Florian Busch Architects フロリアンブッシュ建築設計事務所

Urban Plaza

Level -1: Educational Facilities

Level -2: Plaza, café, educational facilities, library

Level -3: Gallery, sculpture garden

Gallery

Museo de Arte de Lima
リマ市立美術館

2016


The new wing for MALI’s contemporary art collection is more than a simple addition to an existing museum. While the official brief pointed at the complexity of the task (“include a library, new gallery spaces, classrooms, offices, a café, a public plaza, access to a future metro station, and a landscape proposal for the park where the museum is located”), what was really called for was more fundamental: a strategy for a surgical intervention in an intriguingly complex urban and cultural context.

 

Location

Just south of Lima’s historic centre, the MALI is located in the middle of a number of cultural institutions which have been turned into discrete elements in an urban transportation nightmare: Wide roads of relentless traffic have made large parts of Lima inaccessible for pedestrians. For a city which, from its beginnings, has flourished with (and would not have been conceivable without) the flows of its rivers, the state of urban viscosity is hard to take.

 

Rivers

Rivers are Lima’s arteries bringing civilisation into the coastal desert. In a city with an average rainfall rivalling that of the Sahara, the life-enabling presence of water is of religious dimension: The awe-inspiring sounds of the torrents coming down from the glaciers during the summer let the indigenous population call their river “Rímac”, the “talking river”. And, in turn, gave the city its name.

 

Culture

As if the stories from the “talking river” had carved a network into the coastal plains, the cultural map stretching from the historical centre to Miraflores reads like flotsam in an estuary between Rímac and the sea. The MALI is in the centre of this cultural estuary.

 

Site

The site for the new wing is a narrow strip placed in an urban medley: To the east, MALI’s main building, the existing Exposition Palace (a 19th century landmark building); to the south the Exposition Park and further north, across the street, Dammert park; to the west and north, some of Lima’s most notorious streets; below them: two metro lines will cross at the planned station.

 

Infrastructure as museum

Instead of a gallery which would, among other things, also connect to a metro station, we proposed an infrastructure whose main purpose would be to connect — and then, among other things, produce a new type of gallery experience. As a consequence, it was no longer imperceptible to go completely underground, in fact it became more and more evident that this was the only solution that made sense…

MALI’s new wing is a thoroughfare. In stark contrast to the existing Exposition Palace’s representative understanding of art as “high culture”, passers-by are lured into the new wing in a casual, en passant way: The museum moves away from static institution to become an open connector, an infrastructure where culture is part of the everyday proceedings. At the core of the new wing is an urban plaza, open to the surroundings yet covered by a body of water.

 

Underground

Not unlike the Nazca holes, the ingenious wind devices driving water in underground canals to irrigate Peru’s agricultural systems, the new wing’s Plaza becomes part of an urban device connecting the discrete cultural assets and weaving an accessible landscape in the centre of Lima.

 

Water

From the streets, not much seems to have changed: In fact, the Exposition Palace whose presence has loomed over the project from the beginning, has doubled in the reflection of a large surface of water. Yet as we approach, we discover the real doubling: With the old reflected from above, the new shining through from below, the water becomes the place of an ongoing dialogue between old and new, past and present. In the ripples of the water, old and new blend into each other in gradients changing with the ambience of day and weather.

Instead of a gallery which would, among other things, also connect to a metro station, we proposed an infrastructure whose main purpose would be to connect — and, among other things, produce a new type of gallery experience.

Lima, Peru
リマ

Type:
Museum, educational facilities, library
美術館、教育施設、図書館

Status:
Competition
コンペティション

Project Team:

FBA: Florian Busch, Sachiko Miyazaki, Suguru Takahashi, Tomotaka Yamano, Oliver Pershav, Jeng Pheera(intern)
Structural engineering: ARUP
Environmental engineering: ARUP
Client: The Lima Art Museum (MALI) (NPO)

FBA: フロリアン ブッシュ、宮崎佐知子、髙橋卓、 山野友嵩、オリバー パーシャヴ、ジェン ピーラ(インターン)
構造: ARUP
環境: ARUP
施主: The Lima Art Museum (MALI) (NPO)



Gross floor area: 7,400m²
Concrete, Steel, Acrylic
RC + 鉄骨造、アクリル

The Floating Stadium
浮競技場

K House in Niseko
ニセコのK邸

Science Island Kaunas

S House in Chiba
千葉のS邸

K8

Tagacho Community Centre
多賀町中央公民館

Guggenheim Helsinki

WHO Extension

Viaduct Gallery

Ota Culture Centre
太田市文化交流施設

House of Hungarian Music

Kinmen Ferry Terminal
金門フェリーターミナル

Our Private Sky

R4

Zentral- und Landesbibliothek Berlin
ベルリン中央図書館

伊豆の国市伝統芸能会館
Izu Centre of Traditional Performing Arts

同志社大学チャペル
Doshisha University Chapel

BL Project

Daegu Gosan Public Library
デグゴサン市立図書館

Haus der Zukunft Berlin
未来館 ベルリン

Zucca Restaurant
ズッカ

F&F Project

内にひらく家
House that opens up to its inside

Tohoku to the Future
未来遺産 – Creating Heritage

Tokyo Designers Week 2011
東京デザイナーズウィーク2011

Music & Space: Workshop in Yonesaki
音楽と空間: 米崎小学校

Echigo Tsumari Australia House

Toké 7
土気 7

雪の中の二軒
Two Roofs in the Snow

MOJAMOJA Lights

Nakadai Project
ナカダイプロジェクト

House on the Slopes
斜面の家

高田馬場の家
House in Takadanobaba

‘A’ House in Kisami
吉佐美のA邸

L House in Hirafu
ヒラフのL邸

Tile Turbulence

A Symmetry

The Rings of Dubai

neon

軽井沢の家
House in Karuizawa

RG Project

Strategies in the Wild

Berlin-Tokyo/Tokyo-Berlin
東京ベルリン/ベルリン東京

Teleconference

Geocoque

dalas

Searching for Urbanism:
Anti-Masterplanning the City