Oct 07, 2009
One of the things that I like the most when visiting a new city is to check out the museums, not exactly because of the expositions or arts that they hold inside but to appreciate the architecture of the buildings, that for me is a truly masterpiece. Usually these constructions are the must see spots of their towns. Emblematic because of their forms these buildings bring with them the very own and unique characteristics of their architects.
In this post I will pay homage to these fantastic buildings and start a series of posts about Museums, the most famous and created by the most important architects in the history. We're sure that you will love them."A museum is a building or institution which houses a collection of artifacts. Museums collect and care for objects of scientific, artistic, or historical importance and make them available for public viewing through exhibits that may be permanent or temporary. Most large museums are located in major cities throughout the world and more local ones exist in smaller cities, towns and even the countryside. (via Wikipedia)"
Solomon R. Guggenheim Museum, New York
1959, by Frank Lloyd Wright - guggenheim.org
"Somebody said the museum out here on Fifth Avenue looked like a washing machine," Wright said. "Well, I've heard a lot of that type of reaction, and I've always discounted it as worthless, and I think it is."
The Jewish Museum in Berlin, Germany
2001, by Daniel Libeskind - juedisches-museum-berlin.de
The two-story, three-winged house is built around a square courtyard to which a glass roof designed by Daniel Libeskind was added in 2007. The façade of the Old Building has a central projection; the triangular gable over the portal is decorated with the Prussian national coat of arms flanked by the allegorical figures for wisdom and justice – a lasting trace of the function the building originally served. Visitors to the Jewish Museum Berlin pass through this main portal.
San Francisco Museum of Modern Art (SFMoMA)
1995, by Mario Botta - sfmoma.org
The situation of the museum building on a plot surrounded by a three high-rise blocks encouraged the adoption of a particularly powerful image, while at the same time avoiding and direct-and inevitably disadvantageous - comparison with its surroundings.
Centre Pompidou, Paris
1971-1977: Centre Pompidou by Richard Rogers & Renzo Piano - centrepompidou.fr
The supporting structure and movement and flow systems, such as the escalators, were relegated to the outside of the building, thereby freeing up interior space for museum and activity areas. Colour-coded ducts are attached to the building's west façade, as a kind of wrapping for the structure: blue for air, green for fluids, yellow for electricity cables and red for movement and flow.
Museu de Arte Contemporânea (MAC), Niterói - Rio de Janeiro
1996, by Oscar Niemeyer - macniteroi.com.br
"How to explain this project! I remember when I went to see the site. The sea, the mountains of Rio, a beautiful landscape that I should preserve. And I went with the building, taking the shape of which, in my view, the space required . The study was done, and a ramp leading visitors to the museum completed my project. (via Google Translate)"
The Louvre, Paris
1546-1878, by Pierre Lescot | 1989, by Ieoh Ming Pei - louvre.fr
The Louvre, in its successive architectural metamorphoses, has dominated central Paris since the late 12th century. Built on the city's western edge, the original structure was gradually engulfed as the city grew. The dark fortress of the early days was transformed into the modernized dwelling of François I and, later, the sumptuous palace of the Sun King, Louis XIV.
Sainsbury Centre for Visual Arts, University of East Anglia, UK
1977,by Sir Norman Foster - scva.org.uk
The Sainsbury Centre brought a new level of refinement to the practice’s early explorations into lightweight, flexible structures. Much more than a traditional gallery, it integrates spaces for viewing art, and facilities for recreation, teaching and research, within a single, light-filled space that opens up to views of the surrounding landscape.
East Wing, National Gallery in Washington DC
1978, by Ieoh Ming Pei - nga.gov
The skylit atrium at the heart of the East Wing is a hub of circulation and orientation. Organized around it are three flexible towers designed to permit the exhibition of one large or multiple small shows with the viewing intimacy of a small house museum. The new and old buildings are functionally united into an integrated whole by an underground tunnel animated by prismatic skylights, a chadar waterwall, and by a wide range of dining and other services.
The Tate Modern, London Bankside, UK
1998-2000: By Jacques Herzog and Pierre de Meuron - tate.org.uk/modern/
Tate Modern has transformed a previously underdeveloped area of London and has helped give the city a new image as a leading centre of contemporary culture. It has become a key landmark for London, while its programme and architecture have won international acclaim.
Guggenheim Museum, Bilbao, Spain
1997: By Frank Gehry - guggenheim-bilbao.es
Volumes and perspectives, sinuous titanium curves, dazzling light and colour ... An combination of elements that create a unique exhibition space for each gallery. Art and architecture join hands in a truly unique museum experience.