Monday 4 July Paper 2 15h45/16h00 Interdisciplinary Dialogues: Architecture and Museums Alessandra Labate Rosso (Brazil) ICAMT Board Member

ICOM 24th General Conference Museums and cultural landscapes 3 9 July 2016, Milan, Italy Monday 4 July Paper 2 15h45/16h00 Interdisciplinary Dialogues: Architecture and Museums Alessandra Labate Rosso (Brazil) ICAMT Board Member

Interdisciplinary Dialogues: Architecture and Museums Guidelines for the architecture and the museum project management and the importance of having an interdisciplinary team from the beginning. Brazilian examples.

The craft of the Architect is a Collaborative work. It s true that there are moments of solitude, even because if you talk too much in the end you will know everything and understand nothing. Architecture is a mix of artistic inspiration and science: this means that creativity in the development won t be monotonous because you have to think the technique, the calculus, materials, constructing process. Then inevitably you are not alone, and it is not true that you have an idea and others will make it happen: it is exactly the opposite of the artistic sense I give my craftsmanship. There are the steps of the circular process: have an idea, verify it on the viability level or consider how to build it and then go back. The correct way to proceed in the making of architecture, I am pretty sure, is not one of starting from the generalist and moving to the specifics. It is that, but at the same time, it is also the exact opposite, that is to start at the specific and move to the generalist." ARCH. RENZO PIANO.

Dialogue with the Surroundings Selecting the place to establish the new museum. Prepare for the impact this new museum will have on the city, neighborhood, and in the environment. Issues relating to organizing and planning the logistics of access and transportation. Dialogues with the local communities. Prepare the Museum for the changes the surroundings might have through the years to come.

Pier Mauá Rio de Janeiro

MUSEUM OF TOMORROW Arch. Santiago Calatrava Rio de Janeiro 2015

MUSEUM OF TOMORROW Conceived as one of the Architectural Icons of the Porto Maravilha (Wonderful Port), requalification Project of the district of Rio de Janeiro, Museu do Amanhã occupies 15 thousand square meters, surrounded by reflecting pools, gardens, bicycle routes and recreation areas, in a total of 34,6 thousand square meters of the Pier Mauá. The idea is that the building would be as ethereal as possible, almost hovering over the sea, like a boat, a Bird or a plant, explains the author of the project, the spanish architect Santiago Calatrava. The building, with its architecture and sustainability directives, composes with the contents of the Museum, encouraging the discussion of themes such as solar energy, new forms of modern architecture, connexion with the city landscape and recovery of the Guanabara Bay. MUSEUM OF TOMORROW Arch. Santiago Calatrava Rio de Janeiro 2015

JEWISH MUSEUM OF SÃO PAULO Arch. Botti Rubin São Paulo (project 2006 estimated inauguration 2017)

JEWISH MUSEUM OF SÃO PAULO The architects Botti Rubin won a design competition in 2006 for the new Project of the Museum, with a directive of Modernity and Preservation and keeping the original characteristics of the Synagogue (Temple Beth el) and incorporating a new annex, occupying the area from Martinho Prado Street to 9 de Julho Avenue. Mixing the old and the modern from the classical lines to a new glass building, the Museum is inserted in the Viva o Centro Project for the revitalization of Downtown São Paulo. In this case there was the need for reorganizing the road access routes, even modifying the Zoning of the area, as the Museum has access from three different streets, on three different levels. JEWISH MUSEUM OF SÃO PAULO Arch. Botti Rubin São Paulo (project 2006 estimated inauguration 2017)

Arch. Lina Bo Bardi São Paulo (project 1956 inauguration 1968)

ART MUSEUM OF SÃO PAULO The new building of MASP was designed in 1956 by the Architect Lina Bo Bardi and constructed in 1968 on Avenida Paulista. Lina worked in a condition imposed by the donor of the land to the City of São Paulo: the view to the City s center and to the Cantareira Mountains from the Paulista Avenue had to be preserved through the course of the 9 de Julho Avenue. As the building was designed suspended by 4 columns to preserve the view, a terrace was conceived under the building. Known today as the Museum s Vão Livre (Free Span), it had been idealized by Lina as a great plaza for children, families, with recreation equipment and gardens. This is an example of how the Project of a Museum can become an icon of the City, even after so many urbanistic changes the city goes through. Arch. Lina Bo Bardi São Paulo (project 1956 inauguration 1968)

