 13. 20.
7. Restaurant 14. Terrace 7. 14.
5 6 7
17
17
15
14
18
19
8 12 13 16
10
1 2 3 4 11
20
60 - 61
The main idea of the extension has been to ensure minimal interventions in this
sensitive historic site and yet give the museum a new, distinctive main entrance and
the necessary additional exhibition space, as well as a new caf, restaurant, library
and archives that meet the particular demands for storage of historical documents.
Section E-E: 6. Interactive gallery E-E 6.
1. Caf terrace 7. Archives 1. 7.
The design solution creates a new main entrance emerging from the terrain. Most 2. Self-service caf 8. Reading room 2. 8.
of the new building, however, is located underground. The roof of the new wing is 3. Brasserie terrace 9. Treasures zone 3. 9.
a green, public landscaped terrace overlooking the Park, accessed at all levels by 4. Brasserie 10. Special exhibition gallery 4. 10.
gentle ramps, even more so causing the building to blend with the park landscape. 5. Toilets/cloakroom 11. Plant room/AHU 5. / 11. /
The extension has a contemporary aesthetic, but is inspired by the Baroque

buildings rhythmic sequence of windows, and the profile of the new extension has
been kept low to allow the Grade I listed Victorian faade of the existing south west 7
wing of the museum to be appreciated as a backdrop to the striking new building.
7
3 4
8

1 2 5 6 9

11

10
11

Section B-B: 7. Reception B-B 7. Section D-D: 7. Interactive gallery D-D 7.

1. Loading bay 8. Lobby 1. 8. 1. Entrance plaza 8. Archives 1. 8.
2. Brasserie 9. Exhibition lobby 2. 9. 2. Entrance 9. Archives 2. 9.
3. Brasserie terrace 10. Plant room/electrical 3. 10. / 3. Lobby 10. Reading room 3. 10.
4. Skylight 11. Plant room/AHU 4. 11. / 4. Terrace 11. Treasures zone 4. 11.
5. Terrace 12. Toilets 5. 12. 5. Skylight 12. Special exhibition gallery 5. 12.
6. Toilets/cloakroom 13. Exhibition transit storage 6. / 13. 6. Reception 13. Exhibition lobby/shop 6. 13. /
4 5
10
2 3 4 4 5
1
2 3 6 7 11
1
6 7 8
13 11 10
12 13
11 12 9
62 - 63
8
Level 1 Terrace Plan:

1. Terrace
2. Brasserie terrace
4 3 2 5 5
3. Brasserie
4. Servery
5. Void to museum foyer below
6. Green roof
7. Skylight
8. Reading room 1

1.
2.
3.
4.
5.
6.
7.
8.
64 - 65
Level -1 Exhibition Plan:
1. Void to special exhibition gallery 1.
2. Void to exhibition transit room 2.
3. Exhibition workshop 3.
4. Plant room/AHU 4. /
5. Plant room/electrical intake 5. /
and distribution 6.
6. Void to exhibition lobby
2
3 4 5 6
Level 2 Archives Plan:

1. Bridge connection 1.
2. Archive storage 2.
3. Plant for archive 3.
4. South wing 4.
5. West wing 5.
3 5
2 1
66 - 67
Waterloo Region Museum
Location: Kitchener, Canada Designer: Moriyama & Teshima Architects in association with The Walter Fedy Situated at Doon Heritage Crossroads, the Waterloo Region Museum extends the
Partnership Construction Area: 4,360m2 Completion Date: 2011 Photographer: Tom Arban experience of the existing 1914 living history village and tells the larger story of the
& 4,360
Waterloo Region from its early German Mennonite roots to its multi-cultural, high-
2011
tech present.
In addition to its thematic importance, the water feature at the front of the museum
also functions both as a storm water retention pond, and as a water cistern for the
buildings grey water systems. The landscape design incorporates drought tolerant,
West Elevation
low maintenance native plant species and requires no irrigation. These measures
were able to reduce the museum's overall water usage by 60% over a typical
building of its type.
1914

Railway Section

60%
South Elevation
North Elevation
Colour Scheme
Below: Quilt Wall viewed from Homer Watson Boulevard

Facing Above: Night view from street
Facing Below: Event terrace

Final Homer Watson Quilt Wall faade

68 - 69
Conceptual Diagramme:
1. Past
1
2. Future
2
3. Elmira to Galt rail line
4. Flood plain
5. Axial view
11
5 6. Main entrance
7. Image quilt wall
8. 7 divisions of Waterloo Region
9. Recycled wood wall
10. Classroom wing
11. View to living history village
12. Stone wall
12 13. Gallery wing
13

10
1. 2
9 2.
5
3.
4.
7
5. 3
6.
7.
8 6 8. 7
9. 4
10.
11.
12.
13.
4 5
1
3
At the main entrance, the names of the seven parts of Waterloo Region: Cambridge, pioneers to the industrious factory builders of the next generations, brought on
Kitchener, North Dumfries, Waterloo, Wellesley, Wilmot and Woolwich, are expressed largely by the introduction of the railways. At the crossroads, a section of the train
as coloured glass panels that are each imbued with printed images from the track is revealed under a glass floor. The changing light from a skylight immediately
museums collection. overhead marks the passage of time and seasons.
Aligned directly on Old Huron Road, Huron Hall leads visitors from the main entrance Inspired by the historic stone churches, mills, and factory buildings throughout the
to the crossroads. Like pioneers travelling on a wood corduroy road of yesteryear, region, a feature limestone wall runs parallel to the historic railway line. A pattern
visitors walk the length of the timber-framed space along a rough-hewn walnut floor, of slender vertical apertures cut into the stone wall yield views into the exhibitions
referencing a regional myth about how the first settlers found the site by following spaces beyond. The same limestone, in a honed finish is used for the floor of the
the trail of the black walnut. A panoramic view to the exterior reveals a water feature lobby. A pattern of black granite and glass light boxes in the floor marks the original
designed to evoke the Grand River, the very reason that First-Nations people as well location of the train tracks.
6
as the early Mennonite settlers were drawn to this place. The interior wall of Huron
Hall is cladded with wood reclaimed from a highly significant barn, built in the early Huron Road continues from the lobby and forms the main entrance into the galleries
1800s by one of the first Mennonite families to settle the region (remarkably, the spaces beyond the stone wall. The Temporary Gallery space will accommodate
ancestors of a lead architect on the project). changing exhibitions, while the Permanent Gallery space will tell the story of the
Region from First Nations to the present day. A mezzanine, incorporating the Section Detail:
1. White roof
From Huron Hall, the visitor moves into the lobby space at the exact crossing of Old Waterloo Regional Hall of Fame, offers overlooks into both galleries, a framed view 2. High-level air supply
Huron Road with the Elmira-Galt railway. Stepping from the walnut floor of Huron back down Huron Road and a panoramic view over the terrace and living history 3. Sun shade
7
Hall to the stone floor of the lobby symbolises the historic shift from early agrarian village beyond. 11 4. Recycled wood
5. High performance Low-E glazing
6. Sun shade
7. Timber column in background
8. Recycled wood on front desk
8 9. Hated floor
10. Pool (Grey water cistern)

11. Entrance info desk

9
1.
19 2.
10 3.

4.
5.
- 6.
7.
8.
9.
10.
11.

Left: Front Entrance with image quilt wall

70 - 71
Left: Main lobby view to
historic village
Facing: Crossroads

Site Plan:
1. Main entrance
2. Classroom wing
3. Lobby
4. Gallery wing
5. Terrace
6. Outdoor classroom 15
7. Pool
8. Waterfall 14
9. Storm pond
10. Bioswale
11. Existing animal pastures
12. Entrance to village
13. Historic train station
14. Existing barns
11
15. Martin house 13
16. Return from historic village
17. Existing swale
12 16
1.
5
2. 6
10
3.
4. 3
5. 2
4
6.
7. 1
8. 7
9. 8
10.
11.
12.
17 9
13.
14.
15.
16.
17.
72 - 73
Yokosuka Museum of Art
Location: Yokosuka City, Japan Designer: Riken Yamamoto & Field Shop Completion Date: 2006 The backside of the site is the mountain with valuable primeval forest left in this
Photographer: Sergio Pirrone Award Name: 49th BCS (Building Contractors Society) Prize in 2008 Miura Peninsula, and black kites are freely flying in arcs. How should this kind of
2006
naturalistic environment be utilised, or be conserved? That was the theme of the
200849
designers discussion at the meeting hold once every other week.
The designers began to call the project as a stay-over type museum. This is the
type of a museum, which can only comprise in such environment richly endowed
with nature, coming away from the centre of Tokyo. What kind of museum is it,
where visitors do not have chance to get bored even if they stay half a day, or even
a whole day?
Section1: 1 Section 2: 2
1. Exhibition hall 1. 1. Exhibition hall 1.
2. Gallery 2. 2. Gallery 2.
3. Storage 3. 3. Storage 3.
4. Storage anterior chamber 4. 4. Electric room 4.
5. Restaurant 5. 5. Parking 5.
6. Curators office 6. 6. Entrance hall 6.
7. Light well 7. 7. Light well 7.
8. Information lounge 8. 8. Taniuchi Rokuro pavillion 8.
9. Volunteer staff room 9. 9. Information lounge 9.
10. Library 10.
10 9 8
1 9
8 7 6 1
6 7 5 8
2
5 4 2 1 3
3 4 1 5
74 - 75
6
The designers cut and tried in various ways at the table. They wanted to produce
a building as low as possible by allocating art storages and the gallery spaces of
the permanent collection under the ground level. Considering the impact to the 5
surrounding environment, many of the attendees of the design meeting agreed with 3
this concept. Next, the designers wanted to cover the entire building in glasses, which
7
seemed to have a possibility of considering the damage from the briny air and aged
1
deterioration. They also wanted to open up the ocean side of the building, which is
3
the main access side. Therefore the designers placed a restaurant, a museum shop,
and a space for workshops at the front faade side, as they thought those activities
would be open to the public. The rooftop space should have the best view from this
building, thus the space would become another central area of this museum. Behind
of the building is the surrounding mountain, while the ocean spreads in front of 2
the building - considering this particular location; those ideas appeared to be quite 8 6 4
reasonable.
Sectional Detail:
The interior space should be an attractive space that its visitors find completely 1. Windbreak 1.
different experience once they step into the museum building, although the space 2. Gallery 2.
also opens up to the surrounding. In order to fulfill this concept, the designers 3. Bridge 3.
designed to cover the exterior surface of the building by glasses, while thin steel 4. Exhibition hall 8 4. 8
5. Information lounge 5.
panels also enclosed the space inside of the building as another cladding. Steel
6. Penthouse 6.
panel is chosen as a material in order to provide a smooth surface and it is hard Above: Balcony 7. Exhibition hall 3 7. 3
to distinguish the angled corner - the visitors inside of the building would feel more 8. Storage 8.
enclosed by this cladding.
76 - 77
11 12 13
10
9
7 1 1
3 4 5 6
15 14 15
Plan-1F(Above) & 2F(Below): 10. Directors office 10.

1. Exhibition hall 11. Curators office 1. 11.
2. Entrance hall 12. Curators data room 2. 12.
3. Restaurant 13. Closed stack room 3. 13.
4. Museum shop 14. Light well 4. 14.
5. Workshop 15. Taniuchi Rokuro pavilion 5. 15.
6. Workshop anteroom 16. Information lounge 6. 16.
7. Administration office 17. Volunteer staff room 7. 17.
8. Meeting room 18. Library 8. 18.
9. Reception room 19. Heat source equipment 9. 19.
1 1
8 8
18 13 19
2 2
7 7
3 3
10 1 10 1
3 3
5 2 5 2
6
4 1 1 4 1 1
17
1 3 1 3
9 9
16
8 2 8 2

Plan-B1F(Left) & B2F(Right):
1.
1. Exhibition hall
2.
2. Gallery
3.
3. Storage
11 11 4.
4. Storage anterior chamber
5.
5. Receiving and unwrapping
6.
6. Service yard
7.
7. Exhibit preparation room
8.
8. Machine room
9.
9. Electric room
10.
10. Dynamo room
11.
11. Parking
78 - 79
Museum Villa Vauban
Location: Luxembourg City, Luxembourg Designer: Philippe Schmit Architects Construction Area: The new building is stacking two levels of exhibition spaces behind the villa, rising
2,045m2 Completion Date: 2010 Photographer: Lukas Roth Award: 1st Prize TECU Architecture Award up from foundation level of the fortress wall underneath the actual park level. Its
2010
tilted vanishing edges appear like abstract landscape lines echoing the undulating
2,045 2010
park landscape.
2010
The interior promenade of the exhibition circuits stages hammered concrete

surfaces of its monolithic architectural body, etched translucent glass faades and
oak wooden floors and flights of stairs as opposed to enfilades of abstract white
cubes.
Openings in the frontage create viewing points that facilitate the visitors spatial
orientation while revealing the activity inside the museum to passers-by. Old and
new exhibition rooms have been integrated into flexible continuous exhibition
circuits, with the in-between entrance hall acting as a transition between the two
buildings.

