An architectural response to traditional and contemporary display of art : a case study for Durban.

~I An architectural response to traditional and contemporary display of art: A case study for Durban.

I~.I

An architectural response to traditional and contemporary display of art: A case study for Durban.

I I I I I I I ~---.. Kyria van Soelen I I I I I I

JAdissertationsubmittedtotheSchoolofArchitecture,

l ..

UniversityofKwa-Zulu-Natal,Durban,

Inpartialfulfillmentoftherequirements

forthedegreeofMasterofArchitecture.

May2007

Declaration

I I I I I

Iherebydeclarethatthisdissertationismyownunaided

I

work.ItisbeingsubmittedtotheSchoolofArchitecture,

~---.

TownPlanningandHousing,UniversityofKwaZulu-

I

Natal,Durban,forthedegreeofMasterinArchitecture,

I

andhasnotbeensubmittedbeforeforanydegreeor

I

examinationatanyotherUniversity.

I ! ~ /7/0 l. .__ ... __ ..

~2007

.~~©~ I I I I I I I I I

Theroleofpublicartgallerieshasinternationallybeenrevolutionizedtoincorporateamultiplicityoffunctions,resultinginacomplexsetof

interrelationshipsbetweenthese.Consequently,thepositionoftheDurbanArtGalleryhaschangedinaquantitativeandqualitativemanner.

Theoriginalgalleryusedsince1910wasdesignedtohouseasmallpermanentcollectionofVictorianpaintings.Thesizeofthepermanent

collectionhasincreasedsubstantiallyandinaddition,anynewfacilitywillberequiredtoaccommodatetravelingandmulti-mediaexhibitionsof

varyingsizes.Additionaleducationalandretailfunctionsalsoneedtobeincorporatedinordertosustainalargerpublicgallery.

TheimageofanewDurbanArtGallerywillbecrucialfortheestablishmentoftheculturalstatusofthecityandwillbeinfluencedbytheoretical,

culturalandaestheticfactors.Similarly,thelocationofthenewgalleryandthecontextualframeworkwithinwhichitisplaced,willbevital.In

addition,theneedsoftheDurbancommunitywillhavetobeestablishedtoappropriatelycontextualisethenewgallery.

Architecturalprecedentstudieshighlightsuccessfulandunsuccessfulapproachesforsimilardesignbriefs,whileacasestudyoftheexisting

galleryestablishesmoredetailedaccommodationandenvironmentalrequirements.Designguidelinesgeneratedbythiscriticalanalysiswill

informtheproposalforanewcontextuallyrelevantpublicDurbanArtGallery.

III

A_~I~_@mJ~~

Iwouldliketothankthefollowingpeoplefortheir

assistanceandsupportincompilingthisresearch

document:

Mysupervisorsandthedissertationmentors:

•

TonyWilson

•

DerekvanHeerden

•

Prof.AmbroseAdebayo

•

Prof.DerekWang

•

AletheaDuncan-Brown

•

KevinBingham

•

Prof.WaiterPeters

•

DeonBrewis DurbanArtGallery

•CarolBrown:FormerCuratorofDurbanArt

Gallery

•JennyStretton:ActingCuratorofDurbanArt

Gallery

AspecialthankstothelibraryandLANstafffortheir

continuedpatienceovertheyears.

MyfellowclassmateswithwhomIhavesharedthis

challengingexperienceandmanylatenights:Saths,

Rumbi,Corne,Sven,PauletteandSkura.

Tomyfamily,especiallymymom:

"Baiedankievirjulleeindelosegeduld,ondersteuning

enliefde".

I

~~iW*~iw®

~

I ~---.

Abbreviationsusedintheresearch

•

D.A.G.DurbanArtGallery

•

KZNKwa-ZuluNatal

•

CBDCentralBusinessDistrict

•

MoMAMuseumofModernArt

•

USAUnitedStatesofAmerica

•

UKZNUniversityofKwa-ZuluNatal

•

PMBPietermaritzburg

•

OUTDurbanUniversityofTechnology

•

KZNSAKwa-ZuluNatalSocietyoftheArts

•

N.P.O.Non-ProfitOrganisation

•

A.A.C.AfricanArtCentre

v

-

N~~~@®~

I I 1- .... _

Thefollowingprecinctandroadsnamesrelevanttothis

researchhaverecentlybeenchangedincentralDurban.

GreyandBroadStreets

CommercialRoad

StangerStreet

DurbanICC -Dr.YusufDadooStreet

-Dr.A.B.XumaStreet

-StalwartSimelaneStreet

-InkosiAlbertLuthuli

InternationalConvention

CentreComplex

Theoriginalnameswillbeusedforthepurposeofthe

document.

~liilWiJii~iWce~©®[p)~~

• •

•

PathsPathsareestablishedroutesalongwhichthe

observermaymove.Theseincludestreets,

walkways,transitlines,canalsandrailroads.

Thepathsactasaframeworkwithinwhichan

observerarrangestheenvironmentalimages

(Lynch,1960:47)

Edges

Edgesfunctionastheboundariesbetweentwo

phasessuchasshores,railroads,edgesof

developmentandboundarywalls.Edgesactas

penetrableorimpenetrableorganizingfeatures

whichdefinegeneralisedareas.(Lynch,1960:47)

PrecinctsIDistricts

Districtsconsistofmediumtolargeportionsof

thecitywhicharerecognisablethroughacommon

identifyingfactor.Theyareusedtoorganizeacity

andasanexternalpointofreference.(Lynch,1960:

47)

• •

NodesNodesarefocalpointswithinacityintowhichan

observerenters.Theseincludejunctions,

placesofabreakintransportation,acrossingor

convergenceofpaths.Nodesmaysimplybe

concentrationsasaresultofadistinctphysical

charactersuchasastreetcornerorapublic

square.(Lynch,1960:47)

Landmarks

Similarlytonodes,landmarksformpointsof

reference.Thedifferenceisthattheobserver

doesnotenterthemasopposedtoanodebut

theyremainexternal.Theymayconsistof

physicalobjectsuchasbUildings,signsora

mountain.Distantlandmarksmaybeusedas

radialreferencepoints.(Lynch,1960:49)

VII

T

I

• •

Context The above elements

all

operate

together

ina

context.

Context

refers tothe

surrounding environment

and urban framework.

(Lynch, 1960:

49)

The environment

may either bethe natural

surroundings

ora

habitat

in

which

a

person exists.

(Thesaurus) Image/lmageability The concepts

of

Paths,

Edges,

Precincts, Nodes and Landmarks

arethe

building

blocks

ofthe

environmental

image atacity

scale.

The built environment

consists

of

sets

of

overlapped

and

interrelated

images.

A

building

may have

a

completely

different

image

from

a

citywide panorama

view compared

tothe

base

ofthe

building.

Images

may differ according

tothe

scale ofan area involved,

viewpoint,

time

ofday

and season.

(Lynch,

1960:

49) T

• •

Legibility Legibility

refers tothe visual quality

ofthe mental

image

ofacity

held byits inhabitants

and

the

apparent

clarity ofthe cityscape

such asthe ease with which parts canbe

recognized.

A

legible

cityhas

easily identifiable

precincts, landmarks

and

pathways

which

are

grouped

intoan

over-all

pattern.

