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The Museum as Civic Catalyst Museums emerged as public institutions in the earl y nineteenth century. The "loan exhibition" burst onto the scene, stirring the public with irs theatrical nature and its often nationalistic or otherwise partisan aims. Loan exhibitions have completely transformed the modern museum and permanently altered the public's perception of art.
The Museum as Civic Catalyst Museums emerged as public institutions in the earl y nineteenth century. The "loan exhibition" burst onto the scene, stirring the public with irs theatrical nature and its often nationalistic or otherwise partisan aims. Loan exhibitions have completely transformed the modern museum and permanently altered the public's perception of art.
The Museum as Civic Catalyst Museums emerged as public institutions in the earl y nineteenth century. The "loan exhibition" burst onto the scene, stirring the public with irs theatrical nature and its often nationalistic or otherwise partisan aims. Loan exhibitions have completely transformed the modern museum and permanently altered the public's perception of art.
Frank O. Gehry
Guggenheim Museum
Bilbao, 1991-199lect works of ar rther
he maiceenance of permanent col
The Gur
tic Mose i Bibaa
cated this general development sep
sib chin of institutions under the
seis ofthe Guggenteim Museum in
New York, Bilao becomes the tet sie of
ites Poesy Gogg
ns death her pe
vate muncum in Wnice revered to the
per hovse in New York in 1976
Director Thomas Kren beg to ct
further expansion of ambi o yet other
cites 1989, he feted che water in
Salebung and fer Hans Hollen’ operate
eects hewn fom a rocky
‘i fled go materi, Krons moved on
to open a temporary branch of th
Guggeabein in Bedin and id he
sroundwork fran fied mse
Bits
The “modern” ies of developing:
eae becca tc
considered in light of dhe innate comer
vation of mteune—and di
simple. fwncum ate indeed the uns
Bele: ok wars oriy a ogi xo:
of confining works of ar 0 the place
where they have found «permanent
home, more often than not asa mater of
periodically rotated, shown in changing
a
precisely calibrated one a tha, by whic
that define ther opestion throughout the
These expeditions forthe Guggen
‘ici Moseum in Bilbao
sole in i achitecarl co
1991, Thomas Kees ivited four architects
to Billso-—HLans Hollen, Arat foe
Himmel, and Frank Gehry
sking them to sketch out thee ess for a
novel purpose
His choice of architect was trpered
by his previous experiences with museum
pect ad dhe way hee arches had
of conceiving of them i. teens of their
Alimos wo decides eater, the open
ing ofthe Beaubourg muscu in PaisPinot st
2 he own
3 tout oul
rn toe po
Sch an
he advent of mseur that owe
their idemiy lew to permanent collections
than eo vicerl impact Compare co
an “azrft-catier of ear the B=
ourg berthed the idea of the“mnision,
{el culure”n one ofthe nepsctod
precincts of Pars, piying ap ie purpone a
an traction forthe uniniiated a wells
sophisticated its, Je a Lex Halles wer
ce the place where the bougeoiie
‘went for oysters and came at mid
night, he new call rors now ids
i mecea among collections dedicated vo
{nds design fl, vido ata
spectacular roftop view of Pais thrown
in for good measure
Ever since dhe Beaubourg opened in
7,
pea ep ett iS
red to stand the test a adequate repo
tories of art but they are alo expected 10
acta catalytic agents of wba eanorma
Gehey’s projects for dhe Wale Disney
f
are both located in what had become
ncort Halland the Moseum in Bilbo
eae ateeie
places sored by
trafic and made seers, riser by
major ght lines, but acking in any cleat
manifestation of character The compro=
nse condos of Both ios ae aap
near foe the comple crcametansss
ander which the Bikao commision was
precipitate by the regional and municipal
government in negotiations with dhe
CGuggenheion Museum ig New York
Sueh grand projec asthe Bilbao
Ggenbeim place extra burdens on the
train ination of the museum,
on onc find
new ways of iancing themes, dey
resort the kind of gambis with whieh
Phineas Tylor Barras fled his circus
tents The exagaeation ofthe pubic stun
of museunns—noe in all eee dependent
fo new bugs though racy acon
plished without temas ao led to
iewportant changes in thir architect
character, New museums fequie 2 grand
ann ever more impressive public presence,Fe Gey
olen
apes
Wes tin
and equally iwentve ad varied interiors
‘The achievement of vohumetrc presence
1 utside and a paral expusivenes
fn the inside al for dramatic trastons,
ven magical transport, of the visitors
‘experience
With his bailing of the 1980, Frank
Gehry returned to an arhitectie por
ses of powenfil corporeal auaities. He
docs not sink oF the volumes of his
building within he confines of abt
space (which ie ko the space of econom-
ic)sathe he engages these volumes in
inmate retionships sith one another.
