Even considering the scanty commitment of the new ismos with regard to the ideology of normalization and production in series promoted by the teachers of the Modern Movement, the fact that more difference generates with that period is the indetermination of the form that there assume the buildings designed by the most popularized actors of the current production.
The concept of the form, which in those years was joined to the search of a justification in the program, at present looks for some justification. On the contrary, in most cases he proposes as a question to the order and balance that the architecture was enjoying in the first decades of the 20th century. In this respect, the rejection to the urban solutions of the past has a strong critical statement that often meets spoilt by the prodigality of the forms.
Wolf Prix’s work does not escape to these definitions. His architecture loaded with analogies and metaphors, seeks to overcome the conventions of the traditional forms proposing a series of interactions and the permanent mutation of different entities to constitute a new form.
These operations register in the concept of “cloud”, he structures a of indeterminate form where the programs connect in a physical or visual way. The characteristic of this identity is represented in the complexity of the intermediate spaces that he proposes. An organism where the air is the principal component of the form, which encloses the intermediate thing to make it inhabitable.
Coop Himmelblau’s design for the museum of the confluences of Lyons is formulated applying carefully these concepts. His architecture expressionist exposes a biological character fertilized by a thought. An indeterminate object that expresses in the formal ambiguity the complexion of his structure.
The museum makes concrete for the coupling of two units: one reveals that it allows to make visible the spaces of urban leisure and other one that guarantees the opaqueness necessary for the activity of the museums.
The transparent unit is orientated towards the city. It establishes the point of revenue to the museum, but in addition it allows to visualize the daily activity. The opaque unit is a product of the “secret currents”, an entity that hides what happens inside the cloud. Of this form, the known conjugates and known “to stimulate the public curiosity”.
In the side opposite to the revenue a public square develops. This space oppressed by the sharp forms of the architecture, turns out to be a continuity of the park where the museum is located. An urban landscape that is constructed between surfaces in difference and ramps that link them. Under the square, an underground socle contains all the functions of service necessary for the functioning of the museum.
Inside the cloud the succession of spaces enriches the looked espacialidad. A series of black boxes arranged irregularly enclose the specific functions. The surface generated between these units propitiates the explanatory alternative areas. These interstices inasibles escape of any rational analysis and remain submitted to the influence of the perception.
Thus, the museum of the confluences explores with keenness the confrontation of elements to create striping indagadoras surprising. The ungovernable appearance of the forms reaches an unpublished corollary where the fantasy and the curiosity demonstrate by means of a digest of dynamic figures.
Though in the course of the game, the functional needs turn out to be an excuse to develop the artful formal statement.
Marcelo Gardinetti. Architect
La Plata. Juny 2014