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Costantini reveals how he came up with the idea of creating Malba Puertos, a US$10 million investment project - La Nacion Propiedades
Source:
www.lanacion.com.ar
September 27, 2024
Step by step, how the idea came about, the inspiration of the Spanish architect Juan Herreros, the construction challenge, and how the work will impact the revaluation of the lands of Puertos in Escobar
By Veronica Ruby
The Malba Puertos building in Escobar is now open to the public from Tuesday to Sunday from 12 to 19Courtesy of Herreros studio
Where there is nothing, he creates life. Territory, landscaping, urban planning, streets, houses and apartments , families living there, schools, shopping centres, sports facilities, ecological reserves, art. There was nothing in the land of Tigre where the Nordelta project was approved in 1992 and the first neighbourhood was launched in 1999. There are now 21 neighbourhoods and 45,000 inhabitants. And there was nothing in the depths of Escobar when Puertos began to take shape in 2010. Today there are 11 neighbourhoods, a medium-density sector and 3,600 inhabitants. And as if that were not enough, a Malba .
On Saturday, September 21, Eduardo Costantini fulfilled his dream of inaugurating Malba Puertos, the new headquarters of the Museum of Latin American Art of Buenos Aires, which has been in Palermo for 23 years and which, this year, expanded 45 kilometers north of the city, in Escobar.
Puertos is a city with three concepts that have been deeply rooted since its beginnings: nature, sustainability and art. There are sculptures in roundabouts and public spaces; a nature reserve that has been preserved and is open to the public; and clear guidelines for sustainable construction .
A sculpture by Marcela Sinclair at the entrance and meters from two schools that are in Puertos Malba Press
"The song of the flying bird", by Martín Blasko, in a public spaceMalba Press
"The Paraeolic" by Irina Kirchuk, in front of a reflecting pooltuxo - Malba Press
“I am of the opinion that one should express oneself through art, not through the culture of art, and there was no better way than to put up works so that Puertos could be identified through art and that was the first statement,” says Costantini about the innovation of placing works of art within the project developed on 1,400 hectares. “Then, Teresa Bulgheroni, the president of Malba, asked me to create a technical reserve because she had run out of space to store works in the museum. And that is where the idea of taking them to Puertos arose because it is a younger city than Nordelta and the presence of art in its streets is in its DNA,” she says about the germ of this project. “So, we decided to make the Malba Puertos reserve but having such a collection of works in one place, why not share them, make temporary exhibition halls. We thought there had to be bathrooms, a shop and a café and the project started to grow and took even more shape when at the Venice Biennale we had the opportunity to buy the complete family of works by the renowned Tucuman artist Gabriel Chaile. And well, let's make a museum . And we started talking to Juan Herreros [Spanish architect who was in charge of the remodeling of Malba in Palermo in 2017] who gave us a great solution in the layout of this new Malba,” says Costantini about how in record time where there was nothing, on an immense plot of land overlooking the water, there is now an art museum in Escobar.
Panoramic view of the museum in the Bay of Ports MALBA
“Hundreds of people have worked on it: Puertos and Malba staff, architects, artists and designers who exhibit, the construction company, the developers who are going to build their buildings very close to this space and who have collaborated financially with the project ,” says the businessman standing on the large open-air esplanade of the museum, where on either side there are posters from the developer CMNV advertising two-, three- and four-room residences with commercial premises. A preview of the activity that this area of the project promises.
“We want to be a destination museum. It is not like the Malba in Palermo, which is located in a central part of the city and has a permanent collection that breaks the ground. Here we are going to create a community, activities, visits for children, to make crossovers with different disciplines such as music and literature, we have to have performances, a little more popular art,” says Costantini about the purpose of this new institution, whose entrance is free and financed by Consultatio, the developer of Ports that invested more than US$7 million in the construction, which, adding the value of the land, easily exceeds US$10 million.
