Museum • Rio de Janeiro, Brazil
- Architect: Arquitetos Associados
- Area : 2445 square meters
- Year : 2021
- Photo: Manuel Sá
- いい: Alexandre Brasil、André Luiz Prado、Bruno Santa Cecilia、Carlos Alberto Maciel、Paula Zasnicoff Cardoso and Rafael Gil Santos
- Collaborator: Thomas White e Maria Gonzaga de Paula
- Interns: Mayra Reis, Isabella Flach Gomes and Filipe Franco
- The 观设计: Burle Marx Landscaping Office - Haruyoshi Ono, Isabela Ono, Julio Ono and Gustavo Leivas
- Structural Analysis : Projest - Gilberto do Valle, Rodrigo do Valle
- Air conditioning : Climar - Felipe Belfort, Lucio Paredes
- Fire safety systems: Sugan - Rômulo Colares, Ingrid Robaina
- Installation: Fernog Instalações - Wagner Messas
- Windows : N2 Esquadrias - Bruna Cerdeira, Luis Gustavo, Thayane Viegas
- Waterproof : Bleza - Jaqueline Guimarães
- • Oppus Acústica - Rafaela Ferras, Marco Antônio Vecci
- The 舒适 Of the Future - Rosana Corrêa
- Scenography: Pedro Pedneras
- Project Management: Renato Kurtz Queiroz
- Engineer: Reynaldo Suarez
- •いい团い: Edivan Lima、Edvaldo Santos、Roger Ferreira、Francisco Gomes、Jailson Fernando、José Almeida、Wallace Pinto、Davi Cruz、Edimilson Alexandre、Paulo Roberto Tavares、Ismael Thomé、Manoel Noé Sandro、Fernando、Welington Lyra、Paulo Ricardo Assis、 Brener Domiciano,いい·
- Iso Milman、Bruno Amorim、Marcos Soares da Silva、Wagner Maurício、Eduardo Martins Saddi、Sergio Alex Magalhães、Mario Medeiros
- Landscape installation: Nativa Paisagismo
- Glassworks : Grupo Paris
- City : Rio de Janeiro
- Country : Brazil
Located in Rio de Janeiro, the Casa do Pontal Museum houses the largest and most important collection of popular art in Brazil, built by its founder, French designer Jacques Van de Beuque, after more than 4 years of research. For many years, the museum has been housed in an old house in the Recreio dos Bandeirantes, transformed into an exhibition space with a great location and lush natural landscape.
In 2014, due to the construction of large vertical apartments for the Rio Olympics, the museum began to suffer from the process of urbanization and the intensification of the surrounding environment. The action transformed the natural landscape, dumping a fragile drainage system and limiting the height of new roads and adjacent buildings to 1.5 meters above the museum grounds, so flooding threatened flooding ever since. After years of working to protect its facilities and precious collections from imminent risks, the Pontal Museum received from the Town Hall the concession of the new plot of land in Barra da Tijuca, as well as part of the resources for the construction of the new headquarters through a partnership with the company and crowdfunding activities.
The architecture of the former building that was once the museum defines a refined image associated with different instances of the landscape. Its main feature is that its installations constitute a complex between extraordinary landscapes and austere architecture defined by non-monumental scale, with respect and care for the powerful refinement of its collection. A simple, almost vernacular blend of architecture and landscape, partly natural, partially built, with different scales – gardens and surrounding mountains – is the basis of the atmosphere that characterizes the museum and distinguishes it from other museums on a similar scale. Therefore, as important as the new construction is the simultaneous transformation of the landscape,
Unlike the original headquarters of Recreio dos Bandeirantes, barra da Tijuca's new site offers neutral support conditions, or a blank slate: regular geometry, flat terrain, no obvious vegetation, uninteresting close-ups, and a longer, higher view that might be interesting for space. Therefore, it is an abstract flat site where there is a boring landscape. Building a new museum there requires the construction of the place at the same time, or the rejoining of the remodeled landscape on different scales. Therefore, the design is defined by acknowledging the vibe that was once the atmosphere of the museum in its original site, on the other hand the particularity of the landscape and geographical features of the institution's new address.
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The new project re-proposes this characteristic interaction between architecture and landscape by controlling the scale of the new building seen from a distance and taking a closer look at the sequence of interior spaces alternating between interiors, patios and gardens. Provide a qualified experience of exhibitions and permanent spaces. The new building and its gardens are interwoven by these different landscapes: the building itself, on a popular scale; the gardens that make up the open-air unplanned spaces, as parks; and the strong geographical relationship with Rio de Janeiro, through a controlled view of the vast landscape around it, especially the mountains known as the Sleeping Giant.
Architecture: Rugged refinement, spacing and discovery. On top of this intertwined landscape, a simple and straightforward building of materials is proposed to enhance the refinement of the collection, but strong enough not to disappear into the crushed environment of a single-family home. For this reason, the façade is fragmented, alternating with gardens that improve the atmosphere of the exhibition, defining the intervals, along with the exhibition narrative, as a glimpse of the outside world. On the other hand, the palette of scarce materials – concrete, wood, glass, Portuguese stone pavements and vegetation – enhances the intimacy of the collecting experience.
The entire building is conceived through a modular structural logic that connects concrete walls, steel beams and light walls, forming an environmental system that not only accommodates the museum's current projects, but also easily adapts the building to new needs. The elements are arranged on a 9x9-meter grid that creates a controlled alternation between indoor and outdoor gardens, single and double height rooms, service areas, and service areas. Treating the building as a system rather than an object expands the possibilities for the use of space, the range of freedom for the user, and its useful life. This way of reasoning also allows for timely adjustment of the structure at a stage that is in sync with the development of the institution itself. therefore
space. Multiple doors allow for different curatorial strategies and different exhibition organizations. The administrative and technical spaces concentrated along the south and west facades provide an optimization of flow, limiting the workspace through interaction with the garden. The technical processes in the warehouse, assembly and loading and unloading areas are equivalent to those through wide passages that allow direct connection to the exhibition room.
The high ceiling space in the technical area will allow for the future growth of the storage and art storage area in a simple and economical way by inserting a metal mezzanine, which can be extended to other areas of the museum, thus increasing its flexibility and growth. The concentration of the welcome space clearly defines the different pathways to the exhibition and support spaces. The reception floor is paved with semi-polished Portuguese stone, continuing the paving of the arrival square, emphasizing the continuity between the interior and exterior areas. On the second floor, a spacious balcony serves as an extension of the dining room and games room, improving visual interaction with the garden and distant landscape,
In the first few months of operation, an intensive visit positively changed the place, which was characterized by a very low density, mainly residential. Intense activities are transforming the complex into a new cultural destination in the city of Rio de Janeiro. The implementation of the garden, as well as several cultural activities of the museum, is carried out through crowdfunding, which helps to establish a cordial relationship between the public and this new place under permanent construction. The museum intertwines architecture with landscapes, paying tribute to Roberto Burle Marx's famous quote: "Time has done these ideas." ”