Sectio aurea

sectio aurea architectural magazine

editorial office Exile Street 21 22-089 New York e-mail: editorial@sectioaurea.com

ISSN 1654-9876 edition

number 1 I/2013 21

2000

brief history of tamayo museo

editor in chef

chongqing mountain & city sales office

Bruce Lee

deputy editor-in-chef

cube tube

5

Chuck Norris

modern church

secretary

the future

Steven Segal

text editor Jean-Claude Van Damme

graphic designer Sylvester Stallone

technical editor Bruce Willis

co-workers Arnold Schwarzenegger, Dolgh Lundgren, Jet Li, Jason Statham, Wladimir Putin, Terry Crews, Randy Couture, Charles Bronson, Steve McQueen, James Coburn, James Garner, Clint Eastwood, Telly Savalas, Donald Sutherland

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6

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cube tube by sako architects

Randomly placed terraces lessen the effects of the floor slabs to articulate the facade, thereby emphasizing the simple forms of the Cube and the Tube. All of these factors make the two simple blocks become a landmark facility in this area.

A square module with 550mm a side is applied for furniture, fittings, the surface and the outdoor facilities. The number 550mm is induced from the half height of the handrail. This module connects everyone related and plays the role of a common language.

Architects: SAKO Architects Location: Jinhua, China Project Team: Keiichiro Sako, Yoko Fujii, Jiye Zhang Project Area: 13,421 sqm Project Year: 2010

‘CUBE TUBE’ consists of an office building and a restaurant building in the new Economic Development Zone in Jinhua, Zhejiang Province. As the entrance of the Economic Developement Zone, there was a strong requirement for the buildings to act as the landmark in this area. Most buildings around this place are based on Tei Kanmuri style. To make a contrast, architects wanted to design something as simple as two blocks. ‘CUBE TUBE’ came from this simple idea. One is 32 meters square office Building, named ‘CUBE’. And the other is 55 meters square restaurant building named ‘TUBE’. They are placed in a grid area with hundreds of trees.

‘CUBE’ is a central core typed office building with ninth floors.

The client requested that the working areas should be individual; the building had to be airiness and had to have good natural lighting in the central part of the building. The first request is not difficult. However, the other two requests conflict with general forms. In order to achieve the client demand, we designed corridors, like a ‘cross’ cutting the central building to parts. The corridors connected to the terraces installed on each side, East, West, South and North. Therefore, we managed to let wind and light brought into the centre of the building.

There are three sizes of terraces. We used varies heights and widths to make them different. The terraces are placed randomly to make a complex and rich pattern in the ‘CUBE’.

Aluminum panel covers the outside walls of ‘CUBE’. Transparent, grey and black colours of glass are adopted for the ‘TUBE’.

Photographs: Misae Hiromatsu

modern church Nowadays in design and architecture, there are popular simple and very neat projects. So preferred forms are rather geometrical figures. But is it appropriate way to express religious views? Churches, well-known for their orthodoxy, accept this way of manifesting sublime feelings with little more enthusiasm than it might be expected.

Among majestic gothic structures, now, another architectural tendency is praising divinity in more modern way.

skyscape church by we architecture Burnt down in 2009, the beautiful Vaaler church from 1805 has been designed as a new church by WE Architecture. Meant to provide symbolic landmark to succeed the old building, the new Vaaler church is placed further east from the placement of the old church, marking the historic axis with its tower. The new building is designed as a simple box where one corner is lifted up in order to point out the church room and the tower.

More images and architects’ description after the break.

The functions are organized in such way that the church is highly flexible regarding alternative use of the building. The entrance hall and the church room are placed alongside each other so that the two spaces can be joined and create one large room for events such as Christmas market or concerts.

Inside the church room, the ceiling is composed of a stepping grid construction in wood like an inverted skyscape, letting light into the room.

Representative for the important forestry industry in the municipality of Vaaler, the new monument is to be made of massive timber elements, defining the church as an innovative and ambitious establishment in the local community.

Architects: WE Architecture Location: Vaaler, Norway Team: Marc Jay, Julie Schmidt-Nielsen, Nora Fossum, Krystian Dziopek, Karolina Kierner, Mette B. G. Steffensen, Kristian Hindsberg, Casper Berntsen Client: Vaaler Municipality

The client brief was pretty simple, almost naive. First, the

Assignment: Open competition

chapel had to take full advantage of the spectacular views.