The transparent building, with three bodies, without a main entrance, without a lobby and without a name on its façade, only the geographical coordinates Malba
The roof connects the three pavilions Courtesy of Herreros studio
Eduardo and Elina Costantini with Marta Minujín at the opening of Malba Puertos Malba
In a one-on-one with LA NACION , Herreros talks about the process of creating a “non-museum” with the challenge of breaking with everything established in terms of architecture and opening up to a new way of dialoguing with the art on display.
The open circles of the ceiling, the symbol that identifies Malba Puertos MALBA
-How do you think of an art museum in such a wild environment, 45 km from the city?
-When you plan to build a museum in a place like this, the hardest thing is that you know from the start that it can't be the museum you've seen, the museum you've already designed 10 times and built. So I thought that it couldn't have facades because we're not on a lot in the city or between party walls, there are no streets around; it can't have hierarchy because it's not a building that you get to know through the ritual of visiting or touring; it can't have the obvious features of a traditional museum like a main entrance or a lobby.
And that's where the inspiration comes from. A bit of making something that rests softly on the ground, it's like expanding into many places to establish connections with everything around it and at the same time trying to attract all the forces, people and phenomena that are around. I like to define it more as a site than a building, and a space and not as a museum because it's not a museum that you visit, but a museum you're in. We created a place to be in and it possibly has a time/surface relationship in the people who visit it that's much greater than any museum in the world because here you can spend an entire afternoon and come back the following week and there will always be something new to do: a new piece from the archive that is shared to be shown, a film to watch in the classroom, an event in the large courtyard.
This is how we seek to create an architecture that is very simple, simplicity as its essence, it is very rhythmic, very crystallographic, very much of nature, of minerals, in a place that basically has water and not very lush vegetation. Maintaining a dialogue between the natural and the artificial because architecture is artificial, although when inserted in a totally natural condition, it can become natural when it can channel other energies.
The roof with its skylights that are the symbol of Malba Puertos MALBA
The beach and the sculpture "El salto" located next to the MalbaAlejandro Guyot - THE NATION
-What was a key moment in the creative process?
-We thought of a proposal without limits in the studio, to make something porous, something dissolved in the landscape. And the roof appeared and the three volumes appeared and this architecture emerged. The moment of the roof in the project was very important, it was when we turned the museum around and proposed that the lobby was going to be outdoors, covered by a surface and nothing else because it is a place where you can do an exhibition but also a fruit market, an activity with children or an electronic music rave. It is there when we also see that there are many formats that are not just two-dimensional art and that there are many groups of people, ages, local generations, the people of Escobar, the people of the neighborhoods, and all that is condensed here. But it is not a building, it is a space, an enclave of the person with art, with the nature outside, with other people. This place is definitely like an instrument of awareness. And it allows access for those people who live far from the city, who do not usually go to a museum with works of this magnitude, with free entry, to access enjoyment and learning. That idea is super beautiful.
-The process has been, then, to think about everything that is not and should not be in order to get to what does have to be.
- I literally sat down with my team and we thought that Malba Puertos is not a museum and it is not a building, we were clear about that. But everyone has to see a museum and they have to see a building. They have to come and recognize a museum as such.
The open-air "room" with display platforms and an alder forestMalba Ports
Daniel Basso's work at the outdoor Furniture Sculpture exhibition MALBA
-How did the project begin and how did you get to know the area?
-When the pandemic was ending, I met Eduardo in Madrid and he told me that he had the idea of creating an art reserve in this development. The idea of enriching it with an exhibition hall and a café came up. So, I first saw some graphic and photographic information about the place and then I travelled to take a very long tour on my own, to understand above all the geography, the mark of human activity in this territory. The final building has many references to this question of filtering the light with the translucent skylights on the roof, or the wind, which is a very important part of this setting. Also the choice of colours: we chose a strange colour that is like a kind of fusion between the blue of the water and the green of the vegetation.
-And how was the choice of materials?
-We return to the idea of simplicity and also of repetition; we practically have three materials and two measurements and with that we can do everything and answer all the questions. There are three trees that were kept and respected that seem to be holding up the project and then there are two metal columns. And another important material that we worked with was the emptiness that this environment presented to us.
