موزه ارمیتاژ (Hermitage Museum) واقع در سن پترزبورگ روسیه، با 3 میلیون اثر هنری (که البته همه به طور همزمان نمایش داده نمیشوند)، یکی از بزرگترین موزه های جهان و از قدیمیترین گالریهای هنری و موزه های تاریخ و فرهنگ بشری در جهان است. 

 
مجموعه عظیم ارمیتاژ در شش بنا به نمایش گذاشته شده است.. بنای اصلی قصر زمستانی نام دارد و در گذشته محل سکونت رسمی تزارهای روسیه بوده است. موزه ارمیتاژ شعبه هایی بین المللی در آمستردام، لندن و لاس وگاس نیز دارد. از جمله هنرمندانی که آثارشان نقاط قوت مجموعه هنر غرب در موزه ارمیتاژ هستند، میتوان به میکل آنژ، لئوناردو داوینچی، روبنس، ون دایک، رامبراند، رودن، مونه، سزان، ون گوگ، گوگن و پیکاسو اشاره کرد. 

البته این موزه مجموعه آثار متعددی دارد که از جمله آنها میتوان به نشانها، البسه و جواهرات سلطنتی، مجموعه متنوعی از جواهرات ساخته فابرژه (Fabergé) و بزرگترین کلکسیون موجود در جهان از طلای باستانی متعلق به اروپای شرقی و آسیای غربی اشاره کرد. 




پیدایش موزه
در سال 1764، کاترین کبیر با خرید بیش از دویست نقاشی در اروپا، جمع آوری این مجموعه مشهور را آغاز کرد. سفرای روس در پایتختهای بیگانه مامور یافتن بهترین مجموعه های هنری ارایه شده برای فروش- مانند مجموعه های برول (Brühl) سیاستمدار ایالت ساکسونی (Saxony) آلمان، کروزا (Crozat) ، کلکسیونر فرانسوی و گالری والپول (Walpole) در انگلستان –بودند. کاترین کبیر، گالری خود را (my hermitage) (گوشه عزلت یا خلوتگاه خود) مینامید زیرا تنها افرادی انگشت شمار اجازه ورود و تماشای آثار موجود در آن را به دست می آوردند. 

او در یکی از نامه های خود با تاسف چنین گفته است:" تنها موشها و من میتوانیم تمام این [زیباییها] را تحسین کنیم." کاترین تئاتر خصوصی خود را که در نزدیکی گالری و در طی سالهای 1783 و 1787 ساخته شده بود نیز، ارمیتاژ مینامید. 






عظمت در عین سادگی............

واقعا قابل تقدیره این وفاداری به سنت های شرقی.


© Christian Gahl

Architects: gmp architekten
Location: Beijing, China
Design team: Gregor Hoheisel, Katrin Kanus, Ralf Sieber, Du Peng, Chun-song Dong
Project leaders: Matthias Wiegelmann mit Patrick Pfleiderer
Project team: Bao Wei, Johanna Enzinger, Anna Bulanda, Kong Jing, An-dreas Goetze, Guo Fuhui, Mulyanto, Chen Yue, Zheng Xin, Gao Hua, Xing Jiuzhou, Helga Reimund, Tobias Keyl, Christian Dorndorf, Anette Loeber, Ve-rena Fischbach, Jiang LinLin, Liu Yan, Mehrafarin Ruzbehi, Yoko Uraji, Lu Han, Xia Lin, Tian Jinghai, Uli Bachmann, Ajda Guelbahar, Iris Belle, Sabine Stage
Client: The National Museum of China
Project area: 195,000 sqm
Project year: 2005 – 2011
Photographs: Christian Gahl, Ben McMillan, gmp

 

© Christian Gahl

The reconstruction and extension of the National Museum of China in Beijing merges the former Chinese History Museum and Chinese Revolutionary Mu-seum. Originally completed in 1959 as one of ten major public buildings in Tiananmen Square in the immediate vicinity of the Forbidden City, the struc-ture is still a milestone in modern Chinese architectural history. Elements of Chinese architectural tradition blend with a western, neoclassical architectural idiom.

elevation 01

Eleven international architectural firms were invited to take part in the competi-tion for the reconstruction and extension of this building, which was won by architects von Gerkan, Marg and Partners in association with CABR, Beijing. In October 2004, gmp and CABR were commissioned to do the job, ahead of a field that included Foster and Partners, Kohn Peddersen Fox, OMA and Her-zog & de Meuron.

