Many critics and from last few class discussions, we have complained that the most dramatic art museum design of the 21st century have upstaged or interfere with the art within. Throughout the time we have come across wild and audacious architectural fantasies and which have given rise to the complaints that museum architecture too often becomes the real art work overshadowing what is inside. The primary issue raised by recent art museum design is how to resolve the tension b/w architects desire for an artistic statement of their own and art lovers desire for a building that shows the art to best advantage.
Complaints of this kind makes me think of the primary aims of the primary aims of the museums built in 18th century. It had a variable mix of aims: royal or national prestige, the preservation of the "heritage" providing models for artists and craftsmen, and the enlightenment of the public with an emphasis on art's moral and civic benefits. Moreover, the purpose of art museums have varied enormously over the years and still vary from museums to museums.
The next step in assessing the contemporary museum architecture is to look at some of the examples illustrating different types of museums requires different approach to design. Museum categorizing in an interesting contrasts are first whether a building is an addition or a completely new structure and secondly cutting across the difference according to whether the museum in question is dedicated to showing a substantial permanent collection or whether it is primary venue for temporary exhibition. this scheme gives three types: (1) New Museum with Permanent Collection (Guggenheim Bilbao, Pulitzer Foundation, MoMA) (2) New Museums as Exhibition Venues ( Contemporary Art Center, Institute of Contemporary Art) (3) Museum Additions (Milwaukee Art Museums, Nelson Atkins Museum, Denver Art Museum)
New Museums with Permanent Collections
Guggenheim Museum, Bilbao (1997)
Pulitzer Foundation, St. Louis (2001)
Museum of Modern Art, New York (2004)
Bloch Building, Nelson-Atkins Museum, Kansas City (2007)
What we can conclude from this case studies of the tension b/w architecture and art? One lesson is that no matter how radical or even outstanding a museum design may appear on the outside, the real test is whether the spaces within are appropriate to the particular kinds of works the building will shelter.
Complaints of this kind makes me think of the primary aims of the primary aims of the museums built in 18th century. It had a variable mix of aims: royal or national prestige, the preservation of the "heritage" providing models for artists and craftsmen, and the enlightenment of the public with an emphasis on art's moral and civic benefits. Moreover, the purpose of art museums have varied enormously over the years and still vary from museums to museums.
The next step in assessing the contemporary museum architecture is to look at some of the examples illustrating different types of museums requires different approach to design. Museum categorizing in an interesting contrasts are first whether a building is an addition or a completely new structure and secondly cutting across the difference according to whether the museum in question is dedicated to showing a substantial permanent collection or whether it is primary venue for temporary exhibition. this scheme gives three types: (1) New Museum with Permanent Collection (Guggenheim Bilbao, Pulitzer Foundation, MoMA) (2) New Museums as Exhibition Venues ( Contemporary Art Center, Institute of Contemporary Art) (3) Museum Additions (Milwaukee Art Museums, Nelson Atkins Museum, Denver Art Museum)
New Museums with Permanent Collections
Guggenheim Museum, Bilbao (1997)
Pulitzer Foundation, St. Louis (2001)
Museum of Modern Art, New York (2004)
New Museums as Exhibition Venues
Contemporary Arts Center, Cincinnati (2003)
Institute of Contemporary Art, Boston (2006)
Museum Additions
Milwaukee Art Museum (2001)
Hamilton Building, Denver Art Museum (2006)
Bloch Building, Nelson-Atkins Museum, Kansas City (2007)
What we can conclude from this case studies of the tension b/w architecture and art? One lesson is that no matter how radical or even outstanding a museum design may appear on the outside, the real test is whether the spaces within are appropriate to the particular kinds of works the building will shelter.
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