Hasta La Ideas

News: Turkish firm Yalın Mimarlık has won a competition to design an archaeological museum on the site of the ancient city of Troy in north-west Turkey (+ movie).

Turkey’s Ministry of Culture and Tourism selected a team from Yalın Mimarlık led by Ömer Selçuk Baz for the project at the UNESCO World Heritage site in the province of Çanakkale.

First excavated in 1870, Troy is famous for the mythical siege narrated in Homer’s Iliad, and the extensive remains discovered at the site reveal the earliest contact made between the civilisations of Asia and the Mediterranean.

The museum will take the form of a large cube clad in Corten steel panels, accessed via a ramp leading underground.

From the subterranean level, visitors will be able to walk up ramps leading through the exhibition spaces to a rooftop terrace.

The programme also includes conservation laboratories and storage space for the collection, which includes ancient artefacts dating back some 3000 years, as well as activity areas, a shop and a cafe and restaurant.

Last year Dezeen was in Turkey for the Istanbul Design Biennial, where organiser Bülent Eczacıbaşı said his country needed better design for its cities and products – see all stories from the Istanbul Design Biennial.

Other projects in Turkey we’ve featured include a seaside temple made from chunky chipboard and a proposal for a swimming pool under an inverted dome – see all Turkish architecture.

Images and movie are by Cihan Poçan.

Here’s some more information from the architects:

Omer Selcuk Baz and his team in Yalin Architectural Design has won first prize in the National Architectural Design Competition for the Museum of Troy, one of the most famous archeological sites in the world, listed as UNESCO World heritage site. With a history of 5000 years and a significance for the development of European Civilization, Troy represents artistically and historically a profound cultural influence from the time of Homer to the World War I.

The Ministry of Culture and Tourism of Turkey, the organiser of the competition expropriated 10 hectares for the purpose. The museum is planned to be constructed close to the archaeological site, adjacent to the village of Tevfikiye in Canakkale. It will conserve and exhibit the artifacts unearthed at the site. The museum contains conservation and restoration labs, 2000 sq m of storage, permanent and temporary exhibition spaces, activity areas, café, restaurants and retail facilities as well as access to natural environment.

The competition, which was opened in January 2011, received 132 project submissions. Some major architectural firms from Turkey were to be found among them. The jury, composed of prominent names such as Cengiz Bektas, Han Tumertekin, Murat Tabanlioglu, Ayten Savas and Ali Ihsan Unay, convened between 27-29 May 2011 in Ankara. The results were announced on 31 May.

The approach of the winning project by Omer Selcuk Baz sets the design concept upon communicating the visitors a world beyond their perception, with roots and stories in history. The design concept gradually disconnects the visitors in part or completely at certain thresholds from the physical context to reconnect them again. The cubic form of the building is reminiscent of an excavated artefact.

About the building

The design concept must engage in a situation beyond the physical context of the environment. It must look back at a civilisation that lived a while in history, and it must generate a feeling beyond the physical structure. At this point, the preferred approach to design is to segregate the visitors gradually at certain thresholds and to integrate them again. To disconnect the visitors partly or totally from the physical context and then reconnect them.

The design gathers all supportive functions underground on one floor. This floor is not recognised from the ground level and is concealed under a landscape. The exhibition structure is perceived as a robust object on a 32 x 32 metre square plan rising through a split from underground. The visitors descend into the structure along a 12 metre wide ramp. While descending, they come near to the structure in the horizon. Landscape and earth disappear gradually, leaving solely the sky and the structure behind.

Once underground, the visitors find themselves on a circulation band. A rust red earth-coloured exhibition structure rises through the transparent roof. The rusty metal (Corten) coated structure is timeworn and, just like the broken ceramics unearthed from the excavation site nearby, it recalls a lived history. The history of the material and the architectural design evokes a connection between past and present.

Ascending through the ramps towards the top, one gets a view of the landscape, the fields and the ruins of Troy through the slits on the facades. The rooftop enjoys a generous terrace with a splendid view where one imagines Troy’s distant and near history, the memories of the land and its future ahead.

Architects: Yalin Architecture Design
Location: Troy, Canakkale
Architectural Design: Ömer Selçuk Baz, Okan Bal, Ozan Elter, Ece Özdür, Melek Kılınç, Sezi Zaman, Ege Battal, Lebriz Atan
Exhibition: Deniz Unsal, Lebriz Atan, Ece Özdür
Illustrations and Animations: Cihan Poçan

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Museum of Troy appeared first on Dezeen.