(Lynch,

1960:

49)

Form There

are

fundamental

functions

of

which

the

city form may

be

expressive

including circulation,

major land-uses

andkey

focal points.

Form allows

the

formation

ofan

imageable

landscape

which

is

visible, coherent and clear.

The

city

acts asa tent which contains multi-purpose

and

shifting

functions.

This requires

certain flexibility

within thecity

form

to

allow

an

observer

to

physically

reshape

his

domain

into

differentforms.

(Lynch,

1960:

49)

VIII]

.~_J~~

2.3

2.4

2.5

2.6 MethodologyHypothesisAimsandObjectives

Conclusions 181920

20

TitlePage

Declaration

Abstract

Acknowledgements

Abbreviations

NameChanges

DefinitionofConcepts

Contents

Chapter1:Introductiontoresearchtopic

1.1Context

1.2SouthAfricanContext

1.3MotivationofStudyTopic

1.4BroadProblems

1.5Conclusions

Chapter2:ResearchQuestionsandmethodology

2.1Introduction

2.2KeyQuestions 11IIIIVVVIVIIIX125111214151616 Chapter3:Literaturereviewandtheoreticalframework

3.1Introduction

3.2City

3.3ImageandArchitecturalExpression

3.4Environment

3.5Site

3.6Public

3.7Artworks

3.8Conclusions

Chapter4:PrecedentStudies

4.1Introduction

4.2MoMA

4.3BurdaCollectionMuseum

4.4WalkerArtCentre

4.5CharacterPrecedent:DeYoungMuseum

4.6Conclusions 212223232628283032333436414652

53

IX

~.~tt~

7.4

7.5

7.6

7.7 Urbandesigngoals

Publictransportsystem

Siteproposals

Conclusions 838484

86

Chapter5:CaseStudy57 5.1Introduction58 IChapter8:ConclusionsandrecommendationsI5.2DurbanArtGallery58

I

8.1Location 5.3Conclusions71 I8.2ExternalExpression

•

8.3FunctionalOrganisation

Chapter6:DevelopingtheBrief72 I8.4Spaces

I

6.1Introduction73I8.5Exhibition 6.2Influencingfactors73I6.3CurrentFunctions74

I

Illustrations

6.4UsagePatterns75

I

Sources

I

6.5AdditionalFunctionsRequired76

I

Bibliography 6.6Environmental77I6.7Technical77IAppendices

6.8Brief79

I

A:InterviewScheduleIB:Scheduleofaccommodation

Chapter7:Siteanalysisandcontext81C:Urbanprecinctselectionchart 7.1Introduction82D:DesignReport 7.2Context82

7.3Siteselectioncriteria83 87888990929395104106

x

I

ILL.1:BilbaoGuggenheimMuseum, elevationfromrivershowingfolded titaniumskinRef:Thau,C.The spectacularmuseum.2004.Arkitektur DK4 .

__

_---_._-_.

__

.__.__

_ __

_--, ! ILL.3:AerialviewoftheBarcelona ModernArtMuseuminsertedinto theurbanfabric Ref:www.richardmeier.com ILL.2:ViennaGuggenheimMuseum, indicatingapublicroadandbridge runningthroughthemuseumRef: www.hanshollein.com

r..····-i 1,-_._._··..1

II_o8im1~

,~...._...:...J 1.1Context Therehasbeenanincreaseinthebuildingofpublicart galleriesinternationallyfromthemid-1970's,escalatingover thelast20years.King(2006interview:appendixA)holdsthat thisispartlyduetotherecenttrendforculturalandeducational buildingssuchasgalleriesanduniversities,tobean expressionofthemarketablestatusofacityorregion. Traditionally,religiousorcivicbuildingscommunicatedthe viablestatusofatown. Theculturalstatusofaregionisestablishedbythespectacular natureofsignaturebuildingssuchastheGuggenheimMuseum (ill.1)atBilbao,Spain,1997byFrankGehry.Thau(2004,p:14) statesthatsignaturebuildingsplaceregionsorcitiesonthe culturalmapandactasstrategicfinancialdevicesinurban regenerationschemes.TheGuggenheimMuseuminVienna, 1994,byHansHollein(ill.2)andRichardMeier'sMuseumof modernartinBarcelona,1995,(ill.3)similarlyrejuvenates fragmentedcitystructures. Jencks(1997,p:33)holdsthatcontemporarymuseumsare seenastheculturalfocalpointfromwhichsocietycan simultaneouslymirrorthewayitperceivesitselfandbeasymbol Chapter1~Introductiontoresearchtopic2

ILL.4+5:InteriorvolumesoftheNaturalHisloryMuseuminLondon,indicatingasimilarstructuralsystemand spatialqualityaswithinacathedral.Ref:Jelcks,1997p:36

I I

..._- __ ._-_ ..--1-_ ..- _._-- _.._ .

ILL.6:MainelevationofthePompidouCentre,indicatingthe architecturallanguageandtheexternalcirculationsystem,the largepublicplazaisvisibleintheforeground. Ref:www.pompidou.com

ofcommercialandculturalachievementtotheoutsideworld. Thedeclineinorganisedreligionandcontemporarysecular societyhasresultedincathedralsandchurchesbeingreplaced withmuseumsandgalleries(Jencks,1997,p:36).Thespiritual enlightenmentpreviouslyofferedincathedralsisnow experiencedinartmuseums.Thisconceptisclearlyexpressed intheNaturalHistoryMuseuminLondon,1880(ill.4+5)by AlfredWaterhouse,wheretheiconographyandplanningare derivedfromaRomanesquecathedral. Traditionalprecedentsofartgalleriesreflectmonumental structureswithasevereandintimidatingpublicimage.The contemporarydesiretodemocratisetheimageofthemuseum (Jencks,1997,p:42),hasresultedinacompletelynewbuilding type.Amoretransparentgalleryimageisnowpreferredand thisisreflectedintherangeofadditionalfunctions accommodatedwithincontemporarygalleries. Thereisaneedtoappealtothewidestpossibleaudience increasingpublicawarenessandeducation.Thisis demonstratedinthePompidouCentreinParis,1976(ill.6)by PianoandRogerswithacompletere-interpretationofthe buildingfunctionsandimageandtheStateGalleryextensionin Stuttgart,1983byJamesSterling,whereapublicstreetruns throughthebuilding. Chapter1~Introductiontoresearchtopic3

Themultiplicityoffunctionsnowbeinghousedincontemporary artgalleriesisaresultofthecompletere-interpretationofthe traditionalartgallerybuildinggenre(Jencks,1997,p:43). Similartotraditionalgalleries,arangeofinterpretivedisplays andconservationfunctionsareoffered.Technologicaladvances howevercreatednewartisticmediathatrequiredare- evaluationofdisplaytechniques.Contemporarymediais unpredictableinscalerequiringahighlyflexibleexhibition space.Mediasuchasfilmrequireadditionaltechnical,sound andartificiallightingsupport. Thegalleries'needtosupportexpensivepurposedesigned galleriestoaccommodatenewmedia,combinedwiththe enhancedpublicimageandpublicownershipofgallerieswith alackprivatefunding,requiredtheintroductionofretailareas (Jencks,1997,p:44)suchasmuseumshopsandmultiple restaurantsorcoffeeshopsinmajorpublicartgalleries. Adualitynowexistsbetweenthecontemplativeandsacred natureofexhibitionspacesopposedtothepublicandvibrant atmosphererequiredforretailandeducationfunctions(Toy, 1997,p:89).Contemporarygalleriesneedtointegrateboth, allowingforanenrichedexperience.Thespiritualshiftin societyandre-interpretationofartgalleriesresultedin increasedvisitornumbersequivalenttothoseofreligious Chapter1~Introductiontoresearchtopic4

