Has anyone visited both SANAA's Rolex Learning Center in the EPFL campus and the Hiroshi Senju Museum by Ryue Nishizawa. The two buildings both resemble in terms the sloping ground and the organic voids opened in a free plan.
Yet, I wonder how different and/or similar do they feel while one is inside of each of the buildings.
Comments found online on the visit to the Hiroshi Senju Museum:
Upon arrival, a small meandering path winds through the small garden on the north side of the museum. The entrance is a modest rectangular space with no staff and two automated ticket machines. It is that moment when the opaque glass door slides open that strikes the visitor: the view of the whole museum opens up entirely to you. You can see through the glass courtyards and the whole space from one end to the other. The sudden spatial impact is strong that I have never experienced a space like that before. There is no sense of layering and progression. The door separates the small foyer and the vast open museum space and gardens.
There is no partition or wall separating the majority of exhibits. In fact, the panels holding the art pieces are the objects that partially direct circulation flow. Yet, it feels like an intimate space in the midst of airiness and lightness due to the fact that the various curve shape glazed garden are next to the viewers no matter where you stand. The viewer is allowed to take his own path and is allowed to sit and contemplate, just like meandering through your own living room. There is no pre-programmed sequence of viewing the objects. You can always revisit the art pieces at your own wish.
The sloped ground lets the visitors to understand the ground condition before the museum was built. It adds another layer of nature into the experience. It feels as if the exhibits are scattered on a hill slope, in the middle of a forest. The concrete ground hugs the original sloping site.
The collection of the paintings, including "Waterfall", "When the Stardust Falls", "Cliff", and "Falling Color", are all misty, tranquil and transient in nature. The fluid interior space wraps several curved or organic shaped glass extrusions filled with various species of plants and tress. The museum ties the season, the time of the day and the plants with the exhibits. Each visit is tranquil and transient in nature.
Kin
Hiroshi Senju Museum by Ryue Nishizawa 軽井沢千住博美術館 西沢立衛
Apr 22, 14 5:51 am
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Spatial comparison between Hiroshi Senju Museum by Ryue Nishizawa and Rolex Center by SANAA
Hey folks,
Has anyone visited both SANAA's Rolex Learning Center in the EPFL campus and the Hiroshi Senju Museum by Ryue Nishizawa. The two buildings both resemble in terms the sloping ground and the organic voids opened in a free plan.
Yet, I wonder how different and/or similar do they feel while one is inside of each of the buildings.
Hiroshi Senju Museum by Ryue Nishizawa 軽井沢千住博美術館 西沢立衛
https://www.youtube.com/watch?v=vfpo_rbt8fA
Comments found online on the visit to the Hiroshi Senju Museum:
Upon arrival, a small meandering path winds through the small garden on the north side of the museum. The entrance is a modest rectangular space with no staff and two automated ticket machines. It is that moment when the opaque glass door slides open that strikes the visitor: the view of the whole museum opens up entirely to you. You can see through the glass courtyards and the whole space from one end to the other. The sudden spatial impact is strong that I have never experienced a space like that before. There is no sense of layering and progression. The door separates the small foyer and the vast open museum space and gardens.
There is no partition or wall separating the majority of exhibits. In fact, the panels holding the art pieces are the objects that partially direct circulation flow. Yet, it feels like an intimate space in the midst of airiness and lightness due to the fact that the various curve shape glazed garden are next to the viewers no matter where you stand. The viewer is allowed to take his own path and is allowed to sit and contemplate, just like meandering through your own living room. There is no pre-programmed sequence of viewing the objects. You can always revisit the art pieces at your own wish.
The sloped ground lets the visitors to understand the ground condition before the museum was built. It adds another layer of nature into the experience. It feels as if the exhibits are scattered on a hill slope, in the middle of a forest. The concrete ground hugs the original sloping site.
The collection of the paintings, including "Waterfall", "When the Stardust Falls", "Cliff", and "Falling Color", are all misty, tranquil and transient in nature. The fluid interior space wraps several curved or organic shaped glass extrusions filled with various species of plants and tress. The museum ties the season, the time of the day and the plants with the exhibits. Each visit is tranquil and transient in nature.
Kin
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