INHOTIM Overall View Brumadinho/MG 2005

INHOTIM Arch. Rodrigo Cerviño Lopez Pavillion Artist Adriana Varejão Brumadinho/MG 2008

THE CULTURAL INSTITUT INHOTIM is an original museological complex, constituted by a non linear sequence of pavilions inserted into a ecological park, created in 2005, at Brumadinho, MG. Thanks to a series of specific contexts, Inhotim offers a new model quite distant from those of urban museums. The Inhotim Experience is in great deal associated to the development of a spatial relation between art and nature. One example is the Pavilion of the artist ADRIANA VAREJÃO. Inaugurated in March 2oo8, designed by the Architect from São Paulo Rodrigo Cerviño Lopez, resembles a closed concrete box that balances over the entrance and covers a pool reflecting the beautiful surrounding landscape. The space was conceived to contain the Works of the artist, who participated on the development of the architectural concept. INHOTIM Arch. Rodrigo Cerviño Lopez Pavillion Artist Adriana Varejão Brumadinho/MG 2008

Dialogues with Architecture (Museum and architecture of the building: New vs. Existing building) Physical Characteristics: Design Piece that will stand out completely from the local architecture. Physical Characteristics: Museum on a requalified Building, existing or through the construction of an annex. Dialogue with the environment: What are the environmental actions that the museum should be concerned with in order to be in constant dialogue with sustainability issues, certification, etc.?

Arch. Oscar Niemayer Niterói/RJ 1996

THE CONTEMPORARY ART MUSEUM "It s so easy to explain this project! I remember when I visited the site. The sea, the mountains of Rio, a magnificent view that I had to preserve. So I raised the building, adopting a circular form which, in my point of view, the building required. The art was ready, and a ramp leading the visitors to the museum completed my project. said the Arch. Oscar Niemeyer (2006). Arch. Oscar Niemayer Niterói/RJ 1996

Ach. Diller Scofideo + Renfro (project 2009 estimated inauguration 2018)

THE MUSEUM OF IMAGE AND SOUND OF RIO DE JANEIRO The Project is signed by the American Architects Diller Sconfidio + Renfro, chosen in 2009 through a competition. To Elizabeth Diller, one of the main aspects of the Project is the relation of the architecture and the view of Copacabana Beach: The Museum was developed from the singularity of the site, she said. The care and concern with the environment permeated all the steps of the Project, which seeks the LEED Certification (Leadership in Energy and Environment Project) from the Green Building Council. Ach. Diller Scofideo + Renfro (project 2009 estimated inauguration 2018)

Arch. Álvaro Siza Porto Alegre/RS 2008

IBERÊ CAMARGO FOUNDATION The Iberê Camargo Foundation was created in 1995 with the purpose of preserving the work of this artist. Inaugurated in May 2008, the headquarters of the foundation were designed by the Portuguese architect Álvaro Siza. Arch. Álvaro Siza Porto Alegre/RS 2008

DIALOGUE WITH THE USE PROGRAM (museum and museological program) Development of the Museological Plan including the Use Program that should have a continued dialogue with the curator of the collection. What is the Museum about? What is the Collection? All the necessities must be know: Collection Program, Comunication Program, Educational, Conservation, Security. The dialogue must be with all the designers involved, internal partners of the Museum and Managing Directors.

Museological Plan The methodological framework of a Museological Plan should focus on interdisciplinarity and multivocality of different players and partner institutions. It must be developed in a collaborative form, involving museum collaborators, managers, specialists and outside consultants, opinion leaders, partners and suppliers. The steps involved include diagnosis and execution, with permanent monitoring and evaluation, and a maximum five years revision span.