© Christian Gahl

After prolonged discussions with the client, the design scheme was revised in order to attune the new museum building harmoniously to the external look of the old building, while ensuring old and new were nonetheless distinguishable from each other. The echeloned roof typologies of the buildings in Tiananmen Square and the Forbidden City were thus echoed in the new building, though differentiated in detail and material.

© Ben McMillan

In the same way, the colonnades and window styles typical of the existing building were translated into a contemporary formal idiom. The final scheme was finally confirmed in 2006, and was under construction since 2007. The reconstruction of the northern existing building was completed in summer 2009, and the completion of the whole scheme was in Spring 2011.

© Ben McMillan

The 191,900 m² National Museum is the largest museum in the world, its purpose being to act as a showcase for the history and art of one of the oldest cultures of mankind.

National Museum of China / gmp architekten © Christian Gahl National Museum of China / gmp architekten © Christian Gahl National Museum of China / gmp architekten © Christian Gahl National Museum of China / gmp architekten © Christian Gahl National Museum of China / gmp architekten © Christian Gahl National Museum of China / gmp architekten © Christian Gahl National Museum of China / gmp architekten © Ben McMillan National Museum of China / gmp architekten © Ben McMillan National Museum of China / gmp architekten © Christian Gahl National Museum of China / gmp architekten © Christian Gahl National Museum of China / gmp architekten © Christian Gahl National Museum of China / gmp architekten © Christian Gahl National Museum of China / gmp architekten © Christian Gahl National Museum of China / gmp architekten © Christian Gahl National Museum of China / gmp architekten © Christian Gahl National Museum of China / gmp architekten © Christian Gahl National Museum of China / gmp architekten © Christian Gahl National Museum of China / gmp architekten © Ben McMillan National Museum of China / gmp architekten © Ben McMillan National Museum of China / gmp architekten © Christian Gahl National Museum of China / gmp architekten © Christian Gahl National Museum of China / gmp architekten © Christian Gahl plan 01 plan 01 plan 02 plan 02 plan 03 plan 03 plan 04 plan 04 elevation 01 elevation 01 elevation 02 elevation 02 elevation 03 elevation 03 section 01 section 01 drawing drawing

منبع : یانون دیزاین


THE MUSEUM OF COMIC AND CARTOON ART
a project by erick KRISTANTO
manhattan, new york, united states, unbuilt
––––––––––––
New York-based graduate Erick Kristanto has sent us images of his entry into the ‘Museum of Comic and Cartoon Art’ competition set for Manhattan, New York. The design, which earned Kristanto an honorable mention, was influenced by the form and properties of speech bubbles, creating spaces that are unconventional in both shape and organization.

The general volume of the building was first subdivided into storeys and programs after negotiating the appropriate area for each function. Represented by bubble quotes, the individual rooms were adjusted in to modules and arranged to seemingly hover in space on top of the other. Circulation is mainly driven by a central helix ramp while shortcuts are provided by short, by-passing slides in between levels. Views toward the street and brooklyn bridge are established while open roof surfaces are converted into multi-functional areas.




text and images via:designboom: www.designboom.com/weblog/cat/9/view/12970/erick-kristanto-the-museum-of-comic-and-cartoon-art.htmleVolo: www.evolo.us/architecture/museum-of-comic-and-cartoon-art/












