Zaha HADID - MAXXI Museum Art XXI (Roma - Italy)

Zaha Hadid [ http://www.zaha-hadid.com/ ] has drawn walls that plough the space delineating fields of strength with fluid trajectories that cross the space, and there are the same intersection to define the circle among inside and outside. The structure has a complex and irregular form that corresponds to an inside articulation without clean division of plans and spaces: a composite environment characteristic from a high-level of functional flexibility in which the light plays a remarkable role in fact a coverage in glass floods of natural light all the spaces. We don't find us of forehead to a journey to effect, but to an experience of trip in a complex net of connections and runs that through bridges and staircases they bring us "long" the three levels of the structure without ever returning on our footsteps and always discovering new roads. An architecture that opens a tear in the circuit of the time and they forces every of us to change our point of view, that is something that belongs much more to the cinema that to the architecture and the multiplicity of the visions, when everything is confuses and then everything returns clear, as in a film.
It's the MAXXI [ http://www.maxxi.beniculturali.it/ind... ] the Modern Art Museum of XXI Century in Rome - Italy (41°55'41.67"N - 12°28'1.77"E). Public open in 20 May 2010
Info. Via Guido Reni,4 - Rome
Tel.06.3210181
Pritzker Prize 2004 http://www.pritzkerprize.com/laureate...

--> Read more...

Fondaco dei Tedeschi in Venice.

Venice Architecture Biennale 2010: Dutch firm OMA have unveiled their design for the renovation of the Fondaco dei Tedeschi in Venice.



Located by the Rialto Bridge on the Grand Canal, the building dates from 1506 and has been used as a trading post and customs house.



OMA’s restoration will convert the building into a department store with a cultural program.



Two sides of the roof will be removed to create a public terrace with views over the Grand Canal that can be used for events and screenings.



The scheme was unveiled at the Venice Architecture Biennale, where Rem Koolhaas has been awarded the Golden Lion for lifetime achievement (see our earlier story).

---

OMA to restore Fondaco dei Tedeschi, landmark building in Venice
OMA today unveils its design for the major restoration and redefinition of one of Venice’s largest and most iconic buildings: the Fondaco dei Tedeschi, a property owned by the Benetton family, adjacent to the Rialto Bridge on the Grand Canal.

First constructed in 1228, the Fondaco dei Tedeschi began as a trading post for German merchants and became a customs house under Napoleon in 1806. Its use as a post office has diminished in recent years, leaving much of the building unused and inaccessible for the first time in centuries. The latest evolution of the Fondaco will create a thriving contemporary trading post in the form of a culturally-programmed department store.

The Fondaco dei Tedeschi, twice rebuilt completely, with its current configuration dating from 1506, has undergone many radical transformations since then. To accommodate new uses, its towers have been removed, courtyard covered with glass, structure rebuilt, façade restored, and new windows added, among many other interventions. For the Fondaco, preservation is a history of change.
Commissioned by the Benetton family’s property group, OMA has designed a range of architectural modifications and developed a cultural program to reactivate the building as a vital public space, from top to bottom. A terrace with rare views of the Grand Canal will be created by removing two sides of the existing roof, leaving the building’s profile intact while unlocking exciting potential for the Fondaco dei Tedeschi as a major destination and vantage point for tourists and Venetians alike. The rooftop, together with the courtyard below, will become a public venue for events including exhibitions and film screenings. A year-round cultural program will be aimed at locals and tourists – the 20 million who visit the city each year, as well as the 900,000 who come specifically for the Biennales and festivals.

The new Fondaco dei Tedeschi, as both prestige department store and public event space, aims to reestablish the historic Venetian connection between culture and commerce. The Benetton family has always demonstrated this twin spirit, uniting the innovative and international with profoundly local, Venetian roots.
New entrances to the Fondaco will be created from the Campo San Bartolomeo and the Rialto to encourage circulation, escalators will be added to create a new public route through the building, rooms will be consolidated in a way that respects the Fondaco’s structure, while crucial historic elements like the corner rooms will remain untouched. Historic aspects of the building, lost for centuries, will be resurrected: the walls of the gallerias will once again become a surface for frescoes, reappearing in a contemporary form.
OMA’s renovation scheme – both ambitious and subtle – continues the Fondaco dei Tedeschi’s tradition of vitality and adaptation. Venice will acquire a landmark department store that will become a shared civic facility and a crucial element in the cultural fabric of the city.

--> Read more...

New Trade Fair Milan - Milano Fiera

Rho-Pero, Milan, Italy
2005
Massimiliano e Doriana Fuksas Architects

Milano Fiera / New Trade Fair Milano, Italy

New Milan Trade Fair is a great architectural project for the territory. Its dimension renders it one of the major complex nowadays on building in Europe. It is part of the recovery of wide urban spaces, of the territory which goes beyond the borders of the city itself. Areas which aspire to become “geography”, landscape.



