museum to unravel

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Devashish Ganguli is a lighting aficionado and regularly contributes articles to many magazines. Museum caught his fancy due to a recent assignment and this took his research to unravel the majesty and secrets that lies beyond the layers. In a well researched article he takes us to a tour of the worlds best museum and the areas that have caught the awe of the designers the planners and all those who have had interest in this timeless pieces of architecture The Raison de atre is to unravel the layers that holds the deeper meanings magical museums

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Page 1: museum to unravel

Devashish Ganguli is a lighting aficionado and regularly contributes articles to manymagazines.

Museum caught his fancy due to a recent assignment and this took his research tounravel the majesty and secrets that lies beyond the layers.

In a well researched article he takes us to a tour of the worlds best museum and the areas that have caught the awe of the designers the planners and all thosewho have had interest in this timeless pieces of architectureThe Raison de atre is to unravel the layers that holds the deeper meanings

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MUSEUM MECHANICSPaul Getty - who was one of the richestliving Americans of 1957 and whosecollection formed the basis for the J.Paul Getty Museum in Los Angeles;once raised a question:

“How does one measure the successof a museum?”

Conditions and contexts of everymuseum are unique. Thus, factorsaffecting museum’s success are asvaried as factors affecting anindividual’s success. But some of theaspects such as programming ofspaces, quality of exhibits,architectural design considerations,operation & maintenance, strength ofits management and cost ofconstruction are the key issuesconsidered to measure a museum’ssuccess.

Turning towards the designconsiderations, aspects such asLighting, Environmental systems, Airquality, Security and Fire protectionare the base of a museum’s life-cycle.

Apart from the above mentioned key

factors, some of the other designconsiderations are listed below whichcan also be used as a ready referenceof questions before designing amuseum.

Design Considerations

• Programming RequirementsWhat are the principalprogramming requirements (spacetype/areas)? How do you organizethe client?

• CirculationWhat are the desirable primary andsecondary spatial relationships?

• Unique designWhat special design determinantsmust be considered?

• Site planning / parking / accessWhat considerations determineexternal access and parking?

• Building and Safety CodesWhich building codes andregulations apply, and what are themain applicable provisions?

MUSEUM MECHANICS

Security Systems and FireProtection are critical factors.

• Energy / environmentalchallengesWhat are the techniques to use inobtaining appropriate energyconservation and environmentalsustainability?

• Structure systemWhat are the appropriatestructural systems to consider?

• Mechanical systemsWhat are the appropriate systemsfor heating, ventilating, air-conditioning and plumbing?Vertical transportation? Whatfactors affect preliminaryselection? What are the spacerequirements?

• Electric / CommunicationsWhat are the appropriate systemsfor electrical, voice, and datacommunications? Whatconsiderations affect preliminaryselection? What the spacerequirements?

Tarbe Art Centre – a museum designed by Verner Johnson Inc.

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• Special equipmentWhat special equipment isrequired and what are its spacerequirements?

• MaterialsWhat materials need to beuniquely considered or rejected?

• Acoustic controlWhat special acoustic and othersound control considerations affectthe design?

• Lighting designWhat special lightingconsiderations affect the design?

• Interior issuesWhat special considerationsdetermine the planning of interiors– scale, color, texture, finishes,furnishings, special features?

• Way-findingWhat special factors determinegraphics, signing and way-finding?

• Additions / renovations /restoration / adaptive reuseWhat are the special concernswhen renovating afacility?

• International challengesOn international work in thisbuilding type, what challengesarise to influence marketing,design, presentations, documentproduction, correspondence, fieldpresence, billing?

Rainforest exhibit in a controlled environment at California Academy of Science– a museum designed by Renzo Piano

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The famous structure of the Guggenheim Museum designed by Frank Lloyd Wright

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• Operation and maintenanceWhat are the special proceduresfor operating and maintaining thecompleted facility?

• Key cost factorsWhat are the typical costs forconstruction, including furnishings,fixtures, and equipment? Becauseof variability in program, there areno reliable guidelines for the costsof museum construction. Manyinstitutions include very expensive

exhibit installations in the cost ofconstruction, for example to thepoint where the cost of installationmay exceed that of the building.

• Finances, fees , feasibilityWhat are the typical techniques forfinancing this facility?

