The National centre
for the Contemporary Art
and Architecture

The project for the building devoted to the national centre for the contemporary art and architecture was selected following a two-part international competition launched by the Ministry for Cultural Heritage in 1998.

The winning design was that of the Anglo-Iraqi architect Zaha Hadid, chosen from among 273 candidates from all over the world.

Zaha Hadid’s proposal convinced the jury thanks to its capacity to integrate with the urban fabric and for its innovative architecture successfully interpreting the potential of the new institution and equipping it with an extraordinary sequence of public spaces.

I 15 PROGETTI FINALISTI

  • Adam Caruso, Peter St John; Modello di concorso del Centro per le arti contemporanee, Roma, Italia; 1998; legno, cartoncino, plexiglas; 71 x 56 x 20.5 cm. Photo Sebastiano Luciano

  • Francesco Cellini, Franco Ceschi; Modello di concorso del Centro per le arti contemporanee, Roma, Italia; 1998, legno, balsa; 71 x 56 x 20.5 cm. Photo Sebastiano Luciano

  • Michele De Lucchi, Achille Castiglioni, Italo Lupi; Modello di concorso del Centro per le arti contemporanee, Roma, Italia; 1998; legno, cartoncino; 71 x 56 x 20.5 cm. Photo Sebastiano Luciano

  • Eduardo Souto de Moura; Modello di concorso del Centro per le arti contemporanee, Roma, Italia; 1998; panforte, balsa; 71 x 56 x 20.5 cm. Photo Sebastiano Luciano

  • Vittorio Gregotti – Gregotti Associati Internationalm, con Franco Purini; Modello di concorso del Centro per le arti contemporanee, Roma, Italia; 1998; legno, cartoncino, plexiglas; 71 x 56 x 20.5 cm. Photo Sebastiano Luciano

  • Zaha M. Hadid; Modello di concorso del Centro per le arti contemporanee, Roma, Italia; 1998; legno, cartoncino, balsa, alluminio, perspex; con base teca e inserita in contesto urbanistico 202 x 122 x 34 cm. Photo Sebastiano Luciano

  • Steven Holl, Guy Nordenson, Modello di concorso del Centro per le arti contemporanee, Roma, Italia; 1998; legno, cartoncino, plexiglas; 71 x 56 x 20.5 cm. Photo Sebastiano Luciano

  • Toyo Ito; Modello di concorso del Centro per le arti contemporanee, Roma, Italia; 1998; legno, cartoncino, plexiglas; 71 x 56 x 20.5 cm. Photo Sebastiano Luciano

  • Rem Koolhaas – Office for Metropolitan Architecture; Modello di concorso del Centro per le arti contemporanee, Roma, Italia; 1998; legno, cartoncino, plexiglas; 71 x 56 x 20.5 cm. Photo Sebastiano Luciano

  • Pierluigi Nicolin, Italo Rota; Modello di concorso del Centro per le arti contemporanee, Roma, Italia; 1998; legno, cartoncino 71 x 56 x 20.5 cm. Photo Sebastiano Luciano

  • Jean Nouvel; Modello di concorso del Centro per le arti contemporanee, Roma, Italia; 1998; legno, cartoncino 71 x 56 x 20.5 cm. Photo Sebastiano Luciano

  • Christos Papoulias; Modello di concorso del Centro per le arti contemporanee, Roma, Italia; 1998; legno, cartoncino; 71 x 56 x 20.5 cm. Photo Sebastiano Luciano

  • Mosè Ricci, Carmen Andriani, Aldo Aymonino, Pippo Ciorra; Modello di concorso del Centro per le arti contemporanee, Roma, Italia; 1998; legno, cartoncino, plexiglas; 71 x 56 x 20.5 cm. Photo Sebastiano Luciano

  • Kazuyo Sejima, Ryue Nishizawa; Modello di concorso del Centro per le arti contemporanee, Roma, Italia; 1998; legno, plexiglas; 71 x 56 x 20.5 cm. Photo Sebastiano Luciano

  • Cino Zucchi, Stefano Boeri; Modello di concorso del Centro per le arti contemporanee, Roma, Italia; 1998; legno, cartoncino, plexiglas; 71 x 56 x 20.5 cm. Photo Sebastiano Luciano

Cantiere d'autore

20 great photographers recounting the story of the MAXXI construction site, 20 points of view tackling the complex theme of a place in continuous mutation.

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Il Progetto Architettonico

The MAXXI design goes beyond the concept of the building-museum. The complexity of the volumes, the curving walls, the variations and intersections of the levels determine a very rich spatial and functional configuration that visitors may pass through via ever different and unexpected routes.

The MAXXI design addresses the question of its urban context by maintaining an indexicality to the former army barracks. In this way, the Centre is more like an “urban graft”, a second skin to the site.

The design offers a quasi-urban field, a world” to dive into. The Campus is organised and navigated on the basis of directional drifts and the distribution of densities rather than key points. This is indicative of the character of the Centre as a whole: porous, immersive, a field space.

Multiple environments coexist in a sequence of galleries illuminated with natural light filtered via a special roof system. The large full height atrium houses the reception services and leads into the auditorium, the galleries destined for the permanent collections, the exhibitions and the spaces devoted to the cafeteria and the bookshop.

Credits

Her work is a revolutionary research bordering on town planning, architecture and design. She was the first woman architect to win the Pritzker Prize in 2004…
Find out more on Zaha Hadid