Congonhas Museum / Gustavo Penna Arquiteto e Associados
The museum is located on the natural slope of the sanctuary’s ground, and, even though it represents a contrast because of its contemporary lines, that does not take away the protagonism from the whole secular setting. On the opposite, it was thought in a way as to ‘dialogue’ with the grounds where it has been built, as a meeting of past and present, one that guarantees the preservation of history for the future.
© Leonardo Finotti
Architects: Gustavo Penna Arquiteto e Associados
Location: Congonhas, Congonhas - MG, Brasil
Architects In Charge: Gustavo Penna, Laura Penna, Norberto Bambozzi, Alice Leite Flores, Ana Isabel de Sá, Eduardo Magalhães, Fernanda Tolentino, Gabriel de Souza, Henrique Neves, Ivan Rimsa, Julia Lins, Juliana Couri, Laura Caram, LetÃcia Carneiro, Naiara Costa, Natalia Ponciano, Oded Stahl, PatrÃcia Gonçalves, Paula Salum, Raquel Resende
Area: 3625.0 m2
Year: 2015
Photographs: Leonardo Finotti
© Leonardo Finotti
From the architect. The museum is located on the natural slope of the sanctuary’s ground, and, even though it represents a contrast because of its contemporary lines, that does not take away the protagonism from the whole secular setting. On the opposite, it was thought in a way as to ‘dialogue’ with the grounds where it has ...
© Leonardo Finotti
Architects: Gustavo Penna Arquiteto e Associados
Location: Congonhas, Congonhas - MG, Brasil
Architects In Charge: Gustavo Penna, Laura Penna, Norberto Bambozzi, Alice Leite Flores, Ana Isabel de Sá, Eduardo Magalhães, Fernanda Tolentino, Gabriel de Souza, Henrique Neves, Ivan Rimsa, Julia Lins, Juliana Couri, Laura Caram, LetÃcia Carneiro, Naiara Costa, Natalia Ponciano, Oded Stahl, PatrÃcia Gonçalves, Paula Salum, Raquel Resende
Area: 3625.0 m2
Year: 2015
Photographs: Leonardo Finotti
© Leonardo Finotti
From the architect. The museum is located on the natural slope of the sanctuary’s ground, and, even though it represents a contrast because of its contemporary lines, that does not take away the protagonism from the whole secular setting. On the opposite, it was thought in a way as to ‘dialogue’ with the grounds where it has ...
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