I I I I I I I I I

ILL.7:EntranceelevationoftheEastWing,NationalGallery indicatinglargerscaledentrances. Ref:www.GreatBuilding.com

pilgrimages.Asaresultlargerentrancestogalleries developedasseenattheEastWing,NationalGallery, WashingtonD.C.,1978byI.M.Pei.(ilI.7). 1.2SouthAfricanContext SouthAfricahasarichhistoryofvisualartsandadynamicand growingcontemporaryartscene.Thecountry'sflagship institutionistheSouthAfricanNationalGallerylocatedinCape Town.Thepermanentcollectionspansfromcolonialto contemporaryworks,lackinghoweverintraditionalpre- colonialworkduetotheconstraintsoftheapartheidera.A similartendencyisevidentintheregionalgallerieslocatedin majorcities.TheseincludetheDurbanArtGallery(D.A.G)in KwaZulu-Natal(KZN),theJohannesburgArtGalleryin GautengandtheKingGeorgeVIGalleryinPortElizabethin theEasternCape. Universityandcorporategalleriesareplayinganimportant partinaddressingtheshortageoftraditionalindigenousworks byacquiringworksofnationalinterest.TheUniversity collectionsincludetheStandardBankAfricanArtcollectionat theUniversityoftheWitwatersrandandtheUniversityofSouth AfricagalleryinPretoria.Thecorporatecollectionsarelargely fundedbyStandardandAbsaBanksandthecellularphone networkMTN. Chaoter1~Introductiontoresearchtooic5

Anoverabundanceofcommercialandnon-commercial .galleriesarefoundinJohannesburg,CapeTownandDurban. ThesehostsoloandgroupexhibitionswhiletheGoodman GalleryinCapeTownfocusesonSouthAfricanartistswhoare impactingontheinternationalartscene. ArtgalleriesinKZNcansimilarlybecategorizedintoregional, Universityandcorporate,commercialandnon-commercial galleries: 1.2.1Regional: •DurbanArtGallery(D.A.G):Themainregionaland municipalgalleryofKZNhousedintheDurbanCity Hall.Thepermanentcollectionconcentrateson VictorianpaintingandSouthAfricancontemporaryart. Theaimistoconcentrateonworksreflectingtherich multi-culturaldiversityofSouthAfrica.Aspectrumof travelingexhibitionsofnationalandinternational interestishostedinadditiontotheRedEyeArt fundraisingeventthatprovidesaplatformfor contemporaryandemergingartists. Chapter1~Introductiontoresearchtopic6

•

ILL.8:EntranceelevationoftheTathumArtGallery Ref:Author

•TathamArtGallery(iII.B):Themunicipalgalleryof PietermaritzburgishousedintheformerSupreme Courtbuilding.Thepermanentcollectionincludes Victorianart,glassware,porcelain,orientalrugs,French andBritishworksandinternationallyrenownedworks byartistsuchasDegas,Renoir,PicassoandMatisse. Theaimofthecollectionistocreateahistorically representativeandcontemporarycollectionofworkby KZNartists.Temporarytravelingexhibitionsincrease theiraudience'sexposuretolocalartists. MargateMunicipalArtMuseum:Themunicipal galleryofMargatecontainsapermanentcollectionof SouthAfricanartincludingasmallceramicscollection andalsohoststemporaryexhibitions. •CarnegieArtGallery:Themunicipalgalleryof Newcastleexhibitsapermanentcollectionof contemporarySouthAfricanart.Thecollectionfocuses onartandcraftfromtheNewcastleregion,with landscapeasthecentraltheme. 1.2.2UniversityandCorporate: •DurbanUniversityofTechnologyArtGallery(OUT): Thepermanentcollectionconsistsofcontemporary SouthAfricanart,focusingonartistsfromKwa-Zulu Chapter1~Introductiontoresearchtopic7

Natal.Thegalleryaimstopromotestudentworkand travelingexhibitions. •JackHeathArtGallery:Thegalleryislocatedatthe UniversityofKwa-ZuluNatal,Pietermaritzburg campus,andexhibitsworkbyMasters'studentsand contemporaryKZNartists.Thecollectionfocuseson contemporarySouthAfricanart,graphicprintsand textiles.

•

ILL.9:MuraloutsidetheBAT.Centre Ref:www.dbnymca.org.za

1.2.3CommercialandNon-commercial: •AfricanArtCentre(AAC):Artofemergingand establishedblackartistsworkingincontemporaryand traditionalstylesareexhibited.Themediausedis mainlyprintmaking,beadwork,woodwork,sculpture, textilesandceramics. •AllianceFran~aise:Anon-profitgalleryhosting travelingexhibitionsthatincludeworkbylocalartists. •ArtSpaceDurban:Acontemporaryvisualartsgallery withdedicatedartist'sstudiospaces.Large-scalepublic andprivatesectorprojectscreatejobopportunities, skillsdevelopmentandexposureforlocalartists. BATCentre(iI1.9):Anon-profitcentrethatexhibits temporaryshowsofworkbyemergingblackartistsand Chapter1~Introductiontoresearchtopic8

ILL.11:EntrancetotheDurbanCityHall Ref:www.ethekwinLcomILL.12:EntrancetotheBelfastCityHall Ref:www.encyclopedia.com

craftspeople. •EmpangeniArtandCulturalHistoryMuseum:Anon- profitgallerywithapermanentcollection,consistingof contemporaryartfromKwa-ZuluNatal,andtemporary exhibitions. •KZNSAGallery(ill.10):Anon-profitgalleryexhibiting workofestablishedlocalandinternational contemporaryartists.Community0utreach initiativesoffersupporttoemergingartists. •TamasaGallery:Acommercialgalleryexhibitinga spectrumofcontemporaryKZNartists. Post-apartheidSouthAfricarequiresare-interpretationofthe culturalimageprojectedbyexistingpublicgalleries. Contemporarygalleriesprovideanopportunitytoactasa symbolofsocialre-conciliationandeconomicgrowthforthe localandinternationalcommunity. TheexistingD.A.G.formspartoftheCityHallcomplex(ill.11) 1910,designedbyStanleyGHudson,whichisareplicaofthe BelfastCityHall(ill.12)1906,inNorthIreland,byH&JMartin andWHStephens.Thelattersimilarlyhousesthecitycouncil andislocatedinDonegallsquaredevidingthecommercialand businessdistrictsofthecitycentre.AsattheDurbanCityHall Chapter1~Introductiontoresearchtopic9

thesurroundingpublicgardensareusedrecreationallyby localsandtouristsandthereareseveralstatues,monuments warmemorialsandagardenofremembrance.TheDurban CityHallconsequentlyprojectsacolonialimagewhichfailsto reflectthecurrentculturalstatusofDurban. Durbanonlyhasonepublicartgalleryandavarietyofsmaller privategalleriesthatcannotadequatelyreflecttheculturaland economicpotentialofDurban. ThesesmallergalleriesworkincollaborationwiththeD.A.G. andhaveindividualroleswithintheDurbanartisticcommunity: TheD.U.T.Gallery:exhibitsstudentwork BATCentre:educatesandexhibitworksfromdeveloping artistswithinthelocalDurbancommunity AfricanArtCentre:developsartisticproductssourcedfromthe Kwa-ZuluNatalregion KZNsA: ArtSpace:

exhibitscontemporaryacademicart exhibitscommercialcontemporaryart (RefertomapinChapter7) Chapter1~Introductiontoresearchtopic10