“Museum has a very broad definition.There are various types of museums –discovery, history, art, science, etc. Ithink what binds them are the aspects

of collection, exhibit display, awareness& education, visitor’s experience and thevision of the management.” says LouisSirianni, Principal of Verner Johnson Inc.

In conclusion, a museum’s functionalityis as important as its experience. Thus,out of all the factors that contribute ina museum’s success, the most importantone is about how integrated is theapproach of architects, consultants,exhibit designers and curators from thebeginning of the project.

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About the master designer: RENZO

PIANO

Genoa-born architect Renzo Piano is aworld-renowned Italian architect andrecipient of the Pritzker Architectureprize, AIA Gold medal, Kyoto Proize andthe RIBA Gold medal for architecture.He graduated in 1964 from the schoolof architecture of the MilanPolytechnic. In 1971, he founded the‘Piano & Rogers’ agency with RichardRogers, his partner on the CentrePompidou project in Paris. In 1977, hefounded ‘l’Atelier Piano & Rice’ withthe Engineer, Peter Rice, who hadworked with him on many projects,until his death in 1992. He then foundedRenzo Piano Building Workshop (RPBW),with offices in Paris and Genoa. Histeam at RPBW is almost about 100people working in close collaboration.

Like most works designed by membersof the ‘high-tech’ movement, Pianoestablished ‘technology’ as a starting

point for his designs. One of his

admirers said that “serenity of his bestbuildings can almost make you believethat we live in a civilized world.”

Begun in 1853, the California Academyof Science is among the largestmuseums of natural history.Unfortunately, the original buildingswere damaged significantly in the1989 Loma Prieta earthquake.Subsequently, plans were made torepair the damage and make thebuildings seismically stable. But it wasrealized that a considerable amountof work would be needed to bring thebuildings up to modern standards. Thisled to the idea of giving the academya complete makeover.

‘Renzo Piano Building Workshop’ waschosen as the architectural firm forthe museum replacement project. Thisproject required the demolition ofmost of the 11 existing buildings, builtbetween 1916 and 1976. After moving

the existing exhibits to a temporary

museum, construction began in 2005.Renzo Piano’s design for the museumis the recipient of the ‘Urban LandInstitute award for excellence: TheAmericas in 2008’. It also won the‘Holcim Award for sustainableconstruction projects for the regionNorth America in 2005’.

To keep up with the academy’s focuson ecological concerns andenvironmental sustainability, the newbuilding is at the forefront ofenvironment-friendly design. Due toits sustainable initiatives, the buildinghas received Platinum certificationunder the LEED program.

The museum exhibits primarily focusesabout the natural history. But thepublic areas are divided into threegeneral areas:

• Steinhart Aquarium: which takesup most of the basement area, as

CALIFORNIA ACADEMY OF SCIENCESan Francisco

Master Designer: Renzo Piano

MASTER MUSEUMSMASTER MUSEUMS

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well as a four-story dome thatemulates a rainforest.

• Morrison Planetarium: which isdevoted to astronomical things.

• Kimball Natural HistoryMuseum: which, in addition to itsAfrican Hall and a Foucaultpendulum, includes a variety ofchanging displays covering manysubjects.

The 4,10,000 sq ft building retains theformer location and orientation at theGolden Gate Park. Like the originalacademy, all functions are organizedaround a central courtyard. Twospherical exhibits, the PlanetariumDome and the Rainforest Biosphere,are located adjacent to the Piazza.Together with the reconstructedentrance of the Steinhart Aquarium,these elements represent theAcademy: Space, Earth and Ocean.These 3 icons ‘push’ the roof upcreating an undulating roof-scape.

The academy is sheltered by the 2.5acre expanse of living roof consistingof seven dramatic hills covered by ninespecies of native California plants. Thegreen roof extends beyond theperimeter walls and becomes a glasscanopy providing shade, protectionfrom the rain and generating energythrough more than 55,000photovoltaic cells in the glass. In thecenter of the Living Roof is a glazedskylight covering the piazza.

