Comments on: Galeria Adriana Varejão by Rodrigo Cerviño Lopez

By: Amir Jamal

Amir Jamal — Thu, 09 Apr 2009 08:49:51 +0000

Exquisite clean, minimal form, contemporary detailing. Uncluttered and stark aesthetics are such a treat to see. Such simple details that are unobtrusive within the space. This must be quite an experience in real world terms, look forward to visiting this space someday!

By: Jennifer

Jennifer — Thu, 26 Mar 2009 15:49:30 +0000

I am generally not a fan of the ubiquitous and overused Box, mostly i wish people would get it over with and get on to some new ideas.

This however is beautiful, and twice as effective because it makes me see the possibilities of a form that is so often overused , often with much less poetry. I is also ans excellent way to deal with a gallery space, it is not so much the sterile void one often encounters in a gallery, but seems to exist rather as someone above mentioned, as a purified space…

By: eduardo

eduardo — Wed, 25 Mar 2009 15:10:22 +0000

I don’t agree with Rodger about the project being offensive to the landscape!
I’ve being there and it is really beautiful and integrated, but I agree when he says is narcisistic!
I would like to remind, tha Adriana Varejão is the wife of the “owner”of the
museum, and that explains a lot; but the merit is still there.

By: Terry Glenn Phipps

Terry Glenn Phipps — Wed, 25 Mar 2009 10:18:08 +0000

In the processional quality of the design the influence of Oscar Niemeyer is legible at its very best. What is particularly beautiful is the idea of passing in, under, through, or over water as a purification rite on entering a sacred or otherwise important space.

The formal language of strong juxtaposition with a verdant landscape, though inorganic in form, is absolutely aligned with this school of architecture (again expressed at its best).

It always seems to me that within the choice of siting a building lies its fundamental telos. Will the building triumph on the top of a hill (and here I am thinking of Vincenzo Scamozzi’s La Rocca Pisana), will it rest in the brow of the hill as FLW suggests, will it follow the contour of the landscape resting upon it sculpturally (as Siza teaches), or will it incise itself into the terrain itself in the way that KWK Promes has shown to be absolutely contemporary and relevant.

This building, to my eyes, is most effective in its balance of the incision and topographic (Siza) schools without losing the effectiveness of the water passage, and indeed the controlled circulation that is experienced in the FLW Guggenheim (for example).

The one thing that cannot go unsaid is that monuments to love always have their own justification. Shah Jahan’s caused him a great deal of trouble in his life but somehow it still seems worth the effort. Here the building seems to perfectly merge with the work either in counterpoise (as it does with the sculpture) or in harmonious texture (as it does with the panels).

Terry Glenn Phipps

By: Sub-Prime

Sub-Prime — Wed, 25 Mar 2009 08:35:27 +0000

Quite simply one of the best gallery interiors that I have ever seen. I love the contrast between the artificial/natural lighting methods and the smooth glazing/off-shutter concrete. Thank you Dezeen for posting such a fantastic example of gallery.

By: mil

mil — Wed, 25 Mar 2009 01:45:02 +0000

This architecture is not the best context to show this art ?

By: João Paulo

João Paulo — Tue, 24 Mar 2009 22:27:05 +0000

I have been there earlier this year and I loved it!

The whole place is just so beautiful and well planned, I feel proud that something like this was built in my state, in my country.

I’ve taken pictures of my visit, here is the link of the photos:
http://www.flickr.com/photos/jpbrazil/sets/72157612442519817/

By: Mr. Opinionated

Mr. Opinionated — Tue, 24 Mar 2009 21:44:40 +0000

LOVE IT.

By: josito

josito — Tue, 24 Mar 2009 20:08:06 +0000

Brazilians do it better!!!

By: Patrick

Patrick — Tue, 24 Mar 2009 17:19:22 +0000

BANG! In your face… love it.