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It was in 1996 when the collector of modern painting and contemporary Latin American Eduardo F. Costantini took the decision to build a museum to preserve and exhibit his valuable collection. And the foundation that bears his name that made the basic program of operational needs and promoted that led to the realization of this purpose.
The following year, as a result of an international competition organized by the International Union of Architects UIA and convened within the framework of the Seventh International Biennial of Architecture of Buenos Aires (BA/97), was awarded the preliminary submitted by three young architects Cordoba : Gaston Atelman, Martin Fourcade and Alfredo Tapia, virtually unknown until then.
An international jury, composed of figures from the highest level, among others, the architects Sara Topelson of Mexico (the then president of the UIA), Mario Botta, Switzerland; Kenneth Frampton, the United States. and Enric Miralles, of Spain, made the selection from among 430 works from 45 countries, with contestants of great prestige in the international architectural scene.
Located at Av. Figeroa Alcorta 3415 in Buenos Aires, in the neighborhood of Palermo.
Right from its origins as a guiding idea, the project's-Fourcade study Atelman-Tapia had a goal to integrate the building to the city and create an atmosphere conducive to improved interaction between visitors and works of art.
With a plot formed by the matrix that has as main lines of Figueroa Alcorta Avenue and Calle San Martin de Tours, the architects handled with delicate balance volumes blind stone and large flat glass.
Thus, the museum is organized around a central lobby tall, strongly illuminated, which connects the spaces through a system of vertical circulations.
Once inside the building, the movement is done via an elevator or escalator glazing. All tours are excellent natural lighting and views to the contour of the foliage.
The authors highlight at all times that the spaces were conceived as an excavated in volume, feeling that is seen in the perspective of the central vacuum. The four main rooms can compartmentalize according to the formats of the works on display and the specific guidelines set by the curator of each sample to be exhibited. On both sides of the entrance is located on bar-restaurant and bookshop, the first with a view toward the square Republic of Peru.
At the first level, both the library and a terrace for outdoor sculptures, are geared toward San Martin de Tours, artery more quiet and wooded surroundings.
The generous auditorium, located on the lower level, with capacity for 250 people, also overlooks the square, while the income in the parking lot is done by the street Martin Coronado.
Both for its plastic exterior, with a solid and harmonious set of slides, as in its internal processing, the new museum raises (at a time when we are seen many examples to the contrary) an efficient neutrality, which contributes to extol the values of the works on display while also emphasizing the characteristics of a genuine current architecture.