It is a very experimental project, not only because it is a museum that is an institution with a tradition like Malba, but also because of its openness to certain new things. I couldn't be more satisfied because saying: "We are going to make a reserve of art that can be visited" or "we are going to make a transparent exhibition hall" was like having a 99% chance of getting a no. There are risks here, in a certain way they are bets on a future of a very democratic art, of access for children, of new formats, a dissolution of the limits of architecture, but also of disciplines. I think that the way in which it has developed has been almost miraculous for me.
The transparency of the construction allows the works to be seen from outside, even on days and times when the museum is closed; in this case, the works of the Argentinean Mondongo inspired by the Entre Ríos Delta can be seen.Malba Ports
-What would be your description of the space you created?
I would like to highlight three parts: the forest is like a negative of the construction, a space occupied by impenetrable trees and what is occupied by a building on one side is empty and has open-air rooms on the other. It is an ambitious invention with a great future that also has to do with the opening and democratisation of art. Secondly, the technical reserve that has the courage to embrace an idea that the great institutions of the world are now preaching about the opening of their archives and their funds. These magical places, which were invisible and inaccessible. And finally, the exhibition hall that renounces the darkness typical of museums, this is a transparent museum even if you have to negotiate with that natural light.
I want to think that what is happening here - which seems innocent - is very novel and also shows that things can be very valuable if they are small, and that any city can build them because this is not an extraordinary display. Malba Puertos is an institution that moves away from the city center, from the centers of gravity of contemporary art to conquer other audiences, that gives space to other formats, an educational cultural enclave. The museum is not only what is built, it is everything that surrounds it, the museum begins where the sculpture is furthest from this point because the construction is the center of gravity but there is art in all of Puertos.
The family of five pieces created by Tucuman Gabriel Chaile that Costantini bought at the Venice Art Biennale in 2023 and will be a permanent collection at Malba PuertosMalba Ports
The question that arises is whether the arrival of the museum will revalue the land and the houses, to which De la Serna considers that “we hope so, but that is not the cause of this project but eventually a consequence. It is very likely that the interaction between the people, the artists and their works will call and captivate families to be part of this environment and decide to live or invest in Puertos . The valorization is produced by the proposal and its content. This has occurred in many places in the world where the presence of a cultural program and a quality public space have contributed to valorizing the environment in which they are located . The arrival of Malba has more to do with a federal, inclusive and interactive view in its proposal that, by geographically approaching new audiences, new publics, the museum becomes more accessible and powerful at the same time and that aspect connects with the idea of proximity as a desirable aspect to encourage interaction.” Currently, the prices in the last two neighborhoods launched are US$99,226 for internal lots of 602 m² in Nativas and US$674,724 for plots of 1539 m² in Orillas with a waterfront location.
Gonzalo de la Serna, CEO of Consultatio, Eduardo Costantini and Leandro Chiappa, one of the main people responsible for this project Malba
Santiago Tarasido is CEO of Criba, the company that built the museum in record time for a project of this nature, as it was completed in just 10 months . He explains in detail the challenge that the project represented: “It is a unique project in which fluid interaction was key, both with the owner and with the technicians, structural engineers, sustainability specialists, facilities advisors, local and international architects, suppliers, the Ports community, museum authorities, donors, curators, and even the artists themselves,” says the executive.
From a construction perspective, the pavilions were made of steel, glass and concrete panels, seeking maximum lightness compatible with the protection of the works. One of the challenges was to solve a steel structure capable of covering large free spans . In this case, the beams played a central role by efficiently connecting the pavilions through the semi-covered space, providing both functionality and aesthetics to the whole.
The modular roof, the museum's symbol, was made of GRP (Fiberglass Reinforced Polyester), generally used for boat hulls. "We developed it from specific matrices for this project," explains Tarasido, the man who runs the company with more than 70 years of history focused on large architectural works in the region, such as the Alvear Tower - the tallest tower in Argentina -, the YPF Building by César Pelli or the Cipriani real estate megaproject in Punta del Este.
