Nuragic and Contemporary Art Museum

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Nuragic and Contemporary Art Museum

The aim of the project is to create a node of cultural exchanges that simultaneously serve as a landmark announcing the arrival to Cagliari from the sea, and answer the fi ve challenges proposed by the brief. Through the interconnection of the inner circulation with the public paths and the alternation of open spaces and cavities, the building shares its public dimension with the city. Moreover, it geometrically aligns along the axis of the sea, and extends its arms towards the quarter and the stadium of S. Elia, connecting and assimilating itself to the site. Architectural concept The new museum is like a coralline concretion, empty inside, hard and porous on the external surface, able to accommodate, in a continuous osmotic exchange with the external atmosphere, cultural activities in a lively and changing environment. At times it assimilates to the ground, creating a new landscape, while at others it acquires a strong mass defi ning the new skyline. The open and dynamic quality of the shape is also pursued inside the building, where the circulation of the visitors through the exhibition, information and commercial paths determine the geometry of the spaces. The erosion that forms a great cavity inside the building articulates the volume in a succession of open spaces for exhibition, places of aggregation and occasions for installation of contemporary art. Such spaces, visible from a variety of viewpoints, satisfy the perceptive and the aesthetic dialogue between the contemporary and the Nuragic art. The inner cavity allows the genesis of two continuous skins, one contained within the other. The museum program is placed between the “external skin” of the facade system, and the “inner skin”, equipped with a fl exible serial system of anchorage and electrifi cation, that allows multiple uses of surfaces/ walls for installations or video projections. Paths The communication, contemporary and Nuragic exhibitions, and the public paths crossing the building and intercepting each other, create the fl uid structure of the building, allowing a variety of uses and confi gurations. The vertical and oblique elements of circulation create zones of interference and turbulence creating a visual continuity between the different parts of the building. The public path The public commercial path allows visitors to cross the building in parrallel with the path along the sea. It offers in sequenced areas a store, bookshop, bars, restaurants, and the systems of logge where outdoor pieces of art could be accommodated. The exhibition paths The path of the communication area is articulated along the “loggiato” of the ground fl oor in continuous dialogue with the courts/external cavity. The contemporary art exhibition path starts from the ground fl oor, crossing the building until the open “logge” of the top fl oor. The Nuragic art exhibition path from the ground fl oor slides between the two skins of the building allowing a more intimate vision of the works of art without sacrifi cing the view on the great central space. Phasing – morphology and strategy The vital metaphor governing the museum proposal becomes clear within the phasing plans: as with living organisms, the growth of the museum will be self-regulated. It will happen naturally when the conditions of a mature balance between the economic atmosphere and philanthropic and cultural environment are reached. Phase 1 This phase constitutes approximately 50% of the new cultural centre and includes the realization of: all the spaces to high profi t • wide spaces of aggregation to the indoor and outdoor: the event space situated in the central cavity, the external cave and the vault used for installations, to correct the chronic lack of visibility of the contemporary art and young artists. • all activities related to communication apart from the large conference hall. • all offi ces, with the aim to start all the necessary activities of management and marketing of the various departments of the museum a small but signifi cant part of the exhibition spaces to generate further interest to create a place for the dialogue between the arts over time. Phase 2 The consolidation of the museum complex in every new phase transforms the landscape. The second phase is constituted by the completion of the exhibition spaces with other related spaces, including the library and conference hall. This construction, in adhesion with the building of phase one, takes advantage of the existing distributive system, completing it and supplying a new facade on the entrance court. Phase 3 Phase 3 comprises the extension of phase 2 towards the city of Cagliari. It is an isolated building that accommodates the Research Laboratories. It will be connected to the rest of the museum through a “connecting carpet”, in order to offer a privileged site by the sea for performance and the production of the adjacent research laboratories.Urban strategyThe aim of the project is to create a node of cultural exchanges that simultaneously serve as a landmark announcing the arrival to Cagliari from thesea, and answer the fi ve challenges proposed by the brief. Through the interconnection of the inner circulation with the public paths and the alternationof open spaces and cavities, the building shares its public dimension with the city. Moreover, it geometrically aligns along the axis of the sea, andextends its arms towards the quarter and the stadium of S. Elia, connecting and assimilating itself to the site.Architectural conceptThe new museum is like a coralline concretion, empty inside, hard and porous on the external surface, able to accommodate, in a continuous osmoticexchange with the external atmosphere, cultural activities in a lively and changing environment. At times it assimilates to the ground, creating a newlandscape, while at others it acquires a strong mass defi ning the new skyline.The open and dynamic quality of the shape is also pursued inside the building, where the circulation of the visitors through the exhibition, informationand commercial paths determine the geometry of the spaces.The erosion that forms a great cavity inside the building articulates the volume in a succession of