Arquitetura: Frida Escobedo
Localização: Cuernavaca, México
Estrutura: Eng.º Miguel Villar e Eng.ª Dina Martins
Cliente: Sala de Arte Público Siqueiros – La Tallera
Área de Construção: 2.600,00m²
Valor da Obra: $2.240,000 USD
A arquiteta mexicana Frida Escobedo transformou a residência do pintor David Alfaro Siqueiros em uma galeria pública na pequena cidade do México, Cuernavaca.
Com planos de concreto vazado a nova construção refaz uma antiga construção do falecido pintor e ativista Alfaro Siqueiros de 1960.
Veja mais na descrição da arquiteta (em inglês):
La Tallera Siqueiros generates a relationship that reconciles a museum and a muralist’s workshop with the surrounding area by way of two simple strokes: opening the museum courtyard onto an adjacent plaza and rotating a series of murals from their original position. The space itself was built in 1965 and became the house and studio of the muralist David Alfaro Siqueiros during the final years of his life.
La Tallera is “an idea Diego Rivera and I came up with in the 1920s to create a real muralist workshop where new techniques in paint, materials, geometry, perspective and so on would be taught”. This is how Siqueiros himself defined this workplace, now a museum, workshop and artist’s residency program focused on art production and criticism. By opening up the courtyard, the museum yields a space for shared activity, while also appropriating the plaza.
The murals, originally intended for the outside area, now have a dual role: firstly, as a visual and programmatic link with the plaza by encompassing the public areas of the museum (café, bookshop and store) and secondly as a wall/program that separates the artist’s residence from the museum and workshop.
Rotating the murals ignites the symbolic elements of the facade’s architectural syntax, altering the typical relationship between gallery and visitor. Like the exterior, the gallery space, from both an exhibition design and artistic perspective, though unfolding, generates new relationships and spatial connections.
The distribution of these spaces and the interplay of planes – in murals and walls among others – is revealed in crossing a perimeter lattice that demarcates the urban surroundings – a single horizontal sculptural piece that contains and displays Siqueiros’ work.