Before anyone’s second chance to save a mountain town from the madness of global terrorism and hysteria and the devastation of the current century, people have been far too busy talking about “putting a stop to everything!”
The architects that faced this daunting challenge created a unique and effective approach to art and art activism.
Sporting a lot of colorful art billboards, extraordinary art photography, and stock photography to the new media giant, the billboard company had just about enough strength to contemplate the idea of a “mural house” for the city of Valle de Bravo in Mexico.
The designers chose to cross the threshold of the building with gusto, blowing up like a wave and creating excitement in the process.
According to the designers, art magnificence is apprehended in unexpected ways, as though going on an interior trip to the museum.
Outstanding, vivid art, prevalent details, and startling contrasts are the hallmark of each artwork and create a vibrant atmosphere that fascinates the eye.
This is one of the most imaginative deconstructive studies of art that can take advantage of sophisticated levels of planning, both in the conception and the execution, and that fits the theater’s need for entertaining.
The structure consists of an entry area run by the family dog, and a main passage executed by a specially designed carport.
Upon entering the museum, the first impulse was to grasp the exquisite installation of Luper D’Este. Above, it covers the main stream of the Louvre, and swirls and unfolds. Its sculptural quality can be seen through the glass surface facing the street, and its massive form can be seen through the aura of the reception.
As we approach the building, the barriers between art and design or other inferences of thought are dissolved, and indeed, art and design are brought to the fullest.
Once inside, the manifold spaces of the design are revealed. The library, the arts commission, and the vehicle gallery form part of the overall image of the space.
Originally dividing the space would have blocked the view, and that would have diminished the store’s potential.
Instead, this architect created open spaces that allow visitors to see through the structure to the Louvre, while maintaining its privacy.
If the facade had been entirely white, its interior would have resembled a gallery, with a portion housing the latest creation of the artist’s collection, with the sole exception of the wooden lobby, which is composed briefly of canvasses.