There are many other benefits of thisgreen living roof. The undulating hillsof the roof that features slopes inexcess of 60 degrees, will draw coolair into the open piazza at the centerof the building, naturally ventilatingthe surrounding exhibit spaces.Padded with 6" of soil, the roof willprovide excellent insulation, keepingthe interior temperatures about 10degrees cooler than a standard roofas well as reducing low-frequencynoise by 40 decibels. It will alsodecrease the urban heat island effect,staying about 40 degrees cooler thana standard roof. Moreover, it willabsorb about 98% of all storm water,preventing up to 3.6 million gallonsof runoff from carrying pollutants intothe ecosystem each year.

Strategically placed skylights in theroof will automatically open and closeto allow heat to escape through thetops of the domes. These skylights willalso allow sunlight to reach the livingrainforest and coral reed exhibits

below, reducing the energyrequirements for the artificial lighting.

To emphasize the roof and the buildingas a whole, the materials used for thenew Academy are minimal. Spaces areleft neutral in color intentionally. Lightgray architectural concrete is the mainmaterial for the walls and facades,apart from the restored African Hall,which features the original limestone.The floors are polished concrete.The exhibit hall soffit consists of aseries of individual white acousticpanels, mounted horizontal underthe undulated roof. The glazedfacades are executed with extra-whiteglass, to enhance their transparencyand to improve the visual transitionof the interior into the Golden GatePark. The roof is a hybrid concrete-and-steel structure, with vegetationon top, including a water “storage”layer. The roof transforms towards theexterior into a light steel structuresupporting glass panels withphotovoltaic cells.

A more holistic approach wasconsidered which involved a seriouseffort in the choice of materials,recycling of the materials from the oldacademy buildings and the way inwhich they are put together.Sustainability is also part of theexhibition design, the exhibitionphilosophy, and its day-to-dayoperation. The mission statement ofthe academy, “to Explore, Explain andProtect the Natural World,” made thisproject ideal to incorporatesustainable design strategies.

“With the new Academy, we are creatinga museum that is visually andfunctionally linked to its naturalsurroundings, metaphorically lifting upa piece of the park and putting a buildingunderneath,” says Architect Renzo Piano.

“Through sustainable architecture andinnovative design we are adding a vitalnew element to Golden Gate Park andexpressing the Academy’s dedication toenvironmental responsibility.”

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About the master designer: Verner

Johnson Inc.

A graduate of MIT, Ar. Verner Johnsonbegan his museum planning, researchand design work in 1961. In 1965, heestablished ‘E. Verner Johnson, Inc.’in Boston. He has also co-authoredwith Joanne Horgan, ‘A Handbook forMuseum Collection Storage’ which hasbeen published in several languagesby UNESCO.

Since joining the firm in 1978, Mr. LouisSirianni has worked exclusively asarchitect on major museums of thefirm’s portfolio. He has completedAdvanced LEED training and has beencertified as a LID-accreditedprofessional. Mr. Bradley Nederhoff hasworked in key management since 1983and has been in the design position fora broad variety of museum types.

Verner Johnson, Inc. has specialized

exclusively in museum planning anddesign for 30 years. With over 200museum projects in their portfolio, theyhave worked with all types of museums.

“We not only communicate withclients but also closely collaboratewith exhibitors, workers and usersbecause they are the ones who knowwhat’s happening everyday in themuseums and are able to tell us whereand how to improve,” says Nederhoffin an interview with Ar. Bansri Pandey.

The projects in their portfolio rangingfrom expansion projects for regionalmuseums to a complete reorganizationplan for the Louvre museum in Paris,their museum expertise is recognizedaround the world. Each year, morethan 15 million people visit museumsdesigned by the firm.

Having more than 200 museums in

their portfolio, Boston-based VernerJohnson Inc. has planned and designedmore museums than any other firm.Thus, while selecting an architecturalfirm with its unsurpassed museumexpertise, Major General White knewhe could trust the decisions VernerJohnson Inc. would make in designingan appropriate museum for theInfantry on a grand civic scale.

“The National Infantry Museum is oneof those life-time projects that showcaseour firm’s museum planning andarchitectural design process. Finding anappropriate way, through architecture,to adequately honor the hundreds ofthousands of “ordinary soldiers” whohave sacrificed so much for their countrywas a very humbling endeavour.” saysBradley Nederhoff, Managing Principal ofVerner Johnson Inc.

NATIONAL INFANTRY MUSEUMGeorgia

Master Designer: Verner Johnson Inc.

