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: Diana Balmori (Winter 2009/2010)

Diana  Balmori
COMPETITIONS: What brought you to landscape architecture in the first place. And whom did you first look to as a model?

Diana Balmori: When I got my Ph.D. in history, it was the study of public open spaces in cities. The experiences of landscape had to do more with the amount of time I spent in back country in northwest Argentina, north of Chile and south of Bolivia. My father was a linguist and was studying American Indian languages there. We spent a lot of time going out on horseback in deserted landscapes where the Indians lived. Those experiences were very powerful, just the feeling of space. That experience is not a direct one, but it’s always been an active ingredient in thinking about space. The other one was just the issue of the space inside cities.
As for model, I got into landscape because I started writing about Beatrix Farrand, and I encountered a cache of documents at the New York Historical Society about her correspondence with the architect Lawrence White, the son of the famous architect. It concerned this place in Washington. Nobody had any idea about how she had designed it and how she was involved. So here was this incredibly long correspondence about this. I wrote about how in fact all the decisions were being made about the design. She had been forgotten, and there was very little written about her. So after that I some digging on her work on her work at Princeton and her work at Yale, and at Princeton I also discovered a book at Princeton of the actual design and caring for the landscape for about twenty years there. I found it an incredibly wonderful document from which to learn. It was the basis of my learning and getting interested in landscape. After that I decided I wanted to do landscape (design) and not write about it.

 

Bilbao Jardin, Bilboa, Spain (click to enlarge)

 

COMPETITIONS: When one sees your body of work, which are significant for the number of competitions you have participated in, one might assume that you are located in Europe, rather than in this country. It would appear that much of your work has come as the result of competitions. How did you get so deeply involved in that area?

 

DB: At one level, it’s the only way for a person who comes in from the outside for getting jobs. You’re starting an office, so where do you go to? I didn’t have any connections to say, ‘Give me a job.’ So from the beginning I jumped into competitions from day one, and I have pursued them very actively. Now we get into invited competitions and more direct commissions.

COMPETITIONS: Along the way, you must have learned something from these competitions.

 

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