Milano Fiera / New Trade Fair Milano, Italy

New Milan Trade Fair is a great architectural project for the territory. Its dimension renders it one of the major complex nowadays on building in Europe. It is part of the recovery of wide urban spaces, of the territory which goes beyond the borders of the city itself. Areas which aspire to become “geography”, landscape.




The abandoned areas and suburbs call for important interventions. The critical mass of the intervention, more than 2 millions squared meters and more than half million of construction, are the starting point. I thought about a unitary complex, of simple geometry. The project of the New Milan Trade Fair is characterized by the great central axis: the great transparent coverage modifies spaces and represents the continuity of the vision. The service centre, the offices, the convention area, are the fulcrum of the entire system: transition from honour “entrance” to central axis.


On the sides, the pavilions, with big facades made of reflecting metal (of more than 200 m. for the two-level pavilions), bring back the life and the images of the pathway.
The entrances are signal and event. Architecture is “contaminated” art: she lives of other universes, she observes modifications and changes, she attempts to synthetically represent what happens. Architecture is not only inspired by architecture, but she tends to comprehend and to talk to everyone. In a moment of very few “visions” looking to the future, and the mere running of quotidian life and of existence, this project seems to be part of the European more dynamic scenery. It exists a demand and a desire of architecture, of emotions.

This project is ambitious. It is addressed to future visitors, and, firstly, it tries to pay much attention to people who will work and spend their days inside the New Milan Trade Fair.
Our country resumes a route which has been interrupted for more than 30 years, thus putting under construction one of the most important international trade fair complex.
The New Trade Fair is an important project for the region of Milan. It’s dimensions make it one of the biggest buildings in Europe. It is part of the wide structure of suburban space which is located in the outskirts of the city. This space wants to become “geography” – wants to be “landscape”.
The project is characterized by a central axis. The transparent covering of the axis modifies space and represents the vision of continuity. Service centre, offices and exhibition areas are scattered within the vast site area.
The pavilions are situated on both sides of the axis. Their reflective facades coated with steel panels mirror the image of people walking. The main entrances to the complex are sculpturally designed to the two ends of the path. The architecture can be described as “contaminated” art: it survives by relaying on other “universes”, it controls movement and changes, it tries to represent what’s going on. Architecture is not only inspired by architecture, but tends to relate to every single person. In a situation with very few visions for the future, this projects makes up a dynamic sceneries. Obviously there is a demand for architecture, a demand for emotion.
NEW TRADE FAIR
2002-05
Rho-Pero, Milan, Italy
Architect : Massimiliano e Doriana Fuksas

client: Fondazione Fiera Milano
Total area 2.000.000 mq
Building area: 1.000.000 mq
Surface area : 2.000.000 mq
Superficie surface builted: 1.000.000 mq
Visitors parking lots: 20.050
Tracks parking lots: 7.000
Exhibitors parking lot: 4.320
Central axis length: 1.500 m
N.° Pavillion : 8 (164 x 224 mt)

Start date : Apr 2003 Completion date : Apr 2005
Budget:750 millions euro

General contractor: Astaldi Spa, Vianini Spa, Pizzarotti Spa

(VEIL)
structures consultant: Mero GmbH & Co.
Schlaich Bergermann und Partner

(LOGO CENTRO SERVIZI)
structures: Schlaich Bergermann und Partner

Curtain walls: Permasteelisa spa
Steel structure: Icom Engineering, Ask Romein, Carpentieri d’Italia
roof: Bemo Systems
lighting: Lampada Lavinia - iGuzzini, (design by Doriana & Massimiliano Fuksas)

--> Read more...

Nuragic and Contemporary Art Museum in Cagliari, Italy. Zaha Hadid.

   


The Nuragic and Museum of Contemporary Art, also known as "Bethylids"is a planned museum in Cagliari, Sardinia, Italy, designed by Zaha Hadid. Work is underway to build on the promenade of Sant'Elia, near the football stadium Stadio Sant'Elia.


  The structure is very futuristic, and is similar to a concrete reef. The museum is dedicated to Nuragic and contemporary art. Works of Sardinia and the Mediterranean on the screen.



 Conceived as a project to be completed in three phases, the structure covers about 12,000 square meters, consisting of Nuragic and exhibition spaces for contemporary art, a library, conference room, offices and shops.


The project aims to create a node of cultural exchange which in turn can serve as a signal that announces the arrival to Cagliari from the sea, and answer the five challenges proposed in the report. Through the interconnection of the inner circulation with the public roads and the alternation of open spaces and cavities, the building shares its public dimension with the city. Furthermore, geometrically aligned along the axis of the sea, and extends his arms into the room and the stage of S. Elia, connecting and assimilating itself to the site.