East View
South View
Below Left: Frontal side view, renovated villa plus entrance annex
Below Right: Annex, entrance area, connection of old-new
Facing Above: Back general view from park
Facing Below: Annex, night, back view from park

North View
80 - 81
The architectural project maximises the exhibition surfaces (growing from initial 350
square metres to now approx. 1,200 square metres) while retaining the sites historic
elements (fortress wall, bourgeois villa, garden landscaping and public park), and
creating a new balance of the global urban and landscape situation. Integration was
achieved by locating half of the new architectural volume underground and fitting it
with a dynamic faade from translucent large-scale sheets of perforated red brass,
which reflects rather than dominates the environing park.
The new architectural ensemble, which can be accessed both from the street,
through the main gate, and from the park, by means of a new pathway, is clearly
identifiable as a public building appearing in the beautiful landscape of the municipal
park. The obtuse-angled metal folds of the faade and the roof surfaces of the new
construction are characterised by the strong haptical quality of the chosen material
that conveys an impression of lightness while integrating the building into the
landscape, varying between a sculptural and a highly translucent appearance.
The galleries in the extension have been articulated as superimposed flights of

rooms. They have been offset along their longitudinal axis, resulting in setbacks and
recesses that host a number of dedicated spaces such as a sculpture gallery, a lower-
floor gallery passageway, a childrens workshop, a loggia with a view into the park,
a cabinet with half-storey ceiling height and a large-scale staircase leading down to
the lower exhibition level. These elements define the choreography of the museum
circuit, slowing down visitors pace to enjoy the view of the slowly disappearing park
landscape while attracting their attentions to details of textures and space.
Above: Frontal general view

Below: Annex, night, viewed form the entrance side
Facing Above and Below: Annex corner, backside viewed from park
82 - 83
1. Hall 1.
2. Elevator 2.
3. Entrance 3.
4. Exhibition space 4.
5. Staircase 5.
6. Passage 6.
4
4
5 5
4
3
4 3501,200

5 2

1
Facing Above Left: Annex, entrance reception, ground floor

Facing Above Right: Renovated villa, exhibition room, ground floor
Above: Annex, inner staircase, level -1
Right: Annex, exhibition room, level -2

84 - 85
Grand Rapids Art Museum
Location: Grand Rapids, USA Designer: WHY Architecture Completion Date: 2007 Construction Area: 10 things the Grand Rapids Art Museum is, and always will be:
11,613m2 Photographer: Kulapat Yantrasast
WHY 2007 11,613
- An art museum for all art, people and the environment;
- Living room, plaza, event hall and caf rolled into one awesome place for citizens
of Grand Rapids;
- About invisible green; creative sustainable design initiated along with its
aesthetic vision;
- Designed as open pavilions fingering into the park allowing the park to slide
and flow in between the buildings;
1 1
- Determined to facilitate stimulating and inspiring encounters between people
and art;
3
2 3 4 5 - All for strengthening the sense of place art experience with appreciation of
where you are;
6 7 8
- Built mostly with materials available within 322 kilometres;
- 80% naturally lit;
9 11 - A hands-on product of love from more than 5,000 citizens of Grand Rapids and
beyond - artists, construction workers, curators, educators, architects, engineers,
GRAM Section: volunteers and many others;
1. Lantern-skylight 1. - The first new art museum in the world to receive the LEED Gold.
2. Permanent collection European art 2.
3. Permanent collection American art 3. 10
4. Permanent collection early modern art 4.

5. Permanent collection modern art 5.
6. Print-study room 6.
7. Print galleries 7.
8. Temporary exhibition galleries 8.
9. Auditorium 9.
10. Main lobby 10.

11. Permanent collection of design & modern craft 11.
322
80%
5000
Below: Entrance & Exit

Art and the Environment: Design Solutions (Left):

1. Energy-saving Skylights Tailored to Light Levels for
Art: Natural light enters through triple-layered glass with
ultraviolet protection and adjustable louvers to provide
1 suitable light
2. Safe and Energy-efficient Indoor Air Quality Control:
Carbon dioxide monitoring, low-emitting materials and
strict chemical/pollutant control
3. Certified Wood Flooring: White oak planks used in
2
the gallery come from sustainably harvested forests in the
Northwest, certified by Forest Stewardship Council
4. Local Materials: Much of the buildings materials are
3
sourced locally - the concrete is made from cement, sand
and stone from sources near Lake Michigan
5. Use of Recycled and Recyclable Materials: Buildings
insulation materials made from recycled paper and fiber.
4 Recyclable carpeting made from digestible corn-based plastic
6. Public Transportation Friendly: Bicycle racks and staff
showers in the facility
7. Water-efficient Landscape Design
8. Educate and Inform the Public about Green Building
5 and the Environment: Regeneration of underdeveloped
urban site
9. Innovative Air-conditioning System: Energy-saving air
conditioning uses 3 of 3.6-metre-diameter energy wheels to
bring in fresh air. Indirect evaporative cooling method for
6 air-conditioning. Ozone depletion policy
10. Small Building Footprint: Leaving parts of the land for
park, courtyards and water features
7
11. Natural Water Recycling: Rain and snow water is stored
8 and recycled for toilets, plant irrigation, pool and water wall
12. Energy-saving Construction: Efficient insulation for solid
concrete walls and glass walls
10 13. Green Housekeeping and Strict Recycling Programme
15 14. Eco-friendly Entrance: Large front portico gives protection
13 11
in the harsh winter and shade in the summer for activities
9
14 12 15. Natural Light + Energy Saving Features: Resourceful
use of natural light through large windows and skylights
without harming the art. 3 layers of filters: exterior louvers,
energy-saving insulated glass with argon gas and fabric
scrim for light filtering in public area
86 - 87
1
4 5
Lantern Section (Above):

1. 1-9/16 laminated glass wall butt-glazed joints between structural glass panels
2. Pre-finished alum-framing system with double light glass panel. Integral motor operated blind slat unit.
3. 5-1/2 concrete slab on 2 metal deck. To maintain 2 HR. Rating
4. In floor grille flush with fin. Floor
5. 5/8 GYP. Board over 5/8 fire retardant plywood
6. Line of wall in background and foreground

1. 19/16
2.
3. 251/22
4.
5. 5/85/8
6.
87
1.

2. /
3.
4.
5.
6.
7.
8.
9. 33.6

10.
Facing: Entrance
11.
Top Right: Canopy
12.
Above: Pocket Park

13.

14.

15. +

88 - 89
The new Grand Rapids Art Museum occupies one city block right in the heart
of Grand Rapids, Michigan. Grand Rapids is a city well known for its legacy and
influence on commerce, craft and modern design and it is the home to many
international companies - AmWay, Steelcase, Herman Miller, Haworth, among others.
The new museum has 11,613 square metres of floor area with more than 4,645
square metres of gallery and art exhibition spaces. The new building is located
adjacent to the park with sculpture Ecliptic by Maya Lin, forming an urban oasis
surrounded by tall buildings.
Grand Rapids Art Museums design emphasises the important balance of both the
exterior openness and the interior calmness, both peoples needs to connect and
also their needs to take inner journeys with the arts. Both for people to enjoy the
uplifting quality of light in the galleries as well as for them to enjoy wonderful outdoor
time under the canopy.

11,6134,645

Facing Above: Entrance

Facing Below: Lobby
Above: Pool
10

Ground Floor Plan:

1. Gallery
2. Auditorium
3. Museum shop 8
4. Sculpture court
5. Reflecting pool
6. Museum offices 7
7. Lobby
8. Dining court
9. Pocket park 6
10. Caf
5
1.
2.
3. 4
4.
5.
6. 3
7.
8.
9.
10.
1
2
90 - 91
Facing: Gallery
Above: Permanent collection gallery
3

First Floor Plan:

1. Gallery
2. Library 2
3. Museum offices
1 1

1.
2.
3.
92 - 93
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2. adfadfd 9. adfadf
3. sdfasdf 10. sdfasdf sdfae
4. asdfasfdgg 555 dag 11. asdfasfdgg 555
5. df dgag sfd 12. df dgag adg
6. dfasfggs asdfes 13. dfasfgg
7. dfasdfgasg 14. dfasdfgasg
Facing: East court

Above: Auditorium

Third Floor Plan:

1. Gallery
2. Lantern gallery
2 2 2
1.
1 1
2.
94 - 95
ARoS Aarhus Museum of Art
Location: Aarhus, Denmark Designer: Schmidt Hammer Lassen Architects Completion Date: 2004 Site The museum is designed specifically to welcome visitors, straddling a public
Area: 17,700m2 Photographer: Schmidt hammer lassen architects Awards: 2004 Aarhus Municipalitys thoroughfare that transforms the building into a bridge linking two of the citys
Architecture Prize, 2004 FX Awards Best Museum and 2004 InSitu Prize
cultural centres. This public route through the museum provides a vital connection
17,700 2004 SHL SHL
20042004FX2004
with the network of streets beyond, encouraging dynamic interplay between the
museum and everyday life.
Site Plan:
1 1. ARoS
2. Scandinavian Congress Centre
3. Industry & Trade Archives
4. Aarhus City Hall
6 5. Aarhus Concert Hall
6. Aarhus Public Library
3 5

1.
2 2.
4
3.
4.
5.
6.
North Elevation:
1. Entrance 1.
East Elevation:
1. Entrance 1.
2. Lift tower 2.
3. Caf 3.
1 3 1 2
96 - 97
This striking art museum is the cultural centre piece of Aarhus, Denmarks second
largest city. The client of this project is Aarhus Municipality, and the total construction
sum is 4 0 million excluding. VAT. It won the 1 st prize in open international
competition. After its construction, it also won many architectural prizes.
The building, set into the sloping site, has a footprint of 52 metres x52 metres and
stands almost 50 metres high. In contrast to the apparent severity of the exterior, the
dazzling white interior, flooded with daylight, presents a sequence of highly organic
sweeping curves that define the different levels of the building.
The interior curving walkway divides the museum into two distinct wings: the
exhibition wing with its gallery spaces and the service wing housing a restaurant,
administration offices, conservation area, workshops, storerooms and library.
A spectacular spiral staircase rises up from the museum walkway, a sculptural form
wrapping around two lift shafts, together providing dramatic connections to the
exhibition galleries. High-level bridges traverse the "canyon" of the atrium space,
creating dynamic connections between the two core areas of the museum.
4000
52x5250
Section A-A:
1. Interior street
2. Foyer
3. Exhibition
4. Changing exhibition
5. Galleries/the 9 rooms
6. Auditorium
7. Paint store
3 8
8. Gallery corridor
9. Plant room 9
3 8
A-A
1. 9
3 7
2. 8
3. 1
4.
3 6
5. /
6.
7. 4 2
8.
5 9
9.
Section B-B:
1. Entrance
2. Interior street
3. Stairs/lift tower
4. Gallery corridor
5. Exhibition
B-B
1.
4 3
2.
3. /
4
4.
5. 4
1 2 1
4
98 - 99
Ground Floor Plan:
1. Entrance 6. Ticket sales 1. 6.
2. Interior street 7. Cloakroom 2. 7.
3. Foyer 8. Main stairway 3. 8.
4. Book shop 9. Staff canteen 4. 9.
5. Caf 10. Fire stairs 5. 10.
9 7
6 6 6 9 9
6 9
7
8 8
2
1
3 3
5
2
4 3 1
1 1
2 2
5 10
3
10
10
4
10
6 7 5 8 10
Level -1 Plan: Level 3 Plan:

1. Open 6. Workshop 1. 6. 1. Open 6. Offices 1. 6.
2. Footbridge 7. Exhibition 2. 7. 2. Footbridge 7. Meeting room 2. 7.
3. Gallery corridor 8. Classroom 3. 8. 3. Gallery corridor 8. Stairway to level 1 3. 8.
4. Auditorium 9. Conservation Studio 4. 9. 4. Exhibition 9. Study room 4. 9.
5. Childrens space 10. Fire stairs 5. 10. 5. Library 10. Fire stairs 5. 10.
100 - 101
Croatia Museum of Contemporary Art
Location: Zagreb, Croatia Designer: Igor Frani, Studio za arhitekturu d.o.o. Completion Date: 2009 Franis project generates its own city-planning within the borders of the parcel
Construction Area: 18,000m2 Photographer: Filip Beusan, Damir Fabijanic, Sandro Lendler and forms an ample square that slowly rises towards the large hovering mass of
za 2009 18,000
the Museum, which covers the open public space.
The relationship of interior and exterior design shows a certain inversion of

conventions through the harsh interior and sleek exterior. The aesthetics of the
interior is neutral and to some extent intentionally brutal. White walls, float finish
of floors and unplastered concrete of the load-bearing construction suggest that
the museum building is primarily spatial infrastructure. However, along with this
acetic approach, Frani also applies non-purist procedures: all solid surfaces of the
meanders body are frontally and underneath clad in polycarbonate plates behind
which the carrier construction is visible. Polycarbonate is consequentially mounted
also on the ceiling of the ground-floor interior, which unifies the hovering mass into
a rounded-up whole.
Above: Site plan

Right: Aerial view
Below: West elevation
Bottom: South elevation
Facing Above: Front view
Facing Below: General view
102 - 103
In accordance with the requirements and the wish of achieving as flexible ground Reinforced concrete columns and beams set 10 metres and 20 metres apart, Facing Above: Night view
floor plan as possible, the basic load-bearing structure of the building consists of a with a ceiling reinforced concrete cladding of 26 centimetres thickness, are the Facing Below: Axonometry
Below and Bottom: Longitudinal sections
spatial skeleton structure, which in its rationality and spatial layout tries to meet all principal constructive elements. The foundation 70cm slab underlies the building. All

the needs of the Museum. secondary elements of galleries and staircases are made of steel as a separate unit
that influences the basic construction system.
In dependence on construction demands, but also on the position within the

structure, the columns have variable cross-cuts, from round to rectangular.
Depending on the span, the girders and beams also have variable dimensions. Thus
there are girders of 110, 125 and 160 centimetres height. In accordance with the
penetration of electricity and plumbing, penetration is envisaged in some of the
girders in a way that meets the basic structural demands.
By utilising particular materials, both in the exterior and the interior, public usage of
the structure is enabled, as well as easy maintenance; the character of some areas
is highlighted by wood, stone, PVC flooring, terrazzo tiles, concrete, epoxy coating or
a metal floor grid.
10202670

110125160

104 - 105
Above: Hall
Facing Above: Exhibition
Facing Below Left: Resting
Facing Below Right: Stair
106 - 107
Above and Facing: Exhibition area
108 - 109
Extension of the Denver Art Museum
Location: Denver, USA Designer: SDL WITH Davis Partnership Completion Date: 2006 Construction The new building has become a major cultural landmark for Denver, attracting
Area: 16,723m2 Photographer: SDL, BitterBredt, Michele Nastasi, DAM thousands of visitors to the museum complex.
SDL 2006 16,723 SDL
DAM
Nexus is conceived in close connection with the function and aesthetic of the
existing Ponti Museum, as well as the entire Civic Centre and public library. The
new building is a kind of city hub, tying together downtown, the Civic Centre, and
forming a strong connection to the golden triangle neighbourhood. The project
is not designed as a stand alone building, but as part of a composition of public
spaces, monuments and gateways in this developing part of the city, contributing to
the synergy amongst neighbours.
From Top to Bottom: Panoramanic of DAM from East; East elevation;

North-South section from east; Aerial view of museum and museum
residences
Facing Above: DAMs enormous cantilever hovers over the street

Section Looking East:

1. Permanent exhibition 1.
2. Restroom 2.
3. Atrium 3.
4. Mechanical 4.
5. Meeting room 5.
6. Lobby 6.
7. Passage 7.
8. Auditorium lobby 8.
9. Art storage 9.
4
1
1 1 2 3
1 2 3
1 1 5
1 1 3 5
6 3 5
4 7 2 8 8 9
110 - 111
The materials of the building closely relate to the existing context as well as Section Looking North: 8. Projection booth 8.
innovative new materials (such as titanium), which together will form spaces that 1. Mechanical 9. Lobby 1. 9.
2. Restroom 10. Kitchen 2. 10.
connect local Denver tradition to the 21st Century. 3. Permanent exhibition 11. Coats 3. 11.
4. Lift lobby 12. Auditorium 4. 12.
The amazing vitality and growth of Denver - from its foundation to the present - 5. Office 13. Storage 5. 13.
inspires the form of the new museum. Coupled with the magnificent topography with 6. Atrium 14. Sculpture deck 6. 14.
7. Auditorium lobby 7.
its breathtaking views of the sky and the Rocky Mountains, the dialogue between
the boldness of construction and the romanticism of the landscape creates a unique
place in the world. The bold and forward looking engagement of the public in forging
its own cultural, urban and spirited destiny is something that would strike anyone
upon touching the soil of Colorado. 1
2 4
One of the challenges of building the Denver Art Museum was to work closely
and respond to the extraordinary range of transformations in light, colouration,
3 4
atmospheric effects, temperature and weather conditions unique to this City. The 2
designer insisted these be integrated not only functionally and physically, but 6
culturally and experientially for the benefit of the visitors experience.
2
21
5

1 7 8

3 3
3
14
3 3
11
9
10
Facing: Titanium clad entryway

13 1 12
Below: Sculpture deck

112 - 113
Facing and Above: Details with Denver Public Library

114 - 115
Left: Atrium stair showing
digital Engi installation
Facing: View of atrium
stair from ground floor

116 - 117
Above, Facing Above and Below: Contemporary Art Gallery
Left: Antony Gormleys Quantum Could

118 - 119
Facing: Rock formation digital video porojection
Above: Auditorium

7
3
6
15
14 8 5
8
13
10 4
9
8
3
12
11
2 1
Ground Floor Plan: 8. Office 8.