Type: Church

Second, the sun had to set exactly behind the altar cross (of

Year: 2011

course, this is only possible twice a year at the equinoxes).

sunset chapel by bnkr arquitectura

And last but not least, a section with the first phase of crypts had to be included outside and around the chapel. Metaphorically speaking, the

BKNR Arquitectura first religious commission was a wedding

mausoleum would be in perfect

chapel conceived to celebrate the first day of a couple’s new life.

utopian synchrony with a

Their second religious commission had a diametrically opposite

celestial cycle of continuous

purpose: to mourn the passing of loved ones. This premise was

renovation.

the main driving force behind the design, the two had to be complete opposites, they were natural antagonists. While the former praised life, the latter grieved death. Through this game of contrasts all the decisions were made: Glass vs. Concrete, Transparency vs. Solidity, Ethereal vs. Heavy, Classical Proportions vs. Apparent Chaos, Vulnerable vs.

Indestructible, Ephemeral vs. Lasting…

Architects: BKNR Arquitectura Location: Acapulco, Guerrero, Mexico Partners: Esteban Suárez (Founding Partner), Sebastián Suárez Project Leaders: Mario Gottfried, Javier González & Roberto Ampudia Project Team: Mario Gottfried, Rodrigo Gil, Roberto Ampudia, Javier González, Óscar Flores, David Sánchez, T

o

Diego Eumir, Guillermo Bastian & Adrian Aguilar

ob-

Collaborators: Jorge Arteaga y Zaida Montañana

structed the principal

Structural Engineers: Juan Felipe Heredia & José Ignacio

views: large trees and abun-

Báez

elements

w

dant vegetation, and a behemoth of a

MEP: SEI

boulder blocking the main sight of the sunset.

Lighting: Noriega Iluminadores – Ricardo Noriega

In order to clear these obstructions (blowing up the

Construction: Factor Eficiencia – Fermin Espinosa &

gigantic rock was absolutely out of the question for ethi-

Francisco Villeda

cal, spiritual, environmental and, yes, economical reasons) the

Project area: 120 sqm

level of the chapel had to be raised at least five meters. Since

Project year: 2011

only exotic and picturesque vegetation surrounds this virgin oasis, we strived to make the least possible impact on the

ez

church of seed by o studio architects

site reducing the footprint of the building to nearly half the floor area of the upper level.

Church of Seed is located at Luofu Mountain Scenery District – one of the seven famous Taoist Mountains in China. Although

Acapulco’s hills are made up of huge gran-

there are various kinds of Taoist and Buddhist temples in this

ite rocks piled on top of each other.

district, western religious element has not yet been found.

In a purely mimetic endeavor, we

Besides developing private houses, the client in this project

worked hard to make the cha-

intends to develop a small church for the surrounding village

pel look like “just another”

people in order to widen the spectrum of religious culture. This

colossal boulder atop

church provides not only a worship and meditation space for

the mountain.

Christians, but also a recreational and gathering place for the surrounding village people. The message of religious culture is communicated subtly through the play of light and shadow in this architecture.

Situa t e d w i t h i n the of

beauti-

ful

landscape

Luofu

Mountain,

Church of Seed has an area of 280m2 and can accommodate 60 people. The design concept is triggered by the form of a seed – a famous metaphorical element in the Gospel stories. A curve line follows the outline of a seed and marks the enclosing wall element. The curve is then split into three parts, and three entries are formed at where the curve wall splits: the south east facing wall has a cross shape opening which introduces morning sun into the interior; the west facing wall is solid and blocking the afternoon sun; the north facing wall is thicken to accommodate toilet facility. The stepping roof terrace allows diffuse northern daylight into the interior and provides a dramatic headroom increment (3 – 12 meters) from the main entrance towards the worshiping space. Visitors can walk up to the stepping roof terrace, arrive at the observation deck and enjoy the distant view of mountain and water.

Church of Seed has a raw, natural and non-decorative material language. The main structure is constructed by in-situ concrete with bamboo formworks. In-situ concrete construction is economically sound and practical for local builders. The bamboo texture left on the concrete surface reduces the massiveness of concrete wall and harmonizes with the surrounding trees and green landscape. Plus the transparent windows and doors, and the handmade bamboo furniture by local farmers, the presence of the church is humble and close to village life.