The region of Sardinia intends to promote the construction of a "Mediterranean Nuragic Museum and Contemporary Art", which will be located in the port of Cagliari. The new museum will be home Nuragic results with contemporary art and encourage critical comparison and interpretation between the two spheres. In addition to highlighting the value of an important aspect of history and identity of Sardinia, linking legacy nuragic the museum, on the basis of this legacy, aims to promote the island within the contemporary art scene, which offers as a reference point for the artwork in the Mediterranean area. The purpose of this comparison between Nuragic and contemporary art is also to highlight the inextricable link between the historic island of Sardinia and Mediterranean identity.


Urban Strategy


The aim of the project by Zaha Hadid to create a node of cultural exchange while serving as a signal that announces the arrival to Cagliari from the sea, and answer the five challenges proposed in the report. Through the interconnection of the inner circulation with the public roads and the alternation of open spaces and cavities, the building shares its public dimension with the city. Furthermore, geometrically aligned along the axis of the sea, and extends his arms into the room and the stage of San Elia, connecting and assimilating itself to the site.


architectural concept


The new museum is like a coralline concretion, empty inside, hard and porous on the external surface, able to accommodate, in a continuous osmotic exchange with the external environment, cultural activities in a lively and changeable. Sometimes he treats the ground, creating a new landscape, while in others, acquires a solid mass that defines the horizon again.


Open and dynamic quality of the shape is also pursued in the interior of the building, where the flow of visitors through the exhibition, information and trading routes to determine the geometry of space.
The erosion that forms a large cavity inside the building articulates the volume in a series of open spaces for exhibitions, aggregation sites and occasions for the installation of contemporary art. Such spaces, visible from several points of view, satisfy the perceptive and aesthetic dialogue between contemporary art and nuragic.


The inner cavity allows the genesis of two skins of continuous, contained within the other. The museum's program is among the "outer skin" façade system, and the "inner skin", equipped with a flexible range of anchorage and electrification, that allows multiple uses of the surfaces or walls of the facility or video projections.


 Roads


The communication, contemporary exhibitions Nuragic and public roads that cross the building and intercept the other, create the fluid structure of the building, allowing a variety of applications and configurations. The vertical and oblique movement to create zones of interference and turbulence creating a visual continuity between different parts of the building.


Public road


The public trade route allows visitors to cross the construction in parallel with the road along the sea. It is offered in the areas sequenced a shop, a library, bars, restaurants, and systems of "lodges" where pieces of outdoor art could be accommodated.


Roads Exhibition


The path of the communication area is divided along the "lodge" of the floor in continuous dialogue with the courts / external cavity. The trajectory of contemporary art exhibitions is started from the ground floor through the building to open "lodges" on the top floor.


Nuragic art history slide show of the ground floor between the two skins of the building that allows a more intimate works of art without sacrificing the view in the large central space.


Phasing - the morphology and strategy


The essential metaphor governing the museum proposal is evident in the phase-out plans: as in living organisms, the growth of the museum is self-regulated. This will happen naturally when the conditions of a mature balance between economic and philanthropic atmosphere and cultural environment are reached.


Phase 1


This phase is approximately 50% of the new cultural center and includes the production of:


• All areas of high profitability.
• Spacious aggregate to the deck and the open air event space located in the central cavity, outside the cave and the vault used for the installation to correct the chronic lack of visibility of contemporary art and young artists.
• All activities related to communication, apart from the large conference room.
• All offices, with the objective to conduct all necessary activities of management and marketing of various departments of the museum.
• A small but significant exhibition spaces to generate greater interest in creating a place for dialogue between the arts over time.
Phase 2


The consolidation of the museum complex in every new phase transforms the landscape. The second phase consists of the realization of the exhibition spaces with other related areas, including the library and conference room.


Phase 3


Phase 3 comprises the extension of phase 2 towards the city of Cagliari. It is a freestanding building that accommodates the research laboratories. You are connected to the rest of the museum through a "carpet" connection, in order to offer a privileged seaside for performance and production of adjacent research laboratories.

NURAGIC AND CONTEMPORARY ART MUSEUM
Cagliari, Italy
2006

CLIENT: Regione Autonoma della Sardegna
Assessorato Pubblica Istruzione
PROJECT: Contemporary art museum, Nuragic art museum, library, congress hall, offices and retail space
ARCHITECTS: Design Zaha Hadid with Patrik Schumacher
Project Architect Paola Cattarin
Design Team Paolo Matteuzzi, Federico Bistolfi
Support Team Michele Salvi, Serena Pietrantonj, Vincenzo Barilari, Samuele Sordi
Local Architect Luca Peralta
CONSULTANTS: Nuragic Art Consultant Elisabetta Alba
Environmental sustainability Neil Smith [MAX FORDHAM LLP, UK]
Mechanical & electrical Neil Smith [MAX FORDHAM LLP, UK]
Structure Hanif Kara [ADAMS KARA TAYLOR, UK]
Quanity Surveyors Pasquale Miele
SIZE: 12.000 m2

IMAGES: © Zaha Hadid Architects www.zaha-hadid.com

 






 



 

--> Read more...