1.3MotivationofStudyTopic

ThecurrentD.A.G.hasnodistinguishableimage,asitispartof

theCityHallcomplex.Thiscomplexprovidesforadministrative

functions,alibraryandasciencemuseum.Inordertoestablish

theculturalstatusandamarketableidentityofagalleryboth

locallyandtotheinternationalcommunity,anappropriateimage

needstobeestablishedthroughthebuiltform.

TheD.A.G.exhibitsavarietyoftravelingexhibitions,artworks

fromlocalschoolsandexhibitsworkfromlocalartistsin

collaborationwiththesmallerexistinggalleries.Contemporary

workscannot,however,beaccommodatedattheexisting

galleryasspecificprovisionwasnotmadeforthem.The

galleriesweredesignedforworkstobeviewedindaylightwhile

contemporarymediasuchasfilmrequireanenvironmentally

isolatedspaceinwhichlightandsoundcanbecontrolled.The

scaleofcontemporaryworksisunpredictableandlargerworks

cannotbeaccommodatedduetofixedwallsandtheheightof

ceilingsintheexistinggallery.

TheexistingD.A.G.intheCityHallisnolongerableto

accommodateitsgrowingpermanentcollectionresultingin

storageandrestorationfacilitiesnowbeinghousedina

separatefacility.Thedemandforthegallerytoactasa

Chapter1~Introductiontoresearchtopic11

communityresourcehasdrasticallyincreased,resultingin

additionalaccommodationrequiredforeducationalfacilities.

Theincreaseinthesizeofthecollectionandvariationsinthe

mediaoftheartworkstobestoredanddisplayedhavebecome

problematic.Inaddition,theneedtoprovideeducationaland

retailfacilitiesrenderstheexistingfacilityinadequate.

TheD.A.G.hoststheRed-Eyefestivalwhichisacollaboration

ofcontemporaryartdisplaysandliveperformancestopromote

localartistsandacultureofartappreciation.Attendance

numbersatthiseventhavedramaticallyincreasedand

contemporarymediaworksrequiretechnicalassistancenot

offeredattheexistinggallery.

1.4BroadProblems

There-interpretationofthecontemporarygalleryhasresulted

inadditionalandcontradictoryroles(Jencks,1997,p:12).A

publicartgalleryisnolongeronlyrequiredtopreservethe

artworkandeducatethepublic.Anelevatedsymbolicrolehas

beencreatedwiththeriseofthecontemporarysecularsociety

inwhichthepublicartgalleryrepresentstheculturaland

marketableidentityofacityorregion.Noaccepted

iconographyhashoweverbeenestablishedtocommunicate

thenewrolewhichiscontradictorytowardsthetraditional

Chapter1~Introductiontoresearchtopic

contemplativenatureofgalleries.

Theretailandcommercialfacilitiesrequiredtosupportnew

publicartgalleriesfurthercontradictstheprivateandreflective

natureofgalleries.Asuccessfulintegrationbetweenboththe

contemplativeandpublicfunctionsneedstobeachievedfor

thesuccessofcontemporarygalleries.

Galleriesarenotonlybeingusedtopromoteculturalstatusbut

actasregenerativecatalystsinrun-downareas.Asaresult,the

locationofgalleriesbecomescrucial.Similarlygalleriesarethe

sitesofthecultureindustry(Jencks,1997,p:14).Theculture

industryhasflourishedwiththerecentincreaseinthebUildingof

publicartgalleries,providingjobsforartists,artprofessionals

andassociatedprofessions.Thisboomhasalsodelivereda

biggernumberofconartists,highlightingtheincreasedneedto

educatethegeneralpublic.Anewtypologyisneededto

successfullyaccommodatethevarietyoffunctionsrequiredto

sustaintheculturalindustrywithincontemporarypublicart

galleries.

Inoutliningthebroaderproblemskeyquestionscanbederived

whichwillbeusedasthecriteriaforanalysingtheprecedents

andcasestudy.

Chapter1~Introductiontoresearchtopic13

rSii~~

1.5...,

I

•Thegalleryneedstofulfilrolesonmultiplelevels;

exhibition,preservation,educationandthesymbolicroleof

reflectingtheculturalstatus.

•Adistinguishableimageisrequired.

•Appropriateandflexibleexhibitionmethodsarerequired

toexhibittraditionalandcontemporaryworks.

•Additionalfunctionsarerequiredtosustainthegallery,

raisecommunityawareness,developlocalartistic

skillsandhostthegrowingred-eyeevent.

•Abalanceisrequiredbetweenthepubliccommercial

accommodationandtheprivatecontemplativegallery

spaces.

•Thelocationofthegalleryisvitalforurbanregenerationof

precinctsandtosupportthecommercialfunctions.

Chapter1~Introductiontoresearchtopic

I

2.1

l.. jj.~iiiiiliil

Keyquestionshavebeenderivedfromthebroaderproblems

identified.Thesewillbeusedasaguidetofocustheresearch

suchastheliteraturereviewandstructuredinterviewswith

expertsinthefield.Precedentsandacasestudywillbe

analysedaccordingtocriteriaderivedfromkeyquestions.

2.2KeyQuestions

a.WhatimageshouldbeportrayedbythenewD.A.G.

locallyandinternationally?(RefertoChapter1and3)

eAppropriatemarketableidentityrequiredtoestablish

thegalleryinternationallywhilereflectingthecurrent

culturalstatusofDurbananditsart.

B.WhereshouldthenewD.A.G.belocated?

(RefertoChapter3and7)

eTorecognisepotentialforurbanregenerationand

sustainingcommercialfacilitieswhileeducatingthe

widestpossiblepublicaudience.

Chaoter2~IResearchQuestions+Methodoloav16

C.Whatarchitecturalresponseisrequiredtoaccommodate

themultiplicityoffunctionsinacontemporarygallery?

(RefertoChapter4and8)

-Educational,commercial,contemporaryart,Red-Eye,

andtraditionalgalleries.

D.Howcanthecontradictorynatureofthecontemplative

exhibitionspacesandincreasedpublicfunctions

requiredtosustainthegallerybesuccessfully

integrated?(RefertoChapter3and4)

-Publicvs.Privatebalancerequired,zoningandlocation

ofappropriatefunctionsandcirculation.

E.Howcananexhibitionfacilitateajointdisplayof

contemporaryworksandtheexistingpermanent

collection,allowingthebestconditionsforexperiencing

andpreservingalternateartforms?

(RefertoChapter3,4and8)

-Interactionbetweengalleries,art,peopleandthe

rotationofthese.