Architect Juan Herreros and Santiago Tarasido at the inauguration of the museum and under the emblematic roof that lets in natural light during the day and lights up at night
Acrylic material was chosen for the domes on the roof. “It was essential to achieve the effect sought by the architectural studio : that they do not cast shadows and at the same time are permeable to the sky,” describes the CEO of Criba and refers to the carpentry of the entire envelope. “Glass with particular technical specifications was necessary to protect the works of art, and the supplier manufactured jumbo-sized dimensions with national inputs when they are usually imported,” clarifies Tarasido and raises another of the challenges that prove that this is an emblematic work.
“ It is a unique work that will undoubtedly be a milestone for the culture and art of the province of Buenos Aires , inviting us to inhabit a museum in a different way in a natural environment such as that which characterizes Puertos,” he concludes.
www.buysellba.com
Source:
Costantini revela cómo se le ocurrió la idea de crear Malba Puertos, un proyecto de US$10 millones de inversión
Paso a paso, cómo surgió la idea, la inspiración del arquitecto español Juan Herreros, el desafío constructivo, y cómo impactará la obra en la revalorización de los terrenos de Puertos en Escobar
www.lanacion.com.ar
September 27, 2024
Step by step, how the idea came about, the inspiration of the Spanish architect Juan Herreros, the construction challenge, and how the work will impact the revaluation of the lands of Puertos in Escobar
By Veronica Ruby
The Malba Puertos building in Escobar is now open to the public from Tuesday to Sunday from 12 to 19Courtesy of Herreros studio
Where there is nothing, he creates life. Territory, landscaping, urban planning, streets, houses and apartments , families living there, schools, shopping centres, sports facilities, ecological reserves, art. There was nothing in the land of Tigre where the Nordelta project was approved in 1992 and the first neighbourhood was launched in 1999. There are now 21 neighbourhoods and 45,000 inhabitants. And there was nothing in the depths of Escobar when Puertos began to take shape in 2010. Today there are 11 neighbourhoods, a medium-density sector and 3,600 inhabitants. And as if that were not enough, a Malba .
On Saturday, September 21, Eduardo Costantini fulfilled his dream of inaugurating Malba Puertos, the new headquarters of the Museum of Latin American Art of Buenos Aires, which has been in Palermo for 23 years and which, this year, expanded 45 kilometers north of the city, in Escobar.
Puertos is a city with three concepts that have been deeply rooted since its beginnings: nature, sustainability and art. There are sculptures in roundabouts and public spaces; a nature reserve that has been preserved and is open to the public; and clear guidelines for sustainable construction .
A sculpture by Marcela Sinclair at the entrance and meters from two schools that are in Puertos Malba Press
"The song of the flying bird", by Martín Blasko, in a public spaceMalba Press
"The Paraeolic" by Irina Kirchuk, in front of a reflecting pooltuxo - Malba Press
“I am of the opinion that one should express oneself through art, not through the culture of art, and there was no better way than to put up works so that Puertos could be identified through art and that was the first statement,” says Costantini about the innovation of placing works of art within the project developed on 1,400 hectares. “Then, Teresa Bulgheroni, the president of Malba, asked me to create a technical reserve because she had run out of space to store works in the museum. And that is where the idea of taking them to Puertos arose because it is a younger city than Nordelta and the presence of art in its streets is in its DNA,” she says about the germ of this project. “So, we decided to make the Malba Puertos reserve but having such a collection of works in one place, why not share them, make temporary exhibition halls. We thought there had to be bathrooms, a shop and a café and the project started to grow and took even more shape when at the Venice Biennale we had the opportunity to buy the complete family of works by the renowned Tucuman artist Gabriel Chaile. And well, let's make a museum . And we started talking to Juan Herreros [Spanish architect who was in charge of the remodeling of Malba in Palermo in 2017] who gave us a great solution in the layout of this new Malba,” says Costantini about how in record time where there was nothing, on an immense plot of land overlooking the water, there is now an art museum in Escobar.
