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Regional Museum of Contemporary Art of Viña del Mar

Part 2 Project 1998
Rodrigo Gonzalez
University of Valparaiso Valparaiso Chile
REGIONAL MUSEUM OF CONTEMPORARY ART OF VIÑA DEL MAR


THE MUSEUM

Every masterpiece of architecture questions the conventionality in its assignments of constantly redefining the human capability of placing itself in space.
The building in the light of its actual function
A place where you observe, learn and experiment.
Sensible experience under the principle of freedom of thinking, observing and interpreting.
The museum that researches and teaches, introduces you to the art world.
There's a review of its place in the city, from the surroundings, to downtown structures, built in diversity.


THE PROGRAM.

It is distributed in three big programming areas:

- Management: Direction and complementary departments.

- Expositions: Temporary, permanent an didactical expositions

- Support services: Auditorium, library, audiovisuals, and workshop.


THE SPATIAL ENVIRONMENT:

This building is situated in the park-plaza of the Cultural Centre "Palacio Carrasco" in Libertad Ave. Between 3 an 4 North St.

Silent place, for studied pastime, downtown from the "regular traced" part of town and with a notorious plaza destiny.


ARCHITECTURAL SHAPE:

Preliminary research shows the "surroundings" you have to be aware of when confronting to art masterpieces. A proportion between format and exhibition space.

One to the other, as a leading idea: slight shape, as a whole on the outside, and divided on the inside.

The reference to its formal traces: a structure from an organic order SHEATH

A rising mantle from the park level to Uno Oriente St.up to the traditional Spanish square height, now being disintegrated by the contemporary lifetime:

The park as a baseboard of the palace


On the inside, a plan based on a series of halls, galleries and exposition areas, partially buried, it is given an axial circulation order.

The project builds the endorsement to the Palace and a breadth to Libertad Ave.; brings into presence the back facade that somehow was lost. It slightly works on this space.

It is important to notice that the project does not touch the palace but it gives potency to it.


MATERIALITY

Both ideas of a slight intervention, as well as the restriction on resources, lead to the conviction that the best to do is to apply for the conventional structural and constructive systems in order to resolve as precisely and accurately as possible the materialisation of this architectural work.




Rodrigo Gonzalez


The pre-grade certificate workshop is the student's last chance to formulate any questions to himself in the creative limits of this discipline.

This way the workshop is being approached as an investigation process about the ways of turning into an archictonic order.

What is asked from the student is that he "experiments a creative counscience that is of an ever growing level" as Louis Kahn says refering to the creative process.

This way, at the beginning of the term, the student doesn't know anything about the program or the place where the project will be developed. He must have an idea of the basis derived from the investigation that will lead to the right program and the most adequate place that may demonstrate in plenitude the architectonic fundaments.

In this case the project gives a correct respond to the needs of the city where is summoned, it has an adequate size and an accurate program.

The concern on measure and intern order as well as the singular spatiality, are values that succeed in presenting an architecture without aggresivity and no pretension of dominance.

An architectonic event that remains in the inhabitant memories after having seen it by its tangencial and ethereal characteristics.

1998
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