A Museum as Entertainment Landscape

 

The Taoyuan Museum of Arts Competition

 


Courtesy: TMOA ©Joe Shih. Architects + Riken Yamamoto and Field Shop

 

 

The competition for the Taoyuan Museum of Arts is similar to now what has become the typical invited format for major projects in Taiwan. In this case, 14 architectural teams submitted their qualifications, and four qualified for the second competition stage. They were Q-LAB + menacoo architecten, Joe Shih. Architects + Riken Yamamoto and Field Shop, Ricky Liu & Associates, and JJPan and Partners, Architects and Planners + MVRDV.

 

 

After the final evaluation was took place on the 28th of February 2018, Joe Shih. Architects + Riken Yamamoto and Field Shop were named the winners with a proposal developing the Museum of Arts as a entertainment landscape hill in the heart of Taoyuan City. Different from most high profile art museums that have appeared on the international scene over the past decades, this one depends almost entirely on a landscape motif as attraction, not a building as symbolic structure. It could be described as a terraced pocket park, with a number of follies on view.

 

 

 

 

 

This museum has three layers of space; the Cube, the Hill and the Inbetween. The Cube is an enclosed exhibition space, and the Hill is a landscape that contains attractions . The Cube and the Hill are connected by the Inbetween, inside of which one can find art installations, performing art and workshops. in addition the terraces include an outside theater. All this is connected by an “inclined lift,” which will connect the various venues. The pop-up boxes serve as multipurpose spaces for commercial and additional exhibition spaces, where artists can sell their works.

 

 

 

Although we haven’t seen the works of the other competitors at this writing, we can assume that the winning design was somewhat of an outlier in the minds of many. But sometimes it takes a totally different approach to win a competition. The final ranking of the participating teams was:

 

 

• First place – Joe Shih. Architects + Riken Yamamoto and Field Shop (Japan)
Second place – Ricky Liu & Associates
Third place – JJPan and Partners, Architects and Planners + MVRDV (The Netherlands)
Fourth place – Q-LAB + menacoo architecten (The Netherlands)

 

 

 


Images: courtesy TMOA ©Joe Shih. Architects + Riken Yamamoto and Field Shop

 

 

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Recent Archive Updates

Interview: James Mary O’Connor FAIA (Winter 2017)

After receiving his Diploma in Architecture from the Dublin Institute of Technology and BS in Architecture from Trinity College in Dublin, James received his Masters in Architecture from the University of California, Los Angeles while a Fulbright Scholar in the U.S. Shortly after his time as a student in Charles Moore’s Master Class at UCLA, he joined the Moore firm in Los Angeles, now Moore Ruble Yudell. Beginning in the late 1980s, he was involved in the firm’s many projects in Germany, many of which dealt with masterplanning and the construction of large housing, primarily in Berlin. Subsequently, he was involved in the Potatisåkern Master Plan & Housing, as well as the Bo01 Housing Exhibition, both in Malmö, Sweden.
James was MRY’s point person in its subsequent involvement with the firm’s many projects in the People’s Republic of China, beginning with their winning competition proposal for the Century Center project in Beijing. Although unbuilt, it didn’t escape the notice of the Chinese, who invited the firm to participate in a competition for the Tianjin Xin-He large neighborhood masterplan—which they won. This was followed by the 2004 Chun Sen Bi An Housing Masterplan competition in the city of Chongqing, located in central China—completed in 2010. This high profile project resulted in a number of affordable and high-end housing projects throughout China. The firm’s most remarkable sustainability project was the COFCO Agricultural Eco-Valley Master Plan project outside Beijing, envisioned to become the first net zero-carbon project of its kind in the world.
In the meantime, the firm’s focus in China has evolved from its concentration on housing to institutional projects, such as the Shanghai University of Technology‘s research buildings. In the meantime MRY has been noted as a leader in the design of campus projects in the U.S. and abroad, as well as numerous government projects—courthouses and embassies.

 

 

Interview: Dattner Architects (Summer 2007)


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Goodwill Games Swimming and Diving Complex, New York, NY (Photo: Peter Mauss/ESTO)


COMPETITIONS: What led you to choose architecture as a profession?

 

RICHARD DATTNER: It’s a little like Dustin Hoffman in the movie The Graduate. I already wanted to be an architect in the seventh grade, when I was building architectural models. When I was in high school, somebody whispered to me “electronics.” “Since architects don’t make money, you should study something that has a real future.” So I actually went to MIT thinking I would become an electrical engineer. I realized you couldn’t see any of those little things zipping around—the electrons, etc. My next door dorm-mates, actually three architects from New York,--Andy Blackman, Peter Samton and Jordan Gruzen, were three years ahead of me and were having a lot of fun—building models, beautiful girls came in and out of their dormitory rooms. I thought, “I’ll have what they’re having.” Luckily, at MIT, the first year is the same for whatever your major will ultimately be; so I switched back to my original love. From there, I never looked back.

 

COMPETITIONS: MIT was different than Harvard when you were there. At Harvard, where they had very strong deans—Gropius and Sert—everything that the students turned out looked pretty much the same. At MIT it was different.

 

RD: MIT was a kind of ‘Let a Hundred Flowers Bloom.’ They had some wonderful people, some of whom were rejects from Harvard, .i.e. Joseph Hudnut, who had been the dean at Harvard. Other great professors included Lewis Mumford, Kenzo Tange, Leonardo Ricci, Georgy Kepes, Richard Filipowski, Lawrence Anderson, etc.

 

COMPETITIONS: What effect did your stay at the Architecture Association in London have on you?

 

RD: During my junior year at MIT, I had an opportunity to take the middle year of my 5-year stay at MIT at the AA. There I had a similarly interesting roster of people—James Stirling and many of the British “brutalists.” It was a good antidote to America. In those days in America, Edward Durrell Stone was the hero, producing a kind of “surface architecture,” which by the way is probably going on today. So what goes around, comes around. When I was in London in 1957/58, London was still recovering from the war—there were still bombed-out sites. So architects were much more brutal and honest—Corbusier was a hero. The London County Council was doing incredible social housing, some of it based on the Unité d’habitation of Corbu. There was a lot of fascinating school design going on. As an interesting time, it was a real kind of antidote to the postwar, feelgood (trend) then current in the United States.

 

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Courtlandt City Hall, Courtlandt, NY - Winning Competition entry, 1976 (unbuilt)

COMPETITIONS: When you started your own firm in New York, you were doing a lot of playgrounds. Is there some kind of logical progression from that genre to designing schools?

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