(One need only ebserve Gry’ manner of
drawing eo gain an immed sense of his
‘way of thinking the pen oss not so
much gle aos the age a it dances
ffordely through a contingam of space
His fn for the eatsiery and his con-
Jucers grasp of minute diplacement are
fled by his knowledge of performance
art an enriched by bis collaborations with
arts auch at Claes Olden.
{A Bilbao, Chr hat been planning
with and fr artists, proving spaces for
specially commissioned insalitions aswell
4s lesble galleries for the inevitable vti-
cy of exhibition dsplays The bung
complex includes generouly proportioned
areas for public events and unforseen
‘opporuniis that sy expand the pur-
poses of contemporary muscu Iris
entirely purposeful shat the meu has
‘ben anchored i the cityscape of Bib
lke a vas ices ent surrounded by 2
congerie of carmuns, forthe variety of
vents anticipated to take place ehere
requires ge and ever varying ves,
Subsidiary spaces ae luered together,
squeezed though the boedenesk beoween
river and emfankment, made to duck
under brides, and fn allowed to soar
‘over the bulking core in a spectacular
canopy.
1itis pose wo speak oa spa
eal tha aks figural contours yet pox
sess power bodily quits if ambula-
tion can unlock the completes ofabuilding’ onder beyond the eulines ofthe
phn, then the Musca in Bilbo revives
tm architec dat ha sn doesnt
for cenurics. Ione examines hori
auchiecrore in search of buildings cat
tight preiage what Frank O: Geliry as
then able to achieve, one i ily to pay
attention to Francesco Borroin, Becase
the sheer effct ofthe Bilbao Guggenheim
‘overshelns and continues to intrigue, not
lle the fication Borromins build
{ng eld or his fellow arcitets and ever
his somedime-employer Bernini the
Fcscennnce of exeenive wate
deserves some consideration, Before tea
be considered anything es, the Bilboo
‘Guggcnbeims must be reckoned over-
‘weight, overdone, and overwhelming Ie
an imaovable pile ithe city and a sinw-
fous creature draping ts body along mar.
row ledge above the
cave on the ine, anda metalic mown
ret As luminous
‘ain fom without, the maseums appears 0
be both a pefect fie and a perfect seanger
"The vigor and resolve with which
‘Gehry acd the Bilbao project sprang,
ingly and vole om his sappoine-
‘meat over dhe Concert Hal
‘When it became clear that yar might
ps before the concer all would be
bolt, Gehry as ave from an all-t00-
Samir deine into resentaen bythe
oven more challenging opportunity in
Billoo. Here,
ty ofcomputer-asisted dag. Leaving is
usar ole fr behind, he and his col-
Inborators made wee of programs that were
‘originally developed fr the desig ofa
plane Fsclages, bu which in this cate po-
ley tapped the ull eapaci-
Vide the ters for the shaping of every
part and the refinement of every clement
inthe design and contraction of the
‘ue The age-old diincton berseen
‘the hand dat design andthe incumnents
tha execuee fs been overcome: the ps
‘ate phases and techniques of conceiving
and excetng building here wene woven
{no an unbroken “Toop” Only in this way
Fark o.Ghy 29
Secon
SecsSale pce wh wort
yas ete
an the inaccurate i among the conven
ional separate pases of invention, tan
‘cripton, and execution be perfected, nd
the eaponcntal degree of geometric com
etity oF och a struct be relied
Soil! ey al eae
Not only wil the Bilbao m
down as one ofthe most complex formal
inwetrions of aur time, but i will abo
stand a 4 monument the productive
capitis that ave aow a ou dpa,
iso as an architec ke Gebey pushes
them to new eights of maginave we
[When complexes ofan order commen
surte with ovr understanding ofthe
word ean be restored to architecture, we
shall no longer have 10 be content with
the sbsintnce dies diated by economics
eg be tis vat tengo
tats ofan exter eu
Kr 1 oter