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sinsite storyThe national infantry foundation hadset high goals for the new facility thatwould replace Ft. Benning’s agingmuseum. The new museum wasenvisioned as a place to educate theAmerican public on the role of amilitary branch through interactiveand entertaining dynamic galleries,high - tech classrooms, experientialtheaters and ceremonial venues.

As for the design of the building anddevelopment of the 200-acre site, theFoundation sought a world-classfacility that would link Ft. Benningwith Columbus.

Thus, Verner Johnson Inc. designedthis 180,000 sq ft state-of-the-artmuseum which is as much monumentalas it is welcoming. The rotunda at thebuilding’s entrance steals all theattention at first sight. Its soaringheight and design carve out thebuilding, giving the museum amonumental quality, while itsopenness welcomes visitors andconveys a sense of arrival.

Construction of the National InfantryMuseum was completed in Spring 2009.From the beginning of the project,National infantry foundation, VernerJohsnon Inc and exhibit designerChristopher Chadbourne andAssociates have been working withshared vision to achieve full

integration in the project. As a result,the space, exhibits and contentachieve a cohesive visitor experiencein which all components reflect themuseum’s central story ofinfantrymen.

The museum is divided into two floorsmainly consisting of an IMAX theatre,a classroom, a museum store, exhibitsand a dining area. The mostchallenging area to design was theexhibit named ‘The last 100 yards’that stretches out like a bayonetthrough the central gallery space,ascending from the first to the secondfloor of the museum. As the museum’ssignature exhibit, this powerful,interactive and multidimensionalcinematic experience was designed toinvolve visitors into the life ofinfantrymen in their 200 years ofAmerican history.

Educational, experiential andentertaining, the National InfantryMuseum is an ideal place forfreedom-loving people around theworld. The museum is a tribute toinfantrymen in a true sense. Proudlystanding beneath the monumentalrotunda, the “Follow Me” statuebrings alive the military life creatinga lasting appreciation for those whohave put themselves in harm’s wayfor the nation.

“Museums are landmark spaces andtheir design should retain this quality.People shall be impressed with thedesign space. The building shall bewelcoming, exciting andcomplementing with exhibits. Aunified visitor experience is the keyto the project’s success.” says LouisSirianni, Principal of VernerJohnson Inc.

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About the master designer: DanielLibeskind

Born in postwar Poland in 1946, DanielLibeskind chose to become an Americancitizen in 1965. He studied music inIsrael and in New York. He left musicto study architecture, receiving hisprofessional architectural degree in1970 from the Cooper Union for theAdvancement of Science and Art in NewYork city. He received a postgraduatedegree in History and Theory ofArchitecture at the School ofComparative Studies at Essex Universityin 1972. He founded ‘Studio DanielLibeskind’ in 1989 with his wife Nina.

“Ever since I began architecture, I hadabhorrence to conventionalarchitecture offices. There wassomething about the atmosphere ofredundancy, routine and productionthat made me allergic to all forms ofspecialization and so-called

professionalism. Few years ago wefounded our office in Berlin as a resultof a decision, an accident, a rumor onthe street and began an unimaginablejourney down a path on which we arestill traveling,” says Daniel Libeskind.

Though he had been an architecturaltheorist and professor for many years,he completed his first building at theage of 52, with the opening of the FelixNussbaum Haus in 1998. He is arecipient of many prestigious awardssuch as the Hiroshima Art P rize,Deutsche Architekturpreis, Goethemedallion, American Academy of Artsand Letters Award for Architecture, andmany more. Libeskind is most famousfor being selected by the LowerManhattan Development Corporation tooversee the rebuilding of the WorldTrade Centre, which was destroyed inthe 9/11 attack. Studio DanielLibeskind’s headquarters is two blockssouth to the World Trade Centre site in

New York, which is currently handlingover 40 projects across the world.

The Royal Ontario Museum (ROM) ofToronto is Canada’s largest museum ofworld culture and natural history. Aftertwo major expansions in 1933 and1984, the museum set out to renovateten new galleries in the existinghistorical building by creating anextension to the museum which is nowcalled ‘Michael Lee-Chin Crystal’.

