Museum of Art and Archaeology of the Côa Valley / Camilo Rebelo

Architects: Camilo Rebelo + Tiago Pimentel/
Location: Vila Nova de Foz Côa, Portugal
Client: Ministério da Cultura / IGESPAR
Coordination: Tiago Pimentel
Collaborators: Bruno Guimarães, Cláudio Reis, Marcelo Correia, Cristina Chicau
Engineering: G.O.P. Gabinete de Organização e Projectos
Foundations and Structure: Jorge Nunes da Silva
Mechanical Installations, HVAC: Raul Bessa
Electrical Installations, Security, IT Network: Alexandre Martins
Sewage and Water Supply: Raquel Fernandes
Acoustics: Maria Rosa Sá Ribeiro
Landscape: Maria João Amial Trigo, Manuel Melo
Total Built Area: 8,121.31 sqm
Net Area: 6,243.28 sqm
Project Year: 2004-2009
Photographs: Camilo Rebelo & Tiago Pimentel

The Palaeolithic art in the Coa Valley is perhaps man’s first land art manifestation.

The Museum is conceived as an installation in the landscape.

plan 01

The monolithic triangular form is a direct result of the valley’s confluences.

Its materiality evokes the local yards and reflects two different natures: the concrete’s matter, and the local ’s texture and colour.

View this project in Google Maps

* Location to be used only as a reference. It could indicate city/country but not exact address.
Cite: "Museum of Art and Archaeology of the Côa Valley / Camilo Rebelo" 16 Mar 2010. ArchDaily. Accessed 01 Aug 2014. <http://www.archdaily.com/?p=52866>

25 comments

  1. Thumb up Thumb down +1

    finally something from portugal that is not a white rendered cube… it even has texture and is extremely well integrated in the landscape…

    very good project indeed…

  2. Thumb up Thumb down 0

    Beautiful, beautiful work. A museum that has subtle intrinsic value without being overbearing, reflects the content, and is not a “white cube” display case. I’m impressed.

  3. Thumb up Thumb down 0

    This is a beautiful project from my country. Can someone tell me the type of stone on the exterior surfaces?

      • Thumb up Thumb down 0

        Também me tinha parecido pelas fotografias, mas vi “stone” nas tags. Então e como é obtida a textura que se vê neste caso?

  4. Thumb up Thumb down +1

    I agree that it’s quite a beautiful work, but I feel that the subtlety of the building’s integration into the landscape (from the direction in which it is approached) is completely overwhelmed by the expanse of asphalt parking.

  5. Thumb up Thumb down 0

    O exterior do edificio ao nivel de fachadas e mesmo pedra e e granito e a textura e “gradada” (se bem que possam existir outros nomes para isso). Pelas fotos parece que o betao utilizado tera sido colorido para mimicar o tom da pedra.

  6. Thumb up Thumb down 0

    Congratulations. When in the Repúlic of Panamá, visit the Museo de Arte Rupestre de Nancito, Chiriqui, Panamá. Luz Graciela Joly Adames, Tenured Professor of Anthropology, Autonomous University of Chiriquí

  7. Thumb up Thumb down -1

    Do you mind if I link this article from my blog? I find myself at your site more and more regularly to the point where my stops here are almost daily now! Thanks once more for putting this online. I unquestionably liked every part of it.

  8. Thumb up Thumb down 0

    I’ve been there and it quite disappointing. The texture and the entrance “crack” are interesting but everything else is very bad. The museum is really dark inside, the paths are not logical, and the different circulations are quite confusing. In such a minimal work, the way they drew windows is also careless,each one with a different detail.It is much better in photos than in reality.

  9. Thumb up Thumb down 0

    Depois de ouvir os Aqts. Camilo e Tiago no Simpósio da UPT fiquei realmente com vontade de visitar o museu. Fico feliz por saber através dos próprios que realmente o museu foi “cuidadosamente” concebido e na realidade as suas ideias funcionaram lindamente naquela paisagem de “tirar a respiração”!
    Felicidades para ambos.

  10. Thumb up Thumb down 0

    “A project starts as simply an idea for a volume and things only get complicated when we start putting in the windows. The windows change everything, constrain everything. This is why, throughout history, museums have been major architectural works. They don’t have windows.”

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