Scheme of the “folding down” partition system, image courtesy of OMA The functional scheme, ground floor plan, and cutout model showing the auditorium level (+1), courtesy of OMA
An education center and a 20,000-item art library are housed in a smaller building nearby.Ī bespoke movable separation system can easily provide custom “white cubes” on-demand by folding down an array of lightweight walls from the exhibition galleries’ ceiling.
The upper levels house flexible open spaces for exhibitions and special events, rooms for learning and research activities, an auditorium, offices, and a roof terrace. The ground level accommodates the main lobby, a bookshop, a media library, and a cafeteria. Overall, the museum is composed of three levels. Photo courtesy Garage Museum of Contemporary ArtĬross-section of the museum lobby and views of the architectural model, images courtesy of OMA The lobby is a double-height space, 10-meter high, which can be also used to display large-scale sculptures and art installations. Two sections of the facade can be lifted upwards, thus giving access to the Garage museum’s main lobby. The old building had lost all its facades, therefore the first element conceived by Koolhaas was a new envelope, chiefly made of double-layer polycarbonate, a material rather unusual for museums, and previously adopted in few other public buildings (such as Herzog & de Meuron’s Laban Center in London, or the Seoul National Museum of Art by Koolhaas himself).Īlong with being the building’s protective skin, the facades contain the ventilation system and the safety stairs, furthermore, their translucent panels can be used as projection screens, thus transforming the whole envelope into a giant multimedia communication device that conveys information from inside the museum into the public realm. “Proof” exhibition, September 30, 2016–February 5, 2017, installation view, Photo: Alexei Naroditsky © Garage Museum of Contemporary Art The mosaic depicting the summer season, photo Garage Museum of Contemporary ArtĪ view of the restored building and a scheme of the visual relationship between old decorative elements and contemporary artworks, courtesy of OMA Koolhaas did not consider such artifacts, which also included graffiti and decorative brickwork, only as mute relics of a remote past, but managed to include them in the new building as active elements and investigated the possible visual relationship between them and the contemporary artworks on display in the museum. Photo © Iwan Baan courtesy Garage Museum of Contemporary ArtĮncompassing a total floor area of 5,400 (58,000 square feet) square meters, the new museum designed by Rem Koolhaas / OMA retains many characters of the old building, including ornamental elements, such as a large and picturesque mosaic depicting the summer season which once adorned the restaurant’s main dining hall. The building of the museum once was home to the popular Vremena Goda restaurant, a 1960s Soviet-era prefabricated concrete construction which has been in a derelict state for over 20 years. In 2014, the center changed its name to the Garage Museum of Contemporary Art, and a year later it moved to its current location in central Moscow. The museum was founded in 2008 as Garage Center for Contemporary Culture by well-known business persons and art collectors Dasha Zhukova and Roman Abramovich with the aim “to provide opportunities for dialogue, as well as the production of new work and ideas (and to) reflect current developments in Russian and international culture”.Īt first, the center was housed in the former Bakhmetievsky Bus Garage designed in 1926 on the outskirts of the Russian capital by constructivist architect Konstantin Melnikov. The Garage Museum of Contemporary Art (Russian: Музей современного искусства «Гараж») is a renowned Russian art center in Moscow housed in a former Soviet-era restaurant near Gorky Park, recently redeveloped after a design by Dutch architect Rem Koolhaas / OMA.
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