The Anren Museum building will be inevitably related to time, as an historic and at the same time contemporary museum. This premise, of time understood as an evolution, composed of a lineal relation of past, present and future, along with the importance of the relation between the traditional and the modern, are the generating concepts of the building design. From the fusion between a traditional architectonic space of Anren buildings, the courtyard, and a natural element, stone, the shape and organization of the project was developed.
China - Chengdu // Museum // 13.150m², 24.163m² (floor) // Climate: Mild and humid
The undefined museum The main museum of a 53 museums city. The building will be hosting temporary exhibitions of all kinds, from paintings to sculptures or performances. That’s why it was so important to create a flexible design regarding areas, lighting and internal movements.The main museum of a 53 museums city.
To change the condition that even though the museum is a public building one has to enter to enjoy it we propose the museum as an open box, one that allows visitors a double experience: that of the interior exhibition galleries and that of the exterior terraces.
These concepts, and the inherent necessity to blur the division between the relationships of interior and exterior; public and private; enclosed and open, were achieved by organizing the project along a spiralling ramp consisting of two circulation routes, one internal and one external. Upon reaching the higher-most point, the roof gardens, these circulations mix together to create a buckle, a moebius strip. The island was treated as a public square, a floating public square surrounded by the waters of the Xiejiang River and by the city. The museum is an open box within the square, with a large, central, open courtyard. This concentric organization of spaces reinforces the museum building's quality as a spiraling space where the distinction between interior and exterior are blurred. The square is subdivided by a triangular organizational design that includes different gardens, seating areas and paths; the same treatment of triangulation is applied to the roof garden of the building, repeating that which is experienced at ground level and interacting with the roof planes gently sloping in diverse directions.
The visitors experience of the square and appreciation for the surrounding river and city is provoked prior to their entering the building, which is done on the opposite side from that of the route of approach from the bridge. The visitor partly circles the building then descends a landscape of ramps into the central courtyard, where one is surrounded by the building, with transparent façades revealing glimpses of what occurs within, and with the sky framed above.
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