open spaces for exhibition, places of aggregationand occasions for installation of contemporary art. Such spaces, visible from a variety of viewpoints, satisfy the perceptive and the aesthetic dialoguebetween the contemporary and the Nuragic art. The inner cavity allows the genesis of two continuous skins, one contained within the other. The museumprogram is placed between the “external skin” of the facade system, and the “inner skin”, equipped with a fl exible serial system of anchorageand electrifi cation, that allows multiple uses of surfaces/ walls for installations or video projections.PathsThe communication, contemporary and Nuragic exhibitions, and the public paths crossing the building and intercepting each other, create the fl uidstructure of the building, allowing a variety of uses and confi gurations. The vertical and oblique elements of circulation create zones of interferenceand turbulence creating a visual continuity between the different parts of the building.The public pathThe public commercial path allows visitors to cross the building in parrallel with the path along the sea. It offers in sequenced areas a store, bookshop,bars, restaurants, and the systems of logge where outdoor pieces of art could be accommodated.The exhibition pathsThe path of the communication area is articulated along the “loggiato” of the ground fl oor in continuous dialogue with the courts/external cavity. Thecontemporary art exhibition path starts from the ground fl oor, crossing the building until the open “logge” of the top fl oor. The Nuragic art exhibitionpath from the ground fl oor slides between the two skins of the building allowing a more intimate vision of the works of art without sacrifi cing the viewon the great central space.Phasing – morphology and strategyThe vital metaphor governing the museum proposal becomes clear within the phasing plans: as with living organisms, the growth of the museum willbe self-regulated. It will happen naturally when the conditions of a mature balance between the economic atmosphere and philanthropic and culturalenvironment are reached.Phase 1This phase constitutes approximately 50% of the new cultural centre and includes the realization of: all the spaces to high profi t • wide spaces of aggregationto the indoor and outdoor: the event space situated in the central cavity, the external cave and the vault used for installations, to correct thechronic lack of visibility of the contemporary art and young artists. • all activities related to communication apart from the large conference hall. • alloffi ces, with the aim to start all the necessary activities of management and marketing of the various departments of the museum a small but signifi cantpart of the exhibition spaces to generate further interest to create a place for the dialogue between the arts over time.Phase 2The consolidation of the museum complex in every new phase transforms the landscape. The second phase is constituted by the completion of theexhibition spaces with other related spaces, including the library and conference hall. This construction, in adhesion with the building of phase one,takes advantage of the existing distributive system, completing it and supplying a new facade on the entrance court.Phase 3Phase 3 comprises the extension of phase 2 towards the city of Cagliari. It is an isolated building that accommodates the Research Laboratories. It willbe connected to the rest of the museum through a “connecting carpet”, in order to offer a privileged site by the sea for performance and the productionof the adjacent research laboratories. The public path The public commercial path allows visitors to cross the building in parrallel with the path along the sea. It offers in sequenced areas a store, bookshop, bars, restaurants, and the systems of logge where outdoor pieces of art could be accommodated. The exhibition paths The path of the communication area is articulated along the “loggiato” of the ground fl oor in continuous dialogue with the courts/external cavity. The contemporary art exhibition path starts from the ground fl oor, crossing the building until the open “logge” of the top fl oor. The Nuragic art exhibition path from the ground fl oor slides between the two skins of the building allowing a more intimate vision of the works of art without sacrifi cing the view on the great central space. Phasing – morphology and strategy The vital metaphor governing the museum proposal becomes clear within the phasing plans: as with living organisms, the growth of the museum will be self-regulated. It will happen naturally when the conditions of a mature balance between the economic atmosphere and philanthropic and cultural environment are reached. Phase 1 This phase constitutes approximately 50% of the new cultural centre and includes the realization of: all the spaces to high profi t  • wide spaces of aggregation to the indoor and outdoor: the event space situated in the central cavity, the external cave and the vault used for installations, to correct the chronic lack of visibility of the contemporary art and young artists.  • all activities related to communication apart from the large conference hall.  • all offices, with the aim to start all the necessary activities of management and marketing of the various departments of the museum a small but signifi cant part of the exhibition spaces to generate further interest to create a place for the dialogue between the arts over time. Phase 2 The consolidation of the museum complex in every new phase transforms the landscape. The second phase is constituted by the completion of the exhibition spaces with other related spaces, including the library and conference hall. This construction, in adhesion with the building of phase one, takes advantage of the existing distributive system, completing it and supplying a new facade on the entrance court. Phase 3 Phase 3 comprises the extension of phase 2 towards the city of Cagliari. It is an isolated building that accommodates the Research Laboratories. It will be connected to the rest of the museum through a “connecting carpet”, in order to offer a privileged site by the sea for performance and the production of the adjacent research laboratories.

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38 photos and 8 drawings