New Tamayo Museum: Rojkind + BIG

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Rojkind Arquitectos and BIG have teamed up to win a competition to design the New Tamayo Museum, to be built outside of Mexico City.

Sure, the project is a little bit weird in it’s crucifix-like plan / aerial view – but otherwise I’ really feelin’ it. Embedding simple volumes in the hillside like this, then cantilevering out over the slope makes for some pretty dramatic covered exterior spaces [they’ve actually used the gallery space, in the ‘box’, to shade the ‘public’ space below]. That, and I like that there’s no ‘stepping’ with the hillside – that the project is instead jutting out and hanging, emphasizing it being a foreign object in the landscape. And the views from the roof look pretty sick, too. But hey – Rojkind Arquitectos and BIG? How could you expect anything but the dopeness?

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Some info from the designers:

Set upon a steep hillside in Atizapan on the outskirts of Mexico’s largest metropolis will soon sit the New Tamayo Museum which will serve as a nucleus of education and culture, locally, regionally, and internationally. Named after the Oaxacan born artist Rufino Tamayo (1899-1991) The very strong and symbolic shape of the cross is a direct interpretation of the client’s preliminary program studies that defined the museums optimal functionality.

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Michel Rojkind:

Understanding that contemporary art spaces pretend to be more important than the art they contain, our proposal arises from the scheme of requirements previously studied by our clients, assuring maximum functionality in each area while focusing on the development of art projects. By enhancing the program and understanding the topography, a balance between form, function and visual impact for this important space was created. Once the functional part was improved, we could give attention to details that make the space not only a culture enclosure, but also a building that understands its surroundings to distinguish itself and transform from a simple form to a powerful symbol, controversial, but ideal to lodge this new space.

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Bjarke Ingels:

…museum design is often caught in a dilemma between the artists demand for functional simplicity and the museum’s (and architect’s) desire to create a landmark. The cantilevering cross is the literal materialization of the cruciform functional diagram – devoid of any artistic interpretation. MUSEO TAMAYO EX-TENSION ATIZAPAN becomes the embodiment of pure function and pure symbol at the same time.

.:images + info -> via Bustler

Posted: May 5th, 2009
at 1:30pm by orangemenace


Categories: architecture,featured ninjas,museum

Comments: 3 comments



 

3 Responses to 'New Tamayo Museum: Rojkind + BIG'

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  1. I wonder if sitting beneath the cantilevers gives visitors a “framed” view that extends the landscape horizontally. Interesting project …

     

  2. I’m really skeptical, the intention to do such a “pure” attention-grabbing form seems to supersede considerations for the site, context, function and spatial experiences, it’s pretty simplistic and facile. The giant cantilever isn’t exactly new either, and I wonder how oppressive it feels *under* the large span – anyone who has ever walked beneath an elevated highway/freeway would know what I mean. Pity as the site looks spectacular. In all, it could have been a student’s studio project.

    Architortured

    8 May 09 at 3:22 am

     

  3. I also wonder if the cruciform is purely functional as described, it doesn’t allow for spatial flexibility leaving the museum with specifically sized rooms oriented in a destined manner, not good for a small museum. A longer plan would allow for greater planning flexibility and partitioning, one or many rooms, a continuous linear exhibition space if needed, etc.

    Architortured

    8 May 09 at 3:29 am

     


 

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