Although a seed is the starting point of this design, the church does not intend to literally illustrate its image. The abstract form and space of the church is conveyed through the play of light, shadow, material and texture. This is not a piece of architecture which purely celebrates its sculptural form, but a building which respects the natural environment and local culture.

Architects: O Studio Architects Location: Huizhou, Guangdong, China Project Year: 2011 Photographs: Fai Au, Iwan Baaan Project Area: 280.0 sqm Site Area: 1,200 sqm

tampa covenant church by alfonso architects

The carbon steel candle box has seven compartments representing the six days of creation and the seventh day of rest.

Alberto Alfonso designed the hand etched stucco engraving located in the passage under bell tower structure that wel-

This modernist project is a combination of new construction

comes parishioners to the sanctuary.

and renovation. The project includes a 25,000 sq. ft. building that provides a sanctuary, administrative offices and class-

Alfonso Architects, Inc. is a 30 person architectural design firm

rooms for the congregation of four hundred-fifty. In addition,

with current offices in Tampa Florida, Philadelphia, Pennsyl-

two existing single level buildings were renovated and the

vania and Milan, Italy. The firm was founded in 1988 by Cuban

exterior space, including parking, lighting and landscaping,

born brothers Carlos and Alberto Alfonso and Angel del Monte.

was redesigned. “The challenge,” according to Alberto Alfonso,

Alfonso Architects has won over 40 project-specific AIA Design

AIA was “to establish an intimate church campus by creat-

Awards. Representative design projects include the Nielsen

ing a new exterior courtyard that would act as a catalyst for

Media Research Global Technology Center, a 650,000 square

community interaction and as the physical nexus joining new

foot office and technology campus in Oldsmar, Florida, and the

and existing buildings.”

Tampa International Airports Southwest Airlines Terminal, a 110,000 square foot airside.Both of these projects received

Integrative natural elements were used to manifest the con-

the AIA Award of Honor.

gregation’s theological sensitivities in terms of physicality of the space. The Fibonacci sequence of natural proportions

Philosophically, Alberto Alfonso’s design process relies on

was the underlying basis for the chancel area. The careful

the development of a project-specific architectural design

positioning of elements (chapel, walls, cross, and “red scoop”)

idea that is grounded in site, program history and region. An

also harmonize with the ever widening spiral design. Natural

accomplished painter, Alfonso’s process also utilizes painting,

light, evidenced by the use of skylights and candlelight, as

sketching, wood and steel models, and 3D computer technology

well as the focused use of wood and stone contribute to the

to investigate design solutions. His work is heavily influenced

important communion of human beings and their natural

by climate and the celebration of light referencing his Cuban

environment. Quantities throughout the project focus on

heritage. There is a strong emphasis on materiality inves-

biblical references. The fourteen chandeliers, for example,

tigation to achieve an architectural expression that is both

represent the fourteen biblical stations of the cross. Addition-

timeless and vigorous in detail.

ally, each chandelier is etched with an individual set of rings that when laid over a melodic score, notate the first fourteen

Architects: Alfonso Architects

pitches of the scared hymn “O Sacred Head, Now Wounded.”

Location: Tampa, Florida, USA Construction Cost: $2,600,000 Project area: 25,000 sq ft Project year: 2010

chongqing mountain & city sales office by one plus partnership limited

“Mountain” being selected as the main theme of this clubhouse, the design is inspired by the location of the project – Chongqing Nanshan District. The clubhouse is located in a valley surrounded by hills.

Inspired by the architecture of the clubhouse and the geographical background, the grand slanted feature wall and the marble floor pattern are in triangular form. The LED lightings are hanged from the ceiling, similar to the rain in the natural environment and presenting the natural feeling.

The massive triangular features are directly visualizing the “mountain” concept. The pattern of grey marbles on the floor is forming in triangular shape. Together with the feature wall and the irregular shaped reception counters, the “mountain” concept being demonstrated. In addition, the stairs connecting the floors are designed as passing through the cave.

“Grey” being selected us the main theme colour, the receptions counters are in gold champagne colour and there are no additional decorations.

Designers keep using minimum materials & color to enhance the “natural” feeling.

Architects: One Plus Partnership Limited Location: Chongqing, China Designers Involved: Ajax Law Ling Kit, Virginia Lung Area: 1,600 sqm Photographers: Ajax Law Ling Kit, Virginia Lung

the future Today, we bring you an Editorial from Architecture Professor at the University of Melbourne, Stanislav Roudavski, who suggests that architecture students should look for education opportunities that embrace the architectural world of the future.

