In January 1924, industrial designer André Citroën opened the brand’s first foreign branch on Place Sainctelette in Brussels. Years later, in 1933, and following the original sketches drawn by Citroën himself, plans were carried out to include a larg
A latent symbol of a declining automobile industry, the Citroën showroom and workshop form an urban island that dominates the north of the ringroad alongside the Brussels canal. The project is intended to revive the importance of this place and resto
The new piece frees up a large portion of the complex, permitting a flexible and non-regulated use. This new volume contains logistics spaces, offices, auditoria, and a museum designed as a massive and solid monolith with four monumental slabs... [+]
The project proposes the creation of a series of architectural pieces which order and hierarchize the gigantic interior of the complex, providing the museum with the spaces it requires to house its diverse collections, exhibitions, and programs... [+
The proposal echoes industrial production by incorporating a gantry crane on the east-west axis – this crane will permit transferring heavy works arriving by truck or boat – as well as mobile elements that facilitate a flexible configuration of the s
All the exhibition spaces complementary to the museum are gathered under the same roof: the peripheral gallery, open to city; the garage, for temporary exhibitions, experiments and large-scale events; the showroom; and the Interstitial Museum... [+]
The use of subtraction as a strategy to order, connect, and generate new possibilities in the spaces, is reflected in the outdoor corridor that divides the factory into two parts: a new connection between the museum and the showroom, and the emptying
The old, iconic showroom becomes the main entrance to this complex where artistic production replaces industrial one, adding three new volumes of auditorium, museum, and archive, and redefining the circulation system as a public and exhibition space.
