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Le Corbusier: Philips Pavilion, Brussels, 1958
Located in a small site next to the Dutch section and away from the center of the fair, the pavilion hosted a futuristic multimedia display featuring images, colored lighting and music and sounds called the "Poème Electronique." Some of the greatest artistic minds of the twentieth century were involved in its creation, including the architect Le Corbusier (1887-1965) and the composer Edgard Varèse (1883-1965). But most importantly, the Philips Pavilion represented an important artistic phenomenon through its synthesis of architecture, visual media and music.
The purpose of the pavilion was to exhibit the technology of the Philips corporation, a Dutch electronics company specializing in everything from sound production to fluorescent lighting to X-ray technology. Philips' aim was obviously promotional, integrating corporate advertisement into an exhibit much like the pavilions by General Motors and Ford at the Chicago fair of 1933 and the New York fair of 1939. But rather than having a traditional pavilion that would display their products for the visitors to browse through, Philips chose to create an integrated work of modern art that would utilize its wide array of technologies. Therefore, the Philips pavilion had no exhibits per se; rather it was a kind of exhibit in itself; an all-encompassing showcase of what the Philips corporation could offer.
For the execution of this unique undertaking, Philips selected the French architect Le Corbusier, one of the greatest modern designers of the twentieth century. Philips executives approached him in January 1956 to design, in the words of artistic director Louis Kalff, a "spatial-color-light-music production" for the Philips corpor...
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... But because it was demolished, the work of art is lost forever. We can see pictures like these, look at Le Corbusier's images, even listen to Varèse's score, but the complete ensemble integrated into a single space surrounding and moving around the visitor is something that can never be recreated. Therefore, the Philips Pavilion and its Poème Electronique remain an artistic achievement that have left their mark on precisely eight minutes of history.
Works Cited
Rogers, Ernesto N. "All'Expo '58 Il Futuro Non e Cominiciato." Casabella 221 (1958): 2-21.
Romare, Kristian. "Le Corbusier's Electronic Poem." Byggmästeren 8 (1958): 175.
Taubman, Howard. "Fairgoers Hear Electronic Poem." New York Times 21 May 1958.
Treib, Marc. Space Calculated in Seconds: The Philips Pavilion, Le Corbusier, Edgard Varèse. Princeton, N. J.: Princeton University Press, 1996.
Findling, John E., Historical Dictionary of World's Fairs and Expositions, 1851-1988 New York: Greenwood Press, 1990 Komendant, August, "Post-Modern on Habitat", Progressive Architecture 1968 March vol.49, p.138-147
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Many might have been working on Good Friday, but many others were enjoying The Frist Museum of Visual Arts. A museum visitor visited this exhibit on April 14, 2017 early in the morning. The time that was spent at the art museum was approximately two hours and a half. The first impression that one received was that this place was a place of peace and also a place to expand the viewer’s imagination to understand what artists were expressing to the viewers. The viewer was very interested in all the art that was seen ,but there is so much one can absorb. The lighting in the museum was very low and some of the lighting was by direction LED lights. The artwork was spaciously
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The exhibit that I viewed at the Philadelphia Museum of Art was one about European Art between the years 1100-1500. This was a series of paintings, sculptures, architecture, and tapestry of the Medieval and Early Renaissance as well as objects from the Middle East. This exhibit was an important part of the history of the Philadelphia Museum of Art because for the first time, Italian, Spanish, and Northern European paintings from the John G. Johnson collection were shown. It gave me a good idea of what the paintings were like in these four centuries and reflected ideas of both the east and the west.
Baxandall, Michael. "Exhibiting intention: Some preconditions of the visual display of culturally purposeful objects." Exhibiting cultures: The poetics and politics of museum display (1991): 33-41.
In the downtown area of Madison, Indiana, sits an extraordinary structure that seems to capture attention from all walks of life. The Broadway Fountain was created by a French artist named J.P. Victor Andre. Andre obviously knew what he was doing when he was asked to construct this fountain because of the impressive composition it has and with its mesmerizing size. “Some have suggested that Andre’s neo-classical design was inspired by the famous fountain in Place-de-la-Concord in Paris, or by a fountain exhibited at the Crystal Palace Exhibition in London in 1851” (Wright).
One pleasant afternoon, my classmates and I decided to visit the Houston Museum of Fine Arts to begin on our museum assignment in world literature class. According to Houston Museum of Fine Art’s staff, MFAH considers as one of the largest museums in the nation and it contains many variety forms of art with more than several thousand years of unique history. Also, I have never been in a museum in a very long time especially as big as MFAH, and my experience about the museum was unique and pleasant. Although I have observed many great types and forms of art in the museum, there were few that interested me the most.
...an picking the artifacts. Although I did learn about William Morris and his designs in my history classes I learnt about the concept behind his design decisions and in depth analysis of Morris’s evolution as a designer only when I started working on this exhibit. It is imperative that you do research before arriving on any decision in regard to putting up any exhibit. Furthermore after analyzing the different options, it is imperative that you have facts to back up your decisions of the artifacts chosen. Every artifact that you pick for your case should have direct relation to your concept and it should be consistent among all artifacts. Overall a lot of thought should be put into the exhibit and the concept must reflect the ideas distinctly.
The “superstar” museum gained this status by considering every important detail during its establishment and initial phases of conversion from royal palace to museum (Gombault, 2002). As the purpose of the building changed, each room addressed new functions with new requirements. Although the function of the Louvre is different from the building’s original intention, the building is still appears dignified and important enough to display priceless artifacts and painting (Steffensen-Bruce, 1998). This consideration was applied in designing the Met. The Met looked towards the South Kensington Museum (Victoria and Albert) and the “ideal role model” due to its extensive collections and international reputation (Heckscher, 1995). The Met found itself in a similar situation to the South Kensington, because it did not have a building or a collection to start with (Heckscher, 1995). When designing museums, architects strived to create monuments that “prepare and educate the mind of the visitor (Steffensen-Bruce, 1998).” Education is an essential function of a museum. Acquiring, preserving, and properly displaying materials, permits a museum to fulfill this duty (Steffensen-Bruce, 1998). For instance, lighting is a factor that affects the manner in which artwork is viewed and can be properly appreciated. When determining the proper lighting for the Louvre, Comte d’Angiviller, strongly believed that natural, overhead lighting was the most effective solution (McClellan, 1994, p. 72). The same determination impacted the decision to add skylights at the Met. During the initial phase, architects Vaux and Mould, added skylights to the upper floor, and windows to the lower floor that provided a natural light solution (Heckscher, 1995). Additionally, glass-roofed courtyards provided “unimpeded light” for displaying
I first visited the Guggenheim Museum two weeks ago with Claus, my friend from Germany. We had the MOMA in mind but I guess talking, talking we must have passed it by. Half an hour from the MOMA we found ourselves in front of the Guggenheim, the astonishing white building that was Frank Lloyd Wright's last project. Why not? We said to ourselves. And so we walked right in.
The German Pavilion, more commonly known as the Barcelona Pavilion, is one of the most recognizable buildings of the modern period during the early 20th century. It encapsulates every element of modern architecture in one structure. Ludwig Mies van der Rohe, one of the fathers of modern architecture, was the architect of this beautiful building. In this essay I will explore how Mies impacted the modern movement in architecture through his groundbreaking ideas, using the Barcelona Pavilion as a case study. The German Pavilion was designed in 1929 for the International Exposition in Barcelona.