1. Entrance 9. Reception 1. 9.
2. Lobby 10. Visitors services 2. 10.
3. Caf entrance 11. Retail 3. 11.
4. Caf 12. Special exhibition 4. 12.
5. Dining 13. Passage 5. 13.
6. Coats 14. Dock staging 6. 14.
7. Kitchen 15. Loading dock 7. 15.
120 - 121
Musee Herg
Location: Louvain-la-Neuve, Belgium Designer: Atelier Christian de Portzamparc Completion Date: 2009 After two years of construction, the Museum Herg designed by Christian de
Site Area: 3,600m2 Photographer: Nicolas Borel Portzamparc is complete. Situated in a forest and connected by a footbridge to
3,600 2009
Louvain-la-Neuve, Belgium, the museum is dedicated to Belgian artist and Tintin
author Herg. The museum highlights Hergs life and works through cultural
facilities, permanent and temporary exhibition areas, and a video projection room.
When finding inspiration for the museum, Portzamparc immediately looked to the
ideas and figures present in Hergs writings. Although it took almost a decade for
those images to transfer into an architectural language, the result is a space that
richly commemorates the famed author.

10
Left: Site plan

Below: The volume of the museum, simple lens, seems to float in the
forest and on the road, make a pass like a ship
Facing: From the dock, a large eye can be seen which would vary
depending on the exhibitions and events at the museum. The bridge
leads to the museum along the window of the library, bright and alive

122 - 123
Museum Herg 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 Swartes 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 Hergs drawing style. One traces Tintin in
America, another King Ottokars Sceptre To these four objects, it can add a fifth:
the lift shaft, vertical and coloured in white and blue.
What is clear to the designer, now that the museum exists, is that there were infinite
sources of inspiration for the project. There was the programme of exhibitions, of
course, and the constant discussions with the work of Herg in all its dimensions of
course: its identity, its individuality, its unique character.
Above: The volume of the museum is divided between voids and solids. The vacuum is the reception
area in which are housed four forms, four volumes that contain the showrooms
In the Following Pages:
Left: The tour starts at 3 and runs from one volume to another, alternant cozy atmosphere of dimly lit
rooms due to the original and walkways and stairs to the concourse
Facing Left Above: The narrative space, a kind of mental maze, in agreement with the world of Herg.
That everything resonates, as in an orchestral score
Facing Left Below: This is the main reason why the museum is Herg and decomposed with its
rhythms, its scansions, its failures, its divisions, its crossings, its bridges

3

124 - 125
4
3
2
6
Ground Floor Plan

1. Entrance stairs
2. Gallery
3. Shop 13
4. Caf
13
5. Temporary exhibitions
6. Technical facilities
7. The laboratory
8. The World of Tintin 12
9. Tintin books
10. The Museum of Ethnography
11. Bridge
11
12. Studio
13. A twentieth-century classic
1.
2.
3.
4. 10
5. 8
6.
7.
8
8.
9.
10.
7
11. 9
12.
13. 20
First Floor Plan

126 - 127
Mecenat Art Museum
Location: Hiroshima, Japan Designer: Tetsuya Nakazono (naf architect & design) Completion Date: 2010 The architect decided to design the building focusing on natural light. Soft diffused
Construction Area: 100m2 Photographer: Noriyuki Yano light from the top, direct light pouring from top light through white cylinder for
naf 2010 100
condensation of light spreading on the ground floor, soft light from slits on the walls
reflecting on the exterior green, fragments of graphical lights pouring through 432
plate glasses on the concrete walls; the space is filled with various kinds of lights.
2
Section:
1. Gallery 1
2. Gallery 2

1 1. 1
2. 2
Top Left: South elevation

Milddle Left: West elevation
Left: East elevation
Facing: North elevation

128 - 129
As an exhibition space, there was no need for structure such as columns and beams
but as large wall as possible. The important factor of the museum was to incorporate
natural light and wind, so corners are sliced with slits to the extent, which would not
interfere the exhibit. This idea would have left the building structurally fragile, so the
architects studied a rational shape, which was structurally stable like folding one
sheet of paper, origami, many times to make several corners, with models and three-
dimensional structure analysis by computer.
The site is found in a peaceful rural scene, where it became completely dark at night
with no streetlights. This building is automatically lit up when it becomes dark, softly
casting light to the surrounding. It became a landmark of the area.
The architect would like the visitors to feel, with their entire bodies, through this
building, atmosphere of profundity and gentleness created by the paintings of
Mr. Kakudo GOAMI, which is based on noble spirit of Orient in the changes of four
seasons unique in Japan.
The architect focused on taking in as much factors from natural environment as

possible in the exhibition space. Artificial lights in the exhibition space are limited
to the minimum. The works are basically viewed with natural light which changes
throughout the year, giving different impression by the weather of the day and time
of the year. The exhibition space is intentionally designed to be susceptible to the
natural environment.
Ground Floor Plan

130 - 131
Roof

First Floor Plan

132 - 133
Museum of Culture,
Fine Arts and Science, Changchun
Location: Changchun, China Designer: gmp Architekten Completion Date: 2010 Construction Area:
107,500m2 Photographer: Marcus Bredt
gmp 2010 107,500
Three stone cubes house three museums arranged round a central entrance
building like the sails of a windmill. The configuration of the buildings clearly
expresses the functional distinction between the museums. Each of the three cubes
has a sculptural feel - lofty, and individually tailored air spaces act as central lobbies
and set their stamp on each museum.
East elevation
South elevation
West elevation
North elevation
Above Left: Site plan

Left: Overview

134 - 135
Above: Entrance
Facing: Science lobby
136 - 137
Ground Floor Plan:
9 1. Main entrance
8 2. Lobby
5
3. Museum forum
4. Lecture hall
5. Exhibition
6. Museum for science
2
7. Control room/office/security
6
8. Security
5 9. Public education

5 5 1.
4
2.
3.
4.
3
5.
6.
7. //
8.
1
5 9.
4
5 4
5
7
The lobby for the Museum of Culture is derived from the shape of a deep canyon. The
air space of the Museum of Art features clear diagonals, as in a modernist painting.
The Museum of Sciences has a central foyer that cuts rationally into the solid mass
in right angles, almost as a symbol of technology and the scientific approach.

Functionally, all three museums are similarly organised: a square route leads
visitors from exhibition area to exhibition area on all levels. Crossing the central air
space by means of bridges in four places in each museum facilitates orientation
in the building. In addition, visitors get impressive views both in the central halls
of individual museums and of the landscape and museum park that surrounds the
Museum of Culture, Fine Arts and Science.
Three museums form the Changchun Museum for Culture, Fine Arts and Science.
Different in its expression, and sculptural faade detail, the same in colour and
material, the museum laid the foundation for a new neighbourhood in the southeast
of the city. The three museums have the same site development idea: sun-screened
exhibition spaces arranged along the visitors tour. The rooms are linked by open
bridges.
138 - 139
Crocker Art Museum
Location: Sacramento, California, USA Designer: Gwathmey Siegel & Associates Architects (GSAA) The Crocker Art Museum expansion complements the 125-year-old museums
Completion Date: 2010 Site Area: 1,188m2 Photographer: Bruce Damonte historic structures, which include one of the first purpose-built art museum buildings
2010 1,188
in the United States. More than $92 million has been raised towards the Crocker Art
Museums $100 million capital campaign goal.
125
92001
Above: Exterior rendering
140 - 141
In addition to extensive new galleries for temporary exhibitions and the display of the
Crockers permanent collections, The Teel Pavilion includes expanded educational
and art studio space, a teacher resource centre, a space for participatory arts
programming for children and adults, an expanded library, and a new student
exhibition space and teaching galleries. The Anne and Malcolm Henry Works on 260
Paper Study Centre will greatly improve access for visiting scholars studying the
Crockers outstanding master drawings collection, and for the public.
The expansion will also provide space for onsite collections care and storage, as well
as a new conservation lab. New public amenities, including a 260-seat auditorium,
a caf with indoor and outdoor seating, and a redesigned museum store, are also
being added. The ground floor will be open to the public free of charge and free Wi-Fi
will be available.
GSAAs compositional strategy for the project was aimed at establishing a

uniquely iconic presence for the new addition, while framing the existing complex
in a coherent physical dynamic. The result is a collaged image for both the new
and historic structures: the new addition is rotated on a due north/south axis,
disengaging it from the existing orthogonal street grid and Crocker complex, which
reinforces its contrapuntal sitting and massing; inside, the new galleries are directly
connected to the existing Art Gallery building, allowing for a continuous circulation
from the new to the old structures - both vertically and horizontally - and totally
integrating the entire complex.
142 - 143
Second Level Plan
First Level Plan
Ground Level Plan
144 - 145
Jiangsu Provincial Art Museum
Location: Nanjing, Jiangsu Province, China Designer: KSP Jrgen Engel Architekten Completion Date: Located in the cultural centre of Nanjing and in the immediate proximity of
2009 Construction Area: 27,449m2 Photographer: Shuhe Photography the historical Presidential Palace of todays provincial capital, the new Jiangsu
KSP 2009 27,449
Provincial Art Museum is one of the most important museums in south-east China.
It has space for temporary exhibitions and houses a permanent collection featuring
traditional Chinese art, which illustrates the cultural wealth of Nanjing - one of the
oldest cities in southern China. The sizeable collection is kept in archive rooms in
the Museum, which meet todays technical and strict conservation requirements.
Top Left: South elevation

Left: North elevation
Below: Overview
Facing Above: Entrance

146 - 147
The two interlocking U-shaped buildings also create a space that is modeled on a
canyon to function as the access zone between two soaring walls of natural stone. It
is lit from above and covered with a light glass roof. This 17-metre high access area,
which narrows at its two main entrances, links the two stone halves of the building
and guides visitors into the Museum. In the northern building, clear exhibition rooms
of varying sizes offer ideal conditions for presenting the works of art. Two bridges
spanning the glass-covered intermediate space connect the exhibition area with the
southern element. In addition to training, conference and office space, this building
also contains the VIP area and the auditorium with seating for around 400 people.
The travertine natural stone facing with its narrow window indentations obscures the
sheer number of storeys and as such reinforces the overall monolithic impression
of the museum building. Simultaneously, the alternation between vertical stone
panels and window slits with sheet metal jutting out at the sides creates rhythm in
the faade. The structural frame and the delicate construction of the glass roof were
developed in collaboration with Stuttgart-based German engineers Breuninger.
U
17
400
Top: Bird-view at night

Middle Images from Left to Right: Faade at day; Faade at night
Facing Image: Hall
148 - 149
Facing and Above: Exhibition

Ground Floor Plan:

1. Main entrance to the museum
2. Entrance to the exhibition hall
5 3. Toilet
4. Stairs
5. Entrance to the museum

1.
4 2.
3.
4.
2
5.
1
3
150 - 151
Bechtler Museum
Location: Charlotte, North Carolina, USA Designer: Mario Botta Completion Date: 2009 Site Area: The museum is in downtown Charlotte, a city that has undergone a rapid urban
1,912m2 Photographer: Joel Lassiter and Enrico Cano development in recent years.
2009 1,912
The new museum will house the works of art of the Bechtlers collection with
important artists such as Tinguely, Niki de Saint Phalle, Picasso, Giacometti,
Matisse, Mir, Degas, Warhol, Le Corbusier, Leger.
Left: Sketch by Mario Botta 2010

Middle Left: Longitudinal section
Bottom Left: Entrance to the museum with the sculpture
by the artist Niki de Saint Phalle
Bottom Right: West view of the museum
Facing: South-west view of the museum
In the Following Pages:
Left: South view of the museum
Right: Foyer
2010

152 - 153
154 - 155
The four-storey structure is characterised by the soaring glass atrium that extends
through the museums core and diffuses natural light throughout the building
thanks to a system of vaulted skylights. Despite the modest dimensions, its great
plastic force is created by the play of solids and voids. It can be thus defined as an
architecture-sculpture where the voids, carved inside the primary volume, mark a
new urban space sheltered by the third floor gallery, which juts out from the core
of the building, and cantilevered and supported by a column rising from the plaza
below. The choice of the materials for the interior spaces and the terra cotta exterior
cladding give the museum a rigorous, though elegant, simplicity.
Left: View on the foyer from the third floor

Facing Above: Third floor view
Facing Below: Exhibition space on the third floor

3 4
Ground Floor Plan: Third Floor Plan

1. Entrance 1.
2. Staircase 2.
3. Gate to display 3.
4. Display 4.
5. Meeting rooms 5.
156 - 157
Tel Aviv Museum of Art
Location: Tel Aviv, Israel Designer: Preston Scott Cohen, Inc. Completion Date: 2011 Site Area: 1,812m2 This project is the design and construction of a freestanding new building for
Construction Area: 4,506m2 Photographer: Preston Scott Cohen, Inc. the complex of the Tel Aviv Museum of Art, the leading museum of modern and
2011 1,812
contemporary art in Israel. Housing an installation of the Museums comprehensive
4,506
collection of Israeli art, as well as its architecture and design galleries, drawings
and prints galleries, photography study centre, art library, new auditorium, a large
gallery for temporary exhibitions and public amenities, the building is intended to
create an outstanding, forward-looking work of architecture for the Municipality of
Tel Aviv.
Below: Aerial Rendering of Opera Square

