My decision to retain the architectural dimension of museums in their modern and contemporary acceptation as the central theme of my study has been orientated by personal grounds as well as it has been prompted by technical reasons. Indeed, my profound interest in architecture has invited me to consider the option of adopting this viewpoint in order to approach the problematic of the course inasmuch as it has incited me to believe that this discipline permits a number of interesting theoretical developments. The confrontation of these intrinsically linked subjective and objective selection criteria may explain why I estimate that the focus on this specific topic involves a more accurate and complete survey of the problem handled by my assignment. With a view of comprehending the main purposes of the museum within the framework of this museological exercise, the present research aims to look into the various functions that are assigned to what is commonly defined as a permanent public institution of acquisition, conservation and exhibition of valuable items.
[...] It implies to rethink the present organisation of the establishment and beforehand to interrogate its new emergent vocations The Centre National d'Art et de Culture Georges Pompidou (Paris, France): The ambiguity of a cultural polymorphic infrastructure On the basis of the objectives stated by S. Loste's team, the international architectural competition is launched in 1970 for the creation of an art and culture establishment. Under the presidency of J. Prouvé, the judges elect R. Piano and R. Rogers assisted by Ove Arup & Partners to achieve the Centre Pompidou. [...]
[...] The architectural restructuring therefore appears necessary albeit insufficient to remedy the deplorable situation pointed out by the Sanders Committee report in the sense that it has to be accompanied by an organizational renovation so as to upgrade the current primitive conditions of conservation and exhibition of the art pieces The Modern Art Museum (New York City, USA): The complexity of an edifice in constant expansion Fruit of the ambition of three influential progressive patrons of the arts, Miss L. P. [...]
[...] With its world-class collection, its high reputation, its prime location and enormous potential, the Stedelijk Museum can once again become a flagship for Amsterdam alongside its neighbouring museums in the cultural heart of the Dutch capital. This objective will require a new level of ambition and vision for the museum, making better use of the famous collection. The other conditions include the rapid privatisation of the museum, a new extension with a design that matches the ambitions and the swift recruitment of a new Director and Business Director with a clear vision and artistic policy. [...]
[...] Through a succinct architectural presentation of the museums in question, I will highlight the impact of the spatial configuration on the buildings' policies before putting into relief in which manner architecture reveals part of the shifts in the museum world (2.).This assignment endeavours to incorporate personal comments and opinions into the information concerning the three institutions in order to render the research more vivid THE ARCHITECTURAL ELEMENT IS A DETERMINING FACTOR THAT INFLUENCES MUSEUMS' POLICIES 1. The Stedelijk Museum (Amsterdam, Netherlands): The paradox of a modern and contemporary art museum housed in a centenary building Conceived by A. [...]
[...] As a breeding ground for cultural activism, the spatial configuration of the multiplex lends itself less to education than to sensibilisation AND MIRRORS THE EVOLUTION OF THEIR STATUS WITHIN SOCIETY The reference to the Stedelijk, the MoMa and the Centre Pompidou enables to embrace a relatively vast architectural period insofar as the first is a creation of the nineteenth century, the second is a product of the twentieth century and the third is a prototype of the twenty-first century. The evolution of the museums' architecture that has occurred during these time-lapse recounts the mutations of their functionalities. [...]
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