A playground slide is tucked into the rooftop folds of this children’s centre in a coastal South Korean village by Seoul studio JYA-RCHITECTS (+ slideshow).

The Gangjin Children’s Centre in Maryang was designed as a replacement for another centre that was destroyed during a hurricane in 2012. With the help of national television and radio station SBS and charity organisation Childfund Korea, the town was able to raise enough money to construct a new building in under a year.

JYA-RCHITECTS used sketches made by local children – most of which showed house-shaped buildings – to form the basis for the design. In response, the architects designed the two-storey centre with a zigzagging sequence of gabled roof profiles, then added a rooftop terrace and slide.

“We wanted to find unexpected interesting spaces and scenes being created in the process of design development,” explained architect Youmin Won.

On the ground floor are a series of multi-purpose activity spaces, which can be partitioned with white curtains. One room features wooden bleacher seating that helps to create a makeshift performance area, as well as a row of glazed doors that open out to a playground.

A staircase climbs up beside the bleachers towards a study room on the first floor, while another set of stairs on the opposite side of the building leads up to a second study area beside the roof terrace.

As the building looks out towards the harbour, the architect added a few references to the sea in the design. An assortment of blue cladding panels cover the facade, plus fish-shaped objects hang from the exposed wooden ceiling rafters.

A slide also features in another children’s centre to complete in the last year: the Centro Infantil del Mercado in Spain. Other buildings containing slides include a house in Indonesia, an office in Japan and an airport in the Netherlands. See more slides on Dezeen.

Photography is by Hwang Hyochel, apart from where otherwise indicated.

Here’s a project description from JYA-RCHITECTS:

Gangjin (Sannaedeul) Children Centre

Sannaedeul Children’s Centre was the most precious place for children from low-income families in Maryang, a small seaside village located at the far southeast end of the Korean peninsula. It was the only playground, learning arena and shelter for the children. The centre acted as another home and community in which they shared and grew hopeful dreams with one another.

However, the dreams seemed to have ended when a devastating hurricane hit the village last summer of 2012. The centre was totally destroyed and left with nothing. Only to find the rubble of the building, the children still came to the site everyday after school and played on the ruins of what once was another home of theirs.

Above: photograph is by the architects

Fortunately, the news was heard by Korea’s major broadcast “SBS” and “Childfund Korea” who agreed to sponsor and launched the project of rebuilding the centre. Many other public and private companies also joined the project, giving a momentum to build the children’s dream again.

Above: photograph is by the architects

The clue for design was found among the pictures of a new centre drawn by the children themselves. The strategy had to be clear. It was to create various and plentiful spaces by repeating and transforming a simple “house-shaped” space suggested in the children’s drawings. Necessary programs were to be embedded into that volume. Then, they had to be connected with and divided by one another by the needs as well.

As a result, the centre could have a dynamic-shaped roof by the aforementioned repeated and transformed house shapes. The roof shape has created a plentiful inner space and diverse expressions of exterior at the same time. The overlapped roof has also brought up the image of the sea waves to the children of Maryang, the fishing village. To further stimulate children’s imagination, we also installed fish-shaped instruments and blue lightings under the ceiling, giving the image of swimming fish.

The center was aimed to have bright and warm interiors by getting enough natural lighting of the seaside through wide windows. The multi-purpose hall of a ground floor was extended to open outdoor space. And the study room on the second floor was connected to a terrace with a slide on which the children can play, looking over the most beautiful seaside view of the world. We hoped that there is no border between inside and outside space as well as playing and studying for children in the centre.

Above: site plan

Architects: JYA-RCHITECTS
Location: Gangjin, Jeonranamdo, South Korea
Year: Oct.2012 – Jan. 2013
Area: 223 m2
Structure: HM
Interior: SM interior
Exterior: team of Ra Kwonsu
Window: WIT
Lighting: SAMIL / LIMAS

Above: ground floor plan – click for larger image

Above: first floor plan – click for larger image

Above: roof plan – click for larger image

Above: long section – click for larger image

Above: cross section – click for larger image

Above: front elevation – click for larger image

Above: rear elevation – click for larger image

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by JYA-RCHITECTS appeared first on Dezeen.

Rooms and surfaces are generated from a complex web of hexagons at this contemporary arts centre in Córdoba, Spain, by Madrid office Nieto Sobejano Arquitectos (photography is by Roland Halbe).

Inspired by the patterns of traditional Islamic architecture, Nieto Sobejano planned the building as a non-linear sequence of connecting rooms that open out to one another in a variety of configurations.