Panoramic view of the museum in the Bay of Ports MALBA
“Hundreds of people have worked on it: Puertos and Malba staff, architects, artists and designers who exhibit, the construction company, the developers who are going to build their buildings very close to this space and who have collaborated financially with the project ,” says the businessman standing on the large open-air esplanade of the museum, where on either side there are posters from the developer CMNV advertising two-, three- and four-room residences with commercial premises. A preview of the activity that this area of the project promises.
“We want to be a destination museum. It is not like the Malba in Palermo, which is located in a central part of the city and has a permanent collection that breaks the ground. Here we are going to create a community, activities, visits for children, to make crossovers with different disciplines such as music and literature, we have to have performances, a little more popular art,” says Costantini about the purpose of this new institution, whose entrance is free and financed by Consultatio, the developer of Ports that invested more than US$7 million in the construction, which, adding the value of the land, easily exceeds US$10 million.
The transparent building, with three bodies, without a main entrance, without a lobby and without a name on its façade, only the geographical coordinates Malba
The roof connects the three pavilions Courtesy of Herreros studio
Eduardo and Elina Costantini with Marta Minujín at the opening of Malba Puertos Malba
The challenge of light, wind and transparency
In 2017, the Spanish architect Juan Herreros, with his studio in Madrid, was in charge of the remodelling of the ground floor of Malba. When Costantini began to fantasise about creating another Malba in Puertos, he chose it again. Designed by the Herreros studio - with the support of Torrado Arquitectos, Bulla in landscaping and FloraEstudio in furniture design - these 5,500 m² were created from a large roof of translucent domes of 1,200 m², supported by three pavilions containing: an exhibition hall with reception, library, design shop and services (500 m²), a technical reserve that functions as a depository for works of art on view to the public, a pedagogical room for activities and a café (500 m²) and a fully glazed pavilion of 200 m² that will permanently exhibit the five sculptures by Tucumán-born Gabriel Chaile. The pavilions create a large open, roofed plaza that continues into an open-air space that overlooks the water and a beach. And finally (or initially, because this is where you can enter and leave the museum) there is a natural corridor (3,200 m²) that is the first alder forest in the country and contains three open-air exhibition platforms.In a one-on-one with LA NACION , Herreros talks about the process of creating a “non-museum” with the challenge of breaking with everything established in terms of architecture and opening up to a new way of dialoguing with the art on display.
The open circles of the ceiling, the symbol that identifies Malba Puertos MALBA
-How do you think of an art museum in such a wild environment, 45 km from the city?
-When you plan to build a museum in a place like this, the hardest thing is that you know from the start that it can't be the museum you've seen, the museum you've already designed 10 times and built. So I thought that it couldn't have facades because we're not on a lot in the city or between party walls, there are no streets around; it can't have hierarchy because it's not a building that you get to know through the ritual of visiting or touring; it can't have the obvious features of a traditional museum like a main entrance or a lobby.
And that's where the inspiration comes from. A bit of making something that rests softly on the ground, it's like expanding into many places to establish connections with everything around it and at the same time trying to attract all the forces, people and phenomena that are around. I like to define it more as a site than a building, and a space and not as a museum because it's not a museum that you visit, but a museum you're in. We created a place to be in and it possibly has a time/surface relationship in the people who visit it that's much greater than any museum in the world because here you can spend an entire afternoon and come back the following week and there will always be something new to do: a new piece from the archive that is shared to be shown, a film to watch in the classroom, an event in the large courtyard.
This is how we seek to create an architecture that is very simple, simplicity as its essence, it is very rhythmic, very crystallographic, very much of nature, of minerals, in a place that basically has water and not very lush vegetation. Maintaining a dialogue between the natural and the artificial because architecture is artificial, although when inserted in a totally natural condition, it can become natural when it can channel other energies.