Chanter2ijIResearchQuestions+Methodoloav17

ILL.13:EntrancebannertotheMoMARef:Http://graphics.jsonline.com

ILL.14:EntrancetotheBurdaCollectionMuseumRef:Http://www.arcspace.com

ILL.15:EntrancetotheWalkerArtCentreRef:Http://en.wikipedia.org F.Whataretheexhibitionandenvironmentalrequirements

ofartworkconsideringcirculation,displayand

preservation,includingventilation,air-con,lightingand

viewingdistancerequired?(RefertoChapter5and6)

.Optimumenvironmentrequired

2.3Methodology

Aliteraturereviewwillbeconductedofhistoricaland

contemporaryviewsonpublicgallerydesignbyexpertsinthe

fieldincludingtheoristsandarchitects.Differentviewsand

argumentswillbeidentifiedandcompared,consideringtheir

relationshiptoarchitectureandtheirimpactonthechanging

roleofcontemporarygalleries.Primaryresearchwillbe

conductedintheformofstructuredinterviewswitheducational

andcuratorialexpertsongallerydesigntofurthersubstantiate

theissuesathand.

Internationalexamplesofrecentlycompletedpublicart

gallerieswillbeanalysedasprecedentstudiesaccordingto

criteriaderivedfromthetheoreticalframework.Theseinclude:

•MoMA,2005(ill.13)

•BurdaCollectionMuseum,2005(ill.14)

•WalkerArtCenter,2005(ill.15)

Chaoter2~IResearchQuestions+Methodoloav

Thefollowingcriteriawillbeexamined:

•Analysisoflocationandcontext

•Accommodationprovided

•Materialsandconstructionsystem

•Environmentalperformance

•Architecturalexpression

Inaddition,anindepthcasestudywillbeconductedofthe

existingD.A.G.andanalysedaccordingtotheabovecriteria.

2.4Hypothesis

Thepremiseofthestudyisthatinestablishinganindependent

identityfortheD.A.G.amarketableimagewillbeachieved

whichcanpromoteandreflectthelocalcultureandart.Thiswill

enhancetheexposureoflocalartiststotheinternational

marketwhilebuildingawiderlocalaudience.Theeconomic

potentialoftheD.A.G.mayallowthegalleryandartiststo

becomeself-sustainablewhilerejuvenatingthesurrounding

contextinwhichitislocated.

Chaoter2~IResearchQuestions+Methodoloav19

2.5 • •

• • • • •

2.6

AimsandObjectives

Establishinganindependentidentity

Connectionbetweenfunctions,art,peopleandthe

cityIntegrationbetweenfunctionsandtraditionaland

contemporaryart

Regeneratecitystructure

Accessibilitytopublicandeducationalfunctions

Environmentalcontrolandpreservationofart

Exhibitionoflocalartandculture

I~ilii~l

Thestudyoftheorieswillestablishthetheoreticalframework

fromwhichaconceptualapproachwillbederived.Precedent

studieswilldefineinternationalsolutionstoasimilarbUilding

type.Thein-depthcasestudywillascertainthebrief

requirementsandoutlinethescheduleofaccommodation.

Theanalysisofthetheories,precedentstudiesandthecase

studywillresultinconceptualandfunctionaldesign

recommendationsandparametersforanewD.A.G.

Chaoter2~IResearchQuestions+Methodoloav

rt~":;:"'-_·----:----~--;;----]3.1

11~!~i(d~lj)h

Russell(2005,p:82)holdsthatthedramaticincreasein

museumdesignseeninrecentyearshascreatedatension

betweenarchitecturalapproachesthatfollowseitherthe

"BilbaoorRenzoeffect".Theformer(ill.16)focusesonan

expressiveexternalmarketableimagewherethe"container

overshadowsthecontained",whilethelatter(ill.17)

concentratesontherequirementsoftheartworkscontained.

Thepartialsuccessofbothapproachesisanindicationofthe

complexityofmuseumdesign.Theexpectationofmuseumsto

fulfillamultiplicityofrolesincludingfulfillingrequirementsfor

themuseummissionandcollection,whilebeing"symbolsof

civicprideandvehiclesofartisticexploration",maybenotbe

plausible.

Thetechnologyusedandworkmanshiprequiredtoproduce

eitheraBilbaoorRenzoappearancerequiresspecificbuilding

standardsthatneedstobeconsideredbeforeabUildingofa

similarnatureiscommissioned."Ironicallyandregrettably,

elitearchitectureforeliteartseemstohastenthecultural

isolationofbothatatimewhenthenationsearchesfor

authenticplaceandrealvalues"Russell(2005,p:83). J

ILL.17:ArchitecturalexpressionremainsfocussedontheartasseenattheBeyelerCollectionMuseumbyRenzoPianoRef:http://www.nbm.orgades ,-....-.--.-..----..-.-.-...--..--...--··--·-···-···-··--···--··---1···-·-·...--···...---·1

i ILL.16:ExpressiveBilbaoGuggenheimMuseumskinRef:Http://www.abiyoyo.com

Chapter3ILiteratureReview+TheoreticalFramework22

ILL.18:BilbaoGuggenheimMuseum,aerialviewRef:http://en.wikipedia.org IntheinterviewwithProfessorTerryKingitwasrevealedthatthe

recentincreaseinpublicartmuseumbUildinginevitably

impactedonaseriesofprincipalrelationshipsbetweenthe

galleryandthecity,environment,site,public,andartworks.

3.2City

Toy(1998,p:54)statesthattheroleofgalleriesisnolonger

simplythatofculturalstatussymbols,buttheyactasstrategic

financialdevices.Theselectionofthecityandsiteonwhichthe

galleryistobelocatedbecomescrucialandislargely

influencedbyeconomicandpoliticalfactors.Thau(2004,p:

35)similarlyholdsthatbenefactorsofcontemporaryAmerican

museumswereconsciouslyseekingthe"architecturally

ambitiousculturalbenefit"providedbytheiconicand

spectacularsignaturebuildingstoactasdirectcompetitionfor

therevolutioninelectronicmedia.Thisgoalaidedinthe

internationalincreaseofgalleriesandestablishedthe

marketableidentityofmuseumsasseenintheGuggenheim

Museum(ill.18)atBilbao,Spain,1997byFrankGehry.Zudkin

(2002,p:78)identifiestheconceptof"culturalcurrency"by

usingsignaturebuildingsasmarketingtoolsfortourismand

localdevelopment.

3.3Imageandarchitecturalexpression

Celant(2006,p:6)holdsthatthedesignofacontemporary

Chapter3ILiteratureReview+TheoreticalFramework23

museumaimstorepresentasituationwhichisnotlimitedtothe

pastandpresenttimebutwhichextendsbeyond.

Historicallythearchitectureofamuseumsimplyframedthe

artworkitcontained,actingasa"backdrop"forthecollection.

Therelationshipbetweentheartandarchitecturewasminimal,

"noextensionofenergyisestablishedbetweentheobjectsand

theircontainer".Aturningpointcamewiththeduplicationof

collectionsandtheintroductionoftravelingexhibitionsthat

requiredahighlyflexibleandpurelyfunctionaldesign,

completelyintegratedandsympathetictowardstheartwork.

