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: Will Alsop (Winter 2002)

 

with George Kapelos

 

Interview 1
Swansea Literature Center (competition 1993)


KAPELOS: What led you to architecture?

 

ALSOP: I want to start by saying that I never remember not wanting to be an architect. Why that should be I have no idea. I grew up in England in Northampton near a Peter Behrens house. It was one of the first modern movement houses in the UK, built around 1926 and it had an interior done by Charles Rennie Mackintosh. As a child you were always aware of this house. My parents had different views on this house. My mother thought it was incredibly ugly, while my father, who was 64 when I was born, hated Victorian architecture. Their views influenced me. I got to like the house—I even found it fascinating—it was comfortable and I responded to its ambiance. Plus it had extraordinary furnishings, so I guess this is where I started.

 

KAPELOS: What were your earliest experiences with architecture?

 

ALSOP: My father died when I was quite young—I was 15—and I went to work for a local architectural firm. This office was not what I considered to be 'architecture.' I measured buildings and did rudimentary working drawings. The practice was disappointing. One of the partners, Brian Pennock, thought of the design process as first getting the plan right and then designing the building's elevations. It struck me curious that you wouldn't think of the building as a whole. The plan and the object were one, in my thinking. Pennock was trained along the lines of 'form follows function.' In this line of thinking everything would come from the plan. Pennock, in my opinion, was deliberately obscuring his sensibility. I have been suspicious of this or any methodology ever since. You can teach people to build, but 'architecture' is something else. That's what I want to be paid for. The something else, that's where you put the most value.

 

Pompidou Centre

Second Place, Centre Georges Pompidou competition (1971)

 

KAPELOS: What about your early exposure to art and sculpture?

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