La Moneda Cultural Center

La Moneda Cultural Center in Santiago, Chile by Undurraga & Deves Arquitectos

Text and images are courtesy Undurraga & Deves Arquitectos.

The cultural center known as Centro Cultural Palacio de La Moneda built beneath the terrace on the south side of La Moneda, the seat of the Chilean government, is the material expression of the new cultural policy pursued by former president Ricardo Lagos. It will harbor the various expressions of local as well as universal culture.

While supporting the leading role of the Neo-Classic government palace, this cultural container was built in the subsoil of the new square, avoiding all contrast with the existing historic building. The project strategy arose from the logic of the courtyards that characterize the 18th-century palace, given that the Cultural Center, owing to its proximity and character, became an extension of the palace. The sunken courtyards flanking the urban terrace on both sides in anticipation of the cultural space connect to the neighboring streets by means of ramps and flights of steps extending city life to the interior of the Center. The water dripping down the sidewall not only enlivens the access but also serves to cool the complex air system inside.

The access is 6.5m (21 ft) below ground level and reaffirms the nature of the Cultural Center as a public space. Here commercial activities and ancillary services have their place, freely open to visitors. From this level there is a privileged view of the central hall surrounded by exhibition rooms. A ramp connecting the two levels plays a leading role in the space, rising to extend urban sidewalks to the lowest point in the building. Vegetation and natural light filtering through glass slabs placed between the beams of the ceiling afford the place such an atmosphere that visitors are completely oblivious to the subterranean nature of the space.

The central hall features exhibition rooms placed to east and west of the middle. Given the multifunctional nature of the Cultural Center, these rooms are designed as neutral containers capable of adaptation to various form of demand. To the north and at some distance from the foundation wall of the Palace, a small pavilion houses the Arts Documentation Center. To the south, behind the broken wall preceding the ramp, there are two more levels of activities, the lower one being a long narrow exhibition space. Between it and parking space for 560 automobiles on four levels, there is room for storage and ancillaries. In the middle, between the access floor and the exhibition area, the National Film Collection featuring a small cinema, offices, and research rooms, renders fitting tribute to Chilean movies.