با تشکر از خانم مهندس شادین امانی


خیلی مهمه وقتی قرار داری در کنار یا نزدیک یه بنای باستانی طراحی کنی، با توجه ملاحظاتی که دنیای امروز برای بناهای باستانی درنظر می گیره، چیزی هم‌نوا و در عین حال کم‌نوا طراحی کنی که به قامت بنای اصلی خدشه وارد نشه.
درست مثل موسیقی پشت زمینه برای یک سمفونی بزرگ که نباید اصل رو تحت شعاع قرار بده....
این موزه جدید آکروپولیسه که سال 2009 به بهره ‌برداری رسید.
توجه : جهت قسمت فوقانی بنا به قصد احترام به سمت مجموعه تاریخی آکروپلیس چرخیده (نه اینکه چرخیده باشه!! ولی اینطور احترام گذاشته معمار به این مجموعه باستانی).

New Acropolis Museum / Bernard Tschumi Architects




© Courtesy of Bernard Tschumi Architects

Architects: Bernard Tschumi Architects
Location: Athens, Greece
Associate Architect: ARSY
Bernard Tschumi Architects Team: Bernard Tschumi; Architect and Lead Designer Joel Rutten; Project Architect, Adam Dayem, Aristotelis Dimitrakopoulos, Jane Kim, Eva Sopeoglou, Kim Starr, Anne Save de Beaurecueil, Jonathan Chace, Robert Holton, Valentin Bontjes van Beek, Liz Kim, Daniel Holguin, Kriti Siderakis, Michaela Metcalfe, Justin Moore, Joel Aviles, Georgia Papadavid, Allis Chee, Thomas Goodwill, Véronique Descharrières, Christina Devizzi
ARSY Team: Michael Photiadis; Principal, George Kriparakos, Nikos Balkalbassis, Philippos Photiadis, Jaimie Peel, Niki Plevri, Maria Sarafidou, Makis Grivas, Elena Voutsina, Manoulis Economou, Anastassia Gianou, Miltiadis Lazaridis, Dimitris Kosmas
Structure: ADK and ARUP
Mechanical and Electrical: MMB Study Group S.A. and ARUP
Civil: Michanniki Geostatiki and ARUP
Acoustics: Theodore Timagenis
Lighting: ARUP, London
General Contractor: Aktor
Project Area: 21,000 sqm
Project Year: 2003-2009
Photographs: Courtesy of Bernard Tschumi Architects


 Site

Located in the historic of Makryianni district, the Museum stands less than 1,000 feet southeast of the Parthenon. The top-floor Parthenon Gallery offers a 360-degree panoramic view of the Acropolis and modern Athens. The Museum is entered from the Dionysios Areopagitou pedestrian street, which links it to the Acropolis and other key archeological sites in Athens.


site plan

Program
With 8,000 square meters (90,000 square feet) of exhibition space and a full range of visitor amenities, the Acropolis Museum tells the story of life on the Athenian Acropolis and its surroundings by uniting collections formerly dispersed in multiple institutions, including the small Acropolis Museum built in the 19th century.


© Courtesy of Bernard Tschumi Architects

The rich collections provide visitors with a comprehensive picture of the human presence on the Acropolis, from pre-historic times through late antiquity. Integral to this program is the display of an archeological excavation on the site: ruins from the 4th through 7th centuries A.D., left intact and protected beneath the building and made visible through the first floor. Other program facilities include a 200-seat auditorium.
Principal Design Features

Designed with spare horizontal lines and utmost simplicity, the Museum is deliberately non-monumental, focusing the visitor's attention on extraordinary works of art. With the greatest possible clarity, the design translates programmatic requirements into architecture.


© Courtesy of Bernard Tschumi Architects

Light: The collection consists primarily of works of sculpture, many of them architectural pieces that originally decorated the monuments of the Acropolis, so the building that exhibits them is a museum of ambient natural light. The use of various types of glass allows light to flood into the top-floor Parthenon Gallery, to filter through skylights into the archaic galleries, and to penetrate the core of the building, gently touching the archeological excavation below the building.