The roof with its skylights that are the symbol of Malba Puertos MALBA
The beach and the sculpture "El salto" located next to the MalbaAlejandro Guyot - THE NATION
-What was a key moment in the creative process?
-We thought of a proposal without limits in the studio, to make something porous, something dissolved in the landscape. And the roof appeared and the three volumes appeared and this architecture emerged. The moment of the roof in the project was very important, it was when we turned the museum around and proposed that the lobby was going to be outdoors, covered by a surface and nothing else because it is a place where you can do an exhibition but also a fruit market, an activity with children or an electronic music rave. It is there when we also see that there are many formats that are not just two-dimensional art and that there are many groups of people, ages, local generations, the people of Escobar, the people of the neighborhoods, and all that is condensed here. But it is not a building, it is a space, an enclave of the person with art, with the nature outside, with other people. This place is definitely like an instrument of awareness. And it allows access for those people who live far from the city, who do not usually go to a museum with works of this magnitude, with free entry, to access enjoyment and learning. That idea is super beautiful.
-The process has been, then, to think about everything that is not and should not be in order to get to what does have to be.
- I literally sat down with my team and we thought that Malba Puertos is not a museum and it is not a building, we were clear about that. But everyone has to see a museum and they have to see a building. They have to come and recognize a museum as such.
The open-air "room" with display platforms and an alder forestMalba Ports
Daniel Basso's work at the outdoor Furniture Sculpture exhibition MALBA
-How did the project begin and how did you get to know the area?
-When the pandemic was ending, I met Eduardo in Madrid and he told me that he had the idea of creating an art reserve in this development. The idea of enriching it with an exhibition hall and a café came up. So, I first saw some graphic and photographic information about the place and then I travelled to take a very long tour on my own, to understand above all the geography, the mark of human activity in this territory. The final building has many references to this question of filtering the light with the translucent skylights on the roof, or the wind, which is a very important part of this setting. Also the choice of colours: we chose a strange colour that is like a kind of fusion between the blue of the water and the green of the vegetation.
-And how was the choice of materials?
-We return to the idea of simplicity and also of repetition; we practically have three materials and two measurements and with that we can do everything and answer all the questions. There are three trees that were kept and respected that seem to be holding up the project and then there are two metal columns. And another important material that we worked with was the emptiness that this environment presented to us.
It is a very experimental project, not only because it is a museum that is an institution with a tradition like Malba, but also because of its openness to certain new things. I couldn't be more satisfied because saying: "We are going to make a reserve of art that can be visited" or "we are going to make a transparent exhibition hall" was like having a 99% chance of getting a no. There are risks here, in a certain way they are bets on a future of a very democratic art, of access for children, of new formats, a dissolution of the limits of architecture, but also of disciplines. I think that the way in which it has developed has been almost miraculous for me.
The transparency of the construction allows the works to be seen from outside, even on days and times when the museum is closed; in this case, the works of the Argentinean Mondongo inspired by the Entre Ríos Delta can be seen.Malba Ports
-What would be your description of the space you created?
I would like to highlight three parts: the forest is like a negative of the construction, a space occupied by impenetrable trees and what is occupied by a building on one side is empty and has open-air rooms on the other. It is an ambitious invention with a great future that also has to do with the opening and democratisation of art. Secondly, the technical reserve that has the courage to embrace an idea that the great institutions of the world are now preaching about the opening of their archives and their funds. These magical places, which were invisible and inaccessible. And finally, the exhibition hall that renounces the darkness typical of museums, this is a transparent museum even if you have to negotiate with that natural light.
I want to think that what is happening here - which seems innocent - is very novel and also shows that things can be very valuable if they are small, and that any city can build them because this is not an extraordinary display. Malba Puertos is an institution that moves away from the city center, from the centers of gravity of contemporary art to conquer other audiences, that gives space to other formats, an educational cultural enclave. The museum is not only what is built, it is everything that surrounds it, the museum begins where the sculpture is furthest from this point because the construction is the center of gravity but there is art in all of Puertos.