After an international search thatattracted more than 50 firms, theBerl in-based ‘Studio DanielLibeskind’ was chosen in 2002 to leadthe extension project. Winner of thedesign competition for the ‘WorldTrade Centre in New York’, DanielLibeskind is known for hisinnovations in architecture. Situatedat one of the most prominentintersections in downtown Toronto,ROM’s new extension building has

MICHAEL LEE-CHIN CRYSTALToronto

Master Designer: Daniel Libeskind

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proven to be a grand public attraction due to itsdramatically fresh architecture.

The book ‘Off the Tourist Trail: 1000 Unexpected TravelAlternatives’, names Michael Lee-Chin Crystal as one of theworld’s architectural marvels and one of six modern buildingsto rival Australia’s Sydney Opera House.It also further states, “By stepping into the 21st-centurywith such a wonderful renovation, the museum is a shiningexample of how modern architecture can reinterpret andreinvigorate even the oldest of buildings.”

Design of the extension building was inspired by gem-and-mineral collection of ROM. Architect Daniel Libeskindsketched the initial concept on paper napkin while attendinga family wedding at the ROM. The design was quickly named‘crystal’ because of its crystalline shape.

This name is also a representation of the building’s fiveinterlocking, self-supporting prismatic structures that co-exist but are not attached to the original ROM building,except for the bridges that link them.

The intersection of two of the crystals, each of which isdedicated to new galleries, creates a void, known as theSpirit House. It is a large atrium rising from below groundlevel to the fourth floor, and containing a number ofcrisscrossing bridges at various levels. The Spirit House isintended to be a place for visitors to reflect and experiencethe galleries they have visited.

In addition to that, Daniel Libeskind has even designed achair for the Spirit House spaces to enhance the experienceof crystal-shaped environment. The chair, which isconstructed from 14 gauge stainless steel, takesapproximately 40 hours to complete. To date, a total of 21chairs have been made; all having an engraved signaturefrom Daniel Libeskind on the top.

A fourth crystal is known as the Stair of Wonders. It isdedicated to vertical circulation while featuring exhibits atthe landings. A fifth crystal houses the major new restaurantwhich cantilevers over the existing West Wing galleries andprovides panoramic views of downtown.

These intersecting spaces create a variety of atriums atdifferent levels, showcasing views into galleries and otherspaces within the Museum. One large atrium, known as theGloria Hyacinth court separates the new construction fromthe ROM’s existing heritage building providing almost acomplete view of the restored heritage facade. This 186,000sq ft new building consists of total 7 floors, 7 new galleries,8 renovated galleries, 3 new restaurants, 1 retail space andsupporting offices.

The building envelope consists of two layers – a water-shedding skin covered by champagne-colored anodizedaluminum extrusions that shine in the sunlight and at night,pick up the glow of the city. The facade is pierced by windowsthat provide views out of the building as well as into thegalleries, thereby making the passers-by curious to go inside.

As one of the most important architectural projects and adistinctive new symbol of Toronto, the Michael Lee-ChinCrystal marks the beginning of a new age for the ROM,popularly known as ‘The Crystal Age’. The building is like aunique story that transforms the fortress-like character ofROM into an inspiring and dynamic centre of Toronto.

“The program of the Royal Ontario Museum provided awonderful opportunity for dramatic new architectureand the creation of a great public attraction. Thecentrality of the site intensifies the profoundrelationship between history and the new, betweentradition and innovation. The Crystal is an interlockingform which turns this important corner of Toronto intoa luminous beacon - a veritable showcase of people,events and objects, transforming the entire museumcomplex into a world-class destination,” saysDaniel Libeskind.

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About the master designer: SørenRobert Lund

Born in 1962, the Danish architectestablished his studio in 1991 atCopenhagen after he won thecompetition of Arken museum ofmodern art. The museum, still his mostrecognizable building, established himin the international market asan architect.

From hotels, housing, master planpreparations, theme areas, interiordesign, printing factory to therestoration works, Lund has a wideportfolio of work with national andinternational recognition. Affiliatedwith many prestigious institutions,extensively exhibited and widelypublished, he has proven his ability tohandle a relatively large commissionwith a small practice while achievinga high level of design.

Lund, a graduate of the Royal Academy

of Fine Arts in Copenhagen, is also arecipient of many awards. He has alsobeen nominated twice for “Mies vander Rohe” prize.

“The change of my life from being anarchitecture student and then winningthis competition was huge. I thinkthat I learned the way of architecturelike a masterclass with what I call“learning by doing”!” expresses Lundwhile discussing about Arken museumwith Ar. Bansri Pandey.