Jenks(2005,p:30)holdsthat"self-importantbUildings

characterizeourtime".Thisislargelyduetothedeclineof

beliefinorganizedreligionandthereplacementofthe

monumentbytherecenticonicbuildings.Theadded

competitivedriveofthe"globalsocietyandcelebrityculture"

whichrequirestheexperienceofarchitecturetobeaccessible

throughmassmedia,increasedthedesireforiconicbUildings.

Thesymbolismoficonicbuildingswasclearwiththebombing

oftheWorldTradeCentre.TheAmericanpoweritrepresented

wasattackedanddestroyedandsubsequentlyimmortalized

bythemedia.Thebuildingandsitebecame"sanctified"

becauseoftheinherentsymbolism,"aniconalwayshasa

Chapter3ILiteratureReview+TheoreticalFramework

traceofsanctityaboutit;itisanobjecttobeworshipped,

howeverfitfully"(Jenks2005,p:30).

Iconsareareflectionofthatwhichisimportantandrecognized

insocietyandculture.Thedeclineinreligiousbeliefhas

resultedinchurchesnolongerbeingsingularicons,andthis

rolenowbeingportrayedbycivicandculturalinstitutions.

Theclassicalhierarchyofbuildingsisnowchallengedand

invertedasamerebike-shedorshoppingmallhasbecome

iconicandconsequentlyelevatedonthehierarchyofbuildings.

Theappropriatenessanddecorumoftheseiconshave

becomequestionableasasupportingiconographyisrequired.

ThisisclearinFarEastwheretheiconicbuildingsseemto

have"littlefaithintheiconographyandsymbolismtheysport"

Celant(2006,p:9).

Jenkssuggeststhatthesolutionmaylieinreturningtothe

classical"hierarchyofdecorum"limitingthebuildingtypes

whichcanbeconsiderediconic.Thesebuildingswouldneedto

beofahigherstandardanddesignedbyestablishedand

recognisedarchitects.Theiconicbuildingstillrequiresa

provocativeimageinordertocompetewithexistingiconsyet

cannotdirectlyreferencereligiousarchitectureasthebelief

systemhavedeclined.Inordertopreventtheone-linerora

Chapter3ILiteratureReview+TheoreticalFramework25

ILL.19:ElevationofCasaDeMusicaRef:http://www.arcspace.com simpleprovocationbythebuildingimage,thereneedtobe

"enigmaticsignifiers".

Visualmetaphorscreatedbytheformofthebuildingelicita

distinctreactionfromitsviewersandthisreactionestablishes

itsiconicstatus.Multiplesignifiersormetaphorsmayprevent

theone-linereffect,asthebuildingwillrelatetoitscontexton

multiplelevels.Jenkssuggeststhat"intheageofan

ecologicalcrisis"thesemayalludetonatureandthecosmos.

ThiscanbeseeninCasadeMusica(ill.19),Portugal,2005by

RemKoolhaaswheretheformishostileandsevereasnature

canbeattimes.

Theaimoftheseenigmaticsignifiersinthepresentsecular

societyistobesuggestiveofseveralmetaphorsasopposedto

adistincttraceorlink.Ifthesemetaphorsarethoughtfuland

coherentamorerelevantandlastingiconographymaybe

achieved(Jenkswebsite).

3.4Environment

Asthegenreoficonicbuildingsisacceptedandexplored,a

greaterreconciliationcanbeachievedbetweentheiconic

buildingandthecityanditsinhabitants.Thevalueandpowerof

goodiconicbuildingsisundeniableandwithmorethoughtan

iconicbuildingcanbeachievedwhichismorethana"one-

Chapter3ILiteratureReview+TheoreticalFramework

ILL.20:AerialviewoftheScottishparliamentcomplexRef:www.stuckonscottland.co.uk liner"thatsimplyrelatespragmaticallytoplace,functionand

history.

McGuirk(2006,p:2),recognisedJenks'sperceptionto

acknowledgethevalueoftheiconicbuildingasa"new

symboliclanguageintheabsenceofreligionoranyprevailing

ideology".IncriticismofJenkshowever,McGuirkstatesthat

thesymbolismoficonscannotsimplybereducedtoan

analysisofthepotentialmetaphorsrecognized,"themore

thingsitcanlooklike,thebetteritis".Theeconomicfactorsare

influencedbythevisualimageprojectedandadvertised,"a

formofbranding",butthissuperficiallevelatwhichcriticismof

thearchitectureisemployedfailstoanalysetheinternal

functioningofthebuildinganditsrelationshiptoitssurrounding

contextandusers.

Manyoftheiconicbuildingsfailtobeinhabitableandthedepth

ofarchitecturalqualityandthoughtbecomesquestionable.

Theenvironmentalperformanceofseveraliconicbuildings

sufferasisevidentatthenewScottishParliamentBuilding(ill.

20)atHolyrood,Edinburgh,2004byEnricMiralleswhichwas

selectedforanarchitecturalprizeyethadavarietyof

environmental,constructionandbudgetaryshortcomings.

McGuirk(2006,p:3),suggeststhatarchitectural"iconism"is

Chapter3ILiteratureReview+TheoreticalFramework27

I

ILL.21:EntrancetotheMoMA

I

Ref:www.GreatBuildings.com

"""" .. ----

,.,;"'.-,~..••<A...~

"..

.

"'~

'f' r'ii,] ,:~t,~,' .., ,..' ,~: .. 4P."". -....~ ~I'~ ~4 ~

.

~

".')'.

ILL.22:AerialviewoftheJuanMiroMuseuminBarcelonaRef:www.GreatBuildings.com simplyderivedfromthecurrentculturalobsessionwithicons

andimageinourcelebritypreoccupiedsociety.

Russell(2005,p:84)statesthattheflexibilityofthemuseum

programallowsarchitectsgreaterfreedomto"interpret

contemporaryreality".Phillips(2005,p:90)similarlyholdsthat

"architectureisanartthatshouldbeadvancedjustlikeany

otherart".Thelackofintegrationbetweentheexternal

envelopeandinteriorrequirementsforexhibitionremains

largelyproblematicandunresolved.

3.5Site

(Thau2004,p:52)statesthatattemptsarebeingmadeto

achieveeconomicsuccessbyusinggalleriesasre-generating

initiatives.Theseincludeabandonedindustrialsitessuchas

theMoMainNewYork,2005byYoshioTaniguchi(ill.21)or

sitesinthetraditionalcentersofcitieswhichhavebecome

derelictanddangerous,suchasFrankGehry'snewart

museuminLosAngelesorZahaHadids'RosentahlCentrefor

theContemporaryKind,2003inCincinnati.Anothertrendis

thepositioningofgalleriesingreenzones,liketheJuanMiro

MuseuminBarcelonabyJosepL1uisSert(ill.22).

3.6Public

Thisshiftinthelocationofgalleriesfromthetraditional

Chapter3ILiteratureReview+TheoreticalFramework

I'LL.23+24:NewentrancetotheLouvreduringtheInightandthedayRef:www.GreatBuildings.com

I I I I

ILL.25:TheStateGalleryExtensioninSuttgartRef:http://www.britannica.com economiccenterstoderelicturbanprecinctsrequiresare-

interpretationofbuildingfunctionsandimageryasanewsocial

contextexists.Piano(1980,p:103)interpretedtheroleofthe

PompidouCentrelocatedinapreviouslyrundownprecinctof

Paris,torepresentartandculture"asanewsortofpublic

forum,abazaarofinteractionbetweenpeopleandthearts".

