MAAT Museum

by | 19. Mar 2017

Cultural | Feature

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The New MAAT Museum. Exterior view from the bank of theTagus River. Photo © EDP Foundation

By Elliott Webb

Along the Tagus River edge in the Belem District in Lisbon Portugal sits the serpentine structure of British AL_A Architect’s New MAAT Museum. The Museum of Art, Architecture and Technology which has been recently shortlisted for the 2017 EU Mies van der Rohe Prize was opened to the press on the 2nd October 2016 and officially opened to the public on the 5th October only a few days later to coincide with the Lisbon Architecture Triennale. Its conception was entirely funded from the contemporary vision of the EDP Foundation – the philanthropic arm of Portugal’s electricity supplier.

Having long turned its back on the disjointed mess of wharves and docks, the city of Lisbon has been employing a piecemeal approach in introducing public spaces and bike tracks along the banks of the Tagus, although the key obstacles of a railway line and two roads still remain.

Sited next to Central Tejo Power Station and behind the railway line and major roads, AL_A’s new museum swoops low along the banks of the Tagus River; its formal language exploits a visible disconnect from the river. The power station, an exemplary red brick and steel 20th century thermoelectric power plant and former Museu da Eletricidade (Museum of Electricity), has also been transformed, boasting new galleries as well as its original historical exhibitions.

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The New MAAT Museum. Exterior view from the Tagus River. Photo © Hufton + Crow

The New MAAT Museum connects the river and the Central Tejo Power Station, sensitive to its datum’s and offering a counterpoint to the industrial Portuguese architecture. Whilst the Central Tejo Power Station sits as an exemplar of a different architectural language and history, the new building seeks to do what the orthogonal environment failed to; stitching Lisbon’s riverfront back to the city.

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Lisbon sunset reflected off the ceramic façade. Photo © Hufton + Crow

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Evening view of the lit up façade. Photo © Hufton + Crow

The façade made up of almost 15,000 three-dimensional crackle-glazed tiles articulates a rich historical tradition of ceramics and craft in Lisbon. These tiles over the day give mutable readings of water, light and shadow on its surface. This spectacle both as a distant image and a tactile surface, invites the public to the river’s edge as welcome shade is given under its proud overhang.

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Lifted up on the trafficable roof structure. Photo © Francisco Nogueira

Blending structure into landscape and lifting people up, the museum aims to establish a visual and physical connection across this bay. When the new footbridge is installed in March, visitors will be brought straight across the roof from the city and projected out over the waters of the Tagus. With this spatial and structural initiative for the new museum, Amanda Levete, Director of AL_A Architecture commented, “Thankfully, Lisbon has a more liberal attitude to gradient”.

Underneath the prow of the roof and at the edge of the river is where the key opening for the museum is informed. A softly expressed ellipse in its serpentine form establishes a discourse between the public grounds, which are fluidly blended into the gallery itself. As the public walks along the roof above, now an outdoor room; the elliptical opening gives the visitor an intuitive understanding of the gallery spaces within and an aspect of the city since lost.

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Exterior view of the elliptical entrance. Photo © Francisco Nogueira

Entering beneath this ellipse, visitors are led down a ramp that loops around the central and elliptical exhibition space spanning 70 meters by 40 meters with no columns for both large-scale installation and partitioned exhibitions. This also leads into four subterranean rooms, with glossy white floors and curving white walls. These spaces await their fit-out, specifically shaped for reasons that have yet to become apparent but are inherent in maintaining “a counterpoint to the more conventional white cube galleries in the power station,” says Levete, which this museum tries to re-establish.

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Dominique Gonzalez-Foerster installation, Pynchon Park, in the central elliptical exhibition space. Photo © Hufton + Crow

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Curving white walls in the subterranean galleries. Photo © Hufton + Crow

However, accompanying Levete’s new museum, also from the ranks of the architecture community and fresh off a four-year curatorial shift at MOMA in New York; Pedro Gadanho the new curator of MAAT, shows knowledge of the city’s creative scene and animated notions of how to stimulate it are compelling. Where this part of the Lisbon was lacking any key infrastructure, a lust for something iconic was too strong.

Coinciding with a tourist boom that is lapping the shores of Lisbon, the 38,000m2 campus embodies the desire to open up an international dialogue towards Lisbon’s creative scene. It has also expressed AL_A’s desire to formalize a shift in the role of the museum typology and the changing relationship between art and visitor. This is championed in MAAT’s ability to re-establish the building as a true public realm.

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At the Tagus Rivers edge. Photo © Francisco Nogueira

INFORMATION

CITYLisbon
COUNTRYPortugal
ARCHITECTAires Mateus E Associados
LANDSCAPE ARCHITECTVladimir Djurovic Landscape Architecture

CLIENT

CONTRACTOR