As a part of Danish cultural politics,the demand sprang up for establishinga cultural institution to give theincreasing new immigrant populationof the western suburbs an opportunityto experience the greatest nationaland international art in their ownregion. This ambition gradually laidthe foundation for ‘Arken Museum ofModern Art’ in the suburb city of Ishøj,close to the bay of Køge, 20 kilometerssouth of Copenhagen.

In 1988, 25-year-old youngarchitecture student, ‘Søren RobertLund’ surprisingly won the nationalcompetition and its commission for thedesign of the museum. And then, on15 March, 1996, Søren Lund gave thepeople of Denmark a fresh 10,000 sqm of bold and striking building thathas become an important destinationof Copenhagen.

Like a long and diagonal slice slowlycoming out of the sea, the museum’sshape and its architectural design islike a beautiful sculpture overlookingKøge Bay. Inspired by the surroundingsof the sea and its landscape, thearchitect began to develop the designas a ship with a stem and sails, locatingit at the edge of the sea. This conceptis simulated by using the scale and thecharacter of the landscape, resultingin a horizontal building with long armsanchoring the museum to the site andinviting the guests inside. The conceptof a ship was very significant in

ARKEN MUSEUM OF MODERN ARTCopenhagen

Master Designer: Søren Robert Lund

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sinsite storyrelating the design to the characterand history of the landscape. It is acreative, story-telling element in theexperience of the building. The overallcharacter of the museum is expressedthrough proportion, shape, light,acoustics and the connection betweendifferent spaces.

The design is centered along a longcurved axis known as ‘Art Axis’ - themuseum’s backbone. Because of thevariations in height, the room appearsmuch longer than it really is, giving asense of optical illusion. One of thewalls of the room arches like acrescent while the other remainsstraight. Moreover, the Art Axis is aroom with only two corners. Inaddition to being an exhibition space,it also acts as a large concourseconnecting exhibit galleries and theDetlefs hall, which is used for lectures,conferences or changing exhibitions.

The galleries to the north are definedby two skylights that underline themodular character of the spaces. Both

skylights are designed to theproportion of 1:3 (height:width). Thismodule is reflected throughout therest of the building, from the steelwork to the bay windows situatedbeside each skylight.

Connecting the Art Axis and the foyer,lies a passageway named as ‘The RedAxis’. The tilting red walls and blackfloor emphasize yet another illusion ofwalls pressurizing on the visitor walkingby. Everywhere in the museum, thereare references to ship architecture andin the Red Axis, they are particularlyobvious. The restaurant on the secondfloor is the climax of the journeythrough the building, with an almosttheatrical interplay between thestructural elements and the dramaticview to the sea.

Throughout the design of the museum,the choices of the materials have beencarefully chosen for them to mergewith the concept of a shipwreck. Themain material is cast in place, withconcrete and zinc-coated steelwork

for the roof canopy. These materialsare carried through to the interior withwhite concrete floors, steel beams andsteel doors. The marine theme hasbeen given an abstract form by usingteak restaurant floor, porthole windowopenings, metal gangways and steelrailings that feature along the corridorand gallery spaces.

“Since the inauguration of the studio,the designs have taken starting pointin the vision of creating sculptural andartistic architectural expressions. Thedesign of the museum creates asculptural exterior that also reflectsin the inner spatiality; thus, makingan image where all parts ofarchitecture are woven together,”explains the architect.

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About the master designer: FrankLloyd Wright

Recognized as “the greatest Americanarchitect of all time” by the AmericanInstitute of Architects in 1991, FrankLloyd Wright, is a mentor for almostevery architect today. He was anarchitect, interior designer, educatorand a writer. Out of his more than1000 master designs, about 500 havebeen completed and executed.Wright has authored more than 20books and many articles, and was afamous lecturer in the United Statesand Europe.

He began his studies at the Universityof Wisconsin as a special student in1886. But he left the school withouttaking a degree and went to Chicagoin search of work. Later in his life, dueto his contribution in architecture, hereceived honorary degrees fromseveral universities including theUniversity of Wisconsin and severalnations named him as honorary boardmember to their national academiesof art and architecture.