Thisre-interpretationisfacilitatedbytheremovalofthe

traditionalpodiuminconjunctionwiththeantithesisofthe

materialsusedandarchitecturallanguagecomparedtothe

surroundinghistoricalsetting.Similarlythenewentrancetothe

LouvreinParisbyI.M.Pei(ill.23+24),contrastsaglass

pyramidwiththehistoricalfa~ade,promotingpublic

awarenessandaccess.TheStateGalleryextensionin

Stuttgart(ill.25)encouragesurbaninfiltrationwithapublic

streetrunningthroughthemuseum.

Jencks(1997,p:45)holdsthattheconsequentincreasein

visitorstogalleriesaffectsthemannerinwhichbuildingsare

enteredandthecirculationpatternsofvisitorsinsidethe

buildings.ThiscanbeseenattheEastWing,NationalGallery

extensionatWashingtonD.C.,1978byI.M.Pei.,wherethe

entrancedoorsarecomparedtothosenormallyfoundata

sportsstadiumtoallowentrytolargenumbersofvisitors.

Circulationwithinsimilarlyneededtoallowforlargernumbers

ofvisitors.Wright(1987,p:59)designedaspiral

Chapter3ILiteratureReview+TheoreticalFramework29

circulationrampthatisaccessedoffacentralfoyerspace

withintheGuggenheimMuseum.Thismayhavebeenanovel

interpretationbutlightingconditionsforworksondisplaywere

notidealandthecurvedwallsalongtherampproved

problematicforthehangingofworks.Kahn(1975:p,86)

oppositelycreatedaseriesofgalleriesonasinglelevelinthe

KimbellArtMuseuminTexas.Thisallowsgreaterflexibilityof

galleryspacesanduseofreflecteddaylighting.RenzoPiano

usesasimilarapproachintheMenilCollectionandBeyeler

FoundationMuseumswherereflecteddaylightingfromabove

allowmaximumuseofwallspacebelowforexhibition.

Aalto(1996,p:53)holdsthatadequatelightingisascrucialto

galleriesasacousticsaretoconcerthalls.Hestatesthata

varietyoflighting,bothnaturalandartificial,isnecessaryto

provideavarietyofexperiencestostimulatevisitors.

3.7Artworks

King(2006,p:32)however,re-affirmsthatrooflightingdoes

notcreateacompletelyneutralcontainerbelowinwhichto

displayart,knownasthe"bigwhitecubesyndrome".Cherry

(2000,p:64)similarlystates,"theinterdependenceofthe

subjectsandspaces,spacesarenotneutralcontainersbutare

recognizedasactive".Berger(1972,p:26)holdsthatthe

processofviewingartandthearchitecturalresponseis BelowisasectionindicatingthecontinuousexhibitionlevelwithrooflightingRef:Author ILL.26:TheKimbellArtMuseumInTexas.Ref:www.greatbuildings.com

ILL.27:TheMenilCollectionMuseumRef:www.greatbuildings.com

BelowisasectionindicatingthecontinuousexhibitionlevelwithrooflightingRef:Author "\\\\\\\"\''t"\\\\f~"\,\.\.'\\.\\.\tx

Chapter3ILiteratureReview+TheoreticalFramework

Russell(2005,p:84)identifiesthatartistsoftenprefer

exhibitingincontemplativespacesthatindicatesapreference

forthe"whitecubegallerynorm"opposedtoaesthetic

exploration.Thisislargelyduetothelackof"visible

authorship"whichisthedistinctarchitecturalstampofcertain

architectsthatcompetewiththeartworks,shiftingthefocus

fromthearttothearchitecture.Piano(2005,p:115)similarly

rejectsadistinctivearchitecturalstyle"thisdominatingrubber

stampthatmakesyouworkrecognizable",optingfora

sensitiveandindividualapproach.Thisapparentsensitivityto

theneedsoftheartworksandcuratorsalikemayhoweverbe

restrictingandresultsinsimilarapproachesandconclusions.

ThiscanbeseenattheLACMA,theMorgan(ill.28),TheHigh

ArtMuseum(ill.29)andtheTwombly,withasimilaruseof

materialsandlightingtechnique. Onecanthereforenotsimplyassumethatablankwallhasno

impactonthevisitororonthewayinwhichthespectator

interpretstheartwork.Similarlytheimpactofthegalleryonits

newcontextcannotbeignored. interdependent;"wearealwayslookingattherelationship

betweenthingsandourselves".

ILL.29:EntrancetotheHighMuseumofArtbyRichardMeierRef:Http://www.bluffton.edu ~",:;:;"IIi~__

ILL.28:EntrancetotheMorganMuseumRef:Http://z.about.com

Chapter3ILiteratureReview+TheoreticalFramework31

3.8

•

•

•

•

•

~)iji'l~jij!:'-~-]^The

roleofartgallerieshasbecomemorecomplex

duetosocialshiftsinsociety.

Severalkeyrelationshipsbetweenthegallery

andthecity,environment,site,public,and

artworkshavesubsequentlybeenimpacted.

Gallerieshavethedualfunctionofreflectingthe

culturalstatusofcitiesandactingasastrategic

financialdevicepotentiallyrevitalizingderelict

urbanzones.

Theiconographyprojectedthroughthe

architecturalexpressionofthegalleryneedsto

bebothsympathetictowardstheartworksit

containswhilemaintainingamarketableimage

whichcancompetebothlocallyand

internationally.

Inordertosustainthemultiplicityoffunctions

requiredwithinacontemporarygallerythe

relationshipbetweenthegalleryandpublic

interactionbecomesvital.Circulationneedsto

allowforincreasedvisitornumbersduetothe

amplifiedpublicinterestinthearts.

• •

Asymbioticrelationshipbetweenthegalleryspaces

andtheartworksisnecessarytoacknowledgethe

interdependencebetweenthearchitectureand

artwork.

Visualstimulationneedstoprovideabalanceforthe

visitor,allowingvisualintervalsbetweengallery

spacestoassistintheorientationoftheviewer.This,

incombinationwithavarietyoflightingtechniques,

willcreateanarrayofexperiencestostimulatevisitors

andensurethattheyremainalertandtheir

levelofconcentrationisconsistentlyhigh.

Chapter3ILiteratureReview+TheoreticalFramework

Thefollowingcriteriafortheanalysisofprecedentstudies

havebeenderivedfromtheKeyQuestions:

•Location,Concept.

•ExternalExpression:Buildingrelationship

withcontext,image,fac;adetreatmentandexpression

ofform,structureandentrance.

•FunctionalOrganisation:Multiplicityoffunctions

required,relationshipbetweenfunctionalspaces,

sizesandarrangements. Examplesofrecentlycompletedinternationalpublicart

gallerieshavebeenselectedtodemonstratethecurrent

architecturalresponsetothemultiplicityoffunctionsrequired

tosustainacontemporarygallery.Theconsiderationof

surroundingcontextisvitalfortheintegrationofthegalleries

bothinurban(ill.30)andgreensites(ill.31).Equallyimportant

istherelationshipbetweentraditionalandcontemporary

galleryspacesandthecorrelationofthesetothemorepublic

zonesbothinsideandoutsidethegallery.Theexamples

selectedeachdisplayauniqueapproachtothecomplexbrief

whileachievingabalancebetweenthearchitecturallanguage,

theartdisplayedandintegrationofthebuildingintoindividual

environments.

