Arquitectura y PUNTO. thirteen

punto.

ARQUITECTURA Y

MUSEUMS

punto. THIRTEEN

02 03

Glass of the Month Editorial

MUSEUMS

04 07 08

MACG + Salt Museum Galería San Diego

10

Vituperio

12

Pocket List

send your stuff editorial@fugarquitectura.com

Arquitectura y PUNTO. Year 1. Issue 13. Mexico. September 2012. fugarquitectura.com Editor in Chief

Gonzalo Mendoza Advisory Board

Pablo Goldin ; Juan Luis Rivera ; Andrés Salinas Editorial Support Luis Campos; Diego Dorantes; Athenea Papacostas; Bruno Rodríguez.

FUGA Arquitectura Diego Escamilla; Diego Rodríguez; Andrés Soliz // Alberto Bravo; Claudia Cortés; Tomás González; Jorge Goyzueta; David Ignorosa; Andrés Michel.

F U G .

A

Arquitectura y PUNTO. FUGA Arquitectura.

Facultad de Arquitectura UNAM. Circuito Escolar s/n CU Coyoacán DF México 04510 contacto@fugarquitectura.com

PUNTO is a magazine based at Ciudad Universitaria in Mexico City. It is independent and edited by students of the Faculty of Architecture UNAM, Mexico. The objective is the exchange of criticism, opinions and views through voluntary contributions.

The opinions published here are solely those of the author and do not necessarily represent those of Arquitectura y PUNTO, the Editorial Board or FUGA Arquitectura.

This issue was completed in July 2012. DIGITAL VERSION © FUGA Arquitectura - All Rights Reserved. Reproduction of published material without permission of the Editorial Board.

This issue has been published thanks to the support of:

© Andrés Salinas

© Andrés Salinas

Editorial

Stores, cafes ... and Yeah! galleries Gonzalo Mendoza

A few centuries ago were regarded as sacred spaces, temples of wisdom, but museums today have no comparison to what they were.

Today, beyond showrooms are venues and cultural exchange, where we can find place shops, restaurants, auditoriums and public squares to coexist with each other and form a focal point within the city.

A new museum is always generating great expectations, from those designed by Frank Gehry and Tadao Ando, even those that reuse a space as the Antiguo Colegio de San Ildefonso in Mexico City, where the main part is the building itself.

It is through the work presented in this PUNTO 13 as we realize the reality of the museums either by the need to expand and modernize existing one as Diego Dorantes has done, for contemplation and permanence in a dangerous limit as Stella Livieratou achieves un her project Salt Museum or because we don't want a museum but an urban center like Papacostas Athenea proposal.

Clearly then, the museum has evolved into a genre that goes further rooms, paintings or contemporary art today seeks to be an icon within the urban area, and that is more from necessity than will, looking to attract people through other elements, overlapping them to their content, their presentations or simple function: CULTURE.

PROJECT BY STUDY

MACG + DIEGO DORANTES 2010 Arch. UNAM MX

The extension of Carrillo Gill museum emerges as a project to provide new exhibition spaces and storage to existing museum. The new attached volume seeks a dialogue with the existing one, but emerging as a new space for contemporary art exhibitions. The facade, one of the most representative parts of the project, is on one hand a lattice that protects from the west sunlight, and on the other using the quarry as a representative material of the area.

Sections & Plan Model

4.5

Distribution Areas

Main Gallery

PROJECT BY STUDY

SALT MUSEUM STELLA LIVIERATOU 2011 UNIVERSITY OF PATRAS GR.

The sight is situated in an area full of battle history where nowadays salt is produced through salt pits. More specific, the terrain is located between the see and the salt pit.

This proposal tries firstly to negotiate these delicate boundaries by producing space that can help the visitor of the museum experience not only the exhibition that takes place in it but also the whole area by becoming a viewing tool itself.

One the other hand the proposal tries to connect with the memory of the location by using some short of bunker elements In order to enter the museum the visitor passes through a narrow and dark gate, then he confronts a long corridor. The exhibition takes place on the left side of the corridor,(where the salt pits are)and on the right side there are rooms for secondary uses (gift shop, restaurant, lab).

Finally the visitor exits the museum by climbing on the roof and viewing the surrounding area.

Model

Main Corridor

6.7

Sections

DE MUSEOS | PUNTO. trece

PROJECT BY STUDY

GALERIA SAN DIEGO ATHENEA PAPACOSTAS 2011 Arch. UNAM MX - Universidad Central CL.

The project weaves together three aspects of art in a square dedicated to this. Production through workshops, marketing and its culmination in a gallery. A diagonal floor connects the two streets that make the corner and potentiates the volume "museum".

It maintains the continuous facade, typical of San Diego street in Santiago de Chile and through a square gives depth and hardness. The scheme recognizes the project boundary as a support fund and is released from the orthogonal by two diagonals: the urban connector and a bridge that links the access the gallery with its main hall symbolizing the transition and the suture of the process with the atesanalart object done on site.

Plan

Views from the outside

8.9

Main Gallery

Section

Model

MUSEUMS | PUNTO. thirteen

Reproach to Culture BY. Pablo Goldin Studying Arch. UNAM MX - Technische Universität Berlin DE.

