Architects: Berdichevsky Cherny Arquitectos, AtelierB Arquitectos
Location: Acceso A Uruguay, Victoria, Buenos Aires Province, Argentina
Project Architects: Federico Raponi, Yamil Kairuz
Project Team: Laura Ostrofsky, Juan Aiello, Ricardo Roca, Martin Chavanne
Project Area: 4000.0 m2
Photography: Federico Kulekdjian
Architects: De La Fuente + Luppi + Pieroni + Ugalde + Winter
Location: Irigoyen, Buenos Aires, Autonomous City of Buenos Aires, Argentina
Project Architects: Fabian De La Fuente, Santiago Luppi, Raúl Pieroni, Javier Ugalde, Andrea Winter
Project Area: 4,000 sqm
Project Year: 2011
Photographs: A3 Luppi Ugalde Winter
Location: Mar del Plata, Buenos Aires Province, Argentina
Project Architects: Marcos Amedeo, Fernando Cynowiec, Juan Granara, Adrián Russo, Alexis Schächter
Project Area: 7050.0 m2
Project Year: 2013
Photography: Albano Garcia , Javier Agustin Rojas, Horacio Volpato, Cortesia de Monoblock
Architects: Manuel Cucurell, Sebastián Virasoro
Location: Roldán, Santa Fe Province, Argentina
Project Team: Guillermina Borgognone, Ciro Rádice, Florencia Rinaldi, Germán Rodriguez.
Construction: Gustavo Farias
Exterior Furniture: Silvestre Borgatello-Estudio Loess
Project Area: 139.0 m2
Project Year: 2013
Photography: Gustavo Frittegotto, Manuel Cucurell
To celebrate the launch of ArchDaily Materials, our new product catalog, we’ve rounded up 10 awesome projects from around the world that were inspired by one material: metal. Check out the projects after the break…
Architects: Subsecretaría de Obras de Arquitectura
Location: Santa Fé, Argentina
Urban Planning Secretary: Eduardo Navarro
Architecture Projects Subsecretary: Marcelo Darío Pascualón
Project Coordinators: Martín González, Luciana Viñuela, Lucas Condal, Alfredo Jurado
Team: Andrés Francesconi; Germán Müller; Carlos Di Nápoli; Francisco Garrido; Felicita Cersofio; SamiraRosso; Julieta Zampedri; Clarisa Cattáneo; Ignacio Barrios; Agustín Balma
Project Area: 1034.0 m2
Project Year: 2012
Photography: Federico Cairoli
Located in the La Serena neighborhood of Mar del Plata, Argentina, the well-known yet now abandoned Ariston Hotel was designed and constructed in 1948 by the Hungarian architect Marcel Breuer, a great diffuser of the modern movement in architecture. Originally meant for housing social reunions, dances and cocktail parties, this project is notable for its elevated volume with a curving, clover-inspired form that permits maximum glazing.
Architects: GGMPU Arquitectos, Lucio Morini
Location: Córdoba, Córdoba Province, Argentina
Design Team: GGMPU Arquitectos – Gramática/Morini/Pisani/Urtubey + Lucio Morini
Project Area: 4400.0 m2
Project Year: 2008
Photography: Gonzalo Viramonte, Courtesy of GGMPU Arquitectos
Collaborators: Daniel Icikson, Nicolás Margherit
Client: Agencia Córdoba Cultura / Gobierno de la Provincia de Córdoba
Sector A: Refuncionalización y ampliación Museo Emilio Caraffa (I)
Project: MZARCH – Mendoza/Mendoza/Margherit Arquitectos Asociados
Technical Management: MZARCH – Mendoza/Mendoza/Margherit Arquitectos Asociados
Site Management: Adrián Castagno
Consultants: Fragueiro & Novillo Ings., Ing. A. Bastet, Ingeniar S.A., Tecnoseguridad S.R.L., Ing. H. Mangupli, Maestre Iluminación, Radyk & Aguirregomezcorta.
Surface Area: 2100 m2
Sector B: Museo Emilio Caraffa (Ampliación II) – Ex I.P.E.F.
From the architect. The remodeled Emilio Caraffa Museum, which adds the annexation of the building of the former Institute of Physical Education, is part of a larger complex that includes the new Palacio Ferreyra Museum. The new Caraffa Museum has, on one hand, a variety of showrooms mainly for temporary exhibitions and, on the other hand, the necessary premises for the technical support of the entire complex such as cataloging, classification, research, restoration, warehouses for receipt of funds from both museums, library, administration, programming, design and assembly of exhibitions, etc..
The project for what is now called Caraffa Museum was commissioned to Hungarian architect Johannes Kronfuss, who in 1915 concluded the project based on a neoclassical approach that should, in a first stage, house the Museum and in another later stage, house the Applied Arts School of the Province. Only a quarter of this project was built in 1916. In 1962 the museum was expanded as a regular prism designed internally with mezzanines that occupied the space that Kronfuss had imagined as the central courtyard of the museum. In turn, in 1938 the IPEF building was constructed, designed by architect Bottaro. In 2006 it was decided to expand and remodel the Caraffa, entrusting GGMPU with the museum project itself and a new connector building (Sector A) that would link it to the built IPEF, whose design was commissioned to architects MZARCH (Sector B).
The main concept that guided the design of the complex was the generation of a new art museum, capable of grouping and linking the many facets of contemporary art. We preserved the existing surfaces of the original buildings so that the new bodies relate to the bodies of the past in a continuous sequence. The internal layout of the buildings is through horizontal and vertical connectors that link different areas and exhibition rooms where visitors are free to explore the spaces, generate their own itineraries or move through preset tours.
In Sector A, designed by GGMPU and Lucio Morini, the existing building presented some complexities manifested in problems of accessibility, fragmentation of interior spaces into planes at half levels difficult to cross, and unsuitable heights for exhibition spaces, which added to the dispersion of the buildings on the ground. The idea of the intervention was to design a building-connector that would develop in space, joining all existing parts, allowing them to maintain their own individuality and original character and at the same time express a strong unit whole. This building-connector materialized by using a metal structure manifested outwardly through a glass surface of diverse transparencies and opacities.
The scaling of the museum, which went from 1200m ² to 4400m ², proposed a change in its center of gravity. This led to the modification of the main entrance now through a square at the sidewalk level, solving the problem of accessibility to disabled and elderly persons present in the original access. On this same level is the cafeteria and art library, both with direct access from the square. On the second level, the storage areas and services of the original building were transformed into a new exhibition room.
On the third level, interior slabs at half levels from the 1962 expansion were demolished and replaced by a new slab unifying the space, giving it greater height and leveling it with rooms restored from the 1916 building which now have continuity with a foyer in cantilever that is developed over the entrance plaza. Both reaffirm the piano nobile condition presented by the original project. This new foyer has another access for students who arrive in their transport.
On the next level up is the access to a room-bridge that connects to the adjacent building (ex IPEF) forming a continuous loop with the group of exhibitions rooms located there.
Taking advantage of existing conditions, the project has established a multitude of halls whose shapes, sizes, heights and lighting allow the development of a wide variety of art forms.