Renzo Piano’s Menil Collection Wins the 2013 AIA Twenty-five Year Award

The AIA  selected the Menil Collection Houston, designed by Renzo Piano, to receive the 2013 AIA Twenty-five Year Award.
Winner of the 2013 AIA Twenty-five Year Award: The Menil Collection in Houston, Texas designed by Renzo Piano Building Workshop (Photo: Hester Paul)

Recognizing architectural design of enduring significance, the Twenty-five Year Award is conferred on a building that has stood the test of time for 25 to 35 years as an embodiment of architectural excellence. Projects must demonstrate excellence in function, in the distinguished execution of its original program, and in the creative aspects of its statement by today’s standards. The award will be presented this June at the AIA National Convention in Denver.

External view by night of the conservation studio (Photo: Hester Paul)

In 1981, Dominique de Menil, president of the Menil Foundation, decided to build a museum in Houston to house one of the world’s most significant collections of primitive African art and modern surrealist art. Her main request was that all of the works could be viewed under natural lighting, and that lighting be treated in such a way so that the visitors would be aware of its continuous variations according to the time of day, the season and the local climate. She also wanted a museum that would appear “large from the inside and small from the outside”.

Detail of the roof (Photo: Hickey & Robertson)

It was to be a space that would promote a direct and relaxed relationship between the visitor and the work of art itself, thus resulting in a non-monumental and domestic environment: one that would be in complete contact with nature. In order to achieve this last objective, it was decided to position the building within the greenery of a residential district that included a number of pre-existing residences used for activities that would complement those of the museum, thus resulting in a “museums village” environment. The museum’s integration within this environment of smaller buildings was sought out by articulating lower volumes and by adorning of the exterior walls with wood, using the “balloon frame” technique.

Detail of he facade - single bay of east colonnade (Photo: Hickey & Robertson)

The natural lighting of the exhibition areas gives the building its character. This decision was one that involved a significant risk: direct sunlight, in fact, would be harmful to the artworks themselves. The goal was to provide a mediated diffusion of light within the exhibition halls, without losing the sense of the external climatic conditions. For this reason, a special “solar machine” was built to evaluate the behavior of the light at the various latitudes, the mechanics of the multiple refractions, and the protection offered against the ultraviolet rays.

View of the tropical garden (Photo: Hickey & Robertson)

This evaluation resulted in the definition of a basic structural element, the so-called “leaf” made out of 25 mm-thick ferrocement. Having been replicated 300 times, these leaves serve as the building’s covering platform and act as both a light filter and heat shield. These elements, which are also an integral component of the beams themselves, prevent the direct sunlight from reaching the artworks on display, while at the same time enhancing the works of art by providing natural lighting based on the weather conditions outside.

View of one of the galleries. The “leaves” of the roof filter the light and drastically reduce the interior light levels (Photo: Hester Paul)

The museum is divided into two distinct areas. The exhibition halls are located on the ground floor, where nearly 200 works are exhibited around a longitudinal spine, or rather the 150 meter long “central promenade”. The upper floor, on the other hand, houses the museum’s rich collections in spaces that are particularly well-suited to the work of scholars.

View of one of the galleries (Photo: Hunter Alistair)

In the case of the Menil Museum, it was found to be impossible to exhibit the more than 10,000 pieces of the collection at the same time, and above all to ensure their proper preservation if they were to be kept constantly on display. This resulted in the creation of the “treasure house”, located on the upper floor of the museum, where the artworks are securely stored under ideal climatic conditions.

View of the African Art gallery (Photo: Richard Bryant)

The works are exhibited in rotation: those which are on display periodically return to the “treasure house” and a new series of works are brought down to the “people house”. In 1992, Dominique de Menil once again turned to Renzo Piano for the creation of a permanent exhibit dedicated to the works of one of her favorite artists, Cy Twombly. This gave rise to the Twombly Pavilion, which today can also be found within the museum village.

View of the conservation studio that overlooks and receives ample north light from the pocket of planting between the end of the internal promenade and the colonnade. From the latter, the public can catch a glimpse of this important museum function. (Photo: Hickey & Robertson)

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Harley-Davidson Museum by Biber Architects

The Harley-Davidson Museum is a multi-building complex on a newly reclaimed brownfield industrial site close to downtown Milwaukee. It celebrates the history, culture and art of the 105-year old company, while creating a place for spontaneous gatherings and rallies that are the touchstone of the riding community.