© Courtesy of Bernard Tschumi Architects

Circulation: The collection is installed in chronological sequence, from pre-history through the late Roman period, but reaches its high point (literally and programmatically) with the Parthenon Frieze. The visitor's route is therefore a clear, three-dimensional loop. It goes up from the lobby via escalator to the double-height galleries for the Archaic period; upward again by escalator to the Parthenon Gallery; then back down to the Roman Empire galleries and out toward the Acropolis itself.


exploded axo

Organization: The Museum is conceived as a base, a middle zone and a top, taking its form from the archeological excavation below and from the orientation of the top floor toward the Parthenon.
The base hovers over the excavation on more than 100 slender concrete pillars. This level contains the lobby, temporary exhibition spaces, museum store, and support facilities.


© Courtesy of Bernard Tschumi Architects

The middle (which is trapezoidal in plan) is a double-height space that soars to 10 meters (33 feet), accommodating the galleries from the Archaic to the late Roman period. A mezzanine features a bar and restaurant (with a public terrace looking out toward the Acropolis) and multimedia space.

The top is the rectangular, glass-enclosed, skylit Parthenon Gallery, over 7 meters high and with a floor space of over 2,050 square meters (22,100 square ft). It is shifted 23 degrees from the rest of the building to orient it directly toward the Acropolis. Here the building's concrete core, which penetrates upward through all levels, becomes the surface on which the marble sculptures of the Parthenon Frieze are mounted. The core allows natural light to pass down to the Caryatids on the level below.

           
     
   
   


جایزه‌ پریتزیکر 2011 - واردو دمورا

یکشنبه 27 شهریور 1390 07:25 ق.ظ
طبقه بندی:معماری و شهرسازی، 

واردو دمورا رو که می شناسین. همون کسیه که جایزه‌ی پریتزیکر 2011 رو دریافت کرد. 
برای دوستانی که در وادی معماری کم‌تر آشنایی دارن بگم که جایزه‌ی پریتزیکر تقریبا معروف ترین جایزه معماری دنیا و یه جورایی اسکار معماری به حساب میاد و اشاره هم بکنم که این جایزه سخت به سران قدرت دنیای معاصر، یعنی یهود وابسته ست.
بگذریم.
این دمورا برای طراحی این بنا به طور خاص جایزه پریتزیکر رو دریافت کرد. نمایشگاهی که به جز ساخت خوبش از نمادپردازی خاص و هندسه متفاوتی بهره می بره.







'casa das histórias paula rego' by eduardo souto de moura in cascais, portugal
all images courtesy pedro kok
photographer: pedro kok



brazilian photographer pedro kok has sent us images of 'casa das histórias paula rego' 
by portuguese architect eduardo souto de moura in cascais, portugal. completed in 2009, 
the exhibition building references the local region's historical architecture in a contemporary way. 



elevation
image © pedro kok


paying attention to the pre-existing, natural conditions of the site, the design integrates
the land and trees into the museum's aesthetic presence. the exterior surface, finished in 
a rusty-red coloured concrete, play off the shadow cast by its surrounding, highlighting its 
subtle strokes and texture. a pair of pyramid-shaped towers anchor the facility's profile,
lending a dramatic identity to the project. 

four wings of varying heights and sizes are composed around a central display space reserved 
for temporary exhibitions. in addition to a 200-seat auditorium, the museum hosts a shop, 
cafe and garden. paved with the local blue-grey marble of cascais, the 750 m2 exhibition space 
provides a fresh and neutral backdrop to the displayed art.



image © pedro kok


image © pedro kok


views of the pyramid-shaped towers
images © pedro kok



image © pedro kok


image © pedro kok

Casa das Histórias Paula Rego, Cascais, Portugal from Pedro Kok on Vimeo.



sketches 
image courtesy casa das historias paula rego


12 موزه و گالری بزرگ دنیای معاصر

سه شنبه 8 شهریور 1390 06:55 ق.ظ
طبقه بندی:معماری و شهرسازی، 




Cultural landmarks and civic assets, well-designed museums can put unknown towns on the map, revitalize entire urban areas, ignite discussion about architecture and draw in tourists from around the world. From iconic and instantly recognizable contemporary structures like the Guggenheim Bilbao to subtle modern renovations and promising projects that have not yet been built, these 12 stunning museums and galleries designed by some of the world's top architects stand out for their eye-catching visuals, respect for the landscape and history of their settings and sheer brilliance.

