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The social implications of architecture
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There are two books The pursuit of Quality: The Kimbell Art Museum written by Harry Abrams, and The 1939 Building of the Museum of Modern Art: The Goodwin-Stone Collaboration, written by Dominic Ricciotti. These two books investigate the change in architectural feats, and the layouts in which architects like Louis I. Kahn and Goodwin and Stone used in the changing times in which they lived. These two books and the chapters within them, showcase the change in the architecture and layouts of museum buildings. Yet, these books also show the change in museum models worldwide to alter the way individuals look at architecture and artwork. Both books speak of the ever changing museum models which took places from the early 1930s until the 1960s. The following quotes and instances mentioned in the history of the New York Museum of Modern Art and the Kimbell Art Museum describe how these two museums changed the course of how architects and artists design and fill museums.
The architecture of Goodwin and Stone, which would become the Museum of Modern Art changed the architecture of museums. They were professionals in a new era, with new designs and architectural styles beginning to emerge in not only the homes of wealthy individuals, but professional buildings throughout New York, the United States, and the rest of the world. These architects worked with the growing and popular architectural trends of the time, drafting and constructing a building which would follow along with the modern grandeur of the rest of New York City. They changed the way in which museums would look from there on out. Before the exteriors of museums, were themselves works of art; and in a way the façade of the MOMA was no different, it was a modern building desig...
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...several artistic techniques. These pieces of art are showcased in an environment where they can be enjoyed by amateurs and expert art lovers alike. All of the architects mentioned joined together not only the modern architectural techniques of their time, as well as the famous styles of the past to create Museum buildings that became their own pieces of art.
Works Cited
Abrams, Harry. In pursuit of quality: the Kimbell Art Museum; an ill. history of the art and architecture. New York: Abrams, 1987.
"History: The vision of the founders." Kimbell Art Museum. https://www.kimbellart.org/about/museum-history (accessed March 8, 2014).
"MUSEUM HISTORY." MoMA. http://www.moma.org/about/history (accessed March 7, 2014).
Ricciotti, Dominic. "“The 1939 Building of the Museum of Modern Art: The Goodwin-Stone Collaboration,”." American Art Journal xvii (985): 70.
“Cleveland Museum of Art: Building,” Cleveland Art, Cleveland Museum of Art, 2013. Web. 25 March, 2014.
In Stephen Weil’s essay, he argues “the museum’s role has transformed from one of mastery to one of service” (Weil, 196). According to him, museums have changed their mission from one that cultures the public to one that serves
The Metropolitan Museum of Art has one of the finest Asian art collections that has enlightened and strengthened my understanding in my personal art experience. The Museum itself is an artistic architectural structure that graces the entire block on 82nd Street in Manhattan. Entering inside, I sensed myself going back into an era, into a past where people traded ideas and learned from each other. It is a past, where I still find their works of yesteryears vividly within my grasp, to be remembered and shared as if their reflections of works were cast for the modern devoted learner.
Hunt, William Dudley Jr. “Beaux Arts, Ecole Des.” Hunt Encyclopedia of American Architecture, 1980 ed.
Duncan’s (1991) analysis of western museums is defined through the theme of “durable objects” as a criterion to judge the heritage of American and European art as a ritual of the modern state. In this manner western art museums are built like “temples” as a symbolic and figurative representation of greatness of western culture throughout the world: “[They] are more like the traditional ceremonial monuments that museum buildings often emulate—classical temples” (Duncan 90). This interpretation of American/European museums defines a dominant source of cultural heritage that ritualizes
The Metropolitan Museum of Art came about as an idea from Jon Jay in Paris, France in 1866 with the idea of “national institution gallery of art” within the United States. Once this idea was proposed, it was immediately moved forward with his return to the United States. With the help of the Union League Club in NY they began to acquire civic leaders, businessmen, artists, and collectors who aided in the creation of the museum. For over 140 years, the visitors who go here have received everything the mission of the institution states.
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.
In all, both the Glasgow Art Building and the Goldman-Schwartz Art Building have a surprising number of similarities. Although they are located on two different continents, the styles are remarkably similar especially considering their function. Their similar goals to promote creativity by designing an open and free environment are perhaps, the most significant and interesting features of the structures. By comparing these features, it gives an indication of the serious dedication to art that has existed across the world regardless of history.
Heinz, Thomas A., Frank Lloyd Wright: Architectural Monographs No 18, St. Martin's Press, New York, 1992.
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.
Decades after World War One, a new building style emerged and continues to affect architecture to this day. Modernism is less concern about ornaments and holds at a higher priority the purpose and structure of a building. One superb example is The Kimbell Art Museum located in Fort Worth, Texas. This Museum continues to hold prestige in the public eye. Kahn was able to successfully use natural light and material that emphasize his architecture, while not over shadowing the art work displayed. These are few reasons of why The Kimbell Art Museum is an ideal museum that has only contributed to the modern age. This work of art is what many buildings and museums have always longed to be.
The essence of modern architecture lays in a remarkable strives to reconcile the core principles of architectural design with rapid technological advancement and the modernization of society. However, it took “the form of numerous movements, schools of design, and architectural styles, some in tension with one another, and often equally defying such classification, to establish modernism as a distinctive architectural movement” (Robinson and Foell). Although, the narrower concept of modernism in architecture is broadly characterized by simplification of form and subtraction of ornament from the structure and theme of the building, meaning that the result of design should derive directly from its purpose; the visual expression of the structure, particularly the visual importance of the horizontal and vertical lines typical for the International Style modernism, the use of industrially-produced materials and adaptation of the machine aesthetic, as well as the truth to materials concept, meaning that the true nat...
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.
Holt, Elizabeth G. From the Classicist to the Impressionists: Art and Architecture in the 19th Century. New Haven, CT: Yale University Press, 1966.