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: Craig Hartman FAIA of SOM (Spring 2000)

 

 

SOM 5 SOM 4
View from rooftop of San Francisco Airport International Terminal View to skylights from terminal interior

 

COMPETITIONS: What led you to the study of architecture?

 

HARTMAN: It wasn't so much architecture, as what architecture is about. When I was a kid I loved to draw and paint, loved science and, to a certain extent, math. Growing up in the sixties, when NASA was in the news, I was probably one of the millions who thought that space and science was the greatest thing. So I did all these science fairs and was even invited to some schools which had engineering programs. When I saw what it was actually about—the curriculum—it seemed very dry to me, not nearly as exciting as I had imagined it to be. My father was absolutely adamant that I not become an artist. At about that time one of my cousins, who was taking a course on architecture in college, came home. I saw the work and felt it was really interesting stuff. Initially to me architecture as an idea was more the pieces which made up architecture rather than the excitement of designing buildings. In fact, my understanding of architecture as a kid in Indiana was that of an arcane profession—certainly not cutting edge. When I discovered through one of my teachers that Ball State University had just undertaken the first architecture program in the state, I felt I should check it out, especially since our family finances precluded my going to an out-or-state school. It turned out to be an incredibly great experience.

 

sfia01 SOM 8
SOM 1
San Francisco Terminal: vehicle approach to airside (above, left); plan (above, right) and structural concept (below)

 

COMPETITIONS: That was still when the program was based in quonset huts?

 

HARTMAN: It was. And those were great times. The school was all in one place, and I believe that students often learn as much from one another as they do from faculty. We had some very energized young faculty there at the time, and that was a huge part of it. Tony Costello, for instance, was a huge influence on me.

 

COMPETITIONS: It was a great experiment.

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