Bottom: The Amir building and plaza

South Elevation
East Elevation
North Elevation
West Elevation
158 - 159
Area Angle Corner
3 degree minimum 3
Maximum
5 periods 5 3 periods 3
Test

3 periods 3 3 periods 3
Final

Facade panelization Structural Axonometric

Above: West Facade
Section A A
1. Lobby 1. Faade Construction
4. Lightfall 4.
17 8. Library 8.
12 10
8 10. Israeli art promenade 10.
1 35 12. Gallery of Israeli art ii (1948-1970) 12. 1948-1970
4
17. Photography gallery 17.
30 24 21. Reception hall 21.
25 22. Caf and bar 22.
22 21 24. Loading dock 24.
25. Preparation kitchen 25.
30. Gallery 30.
35. Library stacks 35.
Section B B
4. Lightfall 4.
5. Architecture and design gallery I 5. 1
11 12 13 6. Architecture and design gallery II 6. 2
7. Architecture and design gallery III 7. 3
6 5 7 11. Gallery of Israeli art I (pre-1948) 11. 1948
4 32 12. Gallery of Israeli art II (1948-1970) 12. 1948-1970
29
34 13. Gallery of Israeli art III (1970-present) 13. 1948-1970
20. Special exhibition gallery 20.
20 21. Reception hall 21.
21 29. Gallery 29.
32. Restaurant 32.
34. Sculpture garden 34.
Section C C
10
5. Architecture and design gallery I 5. I
9. Architecture and design curatorial offices 9.
9 5
10. Israeli art promenade 10.
27 26 25. Preparation kitchen 25.
28
25 26. Glass connector 26.
27. Lobby 27.
28. Gallery 28.
160 - 161
Lightfall formwork construction diagram Lightfall, circulation, and galleries

The design for the Amir Building arises directly from the challenge of providing
several floors of large, neutral, rectangular galleries within a tight, idiosyncratic,
triangular site. The solution is to square the triangle by constructing the levels on
different axes, which deviate significantly from floor to floor. In essence, the buildings
levels - three above grade and two below - are structurally independent plans stacked
one on top of the other.
These levels are unified by the Lightfall: an 87-foot-high, spiraling, top-lit atrium,
whose form is defined by subtly twisting surfaces that curve and veer up and down
through the building. The complex geometry of the Lightfalls surfaces (hyperbolic
parabolas) connect the disparate angles of the galleries; the stairs and ramped
promenades along them serve as the surprising, continually unfolding vertical
circulation system; while the natural light from above is refracted into the deepest
recesses of the half-buried building.
In this way, the Amir Bulding combines two seemingly irreconcilable paradigms of
the contemporary art museum: the museum of neutral white boxes, which provides
optimal, flexible space for the exhibition of art, and the museum of spectacle,
which moves visitors and offers a remarkable social experience. The Amir Buildings
synthesis of radical and conventional geometries produces a new type of museum
experience, one that is as rooted in the Baroque as it is in the Modern.
26.5

Faade Panel Attachment Diagram

Facing: North Facade

162 - 163
Above: South Facade
Facing Below: Museum Entrance
Ground Floor Plan:

1. Lobby 1.
2. Bookstore 2.
3. Coat check 3.
4. Lightfall 4.
5. Architecture and design gallery I 5. 1
6. Architecture and design gallery II 6. 2
7. Architecture and design gallery III 7. 3
8. Library 8.
8
9. Architecture and design curatorial offices 9.
6
3
4 7
2
1
164 - 165
18
17
16
10
12
11 15
13
14
First Floor Plan: Third Floor Plan:

10. Israeli art promenade 10. 16. Classrooms 16.
11. Gallery of Israeli art I (pre-1948) 11. 1948 17. Photography gallery 17.
12. Gallery of Israeli art II (1948-1970) 12. 1948-1970 18. Photography archive and study room 18.
13. Gallery of Israeli art III (1970-present) 13. 1948-1970
14. Video room 14.
15. Israeli art curatorial offices 15.
Facing: Israeli Gallery

Below: Library

166 - 167
17
18
Facing: Lightfall and gallery

Above: Lobby

Level -1 Plan:
26. Glass connector 26.
27. Lobby 27.
28. Gallery 28.
29. Gallery 29.
30. Gallery 30.
31. Conference room 31.
32. Restaurant 32.
33. Restaurant terrace 33.
34. Sculpture garden 34. Level -2 Plan:
35. Library stacks 35. 23. Classrooms 23.
36. Classroom 36. 24. Loading dock 24.
37. Library offices 37. 25. Preparation kitchen 25.
24
37
35 23
36
25
26
28
27
29
32 34
31
30
33
168 - 169
Facing: Bottom of Lightfall
Above: Gallery
Right: Opening into lightfall

170 - 171
The Bronx Museum of
the Arts Expansion, North Wing
Location: New York, USA Designer: Arquitectonica Completion Date: 2006 Site Area: 1,551m 2 A new museum structure designed by Arquitectonica rises on the Grand Concourse,
Photographer: Norman McGrath Award: Florida Association of the American Institute of Architects, marking the beginning of an ambitious plan to expand and eventually replace the
Unbuilt Design Merit Award, 2005; Miami Chapter of the American Institute of Architects, Award for
existing Bronx Art Museum. The first phase of the project includes new galleries
Excellence, Unbuilt Project, 2005
2006 1,551
and administration spaces and an outdoor sculpture court. This mid-block structure
20052005 is part of a larger plan for which Arquitectonica has designed additional galleries,
classrooms, an auditorium, a childrens art centre and a residential tower that will
anchor the corner at the 165th Street where the museum currently sits.

165
1
Looking East:
1. Administration 1.
2. Flexible space 2.
2 5 6 3. Gallery 3.
4. Lobby 4.
3 5. Chase 5.
10
4 6. Lift 6.
7. Womens room 7.
9 8 7 6 8. Mens room 8.
9. Water tank 9. Below and Facing: Museums entrance
10. Existing gallery 10.
12
1 Looking North:
1. Administration 1.
2. Flexible space 2.
2 3. Stair up 3.
6 4. Pantry 4.
3 5. Lobby 5.
6. Terrace 6.
7 7. Gallery 7.
4 5 8. Electrical room 8.
9. Security room 9.
8 9 10 11
10. Corridor 10.
11. Common room 11.
12. Mechanical roof 12.
1 1
Looking South:
2 1. Administration 1.
5 4 3 2. Flexible space 2.
3. Pantry 3.
4. Lift shaft 4.
6
5. Terrace 5.
7 6. Gallery 6.
7. Receiving 7.
8 9 10
8. Corridor 8.
9. Lift 9.
10. Boiler room 10.
1 3 6
4 Looking West:
1
1. Lift 1.
2. Existing workshop 2.
5 3. Administration 3.
2
1 4. Flexible space 4.
7
5. Gallery 5.
6. Toilet 6.
7. Toilet 7.
172 - 173
Arquitectonicas first phase design emerges from the sidewalk as an irregular-folded
screen made of fritted glass and metallic panels. The panelisation into diagonal
components emphasises the depth of the crevices. The resulting vertical zones of
metal and glass angle and twist like an architectural origami, demystifying the wall on 2
the street and making it permeable. One can peek into the ground floor community
gallery through the slivers of semitransparent glass that face the approaching
pedestrians in their diagonal position. This curtain-like geometry dramatises the
vertical dimension of the otherwise modest structure, turning it into an unexpectedly 1
3
1 4 5
monumental surface.
The temporary side brick walls, which are expected to meet the future expansions,
are treated as final yet economical designs. An intricate pattern of black and white
block turn these walls into geometric canvases intended to convey the important 2 3
value of craftsmanship traditions. The walls recall the ubiquitous side brick walls of
Bronx row houses and commercial buildings. The complexity of the weave and brick-
by-brick scale encourages close examination and sharply contrasts in scale with the
front faade.

Internally, the galleries rise together with the steep and impenetrable solid-rock site.
Ramps and stairs lead to a series of simple, austere spaces. Concrete floors and
ceilings, steel cable railings, and a sleek exposed lighting system create neutral
functional spaces. The pure orthogonal geometry of the galleries is violated only by
the expression of the folded front faade on one side. The upper gallery opens to a
walled-in sculpture garden, surprisingly set on grade more that 9 metres above the
Grand Concourse.
First Floor Plan:
The open arrangement of galleries, visible upon arrival, is intended to convey a 9 1. Multi-purpose 1.
Ground Floor Plan: 2. Pantry 2.
message of accessibility. The community gallery is visible from the street as well as
1. Lobby 1. 3. Storage 3.
from the lobby, caf and shop and is passage to the ramp that leads to the other 2. Gift shop 2. 4. Terrace 4.
galleries. 3. Gallery 3. 5. Courtyard 5.
174 - 175
Facing, Above and Below: Gallery

2 3
Second Floor Plan:

1. Open classroom 1.
2. Office 2.
3. Media lab 3.
Cellar floor plan Roof plan

176 - 177
Erie Art Museum
Location: Erie, PA, USA Designer: EDGE studio Completion Date: 2010 Construction Area: 5,295m2 The renovation and expansion of the Erie Art Museum redefined the museum as
Photographer: David Joseph a recurring destination for the community. With a goal of obtaining gold LEED
EDGE 2010 5,295
certification, the building will be the first LEED-designed project in Erie County.
The project provides the museum with an innovative and recognisable building
image consistent with the organisations mission and goals. The museum, in
addition to exhibiting curated art in a gallery environment, has always supported
environmental art in installation settings. The addition provides the museum with a
building identity reflecting this value.
North Elevation

East Elevation
South Elevation
Below: Entrance courtyard and main entrance at dusk

Facing Above: Entrance courtyard and main entrance
Facing Below: View of the Lantern

West Elevation
178 - 179
The project incorporates a 929-square-metre addition along with reorganisation and
renovation of 4,366 square metres of existing space to improve the functionality
and environment of the museum. A continuous visitor experience was designed by
creating opportunities for experiential transition synchronised with the inevitable
thresholds between different building structures.
The addition provides an accessible and prominent main entrance with a dynamic
architectural identity. It is porous, transparent and designed to capture and intrigue
patrons and passers-by, encouraging the community to engage. The architecture
cantilevers outward to capture the view from Eries main streets. It was the museum
s objective that the project physically set itself apart from the adjacent buildings and
incorporate colour to contrast with the predominantly grey skies of Erie. The bold forms
and the warm copper and metallic blue panels were developed to meet this need.
Innovative sustainable design features, including a large gallery with rotating walls
that can be reconfigured quickly with minimal staff effort, helped to earn this project
a Kresge Foundation Grant for Green Building Design and Construction. This design
strategy eliminates material waste generated from constructing and demolishing
temporary partitions, and reduces the staff time that is necessary to set up
exhibitions.
Green roofs, low water use plumbing fixtures, permeable paving, a permeable storm
water removal system, a highly insulated building envelope, and an energy - efficient
mechanical system all contribute to a building designed to reduce operational
expenses and to limit environmental effects.
9294,366

1
Above: Gallery 2 and stair to loft gallery
2LOFT
2
1 2
Typical Plan Connection Detail:
1. 3/4 perforated corrugated steel
panelling exposed fasteners
2. 1-1/2 galv steel hat channels
3. Hss 4x4 secondary structure
4. Aluminum window system
5
5. Fiberglass batt insulation
6. Cont anod aluminum break metal
closure piece, backer-rod and
sealant typical 6
7. Thermal break structure attachment
8. HSS 6x6 primary steel structure 7

1. 3/4
2. 11/2
3 4 3. 4x4
4.
View under the Lantern: 5. 8
1. Lantern perforated screen 1. 6.
2. Lantern glazing 2.
3. Lantern secondary structure 3. Gathering space section 7.
4. Lantern primary structure 4. 8. 6x6
180 - 181
Above: Main gathering space and reception
Left: Erie Art Museum reception area
Facing: Gallery 1 with reconfigurable

1
1 2 3
Wall Configurations:
1. Large viewing area
2. Discrete corner gallery
4. Multiple spaces
5. Directional path

1.
2.
3.
4.
5.
6. 4 5 6
182 - 183
7
8 6
4
9
3
5
2
17
16
11 10 1
1
19 15
20
12
18
2
13
21
6
3
14
Ground Floor Plan: 11. Free gallery 2 11. 2 First Floor Plan:
1. Entrance Courtyard 12. Coat storage 1. 12. 1. Loft Gallery 1. LOFT
2. Vestibule 13. Office 2. 13. 2. Break room 2.
3. Caf 14. Frame shop 3. 14. 3. Studio 1 3. 1
4. Reception 15. Green room 4. 15. 4. Studio storage 4.
5. Gathering 16. Catering 5. 16. 5. Studio 2 5. 2
6. Multipurpose room 17. Shipping/receiving 6. 17. 6. Customs house 6.
7. Storage 18. Art storage 7. 18.
8. Gallery 1 19. Gallery 3 8. 1 19. 3
9. Gallery 2 20. Courtyard 9. 2 20.
10. Free gallery 1 21. Customs house 10. 1 21.
11
3 2
7 5
6
Above: Gallery 3 links to the courtyard
Facing Above: Loft gallery with movable display walls
Facing Below Left: Stair to loft gallery
Facing Below Right: Multipurpose room
Second Floor Plan: 4. Registrar 4. 3
1. Reception 5. Collections 2 1. 5. 2 LOFT
2. Open Office 6. Collections 1 2. 6. 1 LOFT
3. Conference room 7. Customs house 3. 7.
184 - 185
Lam - Lille Museum of Modern,
Contemporary and Outsider Art
Location: Villeneuve dAscq, France Designer: Manuelle Gautrand Architecture Completion Date: 2010 The project concerns the refurbishment and the extension of the Lille Modern
Construction Area: 11,600m2 Photographer: Max Lerouge, Philippe Ruault and Vincent Fillon Art Museum in a magnificent park at Villeneuve dAscq. The existing building,
2010 11,600
designed by Roland Simounet in 1983, is already on the Historic monuments list.
The project aims at building up the museum as a continuous and fluid entity by
adding new galleries dedicated to a collection of Art Brut works. A complete
refurbishment of the existing building was next required, some parts were very
worn.
In spite of the heritage monument status of Simounets construction, rather than

set up at a distance, the designers immediately opted to seek contact by which
the extension would embrace the existing buildings in a supporting movement.
Left: 3D volumetry of the extension

Below: Exterior view south
Bottom: South faade
Facing Above: An encounter of two architectures
Facing Below: Exterior view finger tips
??????????
186 - 187
The architecture of the extension wraps around the north and east sides of the
existing arrangement in a fan-splay of long, fluid and organic volumes. On one side,
the fan ribs stretch in close folds to shelter a caf-restaurant that opens to the
central patio; on the other, the ribs are more widely spaced to form the five galleries
for the Art Brut collection.
The Art Brut galleries maintain a strong link with the surrounding scenery, but
they are also purpose-designed to suit the works that they house: atypical pieces,
powerful works that you cant just glance at in passing. The folds in these galleries
make the space less rigid and more organic, so that visitors discover art works in a
First Concept: Hand gradual movement.
At the extremity of the folds - meaning the galleries - a large bay opens magnificent
views onto the surrounding parkland, adding breathing space to the visit itinerary.
These views make up for the half-light in the galleries: the openwork screens in front
of the bays mediate with strong light and parkland scenery, a feature that recalls
Simounets generous arrangements in the galleries that he designed. Envelopes are
sober: smooth untreated concrete, with mouldings and openwork screens to protect
the bays from too much daylight. The surface concrete has a slight colour tint that
varies according to intensity of light.

