Museum architecture – Temescal Arts Center http://temescalartscenter.org/ Tue, 05 Oct 2021 16:03:26 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 https://temescalartscenter.org/wp-content/uploads/2021/10/icon-1.png Museum architecture – Temescal Arts Center http://temescalartscenter.org/ 32 32 The PS Art Museum Architecture & Design Center reopens its doors with the exhibition “The Modern Chair” https://temescalartscenter.org/the-ps-art-museum-architecture-design-center-reopens-its-doors-with-the-exhibition-the-modern-chair/ Thu, 26 Aug 2021 13:47:43 +0000 https://temescalartscenter.org/the-ps-art-museum-architecture-design-center-reopens-its-doors-with-the-exhibition-the-modern-chair/ The Architecture and Design Center, Edwards Harris Pavilion will reopen with The Modern Chair exhibition which follows a chronology of the development of the modern chair starting with the famous Thonet “B-9” bentwood armchair (circa 1905), which is widely considered the first modern chair. Le Corbusier used it frequently in his early architectures as there […]]]>

The Architecture and Design Center, Edwards Harris Pavilion will reopen with The Modern Chair exhibition which follows a chronology of the development of the modern chair starting with the famous Thonet “B-9” bentwood armchair (circa 1905), which is widely considered the first modern chair. Le Corbusier used it frequently in his early architectures as there was no other modern furniture readily available at the time. The modern chair will trace the evolution from the first cantilevered example of Mart Stam, on to the designs of the present times.
Technological and stylistic advancements have driven chair design forward at breakneck speed in the 20th century like never before. The exhibition will also contain important examples from the 21st century.

This exhibition is organized by the Palm Springs Art Museum and curated by Brad Dunning, specialist in architecture and design, with the support of Rochelle Steiner.

Main sponsorship of this exhibition provided by Elizabeth Edwards Harris and Trina Turk.

Funded by Allred Collaborative, Geoffrey De Sousa & José Manuel Alorda, Melissa Morgan Fine Art, Mimi & Steve Fisher, David Knaus & Mark Ingram, Sarah McElroy, Tim Prendergast & Christopher Mizeski (Christopher Anthony Ltd.), Modern Hacienda, Palm Springs Life, Ronnie Sassoon & James Crump, Bonnie Serkin & Will Emery, Cindra & Rod Stolk.

Additional funding is also provided by Fred & Nancy Baron, Robert Campbell – Realtor & Donald Daniels, Jane Emison & Mike Tierney, Amanda & Michael Erlinger, Robert D. Kleinschmidt, Nancy Sinatra, Rebecca & Phillip Smith.

This season’s exhibitions are sponsored by the Herman & Faye Sarkowsky Charitable Foundation and Yvonne & Steve * Maloney.


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Will COVID-19 change the architecture of museums? – American Alliance of Museums https://temescalartscenter.org/will-covid-19-change-the-architecture-of-museums-american-alliance-of-museums/ Fri, 28 Aug 2020 07:00:00 +0000 https://temescalartscenter.org/will-covid-19-change-the-architecture-of-museums-american-alliance-of-museums/ As they design the buildings for the museum of the future, architects and engineers wonder what lasting impacts the pandemic will have. Photo credit: Buro Happold Go to the beginning of the article Here’s a happy thought: COVID-19 will – at some point – recede, and like pandemics of the past, that will be history, […]]]>
As they design the buildings for the museum of the future, architects and engineers wonder what lasting impacts the pandemic will have. Photo credit: Buro Happold

Here’s a happy thought: COVID-19 will – at some point – recede, and like pandemics of the past, that will be history, another story to be told. But once the disease is gone, will any of the effects persist, maybe even forever? People speculated so much, forecasting positive forecasts and negative effects on our economy, our public policies and our professional and social life.

In the museum realm, many questioned whether some of the programming and exhibition adaptations would be maintained, with more availability online and an increased emphasis on serving the local community. But what about the physical presences of the museums themselves: their buildings? Will they be redesigned and reoriented to follow suit?

