반응형
두개의 빨간색 피라미드가 먼저 눈에 들어 온다.
두개의 피라미드가 무엇일까라는 생각 먼저 들어 온다.
타워, 사일로, 굴뚝, 등대와 유사해 보인다.
마치 건축가 그렇게 보여주기를 바라는 듯이...
하지만 건축가는 비춰지는 모습은 단순히
양식의 형태만을 따를 뿐 이라고 말하고 있다.
그가 말하는 피라미드는 '영혼의 굴뚝'
마음의 창? 정도로 이해 된다.
이번 플리쳐상을 받은 건물이라고 한다.
겉으로 보이는 단순한 두개의 피라미드와
적색 콘크리트만으로 이 상을 받을 수 있을까?
언젠가 우리나라에서도 퓰리처상을 받을 수 있는
건축가가 나올거다.
분명 보여지는 것보다 곱씹어 보면 볼 수록
진국이 나오는 건축물이지 않을까 싶다.
The Casa das Historias Paula Rego was designed by the architect Eduardo Souto de Moura. The building makes use of certain aspects of the region’s historical architecture, which is here reinterpreted in a contemporary way. It can be immediately recognised thanks to its two pyramid-shaped towers and the red-coloured concrete used in its construction.
The land and trees which previously existed at the site are incorporated
as fundamental elements, while four wings, of varying heights and
sizes, make up the building. The building itself is subdivided into
rooms which lead into one another and are laid out around the higher
central room which houses the temporary exhibition. The building’s
interior has 750m2 of exhibition space, on top of the technical and
service areas, and is decorated in neutral shades and paved with the
blue-grey marble of Cascais. The building also houses a shop, a café which opens onto a verdant garden and an auditorium with 200 seats.
The building’s design is fully in keeping with the artist’s wishes, and it was Paul Rego herself who was responsible for the choice of architect. It meets all the requirements for a museum and its various functions, without forgetting the need to give visitors a warm welcome.
“With the Casa das Historias, it can be said that Eduardo Souto de Moura has adopted and almost ‘regionalist’ approach, distancing himself from the modem abstractionism that has been a dominant feature of his work. It is, however, an uncritical regionalism, that avoids the sense of ‘resistante’ which lay behind other attempts at the approach in Portugal in the 1980s. In this museum created for Cascais, Souto de Moura associates certain formal devices with a legacy of architectural composition, adopting specific formulas for the building’s insertion in the surrounding area as well as a use of scale which can be easily contextualised in a very specific type of geography. Its close proximity to the work of Raul Lino is therefore set in a “Southern” landscape, without resorting to any unnecessary decorative or picturesque frills.”
“With this museum, Souto de Moura develops a form of “modern-day
architecture” without, in fact, repeating any of the “old models” – in
keeping with the ideas defended by Aldo Rossi in his scientific
autobiography – evoking timeless archetypes from urban iconography:
towers, lighthouses, silos and chimneys, like the ones that define the
profile of the Palacio de Sintra. It is therefore not surprising, if one
continues the “analogy”, that, when describing this museum, Souto de
Moura also mentioned the pronounced roofs of Raul Lino’s palaces, or the
idea of an “inhabited chimney”, evoking that of the kitchen in the
monastery of Alcobaca_ In fact, in its best interpretation, the Casa das
Historias can be seen as a “historicist” project, a condition that will
certainly surprise Souto de Moura’s most faithful followers and
confound his harshest critics.”
from archdaily
The building’s design is fully in keeping with the artist’s wishes, and it was Paul Rego herself who was responsible for the choice of architect. It meets all the requirements for a museum and its various functions, without forgetting the need to give visitors a warm welcome.
“With the Casa das Historias, it can be said that Eduardo Souto de Moura has adopted and almost ‘regionalist’ approach, distancing himself from the modem abstractionism that has been a dominant feature of his work. It is, however, an uncritical regionalism, that avoids the sense of ‘resistante’ which lay behind other attempts at the approach in Portugal in the 1980s. In this museum created for Cascais, Souto de Moura associates certain formal devices with a legacy of architectural composition, adopting specific formulas for the building’s insertion in the surrounding area as well as a use of scale which can be easily contextualised in a very specific type of geography. Its close proximity to the work of Raul Lino is therefore set in a “Southern” landscape, without resorting to any unnecessary decorative or picturesque frills.”
from archdaily
그리드형