Art collection in each finger
4
3 2
14
15
7
13
12
8
6 1
10
11
Ground Floor Plan: 8. Cloakroom 8.

1. Outsider art exhibition 9. Bookshop 1. 9.
2. Restauration workroom 10. Ticket office 2. 10.
3. Artworks checking 11. Modern art room 3. 11. Above Left: 3D volumetry of each finger
4. Delivery area 12. Contemporary art room 4. 12. Above Right: Sequences of sections
5. Main entrance 13. Private event room 5. 13. Right: Model photos
6. Entrance 14. Temporary exhibition room 6. 14.
7. Patio 15. Meeting room 7. 15.

188 - 189
Below: Sections of each finger
Bottom: The oriental moucharaby
Top: View from the patio

Above Left: View from the Coltrane Road
Above Right: Rest area in an exhibition room
Below: Cross section of the existing museum and the extension
190 - 191
Above: Interior view of the pivot point area of the museum
Facing: Interior view of the exhibition room
192 - 193
Museo Soumaya
Location: Mexico City, Mexico Designer: Fernando Romero Completion Date: 2011 Construction Area: The challenge of this visionary project is that it will become the first Art Museum in
16,000m2 Photographer: Adam Wiseman, Javier Hinojosa Mexico City with such an avant-garde form, breaking by this with all the paradigms
2011 16,000
in Mexico. It will also create a state-of-the-art facility to house and display artwork
that meets the standard of International Art Institutions.
Below: Partial view

Facing: Exterior architecture
194 - 195
Emerging from the ground, Museo Soumaya will be a
central attraction in a new development within metropolitan
Mexico City. The 16,000 square metres building will have
an exhibition area of approximately 6,000 square metres
spread over 6 levels. There will be an auditorium for 350
people, library, offices, a restaurant and gathering lounge.
Intermediate levels are open to each other in a continuous
volume, but partially separated by enclosed areas, making
all spaces unique in their shape and form. The average floor
to ceiling height also varies at each level, from 4 metres
to nearly 13 metres at its highest point. The subterranean
structure will have five underground levels of parking below
two underground levels of storage and restoration labs.
16,000
6,000
350

413

196 - 197
Restaurant and Store Plan:
1. Information 1.
2. Armchair 2.
1
3. Service station 3.
6
4. Down ramp/restaurant 4. /
5. Reception 5.
6. Store 6.
3
4
3 2
4
Auditorium Plan:
1. Information 1.
2. Cabina 2.
1 3. Auditorium 3.
4. Restroom 4.
198 - 199
The building is slightly asymmetrical in both plan and
elevation. There are a total of 28 curved columns around the
perimeter of the building that follow the curvature of exterior
surface. At each floor level a series of seven beams connect
to curved columns to form an irregular enclosed ring beam.
The intention of these irregular ring beams is to provide a
system that braces the curved columns to the floor and roof
diaphragms retaining the curved shape of the columns under
all load combinations. The modern geometry of the new
Museo Soumaya emerges from a central point radiating
out in non-uniform angles. The faade slopes inward halfway
up the building elevation and outwards to the roof line,
while also rotating about its centre. This geometry causes
the building to angle in many directions and to self-shade
large portions of its walls. The envelope is nearly all opaque
with little openings to the outside while large skylights are
designed within the roof structure and taking up much of the
roof area.
28
7
200 - 201
ABC Museum ABC Illustration and
Design Centre
Location: Madrid, Spain Designer: Aranguren & Gallegos Arquitectos SL Completion Date: 2010 The new Drawing and Illustration Centre of ABC appears with the will to become an
Construction Area: 3,412.50m2 Photographer: Jess Granada artistic reference at an international level and also a symbol of the cultural offer in
& 2010 3,412.50
Madrid.
The current building provides access from two streets, connecting these with an
internal patio. One of these accesses is currently offered under a one-floor high,
longitudinal building body closing the internal patio towards the street.
The main doors for access to the new ABC Centre are considered on this front. The
aforementioned longitudinal body is restructured for this, as a large translucent
glass beam that works as the lintel of a gap for passage to the internal patio.
The cafeteria will be housed inside this, with the basement floor of the new centre
receiving light through a glass floor for access to the patio.
ABC
Left: Amaniel Street Facade, ABC Museum entrance

Left Below: ABC Patio. Night lighting
Facing: ABC Museum Facade ABC
ABC

202 - 203
In order to create a space or atrium for the new institution, allowing it to express
its contemporary and modern character, the solution presented proposes using
the internal patio for this space as a lobby for access to the building, becoming the
waiting area before entering.

As a large magnet, the glass beam will attract and transport people, with a certain
power of seduction, towards the inside of the new institution, causing combined
curiosity, anxiety and pleasure when visiting it. ABC Facing: Cafeteria, translucent glass beam
Top Right: Cafeteria entrance
The last operation in the external part of the set, consists in creating a bar of light Middle Right: Attic views
Right: Cafeteria interior
over the roof of the old factory. The construction of this intends to provide spaces to

house the machinery of the installations, currently located there, to house a well-lit
work and reading area over the city and to identify the ABC Foundation as a new torch
in the city at the Conde Duque Centre.
204 - 205
1
6
7
Facade Detail:
1. Existing supplementary structure Facing Left Above: Exhibition space
2. New galvanised subframe Facing Right Above: The third floor. Multipurpose space
3. Plate ALULIFE E=5mm 8
Above: Basement conference and exhibition space
4. Anodised aluminum plate saw cut
5. Muntiseal waterproof backing band of SIKA
6. New perimeter subframe galvanised triangular hole 9

7. Frame triangular voids. tube 40X40
8. Frame triangular voids. Thermal insulation
rock wool E = 4cm
9. CLIMALIT
10. Aluminum Carpinteria folding
11. Muntiseal waterproof backing band of SIKA
12. Thermal Insulation. Glass wool. E=5cm
13. Anodised aluminum plate saw cut
1.
2. 10
3. E=5
4.
5.
6.
7. 40X40
8. E = 4 11
9. 12
10.
13
11.
12. E=5
13.
Ground Floor Plan

206 - 207
Labyrinth of Science and Arts Museum
Location: San Luis Potosi, Mexico Designer: LEGORRETA+LEGORRETA Completion Date: 2008 Site Area: A museum should represent the character of the region where it is located. For
9,000m2 Photographer: Allen Vallejo the Labyrinth architects were inspired by the old haciendas of San Luis Potosi and
+ 2008 9,000
created a central patio with labyrinth designs based on the organ pipe cacti of the
desert. The stones used both for the floors and the faade are local and the design
of the garden responds to the desert climate of the region.
Left: Faades
Below: Main faade
Facing: Patio
4

208 - 209
This Museum design achieves a building that belongs to San Luis Potosis The walls are covered with stones from the San Luis Potosi state, and the roofs are
environment and culture, avoiding fashions and stridence. Located in Tangamanga treated as gardens with local vegetation so that the visitors know and promote the
National Park it gets integrated to the context not only because of its colours and huge diversity and possibilities of the site flora.
dimensions but because that is concept remains the old haciendas of the State.

It is developed around a big labyrinth patio. The visitors path is made through
porticos that are surrounding this patio, making diversified and mysterious access
towards different pavilions; those have several shapes and orientations, so each one
has its own personality and environment.
The access is made through a patio with a tree garden area in which groups of
visitors organise themselves. The lobby is a high tower that clearly shows the
entrance and acts as a space distributing circulations, to the labyrinth patio, to the
shop and lunch area. At the same time it allows a direct access to the temporal
exhibitions area and multi-purpose activities space.

The natural light, the gardens and external spaces are very important design
elements achieving the integration of the museum with the park and with outdoors
activities such as workshops, auditorium and semi-covered areas.
Above and Left: Patio

Facing Above: Main access
Facing Below: Water mirror

210 - 211
Facing Above: Kids patio
Facing Below: Hallway
Above: Mandarina Room
Below Left: Colour room
7
Below Right: Networks room

12
10
1
1
5
2
13 1
Floor Plan: :
11 1. Permanent exhibition room 1.
8 8 9 4
2. Temporary exhibition room 2.
3. Multipurpose room 3.
6
9 13 4. Observatory 4.
5. Cinema 5.
7
6. Store 6.
7 7
7. Workshop 7.
8. Mep room 8.
9. Terrace 9.
3
10. Courtyard 10.
11. Exterior activities 11.
12. Auditorium 12.
13. Labyrinth 13.
212 - 213
Riverside Museum
Location: Glasgow, UK Designer: Zaha Hadid Site Area: 22,400m 2 Completion Date: 2011 The Riverside Museum is an architectural masterpiece, designed by Zaha Hadid,
Photographer: Alan McAteer, Helene Binet, H+C arguably the worlds most in-demand architect. The 74-million museum is Zaha
2011 22,400
Hadids first major public commission to open in the UK. It houses more than
H+C
3,000 exhibits, in over 150 interactive displays telling the stories of the people
who made the term Clyde Built one which travelled the world and spoke
volumes about unbeatable quality. From massive steam locomotives, to the
recreation of a city street during the 1900s, the cathedral-like structure provides
a stunning backdrop to showcase the innovation and ambition of what was the
Second City of the Empire.
7,400
3,000150
20

Courtesy of Zaha Hadid Architects
Roof Plan

North Elevation

Northwest Elevation
Alan McAteer
Hawkeye Aerial Photography Hawkeye Aerial Photography
214 - 215
The building stands as a shining beacon of architectural and engineering innovation
on the banks of the River Clyde. The Riverside Museum is Glasgows newest visitor
attraction, home to the transport, engineering and shipbuilding legacy that made
Glasgow great.
Outside, The Tall Ship Glenlee is moored in front of the museums dramatic south
faade, bringing her together, for the very first time, with the citys unrivalled ship
model collection, and creating a dramatic and iconic international destination. The
Glenlee is one of only five Clyde-built sailing vessels afloat in the world today and the
only one in the UK.
The museum reveals the rich and varied stories of Glasgows great achievements
and vibrant spirit; of technological breakthroughs and heartbreaking tragedies; of
local heroes and global giants. Many of these tales are told through audiovisual
displays, hands-on interactive and digital touch screens. The displays will be
accessible and many are designed to engage children and young people and to give
a better experience for disabled visitors.
Alan McAteer The museums major attractions have been designed and built into the structure
of the building with some arriving before the completion of the structure, such is
their size. Highlights include, the Wall of Cars, the hanging Bicycle Velodrome, South
African Locomotive, No.9 Tank Engine, Motorbike Deck, Ship Launch Show, the Rest
and Be Thankful, and three re-created period streets.

9
Hufton+Crow
Hufton+Crow
5
1
2
5
Ground Floor Plan:

2 1. Entrance lobby
2. Exhibition
3. Shop
4 4. Reception
7
3 5. Learning space
1 2
6. Caf
2
5 7. Clyde maritime trust
Hufton+Crow Courtesy of Zaha Hadid Architects
1.
1. Exhibition 1. 1 2.
2. Kitchen 2.
3.
3. First floor gallery 3.
6 4.
4. Plant 4.
5.
5. Service trench 5.
6.
Courtesy of Zaha Hadid Architects 7.
216 - 217
Hufton+Crow Alan McAteer
Alan McAteer Alan McAteer
218 - 219
National Automobile Museum
Renovation and Extension
Location: Turin, Italy Designer: Cino Zucchi Architetti Completion Date: 2011 Site Area: 17,700m 2 The new museum, with an expected annual attendance of 250,000 people,
Photographer: Cino Zucchi accompanied by significant conference and educational activities, will thus
2011 17,700
become a driving force in the urban renewal of the southeast quadrant of the city.
The project articulates the relationship between the drive-by perception

from Corso Unit dItalia and the establishment of a more intimate pedestrian
environment grafting its way on via Richelmy. The existing buildings symmetry
is redefined by its new base, in order to respond to its surroundings and
emphasise its relationship with Largo Unit dItalia.
250,000

Left: Architectural sketch

Below: Aerial view
Facing Above: View of new wing on via Richelmy
Facing Below: Detail of the glass faade

220 - 221
Above: View of museum front on Corso Unit d'Italia Above: Nocturnal view
Below: Building faades Below: Building sections

2 2
222 - 223
Above and Facing Above: View of the internal courtyard Underlining the existing horizontal lines on the river front, the new ground floor has
Facing Below: Faade detail
a number of relational spaces that accommodate the different areas of the public

museum and related activities (bookshop, gift-shop, bar-cafeteria).
In line with many contemporary European examples the exhibition functions are
integrated with a series of complementary activities that bring life to the car museum
at all hours of the day and night.
6
The existing courtyard becomes a new event space thanks to the addition of a glass
roof which illuminates the space. By making the existing courtyard an internal space,
onto which the museum routes face, the visitors are provided with a natural means
7
of orientation. This provides not only a bridge linking the two bodies but a core at the
heart of the project, taking the form of a Ring, a proven exhibition scheme.
The new wing on the west side, a large undivided space, which provides very flexible
exhibition space, integrates the existing body, embracing the side of the building and
5 giving continuity to the two urban elevations.