Structuring Axis of the Museological Plan The legislation on the matter establishes that a Museological Plan is composed of Communication Program Institutional Program Collection Program Financial and Fundraising Program Exhibition Program Security Program Educational and Cultural Program People Management Program Research Program

Old Immigrant Inn São Paulo 1887 >> Immigrant Memorial

IMMIGRATION MUSEUM São Paulo 2014

OLD IMMIGRANT INN São Paulo 1897 >> IMMIGRANT MEMORIAL MUSEUM OF IMMIGRATION SÃO PAULO 2014 The Museum of Immigration of the State of São Paulo inherits from the Immigrant Memorial the memories of the people who arrived in Brazil through the Immigrant Inn created in 1887. Inaugurated in 2014, the Immigration Museum values the encounter of multiple stories and origins. It proposes the contact with the memories of those who came from distant lands, their traveling conditions, their adaptation to new occupations and their contributions to what we call Paulista identity. IMMIGRATION MUSEUM São Paulo 2014

Arch. Oscar Niemayer Agriculture Palace 1954 > DETRAN 1958/2008

Arch. Oscar Niemayer (office) Requalification Project 2012

CONTEMPORARY ART MUSEUM OF THE UNIVERSITY OF SÃO PAULO Inaugurated in 1954, the building was originally designed by the Arch. Oscar Niemeyer to house the Agriculture Palace, but from 1959 to 2008 was the headquarters of the Department of Transit (DETRAN) of São Paulo. Recently, the State Government has invested on the reform of the complex so it could house the MAC, with its collection with more than 10 thousand works, including sculptures, paintings, engravings, photography and objects of art. Arch. Oscar Niemayer (office) Requalification Project 2012

Arch. Bernardes + Jacobsen Arquitetura Rio de Janeiro 2013

ART MUSEUM OF RIO DE JANEIRO The challenge here was uniting three existing constructions with different architectural characteristics to create one complex to house the Museu de Arte do Rio, the Escola do Olhar (School of Vision), and other cultural and recreational areas. On the right, the Palacete Dom João, and on the left the Police headquarters building and the old Road Service Station of Rio de Janeiro which, connected, should be part of a great intervention on the central and historic areas of the city. The first step was to establish a flowing system so that the Museum and the School can work in an efficient and integrated way. Therefore, the creation of a suspended Boulevard was proposed on the roof of the Police Building, where all accesses should converge to, as well as a Bar and the cultural and recreational areas. This way the visitors flow is from top to bottom. Arch. Bernardes + Jacobsen Arquitetura Rio de Janeiro 2013

DIALOGUES WITH THE INTERDISCIPLINARY TEAM (Museum team, Outside Consultants and specific designers) The next step is the dialogue with the architecture and all the complementary projects that should sit together and bring everything to the table: products, questions, necessities, and build together the museum as an interdisciplinary activity. There are great publications about working process and museum building. Planning Successful Museum Building Projects Martha Morris Walter L. Crimm l. Carole Wharton Manual of Museum Planning BarryLord Gail Dexter Lord Lindsay Martin

DIALOGUES WITH THE VISITING AUDIENCES The Museum also have to dialogue continually with the audience, both real and virtual. How is the audience reacting to this new space? Do they feel welcome? Are they instigated to visit and return several times? Beyond the long term and short term exhibitions, what other activities or facilities add to the visit or drive the visitor into coming back and appreciate the site?

EXHIBITION Paris e a Modernidade Obras Primas do Museè D Orsay CCBB Rio de Janeiro 2012

MUSEUM OF TOMORROW oppening Rio de Janeiro 2015

A new icon in the city s cultural landscape MUSEUM OF THE IMMAGE AND SOUND Areas destined for the appreciation of the city landscape Rio de Janeiro

MUSEUM OF THE IMMAGE AND SOUND Areas destined for the appreciation of the city landscape Rio de Janeiro

MUSEUM OF SAN T ANA Tiradentes MG dialogues with the audience

Dialogues with the virtual Audiences

STRATEGIC DIALOGUES The Museum must be prepared to dialogue with the growth of the volume of its collection, the growth of the visiting audiences, the new programs and necessities, participating in an integrated way in the adaptation of strategies or in the accessing of new directions for the success of the institution. The interdisciplinary dialogue is a subject that should appear constantly and in different ways. We must value the exchange of information and the sum of ideas to create an integrated process for culture. We must work in an interdisciplinary way in order to open new and fresh horizons.

Thank You! Grazie! Obrigada! Interdisciplinary Dialogues: Architecture and Museums Alessandra Labate Rosso (Brazil) ICAMT Board Member EXPOMUS Exposições, Museus, Projetos Culturais Ltda. alessandra@expomus.com.br Cel: (55 11) 9.93901189