Sitting on a peninsula surrounded by water, the urban design we developed re-establishes the lost city grid, reflects the site’s history in the new buildings, allows access to the water and defines space for future development. All the while, creating a place where riders feel comfortable, and where those who are new to Harley-Davidson feel welcome.

The community of Harley riders is most enthusiastic during rallies at towns like Sturgis and Laconia. We proposed the HDM should learn from these organic arrangements by having an informal and a formal component to the museum. We dubbed the outside component the‚ ’Museum on the Street’ and it became the counterpart to the formal museum in the building’s interior. A broad orange stripe emphasizes the rally space, while the Temporary Exhibition Space has large glass garage doors that allow the building to open to the street. These elements, among others create a highly accessible complex that is nonetheless secure and manageable.

The museum’s structure leans heavily on the history of factories, as riders refer to Harley-Davidson Motor Company as ‘the factory’ and in acknowledgment of the site’s industrial history. Inside and out the structure is simply and honestly expressed. We used the design logic of the motorcycles for inspiration and as a result, the building reflects the honesty of the motorcycles in design and pride in the parts exhibited.

Abbott Miller of Pentagram designed the exhibitions while we designed the buildings, insuring a 'hand in glove' fit of the content and the form. Concepts like the chronological road-like parade of motorcycles and the racing gallery suspended within the space are beautifully crafted to exploit the architecture while they create a strong narrative.

Sustainble design has been an integral part of our work for years. The Harley-Davidson Museum was built without LEED certification (an owner decision, though we would have sought a Bronze or Silver level had we certified it) but the sustainability is built in. From the greenest ‘parking gardens’ in the region to the riverwalk lined with native plants that help control storm water runoff, to the white reflective roofs and light concrete roadways that reduce the heat island effect, the project quietly displays its green credentials. The entire site was filled with the crushed remains of the former highway overpass, and even the waterless urinals and solar-responsive light louvers at the museum facade are part of the overall sustainable design. There may seem to be a contradiction in the statement ‘sustainable design for a motorcycle company’ but motorcycles are among the most efficient gas powered vehicles around, getting around 50 mpg and parking 4 bikes in a single automobile space.

The success of the project is heralded by the acceptance of both the riders, the general public and company, who all embrace it as their own.

Philosophy
Biber Architects is a tightly organized, highly experienced team of architects and designers working for more than 25 years in New York and nationally.

James Biber FAIA LEED leads the firm and conceptually drives all our projects from the first introduction to the opening party, often designing the client’s next project and the next one, etc. James is responsible for such icons as the Harley-Davidson Museum, the Fashion Center Needle and Button, Gotham Bar & Grill and Mesa Grill, the Glass House Visitors Center and a long list of visual gems.

We are a design-oriented architecture firm.

We like to invent something different for each project. The result is a body of work that has a point of view, but not a fixed set of forms.

The idea that a client deserves a building or interior or exhibition or table that is uniquely theirs is a common notion. But the idea that these projects should be based on their identity is an approach we have pioneered.

We call it “The Architecture of Identity”.

We accomplish this fidelity to the client identity with research and a thorough understanding of context, client and image. Add to this our experience and expertise in building, materials, sustainable design, brand and process we can craft each project as a unique response to each unique client.

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Pablo Serrano Museum / José Manuel Pérez Latorre

Wojtek Gurak, a friend of ArchDaily and photographer, recently shared with us his photographs of the Pablo Serrano Museum in Zaragoza, Spain. The expansion of the Museum, designed byJosé Manuel Pérez Latorre, was completed in March of this year. The expansion triples the size of the original museum that opened in 1994. Check out more photos after the break.http://www.archdaily.com/171030/pablo-serrano-museum-jose-manuel-perez-latorre/

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National Archaeological Museum, Athens, Greece by Eve Astrid Andersson

 
Cycladic idol of a woman from 2800-2300 BC. National Archaeological Museum.


 

Location:	Athens, Greece
Caption:	Female figure from the island of Delos from 650 BC. National Archaeological Museum.