2 1 4
3

Ground Floor Plan:

1. Entrance - ticket office 1.
2. Bookshop 2.
3. Caf 3.
4. Documentation centre 4.
5. Event space 5.
6. Exhibition hall 6.
7. Educational centre 7.
224 - 225
Welios Science Museum
Location: Wels, Austria Designer: Dworschak+Mlbachler architekten Completion Date: 2011 Site Area: A bundle of energy - the science museum with the theme of renewable energy
3,700m2 Construction Area: 6,158m2 Photographer: Dietmar Tollerian highlights the efforts of the city of Wels to position itself as a city of energy.
+ 2011 3700
6,158
Welios is a science museum that makes it possible to experience physical
phenomena in interactive arrangements. Architecturally it is also an experimental
landscape, an open and dynamic spatial conception of ramps, sloping walls and
flowing lines.
The building is a solid construction as a cement body. The interior - ceilings, walls - is
made in dry construction. The compact construction form and the highly insulated
3 outside wall construction promise a high degree of energy efficiency. A shimmering
4
white, expanded metal faade covers the entire body of the building as a
homogeneous casing. Glass walls are limited to the opened up recesses. Window
openings in the external faade are blurred behind the metal curtain, which serves
as a shading element at the same time. The line pattern is made with steel bands
- the force lines on the faade. The back-lighting of these bands with energy-
saving LED light strips enables a variable design of the faade, ranging from a slight
1 shimmer to dynamic effects. In this way, the science centre is also imbued with the
necessary presence in the dark and with an unmistakable appearance.
2

LED
Site Plan:
1. Entrance 1.
2. Wels Trade Fair Centre 2.
3. City Hall 3.
4. City centre 4.
Section 1 1
Section 2 2
Section promenade
226 - 227
The science museum presents itself as a spectacular large sculpture, a monument
and landmark that gives the location at the periphery of the historical city centre
the urbanist quality it otherwise lacks. The science centre is the urban hub in the
transitional area between the city centre and the fair grounds/amusement park. The
construction is characterised by the guiding idea of energy, which gives the building
its form - a massive body with a hard shell is opened up and shaped by the energy
inside it. The resultant recesses allow glimpses into the interior of the museum and
serve to light the thematic spaces.
The X-shaped configuration of the exhibition rooms allows for a flexible arrangement
of the thematic spaces - sometimes the view to the outside is closed, then the open
atrium connects the rooms with one another. Other rooms allow a view to the outside,
sunlight falls into the room. In this way sequences of spaces can be arranged with
various sizes and characteristics in keeping with the exhibition concepts.
The exhibition surfaces in the outside area are accessible from the foyer. Shielded
from the public traffic space by the footpath ramp, the outside area opens up to
the public garden and the fairgrounds. The exhibition surfaces are close to nature,
conceived as an integral part of the park landscape, without a spatial demarcation.
Uncontrolled access is hindered by a flat water moat, possibly in conjunction with an
exhibit on the theme of water.
228 - 229
7
5
3
Ground Floor Plan:
1. Special exhibition
2. Atelier
3. Multi-functional space 6
4. Foyer
5. Restaurant
6. Seminar room
7. Shop
1 2

1.
2.
3.
4.
5.
6.
7.
230 - 231
1
3
2 2
1 3
First Floor Plan: Second Floor Plan:

1. Office 1. 1. Exhibition 1.
2. Airspace 2. 2. Airspace 2.
3. Restaurant 3. 3. Roof terrace 3.
232 - 233
National Glass Museum
Location: Leerdam, The Netherlands Designer: Bureau SLA Completion Date: 2010 Site Area: 1,100m2 Dutch architects Bureau SLA have connected two houses in Leerdam, with four
Photographer: Bureau SLA overlapping bridges to create a continuous gallery. The National Glass Museums
SLA 2010 1,100 SLA
steel-frame bridges are cladded in polycarbonate wrapped in aluminium mesh.
Exhibition spaces are spread across both existing buildings and the bridges with
9,000 objects on display in glass cabinets by Dutch designer Piet Hein Eek.
Both buildings have been refurbished with one housing a restaurant and the other a
library that doubles as staff offices.
SLA

9,000
Above: Model
Below: View from the back
Facing: View from the street side towards the newly-acquired villa
234 - 235
Bureau SLA was commissioned to turn the two buildings into a home for the National
Glass Museum. It was suggested to turn Cochius former residence into an exhibition
area and to use the second villa as offices, storage facilities and a cafeteria. Whilst
this fulfilled functional requirements, it seemed like a missed opportunity to bureau
SLA, as the new situation would appear to be not very different from the old one.
The museum would have more space, indeed, but this would not be visible from the
outside.
The four pedestrian bridges that Bureau SLA designed and drew everything together
in an elegant manner. The museums employees could eat in the restaurant, the
visitors could have full access to the collection of glass, including that in storage, and
the administrative staff could work in the library. Furthermore, the exhibition rooms
could be far more spacious. Instead of the small rooms of the existing villas, in which
visitors need to climb up and down stairs all the time, circulation and exhibition
spaces could to be much more generous.
Visitors can idle through extensive rooms; only one lift is needed and an enormous
amount of space is gained. The bridges serve as storage space in which all the
museums objects are on display. In the historical villas not much more needed to
be done; they were elegant by themselves. Repairs were carried out where needed,
with some later additions removed. The bridges were constructed from several layers
of polycarbonate panels and covered by a translucent skin of grey, powder-coated,
aluminium mesh. During the day they contrast sharply with the refined old villas,
whereas at night they glow in reflection of the 9,000 glass objects inside them.
SLA
SLA

SLA

Above: View from the garden
Facing Left: View from the third level of the Cochius 9,000
villa towards the newly-acquired villa
8
1
Garden Level:
1. Storage bridge
1. Kalzip multi-purpose clamp 1. 2
2. Exhibition space
3. Restaurant 2. Expanded metal mesh 2.
4. Lift 3. Steel l-beam 2001005mm 3. 2001005
3
5. Curator 4. Cavity slightly ventilated 4.
6. Office 5. Polycarbonate (opaque) 40mm 5. 40
7. Library Cavity/room for construction
Polycarbonate (clear) 40mm 40 4
8. Terrace
Expanded metal mesh
1. 6. Expanded metal mesh RAL 9007 6. RAL 9007
2. Kalzip roofing
3. Insulation
4. Breathable waterproof layer
5
5. Prefab roof element Rc 3,5 Rc 3,5
6. 7. Fluorescent lighting 7.
7. Folded aluminium strip 6
8. 8. Vapor barrier 8.
8 Steel T-profile 120 T120
6 Wind bracing (steel strip) 40
Polycarbonate 40mm 7
4
1 3
2
5
7 2
236 - 237
Above: Corridor
Facing: Inside the Cochius Villa
3 3 4
2 2
2 First Floor Plan: Second Floor Plan:
1
1. Storage bridge 1. Storage bridge
1 2. Exhibition space 2. Exhibition space
3. Lift 3. Lift
4 4. Office 4. Services
2 2 2

1. 1.
2. 2.
3. 3.
4. 4.
238 - 239
Polish Aviation Museum
Location: Krakow, Poland Designer: Pysall Ruge Architekten Completion Date: 2010 Construction The new main building of the Polish Aviation Museum in Krakow offers a
Area: 4,504m2 Photographer: Jens Willebrand symbolic and attractive combination of virtually all the symbolisms associated
2010 4,504
with the museum, including the idea of flying, the atmosphere and structure of
an airfield and a passion for the history of technology.
The new structure both continues and modifies the basic square module. Like
a sheet of paper that is cut-out and folded to build a plane. Cast in reinforced
concrete, the museum fans out into a light airy shape evoking the image of a
huge three-bladed propeller.
Left: Site plan

Below: Creative horizontal
Bottom: Exterior wall
Facing Above: View from the southeast
Facing Below: View from the east

240 - 241
Facing Above: View from the southwest
Above Left: Foyer
Above Right: Foyer & cinema
Below: Exhibition wing

South elevation
East elevation
Section
242 - 243
The new Polish Aviation Museum in Krakow is certainly not a conventional house. Above and Facing Above: Education display area

It is a structure that uses its subtly flight-inspired shape to express its function and
encourages visitors to explore it further. 5

The architecture of the building, which houses a reception area, exhibition space and
administration offices, blends in a logical and natural way with the existing complex
of hangars and workshop buildings. The old hangars were a source of inspiration for
the square platform on which the structure has been based, as well as for its low
roofline.

The spacious glazed interior opens out freely in all directions. The reception area
faces the street, while the library and office windows overlook the park to the west.
The exhibition hall finds harmony with an undeveloped area in front of it and offers 150
Ground Floor Plan: 3
an unobstructed view of the former runway and of airplanes parked outside. The 1. Tickets 1.
subdued colours of the walls and the floor in the northern wing provide an elegant 2. Foyer 2.
background to the collection. The airplanes seem to be ready for take-off and do not 3. Book store 3. 2
4. Cinema 4.
look like mere exhibits. Not only do the gently shaped open spaces immediately offer
5. Exhibition wing 5.
a clear view of the options available to the visitor, but they also allow unhindered
access to any of them, whether the visitor chooses to watch a film in the fuel- 1
4
tank shaped projection room, to have a look at exhibit cases or to enter the main
exhibition space to admire the airplanes on view.
The first floor, which opens with a huge glazed wall to the exhibition hall, houses a
restaurant, a bar, a library open to the general public and a lecture room with 150
seats. Further upstairs, on the second floor, the glass walls of the museum offices
open up onto the park and onto the exhibition space. In some of the rooms sunlight
5
appears to be coming from an airplane window.
244 - 245
Above: Lecture hall
Left: Storey ladder

First Floor Plan Second Floor Plan
246 - 247
Nestl Chocolate Museum
Location: Toluca, Mexico Designer: Rojkind Arquitectos Completion Date: 2007 Site Area: 634m 2 Located over the side lane of the highway in the entrance to Toluca, in the edge of a
Photographers: Guido Torres, Pal Rivera 300-metre long insubstantial industrial installation that used to pass unnoticed, the
2007 634
new museum appears with the spectacular nature of a window display.
Half way between Mathias Goeritzs The Snake and Munchs Scream, the zigzagging
origami rises from the garden level and becomes the entrance to a magical world,
to the tour of the chocolate factory that rivals Tim Burtons imagination.
300

1 2
1. East view
2. North view
3. South view
4. West view
1.
2.
3.
3 4 4.
1 3
4 2
3
3
Site Plan:
1. Motor lobby
2. Drop-off
3. Landscaping
4. School bus parking
5. Existing chocolate factory
6. Employee parking
7. Leonardo Davinci Street

1.
2.
3.
4.
5.
6.
7.
248 - 249
1. Motor lobby 3. Access 6. Museum shop 8. Landscaping 11. Exiting chocolate factory 14. Hallway 2. Drop-off 3. Access 5. Auditorium 8. Landscaping 14. Hallway 15. Leonardo Davinci Street
15. Leonardo Davincl Street 1. 3. 6. 8. 11. 14. 15. 2. 3. 5. 8. 14. 15.
14
6 11 14 5
3
3
1 8 2 8
15 15 8
1. Motor lobby 3. Access 6. Museum shop 8. Landscaping 11. Exiting chocolate factory 14. Hallway 3. Access 4. Lobby 7. Restrooms 8. Landscaping 13. Reception 15. Leonardo Davinci Street
15. Leonardo Davincl Street 1. 3. 6. 8. 11. 14. 15. 3. 4. 7. 8. 13. 15.
14
6 11 4 7
13
3
1 3
15 8 8
8 15 8
The six hundred square metres of new construction standing over the garden, house 1. Motor lobby 2. Drop-off 3. Access 5. Auditorium 6. Museum shop 8. Landscaping 15. Leonardo
Davinci Street 1. 2. 3. 5. 6. 8. 15.
a reception area, a theatre that prepares young visitors for the trip to the world of
chocolate, the entrance to the existing tunnel that circles around the production
areas in the inside of the factory and the chocolate and gadget store at the end of
6
the tour. 5
3
And so, a back staircase engulfs the groups of scholars with a trumpeted and faceted 15 1
2 8
8
prism. The triangles of the unfolding kaleidoscope are made out in different shades
of white to accentuate the different planes. The lobby opens up over an insipid view 1. Motor lobby 2. Drop off 3. Access 5. Auditorium 8. Landscaping 14 Hallway 15 Leonardo Davinci
of high voltage cables, billboards and highway to give way to the groups of visitors Street 1. 2. 3. 5. 8. 14. 15.
between the information desk and the chocolate bar shaped sofas. The theatre in
this little EPCOT, encloses the visitors for a few minutes to introduce them virtually to
the liquid world of candy. From there, the tour begins through the corridors, tunnels
and observation decks over the halls of the factory. Before leaving, a store invites 14 5
visitors to perpetuate the moment with objects to take home.
1 3 8
15 8
2
This urban-scale toy invites visitors on an emotional tour and gives free rein to the
exuberant creativity of Michel Rojkind. The red on the outside and white on the inside - 4. Lobby 7. Restrooms 8. Landscaping 12. Employee parking 13. Reception 15. Leonardo Davinci
made from urgent origami, bursts out like a unique icon in the Tolucan periphery. Street 4. 7. 8. 12. 13. 15.
4
13 7
1. Sheetrock panel ceiling calked finished with two hands of Dupont oyster 8
15 12 12
white OW79IP paint over sealant
2. 2" thermo/acoustic insulator polystyrene foam panel according to Nestl
recommendations 4. Lobby 12. Employee parking 15. Leonardo Davinci Street
5 2 6 3 6 6
3. 1.5"x1.5"x0.11" 2.95 kg/m steel HSS finished with Dupont white primer 4. 12. 15.
4 4. Water resistant sheetrock panel

5. Steel beam IR16"x50 lb/ft
6. Colour deck CD-408 0.5mm Aluzinc hunter Douglas panel Ferrari
red COD. 7088 4
1 7. Sheetrock panel wall calked finished with two hands of
Dupont oyster white OW79IP paint over sealant
8. 6"x6"x1/4" 28.30 kg/m steel HSS finished with white Dupont primer 15 12 12 12 12
1 4
7 9. Epoxic resin floor over Epoxic mortar finished in glossy white
10. Steel beam IR 406mm x 74.4kg/m
2 1. Motor lobby 2. Drop-off 10. Access to tunnel 11. Existing chocolate factory 12. Employee parking
11. Concrete beam fc=350 kg/cm2 40x80cm assembled with 12#8,
1. 2. 10. 11. 12.
2#4 y e#4
12. 6"x6"x1/4" 28.30 kg/m steel HSS finished with white Dupont primer
13. Concrete column fC =350 kg/cm2 60 x 40cm assembled
with 10#8 y e#3 @20cm
14. Concrete column footing FC =250 kg/cm2 assembled 10
9 11
with 12#6 e#3 @20cm
3 1. OW79IP
12 1 2 12
2. 2/
3. 1.5x1.5x0.112.95/
11
4. 3. Access landscaping 8. Landscaping 11. Existing chocolate factory15. Employee parking
5. IR16x50/ 3. 8. 11. 15.
6. CD-4080.5COD. 7088
7. OW79IP
8. 6x6x1/428.30/
9.
8 10 13 7 12 10. IR406x74.4/
11. =350/12#8, 2#4 Y E#4 11
12. 6x6x1/428.30/
15 3
14 13. =350/60 x 400#8 Y E#3 @20cm 8
14. =250/12#6 E#3 @20cm
250 - 251
1
3
8
10 13 4
11
6
12
7
13
9 8
10
Ground Floor Plan: 7. Restrooms 7.

