Showcasing some of the leading regional and international artists – many of whom will be presenting their work in the Middle East for the first time – Leila Heller Gallery is the largest privately held public art gallery in the Middle East. Located in one of Dubai’s most distinguished art hubs, Alserkal Avenue, the gallery consists of two warehouses merged with one another and transformed into a fully functioning gallery space.
Diablo Rosso is a creative think tank and art gallery established in 2006 and based in Panama City. Since its birth, SKETCH and Diablo Rosso have worked together in the design of spaces that foster critical thinking towards arts, politics, and culture. The gallery has recently relocated to the ground floor of a landmark commercial building dating from the 1930s; recognized for formerly being one of the largest department stores in the city and due to its prime location across Santa Ana square, a meeting point for the community and heart of the Santa Ana neighborhood. Today this busy commercial street is a bustling pedestrian avenue crowded with street vendors and loud music; a one of a kind scenario that boosts the gallery’s main driver: encourage the public’s appreciation for contemporary art through the generation of impact in the surrounding community.
The clients’ idea of an art gallery was that art and nature are intertwined and art should be presented in a natural environment. Throughout the hotel property various art installations can be found. By being in nature one should be more receptive to see and feel art, according to the hotel owner. The art gallery has to host changing exhibitions offering clients a variation of art. This art gallery was built by a community eco-building cooperative that was aided by CRU! Architects. The idea of this social building project was to provide training and job-development for a deprived community. After the community center, commissions were sought outside of the village of Camburi in order to have economic return for the cooperants, of which this art-gallery is an example. The entire bamboo-structure was executed by the local cooperative, whilst the brickwork, excavations and foundations were done by the local workers from the farm which the hotel is located on.
A significant new addition to the cultural landscape of the UK’ s capital; Science Gallery London is an extraordinary project that fuses the innovative programme of Science Gallery International with the research strengths of King’ s College London. LTS Architects was appointed by the client, King’s College London to design the new Gallery and unlock the full potential of the site. Housed within the Grade II* listed Boland House, part of the original Guy’s Hospital, opposite London Bridge Station, the Gallery will engage visitors with a programme blending science, art, and technology.
espacioSOLO is the headquarters and archive of an art collection. It gives shelter to an artistic panorama linked to post-pop and post-street-art movements in all formats. It aims to bring artists closer to the people, to excite young people with the world of creativity, to stimulate a thousand conversations, and to explore new ways of looking and thinking. It is a place of work, an environment for the sheer pleasure of being lost in time, a multifunctional meeting point, and a scenario that allows people to connect and participate in multiple conversations.
This is the story of the conversion of a regular, standard flat into a photography studio, private house, and an art gallery. The apartment is located on a quiet street parallel to a busy boulevard in Alsancak, one of the most densely populated neighborhoods in Izmir. The brief was to design the ground floor and the upper floor of this apartment which was part of a five-story housing block on this calm and green street, to be used as a photographic studio. During the design process, together with the client, it was agreed upon that this place could go beyond being just a photographic studio.
Located in the downtown Seattle neighborhood of Belltown, Block 41 celebrates the legacy of an historic warehouse while transforming it into a contemporary, multipurpose event space. The 15,000-square-foot, two-story, brick-and-heavy-timber building began its life in 1927 as an ice warehouse. Over the years it was subject to multiple renovations and modifications, resulting in the fragmentation of the building’s large volumes into a series of dark and maze-like rooms. The new design highlights the building’s history by stripping away later insertions and partitions to reveal its hard-won patina, while simultaneously opening up the volumes to create spaces large enough for formal events, yet flexible enough to accommodate intimate gatherings.
This article was originally published on August 14, 2014. To read the stories behind other celebrated architecture projects, visit our AD Classics section.
When Lina Bo Bardi received the commission to build a new museum of art on São Paulo’s Terraço do Trianon, she was given the job under one condition: under no circumstances could the building block the site’s panoramic vistas of the lower-lying parts of the city. This rule, instituted by the local legislature, sought to protect what had become an important urban gathering space along Avenida Paulista, the city’s main financial and cultural artery. Undeterred, Bo Bardi came up with a solution that was simple and powerful. She designed a building with a massive split through its midsection, burying half of it below the terrace and lifting the other half into the sky. As a result, the plaza remained open and unobstructed, and in 1968, the iconic São Paulo Museum of Art (MASP) was born.
This article was originally published on April 27, 2017. To read the stories behind other celebrated architecture projects, visit our AD Classics section.
Even at the Vitra Campus in Weil-am-Rhein—a collection of furniture factories, offices, showrooms, and galleries, many of which are the products of iconic architects—the Vitra Design Museum stands out as exceptional. With its sculptural form composed of interconnected curving volumes, the museum is the unmistakable work of Frank Gehry – an architect who has built a legacy for himself upon such structures. What may not be immediately apparent is the crossroads that this serene white building represents: it was in this project at the southwestern corner of Germany (close to the Swiss border) that Gehry first realized a structure in the vein of his now signature style.
Museum Boijmans Van Beuningen and the Museo Nacional del Prado in Madrid both have unique collections of oil sketches by Peter Paul Rubens (Siegen 1577-Antwerp 1640). For years they have shared a wish to bring together the finest works from their collections and complement them with masterpieces from other museums to create an unprecedented overview. Rubens was the master of the oil sketch. He was the first artist to prepare a great many of his important compositions by painting sketches on panel. Whereas Rubens’s large works are sometimes described as hackwork, in part because of the contributions often made by assistants, the brilliant, virtuoso – almost impressionistic – touch of the master himself is always present in his oil sketches.
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