The design integrates shipping containers as 'walls' and paper tubes for support, a material the architect is known for using. At the conclusion of the first exhibition, the various components of the museum were packed into a few dozen containers and transported to the next venue. The remainder of the containers will be left behind, and rented replacements will take their place at the new location. The configuration of the structure will also change from time to time, as Ban adapts the design to fit the size and shape of different sites.
The museum is a space where we can reconnect with who we really are. The Tokyo installation was a kind of homecoming for Colbert who had long worked closely with Japanese handmade paper makers for his original artworks. He had also collaborated with renowned cinematographer Koji Nakamura, who filmed the underwater scenes in which Colbert himself is the subject. For all its apparent sobriety, this is an ecstatic space; as for the installation, it is Zen.
In the late 20th-century the architecture of Manhattan had turned its back on the waterfront. The first of its kind in the world, the Nomadic Museum was composed largely of recyclable and reusable materials—used shipping containers for the walls and paper tubing for the roof and columns—demonstrating sustainable practices and an innovative architectural approach within a post-industrial environment.
The New York opening marked the U. The debut installation of Ashes and Snow at the Arsenale in Venice, which opened in , inspired the architectural concepts used in the design of the Nomadic Museum. Metal and paper tube trusses create a classical pediment at the ends of the galleries, supporting the PVC membrane roof.
Two rows of thirty-inch-diameter paper tube columns march down the center of the gallery, mirroring the columns of the Arsenale, and articulating the 'nave' of the cathedral-like space. A wide pathway of wooden planks recycled from construction scaffolding runs between the rows of columns and defines the circulation path, while the remainder of the floor is occupied by a bed river rock. The bulk of the cavernous volume remains in shadow, keeping the focus on the art.
Although the structure itself appears relatively simple, the two initial sites for the traveling exhibit posed significant challenges. All components had to be installed from barges in the Hudson River, or from within.
To prepare for an aggressive eight week build schedule, the construction team built a full scale mock-up of an eighty-foot section of the structure in Elizabeth, New Jersey, allowing the team to develop a successful strategy to meet the site's unique constraints.
The bulk of the shipping containers used in the structure were rented at each location, while the remainder were used to ship the building components from location to location. Following the New York installation, Ban and Colbert reworked the arrangement of the building to improve circulation. The result was an H-shaped plan for the Santa Monica version of the structure, with two long gallery sections flanking a central space with a butterfly roof, housing the film presentation and a shop.
To ensure the stability of the structure, the shipping containers were mounted on eight-inch pipe columns drilled 40 feet into the ground, and aluminum extrusions replaced the steel frame trusses used in New York.
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