Ll~tiU.ltihj

4.1

ILL.31:ThePaulKleeCentrebyRenzoPianoopenedin2005,isanexampleofarchitecturalintegrationwiththesurroundinggreensite.Ref:http://iatwm.com/200506/PauIKlee/index.html

---

^ILL.

30:TheMuseumofContemporaryArtInI:larceionabyRichardMeierisanexampleofanarchitecturalresponsetodenseurbanenvironment.Ref:http://www.bluffton.edu

Chapter4~IPrecedentStUdies

•Spaces:Qualityandrelationshipbetweenspaces;

publicandcontemplative,internalandexternal.

•Exhibition:Displayandcirculation;effective

integrationofartworksbothtraditionaland

contemporary;displayandpreservationrequirements,

includingventilation,air-con,lightingandviewing

distancerequired.

Followingthedefinitionofthecriteriafortheanalysisofthe

precedentstudies,threeprecedentswereselectedforthe

subsequentreasons:

•MaMa,2005:

ContemporaryPublicArtMuseumsituatedwithina

denseandculturallyvibranturbancontext.

•Baden-Baden,2005:

RichardMeierisaleadingdesignerwithinthegallery

buildinggenreandthisishislatestworkshowing

sensitivitybothtothenaturalparkenvironmentand

adjacentmuseumtoachievecontextualintegration.

•WalkerArtCenter,2005:

Arecentadditiontothispublicartcenterhasintegrated

bothtraditionalmediaandmulti-disciplinaryartforms.

Chapter4~IPrecedentStudies35

ILL.32:ViewofthesurroundingurbancontextfromthesculpturegardenattheMoMARef:http://www.thecityreview.com/numoma.html

ILL.33:ViewoftheMoMAinthesurroundingurbancontextRef:http://www.thecityreview.com/numoma.html

4.2 MoMA, New York, 2005, byYoshio Taniguchi

TheMoMAisanexampleofacontemporarypublicartgallery

withinadenseurbancontext.Thelocationofgallerieswithin

thetraditionalcentresofcitiesactsasregeneratinginitiatives

forurbanzoneswhichhavebecomederelictduetoincreasing

urbansprawl(RefertoChapter3).

4.2.1Location

TheMuseumofModernArt(MoMA)islocatedinthedense

urbansetting(ill.32+33)ofmidtownManhattaninNewYork.

Thesurroundingurbancontextincludescommercial(offices,

shops,andrestaurants),residentialandinstitutionalfunctions

(St.ThomasChurch,MuseumofAmericanFolkArtandthe

AmericanCraftMuseum).

Themuseumwasfoundedin1929asaneducational

institutionandhasbeenrelocated,remodeledandextended

severaltimes.Additionsandremodelingovertheyears

include:

•1932:Originalremodeledresidenceat2WestFifty-

ThirdStreet.

•1938-39:FirstNewBuildingByGoodwinandStone.

•1951-66:ThreeAdditionstomuseumbyPhilip

Johnson,1953,whichincludedthedesignofthe

sculpturegarden.

Chapter4~IPrecedentStudies

•1985:GalleryExpansionandResidentialTowerby

CesarPelli.

•2005ExpansionofmuseumbyYoshioTaniguchi.

Conceptuallythemuseumhasabroadereducationalpurpose

whichwasestablishedatthefoundingandaimsto"createa

dialoguebetweentheestablishedandtheexperimental,the

pastandthepresent,inanenvironmentthatisresponsiveto

theissuesofmodernandcontemporaryart,whilebeing

accessibletoapublicthatrangesfromscholarstoyoung

children."(Http://www.moma.org/abouCmoma/)

ILL.34+35:SubtleintegrationoftheMtMAintosurroundingcontextwasachievedthroughappropriatescale,useofmaterialsandlackofstructuralexpressionseenattheentranceill.34andthewallenclosingthesculpturega1enill.35.Ref:http://www.thecityreview.com/numoma.html

ILL.36:Thecladdingusedreflectstheimageofoppositebuildingsrespectingtheexistingcontext.Ref:http://www.thecityreview.com/numoma.html 4.2.2ExternalExpression

ThelatestremodelingandadditionsbyYoshioTaniguchi

focusedonenhancingtherelationshipbetweenexisting

functions,thecontextandpublicimage(ill.34+35)asopposed

toa"boldsculpturalstatement"whichhasbeentherecent

trendinpublicartgallerydesign(ill.36).Theoriginalcharacter

ofthemuseumhasbeenmaintainedwiththeuseofmodern

materialsandanappropriatescale,whichisconsiderateof

neighboringtownhouses.Originalmaterialsconsistedofa

concreteframewithaglassandaluminiumcurtainwall.

Coloursrangedfrompalegraytomutedceruleanbluewith

Vermontdeftmarblefloorsurfaces.Structuralsupportisnot

expressedinternallyorexternally,resultinginafloatingeffect

Chapter4~IPrecedentStudies37

4.2.3FunctionalOrganisation

Publicandprivatefunctionsarehighlyintegratedasaresultof

severaladditionsandalterations.Theeducationalbuildingis

theonlyexceptionandisdistinctlyseparated(ill.40).Unityis

createdbetweenthedifferentfunctionswiththepublic

sculpturegarden(ill.37).Thislinksallthefacilitiesand

commercialfunctionssuchastherestaurantsopenupontothe

garden(ill.38).Theoveralllegibilityofthemuseumisimproved

asallfunctionsrelatetothesculpturegarden,whichactsasan

orientationpointforvisitors.Enhancingtheinteraction

betweenartworksandvisitors. oftheplanarelementsandsurfaces.

4.2.4Spaces

Architecturallytheexperiencethroughthemuseumhas

evolvedfromalargehousewithaprivatesculpturegardenand Theentranceishighlightedthroughtheblackstonefacingof

thenewbuildingcontrastingwiththewhiteglassskinonthe

gardenfagadeoftheoriginalbuilding.Thesculpturegarden

cannowbeenteredfromtwopoints,allowinggreateraccess

andvarietyofexperiencetovisitors.Themuseumcanbe

accessedfromtwoparallelstreetscreatingapublicarcade

alongwhichthedesignshophasbeenpositioned(ill.39).

1lobby

2designshop

3sculpturegarden

4restaurant

5educationbuilding

6gallery

7atrium

aterrace

9backofhouse ILL.37+38:Thepublicsculpturegardenspatiallylinksthedifferentfunctionswhilecommercialactivitiessuchastherestaurantopenuptothegarden.Ref:http://~.thecityreview.com/numoma.html

6 6

ILL.40:MaMATypicalFloorPlan.indicatingthePc;"sitionofthe'ediJcationalblock.Ref:www.moma.org ILL.39:MaMAGroundFloorPlan,indicatingentrancepointsandthepositionofthesculpturegarden.Ref:www.moma.org

Chapter4~IPrecedentStudies