Those who look to the future understand architecture as a dynamic system of relationships. These relationships blur the distinctions between digital and physical, natural and artificial, simulated and observable in the wild. Such an interpretation calls for broader collaborations and a commitment to explorations outside established “comfort zones.” But the life outside disciplinary comforts can be harsh.

With old certainties left behind and new potentials not yet discovered, one can feel overwhelmed by the richness and complexity of available information and practices. In the contemporary condition of constant and accelerating change, what should an architect know and be able to do? From where should this knowledge be acquired and updated, from whom and in which way?

Innovation (and the learning of the new, needed for innovation to occur) can be encouraged through various strategies. [...] Innovation can also be augmented outside existing professional territories via other types of critical, open-ended learning that is deliberately oriented towards uncertain futures. In striving to address unknown demands, such learning is necessarily speculative and risky.

What strategies can be adopted to benefit from such risk-taking?

Edge-of-Control-Projects In its capacity to imagine, prototype, critique and implement possible futures, design has a unique competitive advantage. Architecture’s ability to shape tomorrow’s places is more significant than its role in producing buildings. The Church of Colò-

nia Güell, Sydney Opera House or Guggenheim Museum in Bilbao matter less as objects of practical convenience and more as narratives of innovation that inspire future experimentation. In the face of daunting challenges, these projects had to advance well beyond contemporary practices and are now seen as precursors – respectively – to form-finding approaches, computational structural analysis and integrated designing of complex geometries.

It seems likely that in the future, increasing proportions of situated social life will be sustained by digital technologies that have been designed and produced outside of architecture and without architects. In an extreme case, the buildings surrounding New York’s Times Square are now nothing but scaffolds for moving-image ads, with no internal habitation. Such media facade systems are standard rectilinear screens that are disconnected from the specificities of their hosts. Their commercial content is also out of architects’ control. And yet, with adequate expertise, such systems can be productively integrated with architectural design objectives as demonstrated, for instance, by Tim and Jan Edler’s Berlin practice Realities:united. Its projects, such as the BIX media facade for Graz Art Musseum, use simple but bespoke components, project-specific geometries and innovative curatorial strategies for the provision of media content, while integrating it seamlessly into the building’s skin. In the case of such hybrid environments, learning that is focused on conventional building types is insufficient. In order to cope with new challenges and demonstrate architecture’s ability to contribute to new kinds of places, the discipline ought to extend beyond the boundaries of its institutional knowledge and to the very edges of its creative control.

How do we get to the edge of control? One site of such advancement is in architecture schools, which can, and should, sustain creative research explorations into new possibilities. For example, The Emergent Technologies and Design Program at the Architectural Association School of Architecture in London, run by Michael Weinstock, is productive in straying from current industry expectations and moving towards speculations on the future of practice. It extends past conventional types by adopting a focus on biological materials systems and seeking to derive new approaches to form-making not

tal fabrication to real-time data gathering, from geometry optimization to dynamic simulation and from digital crafting to building information modelling.

Total pedagogies from the canonical knowledge of the discipline applied to particular sites and briefs, but from systematic analysis of biological systems and from speculations on their potentials in architecture. An example might involve computational and physical examinations of a tree structure in terms of organization and structural performance, an implementation of its branching using L-systems, finite element analysis of resulting structures and reimplementation of the branching in a site-aware fashion.

Critical Pedagogies In a rapidly changing world with many possible edge-of-control projects, which ones do we choose? Given the impossibility of definitive forecasting, one ought to prepare for multiple possible and incompatible futures. Critical pedagogies are effective for such preparations because they encourage conflict as a strategy that is capable of sustaining multiple alternatives. Outside of architecture schools, architectural-computing workshops have become particularly important for cultivation of multiplicity. Hundreds of diverse workshops take place every year with some events – such as the annual SmartGeometry workshop – run in multiple topical streams by peer-selected teams. SmartGeometry attracts a diverse crowd of practitioners, academics and students from a broad range of backgrounds and is effective as a catalyst in many communities of practice. This event has been hosted on different continents and its topics have ranged from digi

In order to be efficient in borrowing from the field and effective in contributing to it, speculative projects and critical pedagogies need to be “total.”

