The Bogota Museum of Memory

Instructor/ Marcelo Spina 
AT/Dylan Kruger



The Museum of Memory proposal for Bogota constructs subtle surrealism, absorbing, and the animating difference of the challenging program, and material. The project takes on the provocation of the divisive content beyond the relationship of form to content offering felxible spaces for social exchange and conversation.

The comprehension of a metropolitan scale is fundamental to the expression of the museum as an architectonical answer to deep underlying cultural issues. The project, which reads like a collection, tightly woven domestic sheds, forms a mat building with frayed edges and deep gashes that arbitrate the urban context. This formal quality produces a sub-urbanity with the loose resolution of 3 distinct programs. The programs of the exhibition, work, and community are allowed to spill, swell, and retreat as needed, not defined by formal walls, but rather the negotiation around and in the courtyards.

Bogota is a city made of brick, and the distinct reddish pink color is visible in the architectural backdrop. Brick's strong history stems from the cites' colonial past, and the many generations of builders have developed novel uses for the material. The architect, for example, Elio Salmona, who employed the ruddy brick in the design of urban landscapes, is the exemplary mark of the slow democratization of the material into the culture.

In the proposal, the building becomes an abstraction of its context and an integral way of re-reading the distinct history In its raw materiality. The façade is an imperfect mirror turning to the people and the city to be an element to be foundational to its identity. It is filtering light and space as an element of a procession through the whole campus. The museum, therefore, asserts itself in this context becomes a mute icon.