To find out, we spoke with architects and engineers from two leading firms: Cooper Robertson, known for projects like the Whitney Museum and Studio Museum in Harlem, and Buro Happold, a contributor to projects like the Academy. Museum of Motion Pictures and the Louvre. Abu Dhabi. Here’s what they had to say about pandemic planning.


Beyond measures to create a safe environment for visitors and staff after the reopening, institutions all assess the status quo and look for opportunities in times of crisis.

Financial challenges are prompting reconsideration of planned expansions. In some cases, we are asked to look at incremental expansions that may better align with reduced funding projections. In other cases, there is a desire to wait and see the long-term impact of the virus before moving forward with future plans that may need to reflect new or changed strategic goals.

It is questioned whether attendance will continue to be an important indicator of museum growth, which has implications for space. Financial pressures are forcing museums to think about how to use their existing spaces more effectively and whether growth is necessarily the best way forward. Many of our recent museum planning projects have focused on existing spaces, finding ways to correct mistakes made in previous expansions. At the same time, the emphasis on online content has enabled museums to reach increasingly larger audiences than is generally possible in their physical space. Online engagement is expected to encourage, among other benefits, more and more diverse in-person visits over the long term.

Working from home has clear benefits for the environment and working life. More flexible working arrangements are likely to stay here and should reduce the need for offices and workspaces for on-site staff. Some of these existing spaces could be reallocated, while the need for space for expanded staff could decrease.

There is greater interest in strengthening ties to the outdoors with spaces for art exhibitions, programs and meals. This is linked to a wider trend to focus on spaces that promote a sense of health and well-being.

A building whose facade extends into an exterior pavilion
Grace Farms in New Canaan, Connecticut. Photo credit: Buro Happold

There are concerns about how gathering spaces – classrooms, theaters and event spaces – may continue to provide important sources of revenue for museums as social distancing remains necessary. Museums have sought new sponsorship that can support the use of gathering spaces for temporary artist programs or for performances without an audience or with a socially distant audience that are broadcast online, although the potential to generate income. for these activities seem limited. Spaces with the inherent flexibility to move from a conference or event room to art spaces or other uses may respond better in the future, including unexpected changes such as those imposed by COVID- 19.

In addition to their responses to COVID-19, social justice movements have forced museums to prioritize how they can better reflect and engage with their communities. These actions could modify the balance of space needs. Although already a feature of many recent museum expansions, physical spaces will emphasize a greater sense of welcome and community, which can be expressed by emphasizing flexible public spaces, transparency between interior and exterior and the principles of universal design.

A lobby with a round design and floor-to-ceiling glass walls
The Gateway Arch Museum in Saint-Louis. Photo credit: Nic Lehoux

We have seen many and varied ideas for reopening museums, including some from cultural and entertainment venues like the Barbican Center in London. These ideas offer potential avenues for museums that go beyond the current baseline, which typically involves following state ordinances and guidelines and can lead to very generic solutions: reduced occupancy, for example. example, with a timed ticket office, timed outings and contactless tours throughout. These offer some level of short-term risk reduction, but they are figuratively and literally sanitized, creating a much more sterile cultural experience. Additionally, most museums do not offer food and in many cases no toilets or trash cans, and no group tours, which also highlights the existential challenges resulting from a purely out-of-the-way approach. short term: cafes and gift shops are vital sources of income for a large number of institutions, for example. How many can survive without these spaces?

At Buro Happold, our perspective is to work with museums to explore beyond that. We ask, “How can we provide additional and different means to help institutions reopen, and not just follow prescriptive guidelines?” Indeed, for many museums (some of them are our clients), operating at lower normative occupancy rates, such as 25%, means an operational loss.