Centre Pompidou-Metz by Shigeru Ban & Jean de Castines

(images via: inhabitat)
Architects Jean de Castines and Shigeru Ban teamed up for this stunning expansion of the Centre Pompidou modern art museum in Paris. With an unusual form inspired by Chinese hats and bridges, the Centre Pomidou-Metz features a curving roof made of criss-crossing glue-laminated timber mesh covered in a waterproof fiberglass and Teflon membrane to preserve the works of art inside under the best possible conditions. At night the new facility glows like a lantern, beckoning visitors inside to view the works of modern visionaries like Vassili Kandinsky and Francis Bacon.

Denver Art Museum Frederic C. Hamilton Building by Daniel Libeskind

(images via: arcspace)
One controversial museum design is the Frederic C. Hamilton Building at the Denver Art Museum, envisioned as an echo of the "craggy cliffs" of the nearby Rocky Mountains by architect Daniel Libeskind. Sharp geometric shapes clad in titanium jut out from the earth in this 2006 expansion, which doubled the size of the museum. But even more so than the dramatic exterior, it's the unusual interior that drew both criticism and confusion; the gallery's angled asymmetrical walls hardly seemed fit for art installations. However, artists have met the challenge head-on with adaptive approaches that exploit the interior architecture's transcendence of typical gallery archetypes.

Glaciarium, Glacier National Park, Argentina

(images via: glaciarium.com)
The new iceberg-shaped 'Glaciarium' in Argentina's Glacier National Park aims to highlight the importance of the region's glaciers, acting both as a museum that educates visitors on the role that glaciers play in the environment and as a research institute that will monitor the 47 glaciers in the park. Despite the weight of the landscape features that inspired it, the museum sits lightly upon the earth, built on a steel frame that rests upon the natural level of the soil.

Groninger Museum, Groningen, Holland

(images via: akbar simonse + panaramio)
Continuing the trend of modern museums and galleries that are not just housings for art, but works of art themselves, the Groninger Museum in Holland is an eye-catching collaboration between Alessandro Mendini, Coop Himmelb(l)au, Michele de Lucchi and Phillipe Starck. From certain angles, the Groninger resembles a massive geometric ship perched on the edge of the canal, an aesthetic that reinforces Holland's watery landscape even as it clashes with the traditional architecture of the region. Deliberately provocative, the design of the Groninger Museum was not immediately popular with locals, but it has become an icon of the city since its completion in 1994.

Neues Museum, Berlin, Germany

(images via: dezeen)
Originally completed in 1849, the Neues Museum of Berlin was nearly destroyed by bombs in World War II and sat abandoned for decades before restoration as a cultural landmark. The renovation of the museum, orchestrated by David Chipperfield Architects, did not erase the wounds but rather preserved them to stand as visible testimony to the museum's history, and that of Berlin. The architect set out to contrast the museum's original refinement with the crumbling brick and bullet holes that resulted from the war, and added subtle modern elements that provide visual continuity without taking away from the narrative of the structure. The renovation won the 2011 Mies van der Rohe Award.

City of Arts and Sciences by Santiago Calatrava

(images via: architecture revived)
Renowned Spanish architect Santiago Calatrava has brought his fluid, soaring design aesthetic to cities around the world, but perhaps none mean so much to him as this sprawling museum in his own hometown of Valencia. Like most of Calatrava's creations, the City of Arts and Sciences is skeletal and organic but almost alien-looking in its starkness. 'City' is an apt description for this complex, which includes an opera house, planetarium, science museum, palace of arts and underwater entertainment including theaters and restaurants. Occupying a dry riverbed in what was once an underdeveloped area of town, the City of Arts and Sciences is now Valencia's top tourist destination, linking the city center to the sea.

