International Museum of Astronomy

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IMOA1241

IMOA - 1241
Department of Architecture, University of Coimbra / pt Portugal
1 members
Ines Ribeiro

Project type:
Arquitectura

We found a difficult place to set up a museum, an empty place without references or cultural heritage. The mode of thinking the museum has become abstract, making us establish reinterpretations and reappropriations of existing icons.
With local characteristics, the museum has become sensible to the nearest examples of our area, in San Pedro de Atacama community. As their houses, we took the adobe of construction and we added the red pigment, showing this way in the emptiness of the desert. About his design, the historical icons were a big influence, where we fortify the junction with the obsolete primary forms. "The beautiful, as such, is beautiful and forever." Quoting Plato, this is about the Egyptian figures, an explicit strategy in the Louis Kahn work, where he applies pure and simple shapes, molding them in heavy spaces with light. This Platonic ideal is reflected in our museum, in its square centralized blueprint, the building grows around a courtyard, exploring simple forms like the triangle, the circle and the square. In the (strap) more fixed of the courtyard we find the service spaces, a strategy shown in the Kahn work.
With this drawing we reused the Palladian plans, the courtyard that manages the space, like in Pallazzo Thiene. Besides the rigid center influence, the Renascence communication is reappropriated, the walking from room to room, where it doesn't exists corridors.
This experience promotes repetition, the resistance in the same movement for who roams in the museum. Rosalind Krauss explains us some of the repetitive works of the 60’s a "… relentless persistence – a way of doing something over and over again without regarding success as any particular kind of climax …" (Rosalind Krauss, Passages in Modern Sculpture, page 244, 1977)
This routine of the museum path shows a lack of clearness about it beginning and it end, becoming a trajectory without hierarchies, where the monotonous experience promotes new reflection about the spaces, makes us think these spaces through knowledge. From this way, each lap is free of a new observation, always different from the previous, although it looks the same. In here the courtyard is the item of the routine, in a professedly strategic position, this one stands out in the work, transforming itself in the main compartment of the museum, the room at open air, the place where the rain settles on the central square, the maximum astronomic observation point.

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