February 24, 2015



Located on a triangular site within the Polanco area of Mexico City, this new museum building exhibits part of one of the largest private collections of contemporary art in Latin America – Colección Jumex – and is part of a wider urban redevelopment. Overlooked by large commercial buildings, the constrained site is delineated by the major street Miguel de Cervantes Saavedra, the Ferrocarril de Cuernavaca railway line and an adjacent property to the east. The extremely individual quality of the neighbouring buildings overrides any attempt to integrate the new museum within this particular urban context. The absence of a discernible streetscape or coherent aesthetic into which the project could be comfortably inscribed therefore offered a rare opportunity to create a distinct building that simultaneously contributes to the larger context. Heading the triangular park, the building can be described as a freestanding pavilion that corresponds to the eclectic nature of the neighbouring buildings, which include the Museo Soumaya and the underground Teatro Cervantes. The mass of the building responds to the non-orthogonal plan of the site, which it exploits to provide the maximum footprint while delivering the programme within the constraints of local planning requirements.
The Fundación Jumex’s main administration and operational headquarters, as well as the collection’s storage facilities, library, and an exhibition space will remain at the existing premises in Ecatepec. The new building provides an exhibition space for the collection closer to a wider audience in Mexico City. The museum will present a programme of temporary exhibitions, including works from the ever-expanding Colección Jumex. As such, the gallery spaces are expected to accommodate diverse display techniques to suit both in-house and guest curators with differing approaches.
With an informal atmosphere, the building will not only house exhibitions but will also provide a platform for discourse and educational activities. Catering for a range of visitors – from those who have never visited a gallery to international scholars and seasoned gallery-goes – it is for the enjoyment of both the local community and destination tourists alike. Further activities including lectures, talks, debates, conferences and film screenings will be conducted in the gallery rooms rather than in separate purpose-designed spaces. The primary exhibition space is located on the two upper floors and optimises the use of daylight for the top floor gallery. The lower floors comprise a series of spaces that provide the more social and community-based aspects of the programme. An open-sided multi-function loggia sits between the upper galleries and the ground floor, and allows visitors to enjoy elevated views of the landscape and the urban life of the street.
The format of the floor plates and the position of the building cores provide large singular rooms that can be easily subdivided into two or more individual spaces. A distinctive saw-tooth roof creates a rhythmic geometry that defines the third-floor gallery. Consisting of a steel structure with east-facing roof lights and a horizontal diffuser layer, the roof distributes light evenly to illuminate the artworks and create an ambient light for the space. The light can be moderated to meet specific curatorial requirements.
The lower ground floor houses the art storage facilities, plant rooms, administrative offices and a multi-purpose room. Four further storeys below provide ample car parking. Resting on fourteen columns, the whole property sits on a raised plinth, allowing the ground floor to merge with the public plaza. This concept of maximising publicly accessible space continues from the plaza into the loggia on the first floor of the building. The plinth, the columns, the ground and first floor cores and the soffits throughout are of exposed white concrete, while the façades, the roof and the floors from the plinth upwards are made of locally sourced travertine from Xalapa, Veracruz. All windows are full-height glazing with stainless steel frames. The continuity of the travertine coating lends the building a solid character reminiscent of indigenous sculptural traditions.
You may visit David Chipperfield’s project of Musee des Beaux Arts and exhibition of Sticks & Stones, an Intervention at Neau National Galerie Berlin to click below link.


Since its foundation in 1985, David Chipperfield Architects has developed a diverse international body of work including cultural, residential, commercial, leisure and civic projects as well as masterplanning exercises. Within the portfolio of museums and galleries, projects range from private collections such as the Museo Jumex in Mexico City to public institutions such as the revitalised Neues Museum in Berlin. Practices in London, Berlin, Milan and Shanghai contribute to DCA’s wide range of projects and typologies.
Ongoing current projects include the Nobel Center in Stockholm; a new building for the Kunsthaus Zurich in Switzerland; the restoration of the Neue Nationalgalerie in Berlin; a mixed-use tower overlooking Bryant Park in New York; Musée des Beaux-arts in Reims, France; a luxury resort in Doha, Qatar; the James Simon Gallery, a new entrance building to Berlin’s Museum Island; the Ansaldo City of Cultures in Milan; Elizabeth House, a major new office and residential development near Waterloo in London; the Palace of Justice in Salerno, Italy; a headquarters building for Korean cosmetics company Amorepacific in Seoul; and the De Vere Gardens residential development in Kensington in London.
The practice has won more than 100 international awards and citations for design excellence, including Royal Institute of British Architects (RIBA), Royal Fine Art Commission (RFAC) and American Institute of Architects (AIA) awards, as well as the RIBA Stirling Prize in 2007, and the European Union Prize for Contemporary Architecture – Mies van der Rohe Award in 2011. David Chipperfield received the 2011 RIBA Royal Gold Medal and the Japan Art Association’s Praemium Imperiale in 2013, both given in recognition of a lifetime’s work.
The reputation of the office is established by both a commitment to the collaborative aspect of creating architecture and a strong focus on refining design ideas to arrive at a solution which is architecturally, socially and intellectually coherent.


David Chipperfield established David Chipperfield Architects in 1985. He was Professor of Architecture at the Staatliche Akademie der Bildenden Künste, Stuttgart from 1995 to 2001 and Norman R. Foster Visiting Professor of Architectural Design at Yale University in 2011, and he has taught and lectured worldwide at schools of architecture in Austria, Italy, Switzerland, the United Kingdom, and the United States. In 2012 David Chipperfield curated the 13th International Architecture Exhibition of the Venice Biennale. In 2014 he was appointed Artistic Director of the Italian furnishings firm Driade. 
He is an honorary fellow of both the American Institute of Architects and the Bund Deutscher Architekten, and a past winner of the Heinrich Tessenow Gold Medal, the Wolf Foundation Prize in the Arts, and the Grand DAI (Verband Deutscher Architekten- und Ingenieurvereine) Award for Building Culture. David Chipperfield was appointed Commander of the Order of the British Empire in 2004, appointed a Royal Designer for Industry in 2006, and elected to the Royal Academy in 2008. In 2009 he was awarded the Order of Merit of the Federal Republic of Germany and in 2010 he was knighted for services to architecture in the UK and Germany. In 2011 he received the RIBA Royal Gold Medal for Architecture, and in 2013, the Praemium Imperiale from the Japan Art Association, both given in recognition of a lifetime’s work.