Contemporary Arts Centre 'MAXXI' Rome

Contemporary Arts Centre 'MAXXI' Rome

Rome | Italy | Completed 2009

photographer: Iwan Baan 

 

photographer: Iwan Baan

photographer: Hélène Binet

“I see the MAXXI as an immersive urban environment for the exchange of ideas, feeding the cultural vitality of the city.

The MAXXI should not be considered just one building - but several. The idea was to move away from the idea of “the museum as an object” and towards the idea of a “field of buildings”. After many studies, our research evolved into the concept of the confluence of lines, where the primary force of the site is the walls that constantly intersect and separate to create both indoor and outdoor spaces. It’s no longer just a museum, but an urban cultural centre where a dense texture of interior and exterior spaces have been intertwined and superimposed over one another. It’s an intriguing mixture of galleries, irrigating a large urban field with linear display surfaces.

The walls of the MAXXI create major streams and minor streams. The major streams are the galleries, and the minor streams are the connections and the bridges. The site has a unique L-shaped footprint that meanders between two existing buildings. Rather than seeing this as a limitation, we used it to our advantage, taking it as an opportunity to explore the possibilities of linear structure by bundling, twisting, and building mass in some areas and reducing it in others - threading linearity throughout both interior and exterior or the MAXXI.” 

Zaha Hadid


The MAXXI design.

The MAXXI relates with the urban context within which it is set by renewing the horizontal development of the former military barracks. The geometrical plan of the project aligns itself with the two urban grids that regulate the town planning structure of the area and the new interpretation of these two geometrical plans within the proposal generates the surprising geometrical complexity of the campus. The two urban grids are mediated by sinuous lines that harmonise the plan and facilitate the flow within the site. The pedestrian walkway that crosses the campus is open to the public and has been reinstated after approximately 100 years of being blocked by the barracks. This walkway follows the soft outline of the museum, sliding below the upper level galleries towards Via Masaccio. The interior of the MAXXI can be seen by visitors and pedestrians through the numerous openings in the MAXXI’s curvilinear walls that on the one hand, protect its contents, yet beckon the visitor through the broad glazed surface on the ground floor.

The main concept of the project is directly linked to the purpose of the building as a centre for the exhibition of visual arts. The walls that cross the space, and their intersections, defines interior and exterior spaces of the MAXXI. This system acts on all three levels of the building, the second of which is the more complex - with a wealth of connections with various bridges that link buildings and galleries. The visitor is invited to enter into a series of continuous spaces, rather than the compact volume of an isolated building.

The interior spaces, defined by the exhibition walls, are covered by a glass roof that flood the galleries with natural light filtered by the louvered lines of the roofing beams. These beams underline the linearity of the spatial system, aid in articulating the various orientations of the galleries and facilitate circulation through the museum and campus.

Design team:

Architects: Zaha Hadid Architects
Design: Zaha Hadid and Patrik Schumacher
Project Architect: Gianluca Racana

Client:

Ministry of Cultural Heritage and Activities
Minister Sandro Bondi
Fondazione MAXXI
President Pio Baldi
Director MAXXI architecture Margherita Guccione
Director MAXXI art Anna Mattirolo

Ministry of Infrastructure and Transport
Minister Altero Matteoli
Interregional Department for Public Works for Lazio, Abruzzo and Sardinia
Director Giovanni Guglielmi
Proceedings Manager Roberto Linetti
Quality consultant Remo Calzona
Clerk of Works Roberto Tartaro
Operative Director for Architecture Mario Avagnina

Contractor (Executive project and execution)
MAXXI 2006 consortium
Proxy team leader ITALIANA COSTRUZIONI S.p.A. (Navarra Group)
Principal: S.A.C. Società Appalti Costruzioni S.p.A. (Cerasi Group)
Head of Contract: Marco Odoardi
Structural Project: Studio S.P.C. S.r.l., Giorgio Croci, Aymen Herzalla

photographer: Iwan Baan

photographer: Iwan Baan

photographer: Hélène Binet

photographer: Iwan Baan

photographer: Iwan Baan

photographer: Iwan Baan

photographer: Hélène Binet

photographer: Hélène Binet

photographer: Iwan Baan

photographer: Hélène Binet

photographer: Hélène Binet

photographer: Iwan Baan

photographer: Hélène Binet

photographer: Iwan Baan

photographer: Hélène Binet

photographer: Hélène Binet

photographer: Hélène Binet

photographer: Hélène Binet

photographer: Iwan Baan

photographer: Iwan Baan

Project address

Via Guido Reni, 00196 Rom

--> Read more...