“We have always been admirers of the hidden geometric laws through which those artists, artisans and master builders of a remote Islamic past were capable of creating a multiple and isotropic space within the mosque,” explain the architects. “We conceived the project as starting with a system, a law generated by a repeating geometric pattern, originating in a hexagonal shape.”

The six-sided rooms create a meandering trail through the building and each room can be used as either an exhibition area or as a space for art production. Every wall and surface is concrete, intended to evoke the atmosphere of a factory or warehouse.

“Walls and slabs of concrete and continuous concrete floors establish a spatial area capable of being transformed individually using different forms of intervention,” the architects add.

Hexagonal funnels stretch down from the roof to channel natural light into concentrated spaces. Meanwhile, tiny perforations bring narrow beams of light through the facade.

From the exterior, these perforations make up another pattern of hexagons that face out towards the adjacent Guadalquivir River. At night, LED lights illuminate these shapes to present a glowing pattern across the water.

As well as exhibition space, the building also contains artists’ workshops, laboratories and an auditorium for theatrical performances, films screenings and lectures.

The Contemporary Art Centre Córdoba was completed earlier this year, but while it was still under construction a Spanish graphics studio filmed a theatrical dance performance inside. Watch the movie below, or see a larger version in our earlier story.

Nieto Sobejano Arquitectos has become a specialist in museum and gallery design in recent years. Others to complete include the subterranean Interactive Museum of the History of Lugo and the perforated aluminium extension to the San Telmo Museum. See more architecture by Nieto Sobejano Arquitectos.

Above: location plan – click for larger image

See more photography by Roland Halbe on Dezeen, or on the photographer’s website.

Above: ground floor plan – click for larger image

Here’s a project description from Nieto Sobejano Arquitectos:

Architecture nourishes itself constantly from images hidden in our memory, ideas which become sharp and clear and unexpectedly mark the beginning of a project. Perhaps this is why the echo of the Hispano-Islamic culture which is still latent in Cordoba has subconsciously signified more than a footnote in our proposal. In the face of the homogeneity which our global civilisation imposes in all aspects of life, the Centre of Contemporary Art aspires to interpret a different western culture, going beyond the cliché of this expression used so frequently.

Above: section one – click for larger image

Distrusting the supposed efficacy and flexibility of a neutral and universal container commonly used nowadays, let us image a building closely linked to a place and to a far memory, where every space is shaped individually, to a time which can transform itself and expand in sequences with different dimensions, uses and spatial qualities.

Above: section two – click for larger image

We have always been admirers of the hidden geometric laws through which those artists, artisans and master builders of a remote Islamic past were capable of creating a multiple and isotropic space within the Mosque, a building facetted with vaults and muqarna windows, permutations of ornamental motifs with lattice windows, paving and ataurique decorations, or the rules and narrative rhythms implicit in the poems and tales of Islamic tradition.

Above: section three – click for larger image

Like those literary structures which include a story within another story, within yet another… – a story without an end – we conceived the project as starting with a system, a law generated by a repeating geometric pattern, originating in a hexagonal shape, which in turn contains three different types of rooms, with 150 m², 90 m², and 60 m². Like a combinatorial game, the permutations of these three areas generate sequences of different spaces which possibly can come to create a single exhibition area.

Above: section four – click for larger image

The artists’ workshops on the ground floor and the laboratories on the upper floor are located adjacent to the exhibition halls, to the point where there is no strict difference between them: artistic works can be exhibited in the workshops while the exhibition halls can also be used as areas for artistic production. The assembly room – the black box – is designed as a stage area suitable for theatrical productions, conferences, film screenings, or even for audiovisual exhibitions.

Above: section five – click for larger image

The Centre of Contemporary Art is not a centralised organism: its centre moves from one area to another, it is everywhere. It is designed as a sequence of rooms linked to a public walkway, where the different functions of the building come together. Conceived as a crossroads and meeting place, it is a communal area for exhibitions and exchange of ideas, to view an installation, see exhibitions, visit the café, use the mediateque, wait for the start of a show in the black box, or perhaps gaze at the Guadalquivir river.

Above: section six – click for larger image

The materials will contribute to suggest the character of an art factory which pervades the project. In the interior, walls and slabs of concrete and continuous concrete floors establish a spatial area capable of being transformed individually using different forms of intervention. A network of electrical, digital, audio and lighting infrastructure creates the possibility of multiple views and connections everywhere.

