To be able to generate an integral and successful scheme we contemplated different factors such as the urban site destined for this project, its main user and the basic objectives of the future museum.
The immediate urban environment of the museum will be the surrounding rooms and buildings as well as what will be the CETRAM constitution 1917 in conjunction with the Modal Transfer Center and Shopping Center.
The geometry of the museum serves as a great transition in the urban trace born from the rigid orthogonal language of the CETRAM volumes and it developes towards the progressive and natural accommodation of the surrounding buildings, the superimposed trapezoidal volumes move from the geometrical rigidity of the CETRAM to naturally integrate with the context of the area.
The Museum guiding axes start off naturally with the pedestrian bridge which overcomes the road and integrates with the complex,from north to south.
On the east - west axis, with the existing core of stairs of the shopping center.
And turning the façade of the volume with more hierarchy, to achieve a visual access from Av. Ermita Iztapalapa.
The child as the main user must be in control of the space. This set of simple shapes and geometries almost alludes to the playful games of stackable wooden blocks.
These volumes which emerge from a transition that the urban trace imposes are formally very familiar, natural and accessible to a child, evoking capricious elements in its conformation, but at the same time with a natural and instinctive order.
These forms that transit between the linear and the superimposed, would allow to unify and articulate the proposed scheme in the transfer terminal, the shopping center and the perimeter zones, asymmetric in their levels, forms and materials; with this we achieve a coherence of forms between what exists and what is proposed in the shopping center.
The building tries to reach an understanding with the natural environment, *floating* and integrating with it as it were an element that was born together with the neighboring houses; as if it had always been there. At the same time it demonstrates synthesis and flow communication with the shopping center building, which is an already projected element for the city.
The lack of spaces for public interaction and environmental lungs in the borough led us to create a large public square / garden as the heart of the building, that opens its doors to the residents and contributes to the community in which it is located. At all times within the exhibition and public services spaces there are visuals to this square and the immediate urban context.
Furthermore, on the museum decks, between the halls, there are large green spaces, at different levels, which are part of the museums experience.
Pedestrian flows and public services are integrated into the new plan, making the museum a key part of its operation.
The configuration of the building tries to harmonize with the chaotic environment and at the same time with its own order. A museum that is embraced by the urban events of Iztapalapa.
为了能够产生一个完整和成功的方案，我们考虑了不同的因素，例如这个项目的城市地点，它的主要用户和未来博物馆的基本目标。博物馆的直接城市环境将是周围的房间和建筑物，以及与Modal转移中心和购物中心相结合的1917年CETRAM章程。博物馆的几何形态是从CETRAM空间的刚性正交语言所产生的城市轨迹中的一个巨大的过渡，它向周边建筑的渐进式和自然的迁居发展，叠加的梯形空间从CETRAM的几何刚性移到与该地区的环境自然结合。博物馆的导向轴自然从人行天桥开始，从北到南与复杂的、融为一体。在东西轴线上，以现有的核心楼梯为购物中心.并以更多层次转动音量的外观，实现从Av的视觉访问。埃米塔拉帕。作为主用户的子用户必须控制空间。这组简单的形状和几何图形几乎暗示了可堆叠的木块的好玩的游戏。这些从城市痕迹所强加的过渡中产生的卷在形式上是非常熟悉的、自然的和儿童能够接触到的，在结构上引起反复无常的因素，但同时又带有一种自然和本能的秩序。这些形式在线性和叠加之间过渡，将允许在换乘终端、购物中心和周边区域中统一和阐明所提议的方案，在它们的层次、形式和材料上是不对称的；这样我们就实现了购物中心的存在和提议之间的形式的一致性。这座建筑试图与自然环境达成共识，“漂浮”，并与之结合，因为它是与相邻的房屋一起诞生的元素，就像它一直在那里一样。同时，展示了与购物中心建筑的综合与流动沟通，这是城市的一个已经规划好的元素。由于缺乏公共互动的空间和环境肺部，我们创造了一个大的公共广场/花园作为建筑物的中心，为居民打开了大门，也为社区做出了贡献。

Location: Iztapalapa, Mexico City Year: 2015 Area: 175,914 sq ft Status: Project
地点：墨西哥城年：2015年：175，914平方英尺：项目