1. Motor lobby 8. Landscaping 1. 8.
2. Drop-off 9. Access to tunnel 2. 9.
3. Access 10. Existing chocolate factory 3. 10.
4. Lobby 11. Employee parking 4. 11.
5. Auditorium 12. Reception 5. 12.
6. Museum shop 13. Hallway 6. 13.
600

252 - 253
8 7
6
Diagram:
1. Concrete columns 1.
2. Steel beams 2.
3. Reinforced concrete slab 3.
4. Sheetrock interior walls 4.
5. Sheetrock interior skin 5.
6. Steel framework structure 6.
7. Secondary steel structure 7.
8. Hunter Douglas outer skin 8.
9. Glass faade 9.
254 - 255
Fort Worth Museum
of Science and History
Location: Fort Worth, Texas, USA Designer: LEGORRETA + LEGORRETA Completion Date: 2009 Total The Fort Worth Museum of Science and History is located at Fort Worths Cultural
Area: 18,580m2 Photographer: Lourdes Legorreta District among very important 20th century architectures such as the Kimbell Art
2009 18,580
Museum by Louis Kahn, the Modern Art Museum by Tadao Ando and the Amon
Carter Museum by Phillip Johnson.
The relationship within the existing site elements was an important design concern.
Visitors access the New Building passing by a tree-shaded plaza that connects to
the Main Access. The plaza is overtopped by a main emblematic Tower/Lantern,
signalising the entrance of the Museum.
20

Clockwise: Lantern detail in east faade; East elevation; West elevation;

South elevation; North elevation; South faade - planetarium and restaurant

256 - 257
Ground Floor Plan;
1. Main lobby/entrance
2. Atrium
3. Special events space
4. Restaurant
5. Courtyard
6. Exhibition zone
12
7. Retail store
8. Kid space 3
The New Facility consists on several components interacting constantly with each
9. Dino dig other. An important element is the Museum School since the educational part of
10. Energy & Lone Star Dino the exhibitions is a strong statement. Spacey and illuminated classrooms are facing
11. Museum school area 6 8 a courtyard. Other elements on the architectural programme are the Experimental
12. Existing Omni Theatre
Studios, Explora Zone, an outdoor Dino Dig. Furthermore there is Childrens
1. / 2 5 Museum, as well as pleasant outdoor areas like for instance a terrace, pergola area,
2.
4 reflected pool, and a shadowed courtyard gives the opportunity to entertain the
3. youngest visitors of the Museum. Design focused on creating spaces that are easy to
4.
5.
7 understand for children and accessible for school groups.

6. 1
7.
11
Other main spaces of the Museum are the large open spaces that house the
8. 9 10 Dinosaur Collection, Explora Zone and the Energy Exhibition, additionally the Cattle
9.
Raisers Museum, a Temporary Exhibit Area and the Fort Worth History Exhibition,
10. &
11. which is integrated into the circulation space to give the visitors a unique experience.
12. There is also a new Noble Planetarium linked to the Cattle Raisers Museum.
Besides the exhibition areas, there are commercial areas such as a Restaurant, Facing Above: Main courtyard
Retail Store and a Special Events Space, which is adjustable to diverse programmes. Above: Energy exhibit

There are two office areas: Museum School Offices and Executive Offices.

258 - 259
15
14
16
13
Facing Above: Spine

Facing Below Right: Lantern view from inside
Above: Atrium

Second Floor Plan:

13. Planetarium
14. Cattle raisers exhibit
15. Temporary exhibit
16. Fort worth exhibit
13.
14.
15.
16.
260 - 261
Museum of Energy
Location: Tarragona, Spain Designer: Arquitecturia Completion Date: 2010 Construction Area: 5,785m2 The Museum of Energy weaves together several social and physical realities.
Photographer: Pedro Pegenaute It generates a new space in a currently undetermined place and links urban to
2010 5,785
landscape.
This interlacing of different realities is dealt by three different stages of a

promenade. At a first stage, the visitors are received; at a second stage, the
exhibition content is shown and at a last stage, the views toward the landscape are
framed: to receive, to frame and in-between, the content is shown.
Left: Main entrance view

Below: Project section sketch
Facing Above: Exterior perspective view from the backside
Facing Below: North elevation view

262 - 263
The museum needs to be anchored between the public and the private, between the
river and the topography, between urban and landscape. Because of this, one of the
principal aims of the proposal was to reconfigure the site and its surroundings, and
understanding its boundary condition.

The site, a desolate land, where landscape and industry are juxtaposed, but not
closely related, coexisting without tension. There was no shelter between the Ebro
and the topography or between the industry and the urban settlement. The need to
anchor this place was strong and the designers began by dusting off the grid. From
the exterior to the interior, accidental spaces are made with subtracting matter, and
by altering the grid.
The type on this site had lost purity, but now it emanates a sense of belonging with Above: South elevation view
intertwined abstraction and specificity. On the exterior the use of steel creates Below Left: Main entrance view
Below Right: Ground floor interior view
a dense, heavy, cold and rough sense. The use of poly carbonate on the interior
Facing Above: Perspective view from the entrance
creates the opposite effect, with a light, soft space. Facing Below: West elevation view
264 - 265
Ground Floor Plan

Facing: First floor interior view

Right: Entrance interior view

266 - 267
National Automobile Museum
Location: Amsterdam, The Netherlands Designer: Michael Graves & Associates Completion Date: 2010 The design incorporates modern details alongside distinctive Dutch elements. The
Site Area: 10,219m2 Photographer: Michael Graves & Associates bricks in the faades have been laid in a special woven pattern, forming a stark
2010 10,219
contrast to the other, more understated surfaces. It is complemented by quarry
stone details and a slate-tiled roof. As well as serving as a special exhibition space,
an octagonal pavilion at the rear of the building has been positioned in line with an
existing avenue of trees, connecting the building with the landscape.
Left: Site plan

Below: Rear side
Facing Above: Front side
Facing Below: Main hall section

268 - 269
The museum features a major collection of automobiles, the Louwman Collection.
The building houses temporary and permanent exhibition galleries, an auditorium,
a reception hall, conference facilities in an attached pavilion, a food court, and
workshops for conservation and repair.
The museum building incorporates a large space for displaying Evert Louwmans
outstanding collection of historic automobiles, yet remains in harmony with the
smaller-scale, historically-sensitive architectural context. The Great Hall, with its
huge, arched timber roof, forms an east-west backbone through the building, which
distinguishes the lofty exhibition rooms from the smaller, public rooms by the main
entrance, such as the museum shop and the access to the theatre. With the steep,
peaked roofs that are typical of Dutch architecture, the exterior of this section of the
museum is reminiscent of a coach house. This makes the building as a whole appear
smaller, so that it blends sympathetically with buildings in the surrounding area.
The museums architectural character responds to the traditional nature of the

context through massing, detailing and consistent use of brick materials. In order to
mitigate the large scale of the exhibit space and workshops, the smaller scale public
activities were organised in a U-shaped configuration facing the street. The central
rotunda, the main entrance to the museum, doubles as a temporary exhibition gallery
for featured pieces. To either side, the roof overhangs and columns surrounding
the auditorium and reception hall impart a domestic scale to the composition in
deference to the neighbourhood.
Left: Octagonal pavilion

Below: Gallery
Bottom:Stair hall
Facing: Spyker hall
270 - 271
Above: Benz SSK 1929
Facing Above: Duesenberg SJ Lagrande Dual-Cowl Phaeton 193
SSK1929
SJ193
4 5
2
12
7
6 8 9 Ground Floor Plan:

1. Market square
2. Prefunction
3. Workshop
4. Auditorium
11
5. Gentlemens room
6. Gift shop
7. Entrance
8. Tickets
10 9. Petit gallery
10. Kitchen
1 11. Great hall
12. Gallery
3 13. Pavilion

1.
2.
3.
12 12
4.
5.
6.
7.
8.
9.
10.
11.
12.
12 13.
13
First Floor Plan Second Floor Plan
272 - 273
Canadian Museum of Nature
Location: Ottawa, Ontario, Canada Designer: KPMB Architects Completion Date: 2010 Site Area: The revitalisation project showcases the original heritage building, using
23,225m2 Photographer: Eric Fruhauf, Tom Arban contemporary architecture to generate a dialogue between the past and the
KPMB 2010 23,225
present. It also prioritises the Museums collections and its research activities, while
improving its public outreach.
The original interior suffered from a fairly rigid and opaque layout, inadequate
vertical circulation, and generally substandard building. To realise a bolder identity
for the CMN, the challenge was not limited to an interior renewal but extended to
the exterior and site.
Left: Street view

Facing: Night view

Site Plan: 4. Promenade 8. Lantern 4. 8.

1. Entrance 5. West lawn 9. Terrace 1. 5. 9.
2. Exit 6. Court 10. Green roof 2. 6. 10.
3. Permit parking 7. Visitor parking 3. 7.
7 10 10
8
3
6 4
2 1
274 - 275
The concrete moat of parking that surrounded the building was one of the biggest
liabilities to the museums image. By relocating parking to the east side of the site,
space was gained to create a significant below-grade addition on the south in which
the back-of-house operational functions of the museum are consolidated, including
mechanical and electrical, loading, waste handling, security and catering functions.
The roof is slightly elevated above the street and is adapted as landscaped terraces
for the enjoyment of visitors and the public.
One of the most visible interventions is a glazed Lantern element over the truncated
tower. The Lantern restores the original proportion of the main entrance and creates
a super-scale display unit for replicas of large-scale artifacts or projected images.
Within the Lantern a new Butterfly Stair resolves the original circulation system,
which was disconnected when the tower was removed, and reinstates a continuous
loop of movement around the Atrium and through all four levels of the Museum.
Reception and information desks are relocated to the centre of the Atrium. Gallery
spaces are reconfigured to offer a balance of black box and day-lit galleries.
The South Terrace creates an indoor/outdoor precinct for casual and formal
gatherings up to 600 people. Set apart from the walls and foundations of the
heritage building, the Terrace is linked to the existing building via two bridges, and
creates a viewing platform from which to experience the robust masonry walls. Its
edges are defined by bosques of trees and a large-scale water feature, which runs
parallel to Argyle Street.
600/

Basement Plan:
1. Basement lobby
8
2. Lifts 5
3. Offices 6
4. Animal display / lab
5. Green house
6. Museum operations
7. HD theatre
8. Museum operations 8 7 4
9. Loading dock
10. Museum services
:
1.
2.
3. 9
4. /
5.
6.
Left: Ceiling 7.
8. 10 3
Facing Above Left: Atrium
Facing Above Right: Lantern 9.
2 1 2
The Following Pages: 10.
Left: Lantern
Right: Stair

276 - 277
278 - 279
6
8 7
10 9 3 5
Ground Floor Plan:

1. Vestibule 1.
2. Foyer 2.
3. Central atrium 3.
4. Apse/Discovery Centre 4. /
5. Fossil gallery 5.
6. Green roof 6.
7. Green house 7.
8. South addition terrace 8.
9. Caf/boutique 9. /
10. Group entrance 10.
5 5 4 4
2
Second Floor Plan:

1. Butterfly stairs 1.
3. Apse/Discovery Centre 3. /
4. Mammal gallery 4.
5. Water gallery 5.
5 5 2 4 4
Third Floor Plan:

1. Lantern/butterfly stairs 1. /
3. Salon 3.
4. Temporary gallery 4.
5. Mineral gallery 5.
280 - 281
Lyon House Museum
Location: Melbourne, Australia Designer: Lyons Completion Date: 2009 Site Area: 1,350m 2 The Lyon House Museum is an experimental project, which speculates on the
Photographer: Dianna Snape conjunction of art and living, challenges conventional notions of public and
2009 1,350
private and explores new relationships between art and architecture through a
new hybridised type - a house museum.
As an experimental and speculative project the House Museum explores new

relationships between public and private, art and living and opens new ground in
the dialogue between art and architecture.
Section: 4. Kitchen 4.
1. Black box 5. White cube 1. 5.
2. Music room 6. Dining/meeting 2. 6. /
3. Bedroom 7. Formal living 3. 7.
3 6
1 5
2 4 7
South Elevation North Elevation
East Elevation
282 - 283
Located in Melbourne, Australia, the building accommodates the daily living needs of The spaces in the building are ambiguous in their typological readings the family
a family of four and the requirements of a public museum housing a major collection kitchen doubles as museum caf, the black box showing video art is also used for
of Australian contemporary art. The building is open weekly for public tours and for home movies and sleepovers. The private study functions as a research library for Ground Floor + Site Plan:
1. Art library
research visits by academics and students. The House Museum also hosts an annual visiting academics and students.
2. Formal living
programme of concerts, artist and architecture talks and other cultural events. 3. Art space
4. White cube
Two large double-height spaces - a white cube and black box - anchor the two Below Left: Dining 5. Entrance hall
ends of the building and are designed explicitly as museum spaces. Private domestic Below Right: Formal living 6. Informal living
Facing Above: Music room 7. Kitchen
spaces for the family are defined with enclosed boxlike forms and are located across
8. Store
the two levels of the building. 9. Gallery
10. Habitat
11. Pantry
12. Work desk
13. Laundry
14. Music room
13 15. Black box
3
10 16. Garage
1 9
+
11
1.
14 15 2.
4 7 12
3.
4.
2 5.
8 6.
7.
5 6 8.
16 9.
10.
11.
12.
13.
14.
15.
16.
284 - 285

First Floor Plan:

3 3 1. Office
1
2. Dining/meeting
9 3. Gallery
4. Bedroom
10 12
4 5. Robe
4 11 6. En suite
7. Library/informal sitting
8. Upper hall
9. Play
8 10. Concert organ
11. Organ loft
12. Black box

2 4 1.
7
5
2. /
6 3.
Top: Exhibition space 4.
Above: Gallery hall 5.
6.
7. /
8.
9.
10.
11.
12.
286 - 287
Mimesis Museum
Location: Paju Book City, South Korea Designer: lvaro Siza, Carlos Castanheira, Jun Sung Kim The project for the Museum Mimesis, already finishing construction in the new town
Completion Date: 2009 Construction Area: 4,000m 2 Photographer: Fernando Guerra - FG+SG of Paju Book City in South Korea, is a cat. The client didnt have to wait for seven
Fotografia de Arquitectura
years for his drawing of a cat, but lvaro Siza has been drawing cats for over seven
2009
4,000 FG+SG
years now. He has never seen a Korean cat, because he has never been there.
The architect briefed him on the site, and brought along a small site model, showing
the boundaries and the immediate context. In one single gesture, a cat was drawn.
The Mimesis is a cat, all curled up and also open, stretches and yawns. Its all there.
Left: Site plan

Below: Street view of west elevation
Facing Above: Street view of south elevation

West Elevation East Elevation
South Elevation North Elevation
288 - 289
Section B B Section D D
Facing Above: Exterior patio and

main entrance
Right: Exterior patio view

Section A A Section C C
290 - 291
Left: Exterior patio view
Facing: Second floor interior atio

292 - 293
4
11
1
9
10 10
6
3 2
5
7
19 8
12 13 14 17 18 15 16
20
Ground Floor Plan: 11. Stair to mezzanine 11.

