, turns 60 this summer, and is marking the occasion with an additional 500 sq m of exhibition space. Its founders, Marguerite and Aimé Maeght, were art dealers and publishers, as well as close friends of some of the great 20th-century artists. When their youngest son, Bernard, died of leukaemia, in 1953, this group of friends urged them to assuage their pain by creating a showcase for modern art.
The work continued in the excavated underground space as d’Ascia inserted two rectangular boxes – large, minimalist gallery spaces – that he compares to a couple of parallel drawers slotted into the original structure. Framed in concrete the same colour as the original stone, the boxes ‘announce their presence’, says d’Ascia, by jutting out slightly from the building, floating a few inches above the ground. Entering the foundation through thein front, visitors will not see any change.
A connecting gallery leads to the second new box-like exhibition space, similar tothe first, yet smaller at 66 sq m, and also featuring a wall-sized window overlooking the pine trees. From there, visitors can step outside and climb a new terracotta staircase to the restored Miró courtyard. Here they can peer down at the freshly landscaped hillside, where every effort was made to protect old trees and plant new ones.
AW2 Architects’ design for the Krug winery encapsulates the part rural, part urban landscape of the French winemaking region of AmbonnayAs Paris’ Grand Palais prepares to reopen following extensive restoration by Chatillon Architectes, we visit the site with champion fencer and photographer Enzo Lefort, who documented the space ahead of the Olympic Games 2024Royan Architecture Month 2024 launches in the French city, where many travel to see midcentury builds by the sea, from Notre Dame church...