National Antropology Museum, Mexico City MX. Image © Rubén Omaña

I would like to speak highly of museums, but there is something about them that I just do not like.

These institutions have become cathedrals of false worship, bourgeois, foreign and I refuse to blindly preach. I'm not against their reasons, however today I have trouble enjoying them, I see more and more blurred the relationship between what we need and what they offer, and I think we could begin to provide public spaces with the spatial qualities and the work that museums have to enrich everyday life and the city, not just our Sunday walks.

Museums are a treasure, but as such I find a waste, since it is the daily life one of the things I've been able to establish better relationship. I think in places like Reforma and its expositions that have broke their idolatrous and sacred dialogue with the works and have enriched the daily lives of

those who see it from the public transport or even those who walk among them patiently.This would pose the question of architectural and urban way of overthrowing the walls that enclose the collections and bury that sacred dimension that makes us strangers to them in search of a better city and a better life.

However, I applaud that museums regroup works scattered throughout the world, and open the doors to knowledge, I applaud that they investigate and be iconic places in our cities. I applaud that these institutions promote to the population what the seven muses are , and have become dynamic and potentially places like Salt Museum of Stella Libieratou that appears in this issue. They are places that often condense experiences and specific information, which are distinguished from the rest of the city by this

10 . 11

or contemplate, I hate that buildings with an iconic character, and therefore remarkably public, to have such a rigid performance, I hate pride and cultural notion that hide which in turn preach marginalizing and denying what is happening in the streets, what we live and what we need.

These museums, increasingly ostentatious and flashy, they are creating a global cemetery of white elephants, whose appearance, opaque its content. The attraction became the building, and the content is now the background, emphasizing the anomic character of museums. They have become excuses to carry out economic and tourism purposes, which use art or any other content as a mean of production, but if what we want are icons, lets build it with sincerity and with more consistent use to those who want them. El Monument a la Revolucion, for example, would be nothing without its fountain and we don't have to be nihilistic apocalyptic to accept that the social phenomenon of the fountain should be the starting point for new public spaces, rather than imposing museums, expensive and boring as the only offer of recreation for those who prefer getting wet in a fountain.

condition of uniqueness, but again, is a type of building that I adore, but contains a hate cult.

Museums have returned jars of formaldehyde, where dead works are displayed in coffins increasingly striking, since the Guggenheim Bilbao became the goose that laid the golden eggs, and that that claim: the lack of consistency and potential wasted.

I hate the lines on the floor that prevent us to get close enough to the work to see the thickness of an oil painting by Van Gogh or Giacometti, I hate their schedules and their altered guards, hate the silence to be kept in them, hate the lack of comfortable seats to see a work, hate the winding paths from gallery to gallery, hate their souvenir shops full of expensive souvenirs, hate those artists exhibiting trivial things, hate contemplative rhythm who walk from one box to another with narrowed eyes, hate seeing trivialized works, next to each other, without a context that benefit, like any market; hate to have to align with infinite paths and expensive cafes, detest idolatry linked to that have lead us to see them as as something sterile and foreign, hate the amount of space in which we can not move freely

Close this reproach of Culture, Museums and their relatives with this little anecdote that emphasizes my desire for a better city, better life everyday and more honest: Walking through Berlin I came across a piece of Richard Serra standing on the sidewalk, I kindly greet it, I walked between its curved steel plates and heard the city's echo inside, children, cars and wind partially revealed an unknown character of the work. I stepped out and saw it had a graffiti that adorned, it didn't bother me, imagine I would have had to stand in line, go through it quickly and hear the scolding of a guard for touching the plate would have made me hate Serra like so many others who have ended up falling from my grace in this struggle to live between the user and the muses that intermediaries are bent on harming.

National Art Museum, Mexico City MX. Image Š RubÊn Omaùa

MUSEUMS | PUNTO. thirteen

pocket list

Book.

Mario Schjetnan

URBAN ENVIRONMENT AND LANDSCAPE By. Jimena Martignoni & Roberto Segre Arquine. 2012

Mario Schjetnan / Grupo de Diseño Urbano conceived his work in an integral, inseparable trilogy comprised of architecture, landscape architecture and urban design. It is characterized by its interdisciplinary approach in relation to the natural environment and the city as well as a strong sustainable and ethical concerns involved with minimal impact on natural resources: energy, water, land and nature. Its ultimate goal is to perform works or interventions in the landscape with a sense of excellence in design, always with the hope of improving the quality of life for users, who live, walk or enjoy their spaces. This book shows some of his most recent, all for the XXI century, mostly built works in public space, serving the community, but also other urban and architectural character in private developments, with a semi-public scale.

Exposition

Installation

Rétrospective / perspectives

Lina Bo Bardi: TOGETHER

ANNE LACATON & JEAN PHILIPPE VASSAL Arc en rêve, Bordeaux, FR.

Until November 30, 2012.

Until January 13, 2013. www.arcenreve.com

British Council, London UK

AY, AY, AY, AY

DESIGN

Y NO

LLORES F U G .

A

you re part of this fugarquitectura.com

ARQUITECTURA Y

punto.

IMAGE © Rubén Omaña.