Above: section seven – click for larger image

Outside, the building aspires to express itself through one material: GRC prefabricated panels that at the same time clad opaque and perforated façades, or make up the flat and sloping roofs of the halls. The industrialised concept of the system as well as the conditions of impermeability, insulation and lightness of the material, contribute to guarantee the precision and rationality of its execution but also plays a part in the combinatory concept which governs the whole project.

Above: east elevation – click for larger image

The facade onto the river, a true mask that protagonizes the exterior facade of the building, is conceived as a screen perforated by several polygonal openings with LED-type monochromatic maps behind them. With an appropriate computer program, video signals will generate images and texts that will be reflected on the river’s surface and enable installations specifically conceived for the place. During the day, natural light will filter through the perforations and penetrate the interior covered walkway.

Above: south elevation – click for larger image

In the Centre for Contemporary Art, artists, visitors, experts, researchers and the public, will meet as in a contemporary zouk, without an obvious spatial hierarchy. It will be a centre for creative artistic processes which will link closely the architectural space with the public: an open laboratory where architecture attempts to provoke new modes of expression.

Above: west elevation – click for larger image

Some of the most recent artistic proposals linked to the most recent technologies appear to move away from materiality and submerge themselves in a virtuality disconnected from a concrete place, but perhaps through it, disagreeing with this interpretation – which has become a commonplace – we are convinced that the building itself, the Guadalquivir river, the present and the past of Cordoba, will not simply be a casual circumstance but – as it has been for us as well – will be the start of a dialogue, agreement, or perhaps rejection. For are these not also emotions which underlie the search for all artistic expression?

Above: north elevation – click for larger image

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by Nieto Sobejano Arquitectos appeared first on Dezeen.

Austrian firm Coop Himmelb(l)au has completed the Dalian International Conference Center, a contorted steel building in China with conference halls bursting through its facade.

The conference centre is constructed beside the harbour in the city of Dalian. Positioned at the far end of the city’s main axis, the building was conceived as a landmark for the developing district outside the densely populated centre.

Coop Himmelb(l)au designed the building as a twisted mass of steel and concrete, with ridged surfaces that flare outwards like the gills of a bulbous fish. Behind these openings, large areas of glazing bring natural light inside.

The core of the building is a 1600-seat theatre and concert hall. The primary conference room is positioned just behind and can accommodate up to 2500 delegates, but can also be adapted to provide a banqueting hall, an exhibition gallery or extra seating for the concert hall.

Six additional conference suites are dotted around the perimeter of the building and cantilever out beyond the natural line of the exterior walls. The capacity of these rooms varies between 300 and 600 people, but most can be subdivided to create smaller spaces.

A public foyer winds through the building to connect each room, and also features a central meeting area.

Coop Himmelb(l)au won a competition in 2008 to design the Dalian International Conference Center. Construction commenced later that year and involved the help of shipbuilders, who were brought in to bend the massive steel plates of the outer shell.

Coop Himmelb(l)au is led by architect Wolf D. Prix, who last summer launched a scathing attack on the Venice Architecture Biennale for placing too much emphasis on celebrity. His studio also recently completed another grand-scale project in Asia – the Busan Cinema Centre in South Korea, which features a cantilever wider than the wings of an Airbus A380. See more architecture by Coop Himmelb(l)au.

Another major building proposed for Dalian in recent years was the football stadium designed by UNStudio, but this project has now been put on hold. See more stories about architecture in China.

Photography is by Duccio Malagamba.

Here’s a more detailed project description from Coop Himmelb(l)au:

Dalian International Conference Center, Dalian, China (2008-2012)

The building has both to reflect the promising modern future of Dalian and its tradition as an important port, trade, industry and tourism city. The formal language of the project combines and merges the rational structure and organization of its modern conference center typology with the floating spaces of modernist architecture.

Dalian is an important seaport, industrial, trade, and tourism center, located in the southernmost part of the Liaodong Peninsula in the Chinese Liaoning Province. The city is currently undergoing a wave of transformation on coastal brownfield and reclaimed land which will entirely change the city’s face within the next decade.

The key developments are:

» Dislocation of container port away from the dense city area
» Establishment of international port for cruise ships
» New development of a “CBD – Central Business District” on reclaimed land
» Bridge over the sea to connect with the special economic zone

The urban design task of the Dalian International Conference Center is to create an instantly recognizable landmark at the terminal point of the future extension of the main city axis. As its focal point the building will be anchored in the mental landscape of the population and the international community. The footprint of the building on the site is therefore arranged in accordance with the orientation of the two major urban axis which merge in front of the building. The cantilevering conference spaces that penetrate the facades create a spatially multifaceted building volume and differentiate the close surroundings. The various theaters and conference spaces are covered by a cone-shaped roof screen. Through controlled daylight input good spatial orientation for the visitors and atmospheric variety is assured.