They cannot afford to be confined to formal educational institutions, early-career training or particular specialisms. Openly shared development of tools and techniques helps to produce lasting value by distributing responsibility and control, wasting less energy in redoing things, reducing the risk of failure and enabling broader access to ideas. Such open collaborative approaches require engagement with programming because computer code allows rigorous communication across disciplines. The ability to program becomes more than a purely technical skill – it is a principled stance in support of collaborative innovation, creative freedom and future relevance.

Python programming language is a good example of a non-proprietary collaborative environment that supports a mature ecosystem of tools for many computing tasks. Python has been incorporated into many commercial content-creation programs such as Rhino and Maya. It can also be used to control other programs, including AutoCAD, 3ds Max, Revit and Inventor. Python can link these programs with each other and reach out to the extensive interdisciplinary research beyond.

The open-source movement is becoming similarly influential in physical computing, as evidenced by the popularity of Arduino, an open-source electronic prototyping platform for the creation of interactive electronic objects. A picturesque example of the possibilities is the Flight Assembled Architecture project by Gramazio & Kohler and Raffaello D`Andrea and the Architecture and Digital Fabrication unit of the Swiss Federal Institute of Technology (ETH Zürich). In this project, a curvilinear form of a six-hundred-metre “vertical village” is assembled as a 1:100 model by a team.

A team of quadrotor helicopter drones. Such unmanned aerial systems can be built with Arduino-compatible components developed within opensource communities such as DIY Drones. Inheriting cheap miniature sensors and processors from massively popular smartphones, robots produced in this way already outdo their military counterparts in terms of prices (dramatically), functionality and a variety of applications, prompting a vision of opensource personal robotics that, in the near future, will be as ubiquitous as personal computing is today.

Learning for the future Speculative learning, sustained by exploratory, critical and total pedagogies, provides opportunities to consider relevant, questionably relevant and frankly “out there” issues, and encourages unorthodox thinking about career paths, business models and cross-disciplinary collaborations. A good example is the effort to re-imagine the discipline through recent innovative programs such as The Product-Architecture Lab at Stevens Institute of Technology in the US. This program sees architecture as a domain where computation is at the centre of all core processes. Mixing architecture, engineering, product design and interaction, it expects fluency in computational methodologies from future designers, including abilities to use performance criteria to guide form, employ computation in fabrication and use sophisticated data management. The program acknowledges limitations of school environments and stages close collaborations with innovative designers, engineers, scientists and manufacturers.

Rethinking the discipline through speculative and inclusive edge-of-control projects is a difficult challenge that requires systematic forays into the unknown. These journeys outside disciplinary comfort zones need to be consciously encouraged by the architectural community. Supporting critical and total pedagogies, f. ex. through the structures of accreditation or targetted funding for speculative work, can help to reconfigure learning patterns that focus on the lessons of the past into those that are also capable of preparing for the future.

brief history of tamayo museo

Rober t Motherwell.

The

collection still is mostly that originally donated by Rufino Tamayo but some new pieces have been bought such as the 2009 purchase of photographs by Italian Luisa Lambre taken in 2005 at the Luis Barragán House and Studio .

The museum is part of the Institucion Nacional de Bellas Artes and the Mexican national network of museums, with

The museum building is a modular construction from the

its current director Carmen Cuenca Carrara. It is operated in

1980s, expanded in 2012 in a small section of Chapultepec Park

conjunction with the Olga and Rufino Tamayo Foundation,

it shares with the Museo Nacional de Antropología e Historia,

whose director is David Cohen. Most of its activities relate

separated from the main part by Paseo de la Reforma. The

to the permanent collection and the hosting of temporary

vestibule contains a mural painted in 1952 by Tamayo called

exhibits but it also host night events, guided tours, workshops,

Homenaje a la raza India. It has five main halls for exhibitions,

classes and a club for children. As of 2006 the museum at-

along with a cafeteria, and museum shop. It has an audito-

tracts over 126,000 visitors each year.

rium named after Moisés Cosío, who founded the Alumnos 47 Foundation. One other feature is the Cyberlounge, opened in

Later in life, artist Rufino Tamayo and his wife Olga col-

2001 and dedicated to electronic art. Visitors can see artwork

lected international contemporary art. In the late 1970s,

online, view videos and listen to music. It is also designed for

the couple decided to donate the collection of about 300

artistic experimentations, with furniture especially designed

pieces with a value of over ten million USD to the govern-

for it by Bernardo Gomez-Pimienta.