We don’t have all the answers, but we do have some analytics tools that can help address some of these challenges and increase visitor engagement. Instead of facing the prospect of reduced operational revenues, for example, we first help our clients by performing computer simulations of people movement analysis, which allows museum operators to see their specific spaces being used. . In some cases, these data-driven simulations show how spaces can allow entry to more people than the mandatory occupancy rates suggest, due to the spatial situations presented by the campus or building program. The results of the analysis could also provide additional scenarios, testing the benefits of changing the spatial organization of a facility. For example, the scenario study may consider adding more entrances or exits and may consider how staff will travel or assist visitors. At the same time, we have shown how museums can improve air quality through better HVAC and filtering systems and more outdoor air supply.

A floor plan of the building with points and trend lines showing the flow of visitors and where they are most concentrated
Screenshot of an analysis of the movement of people carried out on a museum building. Credit: Buro Happold

Armed with this data, we then study the bottlenecks, bottlenecks, and pinch points that museums share, such as entrances, queue areas, and exhibition access area. We are developing unique strategies for toilets, for example, to enable their use. For catering and cafes, we’re looking at ways all food can be eaten outdoors, which works for museums with the right environmental conditions. Likewise, these cultural places may have opportunities for temporary outdoor exhibitions, if their works of art and exhibitions can be properly protected. These temporary changes have other advantages, for example by offering patrons a change of pace from the usual museum experience.

We have found that museum directors and staff are interested in pushing the boundaries in this way, although of course they also face significant financial hurdles and staff issues during the COVID-recovery period. 19. Yet the cultural leaders who think most strategically about how to reopen have found unique ways to increase their income.

Dealing with the current situation is very difficult, so a well-thought-out strategic approach is vital now, especially as institutions are facing layoffs – in some cases 30-40% of their employees. The loss of tourism is a factor that reduces the number of visitors; the loss of business travel, which was hit the hardest, also plays a role, as business tourism also drives many museum visits. We are beginning to see a consolidation and, in some extreme cases, the closure of smaller museums that play a vital role in serving communities, cities and urban neighborhoods that need it most.

But the challenges could also inspire other solutions resulting from collaboration between large and small institutions to make art more accessible and fair. One example is the Los Angeles County Museum of Art (LACMA) collaboration with Charles White Elementary School, a gallery that brings art to a wider range of underserved communities in LA County. Could this decentralized approach support more communities interested in high quality shared cultural experiences? In today’s lifestyle of staying at home, people survive with the sufficiency of digital cultural experiences, but in public they can share the luxury of the same.

In any case, until 2020 and until 2021, we will continue to be involved in this learning process alongside cultural leaders. We will see variations from where we are today, but with space changes and careful planning, institutions can begin to reopen, which is the most essential first step.

The museum experience will be different from the pre-COVID era, and we will have to adapt. Finding ways to allow the public to interact with these spaces and their exhibits is crucial for survival, and using all the tools at our disposal will be essential. Cultural leaders are creative people, so we believe that by working together we will find innovative ways forward.

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A year of museum architecture https://temescalartscenter.org/a-year-of-museum-architecture-2/ Fri, 02 Aug 2019 07:00:00 +0000 https://temescalartscenter.org/a-year-of-museum-architecture-2/ Over the past year, major museums have opened, such as the V&A Dundee in Scotland by Kengo Kuma, the Desert Rose National Museum of Qatar by Jean Nouvel and the James Simon Galerie in Berlin by David Chipperfield. Long-awaited projects that have been made famous not only by their design by big names on the […]]]>

Over the past year, major museums have opened, such as the V&A Dundee in Scotland by Kengo Kuma, the Desert Rose National Museum of Qatar by Jean Nouvel and the James Simon Galerie in Berlin by David Chipperfield. Long-awaited projects that have been made famous not only by their design by big names on the international architectural scene, or their inclusion in major international competitions, but also by their status as emblematic buildings that could create the “Bilbao effect” in other cities. 2019 also marks an important anniversary, namely the 60th anniversary of the Guggenheim Museum in New York, a true icon of world architecture designed by Frank Lloyd Wright. On the Made in Italy side, the last few months have seen the opening of Museum of Italian Design at the Triennale di Milano and the Iris Ceramica Group Museum, the only example of a company museum dedicated to ceramic wall tiles in Italy.
Open on May 23, 2019, Iris Ceramica Group Museum was designed by Zone 17 architecture office as part of the redevelopment of the historic headquarters of the holding company in Fiorano Modenese. The museum is part of the Museimpresa network, the Italian association of business museums and archives, and tells the story of a great Italian company, one of values ​​and progress that does an excellent job of representing the industrious district of ceramics for architecture, an important Made in Italy.