The project combines the following functions within one hybrid building with synergetic effects of functionality and spatial richness.

» Conference Center
» Theater and Opera House
» Exhibition Center
» Basement with Parking, Delivery and Disposal

A public zone at ground level allows for differentiating accessibility for the different groups of users. The actual performance and conference spaces are situated at +15.30 m above the entrance hall. The grand theater, with a capacity of 1,600 seats and a stage tower, and the directly adjacent flexible conference hall of 2,500 seats, are positioned at the core of the building. With this arrangement the main stage can be used for the classical theater auditorium as well as for the flexible multipurpose hall. The main auditorium is additionally equipped with backstage areas like in traditional theaters and opera houses. This scheme is appropriate to broaden the range of options for the use of this space: from convention, musical, theater even up to classical opera, with very little additional investment.

The smaller conference spaces are arranged like pearls around this core, providing very short connections between the different areas, thus saving time while changing between the different units. Most conference rooms and the circulation areas have direct daylight from above. Through this open and fluid arrangement the theater and conference spaces on the main level establish a kind of urban structure with “squares” and “street spaces”. These identifiable “addresses” facilitate user orientation within the building. Thus the informal meeting places, as well as chill-out and catering zones, and in between the halls, gardens with view connection to outside are provided as required for modern conference utilization. The access to the basement parking garage, truck delivery and waste disposal is located at the southwest side of the site, thus freeing the front driveway to the entrances from transit traffic. The main entrance from the sea side corresponds to the future developments, including the connection to the future cruise terminal.

Technical, Climatic and Environmental Concept

The focus of the architectural design and project development lies on technology, construction and their interplay. The technical systems fulfil the tasks required for the spatial use of the building automatically, invisibly and silently.

With the Dalian International Dalian Conference Center, these systems work like a hybrid city within a building. For the technical infrastructure of the building this means, that we have to consider a huge amount of people circulating inside the building at the same time, who expect high standards in circulation and comfort as well as a state of the art building with respect to high flexibility, low energy consumption and low use of natural resources.

Technical areas in the basement supply infrastructure within a rectangular grid, mainly inside the vertical cores. In particularly the conference zone has to be provided with a sufficient amount of air in order to maintain a high level of thermal and acoustical comfort. Therefore the conditioned air will be silently injected into the rooms via an inflated double flooring underneath the seating. Air blowout units inside the stairs will ensure consistent air distribution. Due to the thermal uplift, the heat of the people ascends to the ceiling and is extracted by suction.

Above: ground floor plan – click for larger image

One of the major tasks of sustainable architecture is the minimisation of energy consumption. A fundamental contribution is to avoid considerable fluctuations in demands during the course of the day. Therefore it is essential to integrate the natural resources of the environment like:

» Use the thermal energy of seawater with heat pumps for cooling in summer and heating in winter
» General use of low temperature systems for heating in combination with activation of the concrete core as thermal mass in order to keep the building on constant temperature
» Natural ventilation of the huge air volumes within the building allows for minimization of the mechanical apparatus for ventilation heating and cooling. The atrium is conceived as a solar heated, naturally ventilated sub climatic area.
» In the large volume individual areas can be treated separately by additional measures such as displacement ventilation
» A high degree of daylight use is aspired both for its positive psychological effect and for minimizing the power consumption for artificial lighting
» Energy production with solar energy panels integrated into the shape of the building.

Above: first floor plan – click for larger image

Structural Concept

The structural concept is based on a sandwich structure composed of 2 elements: the “table” and the roof. Both elements are steel space frames with depths ranging between 5 and 8 meters. The whole structure is elevated 7 meters above ground level and is supported by 14 vertical composite steel and concrete cores. A doubly ruled façade structure connects the two layers of table and roof, creating a load-bearing shell structure. The application of new design and simulation techniques, the knowledge of local shipbuilders to bend massive steel plates, and the consumption of more than 40,000 tons of steel enables breathtaking spans of over 85 meters and cantilevering of over 40 meters.