The family of five pieces created by Tucuman Gabriel Chaile that Costantini bought at the Venice Art Biennale in 2023 and will be a permanent collection at Malba PuertosMalba Ports
The conquest of public space and construction in record time
Consultatio, also founded by Eduardo Costantini, is a developer specializing in real estate projects and the creator of Nordelta (Tigre); Puertos (Escobar); Torre Oro, Huergo 475, Grand Bourg and Quartier Ocampo (CABA); the Oceana series (Puerto Madero, Nordelta and Miami); Las Garzas (Rocha, Uruguay) and the corporate towers Alem Plaza, Catalinas Norte and Catalinas Plaza (Microcentro). Regarding the arrival of Malba to Puertos, Gonzalo de la Serna, its CEO, believes that “the art proposal of the Urban Circuit in the public space, with more than 23 works by Argentine artists, is greatly enhanced with the arrival of the new museum. The presence of a museum of international quality located in the public space and with free admission stands as a constitutive element of the identity of Puertos and represents a differential proposal from multiple angles, including that of real estate.”The question that arises is whether the arrival of the museum will revalue the land and the houses, to which De la Serna considers that “we hope so, but that is not the cause of this project but eventually a consequence. It is very likely that the interaction between the people, the artists and their works will call and captivate families to be part of this environment and decide to live or invest in Puertos . The valorization is produced by the proposal and its content. This has occurred in many places in the world where the presence of a cultural program and a quality public space have contributed to valorizing the environment in which they are located . The arrival of Malba has more to do with a federal, inclusive and interactive view in its proposal that, by geographically approaching new audiences, new publics, the museum becomes more accessible and powerful at the same time and that aspect connects with the idea of proximity as a desirable aspect to encourage interaction.” Currently, the prices in the last two neighborhoods launched are US$99,226 for internal lots of 602 m² in Nativas and US$674,724 for plots of 1539 m² in Orillas with a waterfront location.
Gonzalo de la Serna, CEO of Consultatio, Eduardo Costantini and Leandro Chiappa, one of the main people responsible for this project Malba
Santiago Tarasido is CEO of Criba, the company that built the museum in record time for a project of this nature, as it was completed in just 10 months . He explains in detail the challenge that the project represented: “It is a unique project in which fluid interaction was key, both with the owner and with the technicians, structural engineers, sustainability specialists, facilities advisors, local and international architects, suppliers, the Ports community, museum authorities, donors, curators, and even the artists themselves,” says the executive.
From a construction perspective, the pavilions were made of steel, glass and concrete panels, seeking maximum lightness compatible with the protection of the works. One of the challenges was to solve a steel structure capable of covering large free spans . In this case, the beams played a central role by efficiently connecting the pavilions through the semi-covered space, providing both functionality and aesthetics to the whole.
The modular roof, the museum's symbol, was made of GRP (Fiberglass Reinforced Polyester), generally used for boat hulls. "We developed it from specific matrices for this project," explains Tarasido, the man who runs the company with more than 70 years of history focused on large architectural works in the region, such as the Alvear Tower - the tallest tower in Argentina -, the YPF Building by César Pelli or the Cipriani real estate megaproject in Punta del Este.
Architect Juan Herreros and Santiago Tarasido at the inauguration of the museum and under the emblematic roof that lets in natural light during the day and lights up at night
Acrylic material was chosen for the domes on the roof. “It was essential to achieve the effect sought by the architectural studio : that they do not cast shadows and at the same time are permeable to the sky,” describes the CEO of Criba and refers to the carpentry of the entire envelope. “Glass with particular technical specifications was necessary to protect the works of art, and the supplier manufactured jumbo-sized dimensions with national inputs when they are usually imported,” clarifies Tarasido and raises another of the challenges that prove that this is an emblematic work.
“ It is a unique work that will undoubtedly be a milestone for the culture and art of the province of Buenos Aires , inviting us to inhabit a museum in a different way in a natural environment such as that which characterizes Puertos,” he concludes.
www.buysellba.com