1. Public entrance 12. Freight lift 1. 12.
2. Main foyer 13. Loading bay 2. 13.
3. Reception/cloakrooms 14. Security room 3. / 14.
4. Temporary exhibitions 15. Service entrance 4. 15.
5. Temporary exhibitions 16. Service staircase 5. 16.
6. Caf/restaurant 17. Kitchen 6. / 17.
7. Terrace 18. Pantry 7. 18.
8. Public toilets 19. Service 8. 19.
9. Public toilets 20. Vertical ducts 9. 20.
10. Public lifts 10.
In the basement locate the archives, the service area, maybe an extension to the Above: Cafeteria and Restaurant
exhibition area, as is becoming a habit in museums designed by lvaro Siza. The Facing: Stair to first floor

ground floor is a space for arrival and distribution, areas for temporary exhibitions
and a caf/restaurant with all necessary back up. Administration areas, staff
circulation, area for the administrative archive and staff toilets are located in the 10
mezzanines. The top floor is used for exhibition space. 4
9 8
Both natural and artificial lighting are seen as essential. The form will be given by 8
7
cast concrete, light grey, the colour of a cat. Inside, the white of the walls and ceilings 6 4 9 3
are decorated with marble with the honey colour of Oak. Internal frames are made of
timber and glass. As for the external windows, timber, painted steel and crystalline
3 7
glass were used.
1 1 4
1 1
4
/ 11 13
2 4 2
3
4
15 5 14 14 14 14 12
5 6
15 9 10
First Floor Plan: 8. Administration staff 8.

1. Public lifts 9. Meeting room 1. 9.
2. Mezzanne foyer 10. Museum director 2. 10. Second Floor Plan: 6. Storage 6.
3. Shop 11. Office 3. 11. 1. Public lifts 7. Storage 1. 7.
4. Void 12. Staff dress-room/toilets 4. 12. / 2. Second floor foyer 8. Courtyard 2. 8.
5. Stair to second floor 13. Storage for books 5. 13. 3. Permanent exhibitions 9. Service staircase 3. 9.
6. Service staircase 14. Sky light 6. 14. 4. Exhibition platform 10. Vertical ducts 4. 10.
7. Staff toilets 15. Vertical ducts 7. 15. 5. Freight lift 5.
294 - 295
Eco-museum in Rennes
Location: Rennes, France Designer: Guine Potin Architects Site Area: 990m2 Completion Date: 2010 The project is lead by Rennes Mtropole and the eco-museums users, positioned
Photographer: Stephane Chalmeau as an extension of the actual entrance building eco-museum, in the dynamic
2010 990
cultural economy of Rennes. The design of this building represents the soul of this
eco-museum, which are culture, country, and protected animals, by celebrating
traditional materials.
It is the designers sincere hope that this project will symbolically represent the soul
of the eco-museum while providing a clearer natural identity to the visitors. Taking
care of its surroundings, this project shows a wood skin, drawn with a geometrical
pattern, creating a generous scale.
Left: Site plan

Below: Section
Bottom: North view
Facing Above: General view
Facing Below: North elevation

296 - 297
Above and Facing Above: Main hall The formal intention, in addition to its impact, symbolises the programme eco-
Facing Below: Entrance and lobby museum, a real exemplary teaching tool, in prospect to a successful environmental
integration.
Holding account of the will to use natural materials, the designers have chosen
materials principle eco-biological: faades are in chestnut, in pine, in coloured
Ground Floor Plan: concrete, and the roof is covered by grass.
8 1. Main entrance
2. Entrance hall The extension of the entrance hall and the temporary exhibition is in timber
3. Ticket office
framework and timber cladding. The use of dry producer allows a management of
4. Storage room
5. Shop a clean building site, the conservation to the maximum of trees and the continuous
6. IT room use of existing buildings in period of work.
7. Library
8. Library storage
Southern side, the timber framework will put down an ecological concrete wall
9 9. Cherry orchard entrance
10. Exhibition room entrance base and tinted in the mass with natural pigments. Above this wall base, the timber
7 11. Exhibition room cladding is in natural wood shingles (chestnut) drawing graphic pattern. Eastern side
13 12 12. Storage room of existing building is covered with panel-insulating cladding.
6 13. Artworks maintenance room
2 5
1.

10 2.
3.
4.
3 4 5.
11

6.
7.
1
8.
9.
1
10.
11.
12.

13.
298 - 299
3 1
5
6
8
9
10
11
12
13
14
15
16
Detail Cutting on South Faade Frame Chestnut

17 Cladding Green Roof: 1.
1. Vast green complex 2. /
2. Drain/filter 3.
38
3. Aluminium parapet cap 4. 15
18 4. Waterproof protection - depth 15cm 5.
5. Fixing batten 6.
6. Waterproof membrane 7. EP20
7. EP insulation 20cm 8.
8. Vapour seal 9.
19
9. Perforated steel tray waterproofing support 10.
20 10. Chestnut cladding, vertical panels 11. EP2x100
37 on the upper section 12.
11. EP Hemp insulation: 2x100 13.
12. Air knife 14. 4x200
13. Natural wood shingles on a wooden frame 15.
21 14. Vertical frame 4x200 between porticos 16. LC160x190
15. Helease lever 17.
22 Facing Above: Tree trunk detail
16. LC beam 160x190 18.
Above: Exhibition area
17. Seamless fermacel lining, 19.

23 painted matte black 20. 270x150

18. Steel frame 21. EP20
24 19. Fixing batten 22. OSB111
20. Double timber LC posts 23.
36 forming portico 270x150 24.
21. EP hemp insulation 20cm 25.
25 22. Rain shield on panel of OSB111 bracing 26.
23. Air knife 27. 100x200
26 24. Natural chestnut shingles
35 on a wooden frame 28.
27 25. Sill 29.
26. Perforated stainless steel anti-rodent grill 30.
28
27. Stand-pit 100x200 including waterproof 31. Second Floor Plan (Right)
to be fixed to planed slab 32.
28. Dyed concrete floor Pieri 33. M1
34 or equivalent type 34. +
29. Fixed aluminium window frames 35.
33 strop sol super-silver 1-2
30. Dyed concrete floor Pieri 36. /
29 or equivalent type 37.
31. Polished concrete 38. ///
32. Thermo-acoustic cyma, the lower section
30 32 painted matte black
31 33. Roplin M1 blackout shutters
34. Lining tables + rigid insulation
35. Thermo-acoustic cyma on lower section,
leveling-support variable from 1 to 2
36. Fermacell lining on the wooden
or steel frame
37. Colorol type removable
acoustic false platform
38. Plenum techniques: ventilation/high
current/low current/stage equipment
300 - 301
INDEX

1. Neutelings Riedijk Architects 12. Philippe Schmit Architects 23. Preston Scott Cohen, Inc. 34. Pysall Ruge Architekten
Contact: info@neutelings-riedijk.com Contact: public@philippeschmit.com Contact: matthew@pscohen.com Contact: info@pysall.com
2. Belzberg Architects 13. WHY aechitecture 24. Arquitectonica 35. Rojkind Arquitectos
Contact: Ashley@belzbergarchitects.com Contact: quinlin@why-architecture.com Contact: hongkong@arquitectonica.com Contact: info@rojkindarquitectos
3. Pete Bossley Architects 14. Schmidt Hammer Lassen Architects 25. EDGE studio 37. Arquitecturia
Contact: Fleur@bossleyarchitects.co.nz Contact: irk@shl.dk Contact: matthew@edge-studio.com Contact: irene@arquitecturia.net
4. Fumihiko Maki + Maki And Associates 15. Studio za arhitekturu d.o.o. 26. Manuelle Gautrand Architecture 38. Michael Graves & Associates
Contact: ykondo@maki-and-associates.co.jp Contact: petar.reic@sza.hr Contact: contact-com@manuelle-gautrand.com Contact: bsaltzman@michaelgraves.com
5. 3XN 16. SDL 27. Fernando Romero 39. KPMB Architects

Contact: 3xn@3xn.dk Contact: publicrelation@daniel_libeskind.com Contact: hv@fr-ee.org Contact: kpmb@kpmbarchitects.com
6. Saylor Gregg Architects 17. Atelier Christian de Portzamparc 28. Aranguren & Gallegos Arquitectos SL 40. Lyons
Contact: psaylor@saylorgregg.com Contact: c.gubert@portzamparc.com Contact: arquitectos@arangurengallegos.com Contact: narelle.walch@lyonsarch.com.au
7. Sobejano Architects S.L.P 18. naf architect & design 29/36. LEGORRETA + LEGORRETA 41. lvaro Siza with Carlos Castanheira and Jun Sung Kim
Contact: nietosobejano@nietosobejano.com Contact: info@naf-aad.com Contact: ptorres@lmasl.com.mx Contact: geral12@carloscastanheira.pt
8. Gonzalo Mardones 19. gmp architekten 30. Zaha Hadid 42. Guine Potin Architects
Contact: gm@gonzalomardonesv.cl Contact: hamburg-e@gmp-architekten.de Contact: Chantelle.LueElton@zaha-hadid.com Contact: guinee.potin@9online.fr
9. C.F. Moller 20. Gwathmey Siegel & Associates Architects 31. Cino Zucchi Architetti
Contact: jw@cfmoller.com Contact: b.deleon@gwathmey-siegel.com Contact: studio@zucchiarchitetti.com
10. Moriyama & Teshima Architects 21. KSP Jrgen Engel Architekten 32. Dworschak+Mlbachler architekten
Contact: cheryl@mtarch.com Contact: pr@p.ksp-architekten.net\ Contact: office@archinauten.com
11. Riken Yamamoto 22. Mario Botta 33. Bureau SLA

Contact: field-shop@riken-yamamoto.co.jp Contact: mba@botta.ch Contact: vanassche@bureausla.nl
302 - 303
THEMATIC MUSEUMS

Author: Arthur Gao
Print version (Hardcover) - 2011

ISBN 9787538173079
Published by Liaoning Science & Technology Publishing House
Shenyang, Liaoning, China
eBook version - 2012

ISBN 9781619870550
Published by Profession Design Press Co., Ltd
California, United States of America
Distributed by Actrace, LLC, United States of America

Website: www.actrace.com, www.design-bookstore.com
Copyright2012 Liaoning Science & Technology Publishing House

License agreement: www.design-bookstore.com/auxpage_license
Unauthorized copying prohibited.
- 2011
9787538173079
- 2012
9781619870550
Actrace 2012
www.actrace.com,www.ArchitecturalBookstore.com
2012
www.design-bookstore.com/auxpage_license

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Thematic Museums

the old docks.

East Faade North Faade West Faade South Faade

Ground Floor Plan: Level 1 Plan: Level 2 Plan:

Level 3 Plan: Level 4 Plan: Level 9 Plan:

Facing Above and Below: Interior with window

of a visitors passage from point of arrival through to his/her ascension back to

It is a museum building in a public park, submerged into landscape terrain to

Below: Museum Roof Plan

Mezzanine Floor Plan:

Built to a tight budget and programme, this building attempts to encourage

Facing Above: Southwest elevation

South Elevation and Section: West Elevation and Section:

10. Mechanical 10.

Left: Liverpool sketch

Facing: Museum at dusk

Two Above: West-east Section/North-south Section: 2/

Lower Level and Mezzanine Plan (Left Above and Above):

Facing Above and Below: Interior view of theatre

Below: Landscape around the museum

1. Greenwich Park 8. Entrance plaza 15. Lantern 1. 8. 15.

The extension has a contemporary aesthetic, but is inspired by the Baroque

Section B-B: 7. Reception B-B 7. Section D-D: 7. Interactive gallery D-D 7.

Level 1 Terrace Plan:

Level 2 Archives Plan:

Below: Quilt Wall viewed from Homer Watson Boulevard

Left: Front Entrance with image quilt wall

Plan-1F(Above) & 2F(Below): 10. Directors office 10.

The interior promenade of the exhibition circuits stages hammered concrete

The galleries in the extension have been articulated as superimposed flights of

Above: Frontal general view

Facing Above Left: Annex, entrance reception, ground floor

Art and the Environment: Design Solutions (Left):

Lantern Section (Above):

Facing Above: Entrance

Ground Floor Plan:

First Floor Plan:

Facing: East court

Third Floor Plan:

Level -1 Plan: Level 3 Plan:

The relationship of interior and exterior design shows a certain inversion of

Above: Site plan

In dependence on construction demands, but also on the position within the

From Top to Bottom: Panoramanic of DAM from East; East elevation;

Section Looking East:

Facing: Titanium clad entryway

Ground Floor Plan: 8. Office 8.

Left: Site plan

Ground Floor Plan

First Floor Plan

Top Left: South elevation

The architect focused on taking in as much factors from natural environment as

Ground Floor Plan

First Floor Plan

Above Left: Site plan

Museums $100 million capital campaign goal.

Above: Exterior rendering

GSAAs compositional strategy for the project was aimed at establishing a