ment with the purpose of created a museum. Tamayo initially tried to get the Mexican government to fund the opening

The permanent collection contains 315 works including paint-

of the museum but was rejected several times, with the

ings, sculptures, engravings, photographs, textiles, drawings

only result being the donation of its current land, which

and art objects, mostly representing trends from the mid 20th

was the former Chapultepec Golf Club. Instead, Tamayo

century. It includes artists such as Picasso, Mark Rothko, Joan

turned to private sources to fund the building, principally

Miró, Max Ernst, Fernand Léger, Fernando Botero, Francis

with Grupo Alfa and the Televisa Foundation, making it the

Bacon, Pierre Soulages, René Magritte, Isamu Noguchi and

first major museum in Mexico founded with private funds.

The building was designed by architects Abraham Zab-

Nacional de Bellas Artes take over the museum, with reinau-

ludovsky and Teodoro González de León. The building was

guration on September 9, 1986, with a new director Cristina

designed with the participation of Tamayo, to be another

Gálvez Guzzy. Although there was a contract to keep the

piece of art for the collection. The design won the National

museum private for 100 years, Televisa agreed to end it for

Architecture Prize in 1981 and the Premio Nacional de las

the new arrangement.

Artes in 1982.

In 1987, the museum hosted a national homage to Tamayo to The museum was inaugurated on May 29, 1981, with Fernando

celebrate 70 years of his career along with the Palacio de Bel-

Gamboa as its first director. However, after only a few weeks

las Artes. From 1986 until his death in 1991, Tamayo himself

the new director was Alberto Raurell. Starting in 1982 Tamayo

often worked with the museum to promote the permanent

was in conflict with Televisa as the museum was not exhibit-

collection. In 1988 the new director was María Teresa Márquez.

ing the work as promised, accusing Televisa of treating the

The museum began to host exhibitions by other modern

collection as its private property.

Mexican artists including Juan Soriano and Gabriel Orozco.

It also created “Galería 7” dedicated to the works of young

In 1982 the museum created along with INBA and the state of

artists which have included Miguel Calderón and Minerva

Oaxaca a Biennal painting competition with Tamayo’s name,

Cuevas . In 1989, the Olga and Rufino Tamayo Foundation was

counting artists such as Irma Palacios and Miguel Castro

created, when the museum was having financial difficulties. It

Leñero as winners. It was originally held in the city of Oaxaca

is still involved in the museum’s fundraising and operations.

but moved to the museum a few years later. Since 1992, win-

It also publishes various printed materials for the public and

ners of the competition have become part of the collection

promotes cultural exchanges.

of Museo de Arte Contemporáneo in Oaxaca.

In 2000, the museum’s facilities were modernized with new The third director was Robert Litman, who worked to develop

facilities such as the Cyberlounge created.From 2002 to 2009

the museum. This included various temporary exhibitions

Ramiro Martínez was director, with the museum balancing

such as Mexican textiles to Japanese packaging to

temporary exhibits of newer artists from Mexico and abroad

modern Italian design. However, this activity

as well as those of older artists from the 1970s and 1980s.

caused problems with Tamayo, who felt that the museum had drifted from its original

In 2009 plans were announced for the expansion of the mu-

purpose, which was to share this

seum from three halls to five and a total space of 1,600m2.

art collection with the Mexican

The museum closed in 2011 and reopened on August 26, 2012.

public. Tamayo negotiated

The work expanded the museum’s area by thirty percent,

with Televisa and the

mostly pedagogical areas, exhibit space, storage facilities,

federal

govern-

museum store and restaurant. The cost of the work was

ment to have

over 100 million pesos, one third of which was raised by the

Ins tituto

Tamayo Foundation with the rest by INBA and CONACULTA. The expansion aimed to extend the original lines of the museum, without changing its aesthetics.

The reopening of the museum, attended by Mexican president Felipe Calderón, featured seven temporary exhibits by varying artists including a retrospective of Tamayo’s work called Tamayo/Trayectos). However, there was some controversy surrounding the museum’s expansion shortly after the reopening with art writers Raquel Tibol and Margo Glantz protesting the naming of two of the museum’s halls after business magnates Carlos Hank Rhon and Angélica Fuentes Téllez .