Imperial War Museum North by Daniel Libeskind

(images via: daniel-libeskind.com)
Located on the banks of the Manchester Ship Canal, Daniel Libeskind's Imperial War Museum in Manchester, England is based on the globe, "broken into three fragments to depict the shattering effect of war on the history of the world." Referred to as 'shards', the three fragments are situated to signify conflicts that took place on land, water and in the air. The Air Shard takes you 180 feet into the sky in the open air, looking down through a steel mesh floor, while the Water Shard overlooks the canal. The gallery floors in the Earth Shard are curved to replicate the curvature of the earth.

The Sage Gateshead Music & Art Gallery by Foster + Partners

(images via: wikimedia commons)
Transforming what was once referred to as a "post-industrial wasteland", The Sage Gateshead by Foster + Partners cuts a dramatic, glittering silhouette on the River Tyne in Gateshead, England. The curved glass and steel building contains a 1,700-seat concert hall, a 400-seat space for chamber music and a rehearsal room that doubles as a small concert hall and orchestral recording studio. The Sage is also a center for music education, offering classes to the public. No detail was spared in the 10-year planning process, which involved musicians and resulted in such features as 'spongy' concrete to increase acoustics.

Milwaukee Art Museum by Santiago Calatrava

(images via: calatrava.info)
Soaring like the skeleton of a great mythical bird over Lake Michigan, the Burke Brise Soleil is Santiago Calatrava's contribution to the Milwaukee Art Museum in Wisconsin. Bearing the architect's signature style, the addition is a movable, wing-like sunscreen perched above the concrete Quadracci Pavilion, with a wingspan comparable to a Boeing 747-400. It opens and closes throughout the day, controlling both light and temperature inside the museum and automatically closing when its ultrasonic wind sensors detect winds stronger than 23 miles per hour. The museum is home to over 25,000 works of art.

New Museum for Contemporary Art by SANAA

(images via: dezeen)
Tall, staggered and white, resembling nothing so much as a precarious tower of baker's boxes, the New Museum for Contemporary Art – often referred to as New Museum on the Bowery – offers, as New York Magazine put it, "a magically unsentimental intrusion, an antidote to the generic luxury springing up around it." Designed by Tokyo architects Kazuyo Sejima and Ryue Nishizawa/SANAA, the nine-level structure is the first fine art museum ever constructed from the ground up in downtown Manhattan. Opening in December 2007, the New Museum is a pristine contrast to the grittiness of the Bowery's reputation (which is changing today, as gentrification sets in). Clad in a seamless aluminum mesh, the structure is airy and spacious with lots of natural light yet few distractions from the world outside.

Guggenheim Museum Bilbao by Frank Gehry

(images via: wikimedia commons)
Perhaps no art museum in the world is quite as iconic as the Guggenheim Bilbao, which single-handedly put a relatively unknown small Spanish city on the map and stands out as a prime example of bold contemporary architecture. With a design that is both fluid and geometric, the light-catching, ship-like structure by famed architect Frank Gehry bears reflective panels resembling fish scales, reflecting the port town which serves as its setting and the river Nervión upon which it sits.

National Museum of Qatar by Jean Nouvel

(images via: jean nouvel)
Inspired by desert architecture, the new National Museum of Qatar by Pritzker Prize-winning architect Jean Nouvel is made up of a series of interlocking discs which will create pockets of sheltered areas providing refuge from the harsh sun. The 430,000-square-foot cultural center, which will also include cafes, shops, offices and research centers, will be built around the historic Fariq Al Salatah Palace. From above, the complex resembles a caravanserai, a roadside inn providing refuge for desert travelers.

یا.نون دیزاین ...Ya.Non Design



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