The Architect: A Thoughtful Person

“The architect is a thoughtful person, a person who is able to think in situations in which other people cannot think, and a person who is able to allow other people to think differently.” – Mark Wigley

Mark Wigley’s words regarding the role of the architect in the beginning of the Paul Jones reading are especially thought provoking, considering this week’s focus on museums. A museum is defined as “a building in which objects of historical, scientific, artistic, or cultural interest are stored and exhibited.” It all starts with the building.

I would argue that an architect’s role seems almost doubly important when designing a museum. The building, layout, materials, feel – the entire composition itself, becomes as important as the historical artifacts, art, scientific activities (or whatever type of museum it might be) that are exhibited and live within it. It could even be argued that the building itself often becomes a museum in itself. Because of this, there seems to be a certain type of reverence that is associated with the design and architecture of museums. It is a place of discovery and proactive learning – people go there because they want to learn (perhaps excluding the middle school field trips). Therefore, being able to “think in situations in which other people cannot think” and creating a place that encourages others to “think differently” is the prime role of an architect involved in a museum – and a hefty one at that.

I really enjoyed learning about the process of building Salem’s Peabody Essex Museum from the New York Times article. I wish I had known its background before I stepped foot in it for the first time last fall. I remember being instantly impressed with the harmonious contrast between the historic brick alleyways and the cool, modern entrance. Moshe Safdie’s approach to his projects has been described as a “distillation of history” and I think this is successfully accomplished in the PEM. The article goes on to describe Safdie’s portfolio of work as “buildings that balance grand gesture with lyrical elements of human scale”. I believe it is in the fact that ‘grand’ and ‘human scale’ are intertwined within the PEM that I noticed the building enough so that it made an impression on me (I was able to distinctly picture it in my mind months after my last visit) yet I didn’t have to specifically study the building to do so.

Reading the NYT article on Safdie’s PEM design, a particular sentence jumped out at me and reminded me of Frank Gehry’s Museum Bilbao:

“…buildings [possess] a symbolic component, a kind of visual resonance that ties the architecture to its location and purpose, that roots its contemporary gestures in the past.”

The modern, awe-inspiring building sitting within the bed of a bleak, outdated city appears to cheekily pay homage to the city’s past industrial successes. Gehry’s appreciation for the industrial city is not necessarily unique. However, the way he is able to translate this appreciation into a captivating, eclectic place of learning and discovery is where he is far and beyond successful. The Museum Bilbao, along with the other renowned museums of the world, are brought to life by designers and architects who are ultimately able to allow others to “think differently”.