PIER

Transforming natural contours is a human necessity, turning the cities and your own
world into extensions of the seas. However, the manner of stirring the water and the
coastal land demands a delicate touch. The monumentality of the buildings always
seems insignificant before the force of the seas. Thus, architectural masterpieces
run the risk of becoming banal landscape interferences, dust lining the horizon.
A human construction which rises significantly above the sea level at the selected
site for the Pier Museum can be one of these landscape interferences, awakening
public discussion regarding the impact that its presence causes in the city. The interruption
of the horizon along the shores of South Beach could sound less like a poetic
mark that dialogues with its surroundings and more like a noisy landscape.
Thus, for this project, the choice was an invisible pier that has no desire to compete
with the immensity of the sea. It is in the ‘absence’ that the Pier Museum becomes a
landmark and its aesthetic character emerges from its non-existence. The project
proposes the museum as an architectural anti-object and the imaginary of its space
is spread by the sea.
The water that once separated immigrants from their destiny now opens to integrate
peoples, building a space above the sea that recuperates collective memories. The
sand of the beach splits in a ramp that leads the visitors to the museum’s interior and
invokes the poetic image of a tunnel connecting to neighboring countries, separated
by the sea.
Entering the inner space, underwater, the visitor comes upon a large submersed
window that looks out to the sea with the ramp continuing out towards the infinite
waters. The auditorium can completely open out to the museum gallery. The interior
space is organized by a large organic strip that creates the program of the museum.
This strip composes the reception area, coffee shop, the exhibits, a multi-use area
and the library. The space is continual, fluid, and the strip does not interrupt the free
floor-plan or the visual perspective. The infinite circulation of the museum leads the
visitor around the strip, on a small trip, returning to the entrance. Leaving the invisible
pier, with your back facing the large window that looks out to the sea, once again
the beach and the city of Miami appear from within the ocean.
Studio MK27

PIER

PROJECT FOR CONTEST
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location > miami . usa
project > april . 2009
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architecture > studio mk27
concept > studio mk27 team
architect > marcio kogan
co-architects > eduardo glycerio . lair reis . maria cristina motta . mariana simas . suzana glogowski
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studio team > carolina castroviejo . diana radomysler . gabriel kogan . oswaldo pessano . renata furlanetto . samanta cafardo

Transforming natural contours is a human necessity, turning the cities and your own
world into extensions of the seas. However, the manner of stirring the water and the
coastal land demands a delicate touch. The monumentality of the buildings always
seems insignificant before the force of the seas. Thus, architectural masterpieces
run the risk of becoming banal landscape interferences, dust lining the horizon.
A human construction which rises significantly above the sea level at the selected
site for the Pier Museum can be one of these landscape interferences, awakening
public discussion regarding the impact that its presence causes in the city. The interruption
of the horizon along the shores of South Beach could sound less like a poetic
mark that dialogues with its surroundings and more like a noisy landscape.
Thus, for this project, the choice was an invisible pier that has no desire to compete
with the immensity of the sea. It is in the ‘absence’ that the Pier Museum becomes a
landmark and its aesthetic character emerges from its non-existence. The project
proposes the museum as an architectural anti-object and the imaginary of its space
is spread by the sea.
The water that once separated immigrants from their destiny now opens to integrate
peoples, building a space above the sea that recuperates collective memories. The
sand of the beach splits in a ramp that leads the visitors to the museum’s interior and
invokes the poetic image of a tunnel connecting to neighboring countries, separated
by the sea.
Entering the inner space, underwater, the visitor comes upon a large submersed
window that looks out to the sea with the ramp continuing out towards the infinite
waters. The auditorium can completely open out to the museum gallery. The interior
space is organized by a large organic strip that creates the program of the museum.
This strip composes the reception area, coffee shop, the exhibits, a multi-use area
and the library. The space is continual, fluid, and the strip does not interrupt the free
floor-plan or the visual perspective. The infinite circulation of the museum leads the
visitor around the strip, on a small trip, returning to the entrance. Leaving the invisible
pier, with your back facing the large window that looks out to the sea, once again
the beach and the city of Miami appear from within the ocean.
Studio MK27