The mansard roof and the south wing, added in the 19th century, are replaced by a slightly sloping roof and a low construction, aligned with the square, which has the same height and materials as the existing building’s plinth.
Centered on making the interiors a historical and material collage, the project leaves the facade practically intact. The exception is the south wing, which is perforated so that large swing windows can be installed.
The central piece, a 19th-century addition, is eliminated and replace with a volume of rigorous geometry held up by plinth that opens to the public and communicates with it through a triptych for posters.
Access is from street level, crossing a permeable membrane that encloses an atrium which agglutinates the reception area and circulation elements. An exhibition hall up in the attic completes the proposal.
To connect the building to the Casón del Buen Retiro without tampering with existing accesses, a ramp from Calle Felipe IV is created. All circulation elements are placed in a vertical atrium set along the south facade.
The new element is incrusted between the south facade’s two projections and contains reception and circulation areas, creating an atrium connected to the Hall of Realms and, on the other side, opening to views.
Large pillars and beams of reinforced concrete that follow the modular composition of the old facade form a loggia on the south wing of the building, the ground level of which contains a small reception area.
The roof and body of the 19th-century building are removed in favor of a large hall in the attic and an atrium linked to a new square to be executed wih a portico of bronze pillars or by taking advantage of existing pillars. Resolving the new atrium
The project for the extension of the Prado Museum must be understood as new chapter of its already long life. A chapter that considers the impact upon the Museum of the occupation of a new site containing the Jerónimos Cloister, the perimeter surroun
El edificio de Villanueva debía recuperarse para poder dedicarse casi exclusivamente a las colecciones, mientras que en la cuña entre su espalda y la calle Ruiz de Alarcón y en el claustro de la iglesia de los Jerónimos había que acomodar nuevos espa
Published at the same time, the books that the art historian Estrella de Diego and the writer Antonio Muñoz Molina have devoted to the Prado may seem like parallel endeavors, but could not be more different. Both arose from invitations to give semina
The historic swerve of 24 February supplied an iconic image four months later in Madrid. The Russian invasion of Ukraine caused a geopolitical commotion that has been labeled Zeitenwende, and the leaders participating in the NATO summit gathered arou
This new display offers visitors a survey of the more than 200-year history of Spain’s leading cultural institution while also enhancing the quality of the museum’s discourse. Curated by Víctor Cageao, Director of Buildings and the Natural Environmen
Luis Fernández-Galiano gave a series of lectures over different years for the Friends of the Prado Museum Foundation: ‘Jerusalén y Babilonia en el siglo XX’ ‘Del Gabinete al Campus: las transformaciones de la sede del Museo del Prado’ ‘El clasicismo
1925-2020 Born into a Galician family of intellectuals, Antonio Bonet Correa studied at the Faculty of Philosophy and Letters of the University of Santiago de Compostela and then at the Sorbonne. He returned to Spain in 1958 and later held chairs in
On view through 7 July at the Prado Museum is a rare exhibition on Alberto Giacometti. Rare because the Prado does not usually host modern art, and because the 20 pieces (18 sculptures and 2 oil paintings) are not set up in the rooms meant for tempor
The Chinese are masters of watercolor and discovered gunpowder. Cai Guo-Qiang has gone farther: he paints with gunpowder. Some months ago the Prado Museum invited the artist to carry out in the Hall of Realms a series of pyrotechnical works through a
Making the symbolic Hall of Realms part of the Prado Museum will not only give the institution more exhibition galleries, but also create new urban and civic spaces fot the city as a whole.
The Prado Museum’s appropriation of the Hall of Realms is the next chapter of a story that goes from the Natural History Museum by Juan de Villanueva to the current campus.
In 1996 our sister magazine AV devoted an issue to the Prado Museum extension competition, to which almost 500 international teams concurred, and that was disappointingly settled without a winner. The issue featured the ten shortlisted proposals, twe
With the closing this last June of the major but brief exhibition at the Santa Cruz Museum in Toledo, the year of El Greco seemed to languish. This was just a momentary mirage, however, for now the Prado Museum has inaugurated a no less important ret
El año pasado de 2011 se cumplía el bicentenario de la muerte del arquitecto Juan de Villanueva (1739-1811), figura fundamental de la historia de la arquitectura española durante la segunda mitad del siglo XVIII y comienzos del siguiente, sin que nin
Desventrada por las tuneladoras y convertida en una interminable barricada de vallas de obra, Madrid es una pesadilla con promesa de final feliz en forma de grandes dosis de urbanidad bucólica. Y como dice la canción, vendrá un tiempo en el cual pasa
Los últimos avatares de la ampliación del Museo del Prado se recogen aquí a través de dos breves artículos publicados en el diario El País. El primero apareció el 1 de agosto, unos días después de la inesperada convocatoria de una competición restrin
Estrella de Diego
Editorial Anagrama - 304 Pages
Antonio Muñoz Molina
Abada Editores Museo del Prado - 200 Pages
Francisco Calvo Serraller
Museo del Prado - 460 Pages
Delfín Rodríguez Roma y la Monarquía Hispánica
Rafael Moneo Comentado por Rafael Moneo
Pedro Moleón Biografía del edifcio