He is widely known for the house hedesigned near Pittsburgh during 1934-37, named ‘Falling waters’. He is afounder of Prairie style ofarchitecture, a creator for manytimeless buildings like Imperial Hotel,Unity temple and Solomon R.Guggenheim museum and a visionaryof many unbuilt projects like his designfor a mile high tower which was usedas an inspiration for the design of BurjKhalifa, Dubai – the tallest building ofthe world today. He strongly used tobelieve and express, “the architectmust be a prophet, a prophet in thetrue sense of the term. If he can’t seeat least ten years ahead, don’t callhim an architect.”

Wright, a prophet of his belief died in1959, leaving behind the legacy ofarchitecture that still continues.

Hilla Rebay, the curator ofGuggenheim foundation and SolomonR. Guggenheim wrote a letter to FrankLloyd Wright in 1943, pleading him todesign a permanent structure for thecollection of the foundation. In the

letter, Rebay instructed Wright,“I want a temple of spirit,a monument!”

It took 15 years, 749 sketches and 6working drawing sets for Wright tocreate what we know as thelegendary “Solomon R. GuggenheimMuseum” of New York. It was the lastmajor work of Wright that left a newbenchmark for all the museums to beever designed. Six months afterWright’s death, the museum openedits doors to the general public for thefirst time in 1959.

In Paul Goldberg’s words, “Wright’sbuilding made it socially andculturally acceptable for an architectto design a highly expressive,intensely personal museum. In thissense, almost every museum of ourtime now, is a child of theGuggenheim Museum.”

Like a white ribbon that curls up intoa cylindrical stack growing widertowards the top; the building standsas a sharp contrast to the box-like

SOLOMON R. GUGGENHEIM MUSEUMNew York

Master Designer: Frank Lloyd Wright

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sinsite storyManhattan buildings that surround it.Unlike most museums that aredesigned as a series of interlockingvolumes, Guggenheim Museum’sdesign is an inverted spiral, makingvisitors start their journey from thetop and winding down aramp,experiencing the paintings andmodern sculpture on the way. In thisway, no precise distinction existsbetween different floors, making itpossible to have differentperceptions of the surrounding spaceat all levels. This also enhances theappreciation of displayed artworkfrom different angles.

Wright was highly criticized forcreating a design that wouldoverpower the artwork on display. Butat the same time, majority of opinionssupported Wright and claimed “tohave made the building and thepainting an uninterrupted, beautifulsymphony such as never existed in theworld of art before.”

When asked why he chose the ramp,instead of level floors in theconventional stack, Wright explainedthat he felt a visitor to the museumwould find it far more convenient toenter the building, take the elevator

to the top ramp, then graduallydescend around an open court. Thevisitor always has the option, as theramp touches the elevator stack ateach level, to either go back or skipdown to further levels, and finally, atthe end of the exhibition, find himselfon the ground floor, nearthe exit.

The design of the museum is hometo many different types of exhibits.The museum houses some finecollections of world famous painterssuch as Picasso, Chagall, Kandinsky,and many other modern artists. Themajor part of the collection containspaintings, but sculptures and photosare also on display in the museum.The collection was started bySolomon R. Guggenheim in the late1920s. In 1937, he founded theMuseum of Non - objective painting,which later moved to its presentlocation. In 1976, an importantcollection of paintings from Gauguin,Picasso, van Gogh and many otherswere donated. In 1990, more than200 works of American Minimalistartists were added to the collection.

Since its opening, the building withspiral interior rising 96 feet height has

been the primary reason for manypeople to visit the museum. Museumsurveys show that for the 900,000to1,000,000 people who visit everyyear, the building consistently rankedover the art as the reason for visiting.Apart from the exhibits, visitors canexperience special exhibition galleriesof modern and contemporary art,lectures by artists and critics,performances and film screenings,classes for teens and adults, etc.

A monument of modernism, themuseum which was founded on acollection of early modernmasterpieces, the GuggenheimMuseum today is an ever-growinginstitution devoted to the art of the20th century and beyond.

“Guggenheim Museum is one greatspace on a single continuous floor.The eye encounters no abruptchange, but is gently led and treatedas if at the edge of a shore watchingan unbreaking wave, one floorflowing into another instead of theusual superimposition of stratifiedlayers.” says Frank Lloyd Wright,explaining his design, “ Here is theideal I propose for the architectureof the machine age.”