 

Location:	Athens, Greece
Caption:	Statue of Phrasikleia from 550-540 BC. National Archaeological Museum.

 

Location:	Athens, Greece
Caption:	Statue of Kouros from 530 BC. National Archaeological Museum.

Location:	Athens, Greece
Caption:	Statue of Zeus or Poseidon from 460 BC. National Archaeological Museum.

 

Location:	Athens, Greece
Caption:	Statue of the Youth of Antikythera from about 340 BC. National Archaeological Museum.

 

Location:	Athens, Greece
Caption:	Statue of the Youth of Antikythera from about 340 BC. National Archaeological Museum.

 

Location:	Athens, Greece
Caption:	Statue of Poseidon from 125-100 BC. National Archaeological Museum.

 

Location:	Athens, Greece
Caption:	Statue of Kleonikos, son of Lysandros, from early 1st century BC. National Archaeological Museum.

 

Location:	Athens, Greece
Caption:	Statue of Pan. 2nd century AD copy of 4th century BC work. National Archaeological Museum.

 

Location:	Athens, Greece
Caption:	Statue of Aphrodite from the 2nd century AD. National Archaeological Museum.

 

Location:	Athens, Greece
Caption:	Figure of emperor Lucius Verus. 161-169 AD. National Archaeological Museum.

Location:	Athens, Greece
Caption:	Figure of possibly a philosopher, found in the sanctuary of Asklepios at Epidaurus, from 270-280 BC. National Archaeological Museum.

 

Location:	Athens, Greece
Caption:	Minoan Palace-style amphora depicting an octopus from 15th century BC. National Archaeological Museum.

 

Location:	Athens, Greece
Caption:	Vase from Thissio, created around 875-800 BC, discovered in 1878. National Archaeological Museum.

 

Location:	Athens, Greece
Caption:	Attic late geometric krater depicting ekphora, the act of carrying a body to its grave, by the Hirshfeld painter, created between 750-735 BC. National Archaeological Museum.

 

Location:	Athens, Greece
Caption:	Black figure column krater depicting Herakles and the Nemean Lion from 550-540 BC. National Archaeological Museum.

 

Location:	Athens, Greece
Caption:	Three lekythoi from Eretria. Left: by the Bosanquet Painter, 450-440 BC. Center: by the Achilles Painter depicting the departure of a warrior, around 450 BC. Right: from around 420 BC.

 

Location:	Athens, Greece
Caption:	Red figure kantharos depicting a female bringing an offering to the god Kabeiros, from 420 BC. National Archaeological Museum.

 http://www.eveandersson.com/photo-display/large/greece/athens/national-archaeological-museum-red-figure-kantharos-depicting-female-bringing-offering-to-god-kabeiros-c-420-bc.html

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The Museum of BMW In Munich

Munich is the home of BMW. Here is the headquarters of the company and a museum nearby that shows all the history of the brand.

The museum consists of two buildings. In the first there are exhibited modern models and visiting there is free.

In many cars you may sit, touch a wheel, change gears, listen to music...

You may sit on the sofa, lokk through a magazine...

BMW Z4. Maximum speed - 251km/h. Acceleration up to 100km/h for 4.8 seconds.

Inside the building some strange robots are moving, politely going round people.

The second and the main building of the museum. The main part of the exposition is located here. To enter students have to pay 6 euro, adults - 12 euros.

Probably this museum will be interesting not only for those who knows something about BMW and likes cars...

The first bike BMW. 1924-1926

These bikes are kept on some tiers and in chronological order.

Engines. The history of the company began from aero-engines. Then went bikes and later - cars.

BMW 328, racing car, 1936 - 1940. In the background - bolide of Formula 1, BMW Sauber F1 Team.

Plasticine model of the actual size in the hall devoted to design. 

The hall telling about the history of the company. Over each book there hang speakers to provide comments for each page being watched by a person.

The huge table with touch surface. Along the table there is a line with dates, and along the edges - references to various models, events, interesting facts. Each reference will open something interesting. 

The hall presenting luxury models of various years.


M-series


Racing cars

The best hall has only two cars.

BMW Isetta 300 1956, in the front and BMW 1500, 1962 in the background.

One door, in the front. An engine of a bike.

via kiryushinm

http://wonderaday.com/blog/4138/

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