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The Soumaya Museum will be a state-of-the-art facility that will house a diverse collection of art when it opens by the end of 2010.


While museum buildings tend to opt for maximum functionality, in which case they are basically boxes or containers of art, or they are conceived as iconic buildings that represent a city during a particular historic moment.

The Soumaya Museum, however, was conceived as a sculptural buildings that is both unique and contemporary, yet serves to house a diverse collection of international painting, sculpture, and object art from the 14th century to the present, including the world's second biggest collection of Rodin sculptures.


From the outside, the building is an amorphous shape that inspires different experiences in each visitor, while inside the museum the varied topology reflects the diversity of the collection of art.


The shell of the building is constructed with steel columns of different diameters, each with their own geometry and shape, which offers the visitor a non-linear circulation. There are 20,000 square meters of exhibition space divided amongst five floors, as well as an auditorium, café, offices, store, multi-use lobby and storage space. The top floor is the largest space within the museum, and its roof hangs from a cantilever that creates natural lighting. The façade of the building is made from translucent concrete, a very airy yet solid material that allows light to filter in.


LAR / Fernando Romero

LAR / Fernando Romero is an architect and entrepreneur that started in Mexico on the year of 2000 as LCM pursuing a new direction in the architectural practice by generating unprecedented spaces, exploring uncharted geometries, developing the use of new materials and applying current building methods, as well as re-thinking the prevailing discourses. The office is continually engaged on international competitions, either by invitation or open participation. Since 2006 LAR (Laboratory of Architecture) is developing projects in the U.S.


LAR has been recognized with the following awards: (Global Leader of Tomorrow) in 2002 in the World Economic Forum (WEF), Red Dot Award: best of the best for Bridging Tea House 2006, Bauhaus Award 2005 for Villa S. March 2006, Pamphlet Architecture Prize to Fernando Romero for Translations, SARA Prize (Society of American Registered Architects 2005) for Ixtapa House, International Bauhaus Award 2004, Dessau, Germany. Semifinalist, 2004 Vanceva Design Award, U.S. Winners (Palmas Corporative Building), “If... Then” The Architectural League, Young Architects, New York, U.S., 2004. Winner 1st Prize FX International Interior Design Awards 2003 (Ixtapa House). Dedalo Minosse (Honorific Mention 2005) for Inbursa Headquarters, Miami Biennale 2003 e-Competition: “Possible Futures”, Metropolis Next Generation” with Hyperborder 2050 (book of the border between Mexico and USA) Semifinalist.


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Il faut admettre que c'est spectaculaire. Cependant, je ne sait pas ou une oeuvre semblable pourrait bien "fitter" à Montréal. Je ne dirais pas automatiquement non, mais ça serait à discuter.


Une chose que j'aime moins sur ce batiment: la "texture". Ça me fait penser aux murs de la station Berri-UQAM...

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Si c'etait construit a Montreal, je ne m'y opposerais pas parce que meme si j'aime pas, c'est certainement audacieux.


Par contre, c'est surtout un trip d'architecte qui s'integre mal; le contact avec la rue est pauvre, ca va vieillir tres mal cote fonctionnel (penser a la pollution sur les tuiles blanches) et artistique (ca va dater rapidement).

C 'est une abstraction, pas un edifice convivial. De l'exterieur en tous cas.

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J'ai déjà vu un chapeau dans un défilé de mode qui ressemblait à ça !! La plupart du temps ce que l'on voit dans les défilé de mode n'atteitn jamais le marché. Dieu merci !!

Il est vrai que cet édifice ne peut absolument pas s'intégrer nulle part au monde. Je ne crois pas que les architectes et les commanditaires aient jamais souhaité un édifice qui s'intègre à son environnement parce qu'autrement c'est raté !! :D

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