Location: Los Angeles, California
Area: 125,000 square feet
Museum as Civic Space- Rather than another physically and culturally disconnected museum, Los Angeles needs an accessible civic space where people gather to enjoy art and community. This proposal for the Broad Contemporary Art Museum brings the city into the museum’s fold by supplementing the museum’s program with much needed non-commercial public space. The Museum’s open public space is created by suspending the galleries from a raised plinth. This frees up the ground for a series of plazas, sculpture gardens and water features that connect the museum with Los Angeles’ distinctive urbanism and climate.
Oasis in the Desert- The plinth shades this public space from the desert heat while allowing the space to remain open to the surroundings. This maximizes natural ventilation and the cooling effects of the water features. Microclimates created by the building form a natural transition from the heat of the surrounding neighborhood to the coolness of the galleries.
Building as City- Just as Los Angeles is organized by it’s horizontal ground plane, the galleries are organized by the plinth level. This level unifies the museum's diverse gallery typologies into a coherent whole without detracting from each gallery’s unique character.
Visiting and Curating Flexibility- The gallery design provides the visitor with multiple routes through the museum. This non-linear arrangement also allows for curatorial flexibility and creates the possibility of simultaneously staging multiple exhibits. The variety of gallery types creates the optimal setting for the diverse scales and media represented within contemporary art.
Location: New York, New York.
Area: 70,000 square feet
"Shape is all the geometrical information that remains when location, scale and rotational effects are filtered out from an object" - David George Kendall
The objective of Michael Meredith's (MOS Architects) studio entitled “Mediums” was to investigate “medium specificity” in architecture. The studio’s basic premise was that “the problems of medium speciﬁcity can be addressed by exacerbating multiple medium speciﬁcities into impure, awkward, and paradoxical recombinations.” We were asked to select mediums that are seemingly incompatible and attempt to reconcile them in the design of a church sited at the southern end of the High Line Park in Manhattan. In this project, shape and logo are employed to create a scheme that is simultaneously figural and flat.