Above: second floor plan – click for larger image

Planning: COOP HIMMELB(L)AU – Wolf D. Prix / W. Dreibholz & Partner ZT GmbH
Design Principal: Wolf D. Prix
Project Partner: Paul Kath (until 2010), Wolfgang Reicht
Project Architect: Wolfgang Reicht
Design Architect: Alexander Ott
Design Team: Quirin Krumbholz, Eva Wolf, Victoria Coaloa

Above: third floor plan – click for larger image

Local Partner: DADRI Dalian Institute of Architecture Design and Research Co. LTD, UD Studio, J&A Interior Design

Above: fourth floor plan – click for larger image

Client: Dalian Municipal People’s Government, P.R. China
Structural Engineering: B+G Ingenieure, Bollinger Grohmann Schneider ZT-GmbH, DADRI Dalian Institute of Architecture Design and Research Co. LTD
Acoustics: Müller-BBM, Planegg
Stage Design: BSEDI Beijing Special Engineering Design and Research Institute
Lighting Design: a•g Licht, Wilfried Kramb

Above: fifth floor plan – click for larger image

Audio & Video: CRFTG Radio, Film and Television Design & Research Institute
Climatic Design: Prof. Brian Cody
HVAC, Sprinkler: Reinhold A. Bacher, DADRI Dalian Institute of Architecture Design and Research Co. LTD
Façade: Meinhardt Facade Technology Ltd.
Photovoltaic: Baumgartner GmbH
General Contractor: China Construction Eight Engineering Division

Above: sixth floor plan – click for larger image

Competition: 03/2008
Start of Planning: 07/2008
Start of Construction: 11/2008
Completion: 2012

Above: reflected ceiling plan – click for larger image

Site Area: 40,000 sqm
Gross Floor Area Conference Center: 91,250 sqm
Gross Floor Area Parking: 24,400 sqm
Gross Floor Area total: 117,650 sqm
Footprint: 33,000 sqm

Above: top view – click for larger image

Building Height: 60 m
Building Length: 220 m
Building Width: 200 m
Number of Floors: 8

Above: functional options – click for larger image

Above: climate design – click for larger image

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by Coop Himmelb(l)au appeared first on Dezeen.

A sliding plywood wall divides this OMA-designed art gallery inside a historic building in Hong Kong (+ slideshow).

The Lehmann Maupin Gallery is located in the Pedder Building, which was built in 1923 and is one of the oldest commercial buildings in Hong Kong.

OMA divided the gallery into two exhibition spaces, the first of which is arranged around a pre-existing column and overhead beams.

The column and beams were left in their original state to contrast with the clean white walls of the room.

A sliding wall allows the second, smaller space to be separated or combined with the main space as required.

Plywood and polished concrete were chosen to echo the OMA-designed Lehmann Maupin gallery in New York’s Chelsea neighbourhood.

A long and narrow office is tucked behind the main space to take advantage of natural light from the building’s large windows.

The gallery opens this month with a solo exhibition by Korean artist Lee Bul, which runs until 11 May 2013.

The architecture of OMA’s Kunsthal gallery in Rotterdam was criticised last year following the theft of seven paintings – see all galleries on Dezeen.

OMA was recently chosen to masterplan an “airport city” in Doha, Qatar, while the firm’s principal Rem Koolhaas will curate the Venice Architecture Biennale in 2014 – see all architecture by OMA.

Photographs are by Philippe Ruault.

Here’s some more information from OMA:

The Pedder Building, site of the Lehmann Maupin Gallery in Hong Kong, is one of the few surviving pre-war structures in the center of the financial district. OMA’s design of the gallery reveals rather than conceals the patina that distinguishes the historic building from its more glossy neighbours.

The gallery is divided into two exhibition spaces. The newly constructed white walls of the main space are constructed around a central column and overhead beams – objects of time left in their found state. The second space can be joined with the main space or separated with a sliding wall, facilitating smaller exhibits and use as a private viewing room.

Integrated ambient tubes and spot lights contrast with the raw quality of the exhibition spaces with polished concrete floors. The materials of the gallery emphasises neutrality. Plywood, polished concrete floor, and white surfaces serve as the backdrop for artworks.

The entrance of the gallery is a corner door that obscures the boundary between the interior and exterior while allowing the ingress of large art works. When both of the doors are open, the end of an otherwise narrow and compressed building corridor completely disappears and opens up the Lehmann Maupin Gallery to Hong Kong.

Status: Completion 2013
Client: Lehmann Maupin Gallery
Location: 407 Pedder Building, 12 Pedder Street, Central, Hong Kong
Programme: 1,130 sq. ft of exhibition space and offices
Partners-in-charge: David Gianotten and Rem Koolhaas
Project Architect: Miranda Lee

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Hong Kong by OMA appeared first on Dezeen.