The Solomon R. Guggenheim Museum in New York, the first museum in the network of Guggenheim museums scattered around the world is approaching its sixtieth birthday, but it would be unfair not to add that it does not look like it. A true masterpiece of world architecture designed by the architect Frank Lloyd Wright and opened posthumously on October 21, 1959, a few months after the death of its creator and 10 years after that of the client who commissioned it, Solomon R. Guggenheim. A series of events and exhibitions spread throughout the year celebrate the sixty years of this iconic giant of modern architecture. An architecture that was not immediately praised, but which has stood the test of time by continuing to be a source of inspiration for entire generations of architects.

September 15, V&A Dundee, Scotland’s premier design museum, will celebrate its first year since opening its doors. An iconic building inspired by the Scottish cliffs, according to its designer, the Japanese architect Kengo Kuma. The design derives its iconic strength from the site itself, having been built in a unique location between the water and the city, and representing the restoration of the relationship between Dundee and its maritime history, which is linked to the River Tay.

On March 28, the new Qatar National Museum, designed by the architect Jean Nouvel, has been officially opened. A building inspired by the desert rose, a natural mineral formation typical of the region of Qatar. The new building surrounds the historic palace of Sheikh Abdullah bin Jassim Al Thani, a national monument and one of the most beloved symbols of the people of Qatar, which becomes the final and culminating element of an immersive journey through the exhibition. The museum allows visitors to travel through the history of Qatar, through a successful combination of architectural space and experiences that engage the senses with music, poetry, oral histories and evocative aromas.

July 13, 2019 James Simon Gallery, conceived by David Chipperfield Architects, was inaugurated. An architecture that plays a dual role, the building serves as the central entrance to Berlin’s Museum Island (Museumsinsel) and fulfills a series of functions that are necessary for the entire museum system of the island. As a place, it reorganizes the Museum Island’s relationship with the city and accessibility, reconnecting threads interrupted by the destruction of WWII and creating new spatial connections and relationships.

(Agnese Bifulco)

Pictures:
(1, 9,10) The Solomon R. Guggenheim Museum, New York: © The Solomon R. Guggenheim Foundation, New York photo by David Heald
(2-6) Museo Storico Iris Ceramica Group © Iris Ceramica Group
(7-8) Museo del Design Italiano Milano – Italia: © Triennale di Milano, photo by Gianluca Di Ioia
(11-17) V&A Dundee: © V&A Dundee photo by Hufton + Crow
(18-23) National Museum of Qatar, Doha Qatar: © National Museum of Qatar, photo by Iwan Baan
(24-25) James Simon Galerie Berlin: © David Chipperfield Architects, photo by Simon Menges


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Atelier Periferica: The open museum [Architecture + SelfConstruction] https://temescalartscenter.org/atelier-periferica-the-open-museum-architecture-selfconstruction/ Mon, 18 Mar 2019 07:00:00 +0000 https://temescalartscenter.org/atelier-periferica-the-open-museum-architecture-selfconstruction/ Atelier Periferica: The open museum [Architecture + SelfConstruction] Official poster To share To share Facebook Twitter Pinterest WhatsApp Mail Or https://www.archdaily.com/913422/periferica-workshop-the-open-museum-architecture-plus-selfconstruction Periferica is an international festival of urban regeneration that will take place in Mazara del Vallo, Sicily, from August 1 to 10, 2019. Every year, Periferica brings together associations, universities and companies to rethink […]]]>

Atelier Periferica: The open museum [Architecture + SelfConstruction]