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The social Implication 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... ... middle of paper ... ...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.
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.
It is the new decade after the end of world war two and modernism is a well-established practice. Its pioneers and spearheads are prevalent figures looming over the new architects and designers who are trying to make their mark in the shadows of such historically influential people. With new technologies and materials emerging from the world wars the next era of modernism had started to evolved, bringing with it philosophies and ideas which seemed far removed from those of the pioneers of modernism “What emerged in the late 1940s and 1950s was an expanding synthesis of questions utterly removed from the confident statements of the pioneers.”(Spade 1971,10) Two significant buildings were designed in the 50's, both of them for educational institutes and to house students of architecture, there were both designed in completely different styles and methods. The first is Ludwig Mies van der Rohes' Crown Hall, finished in 1956 and designed as a part of a campus master plan for the Illinois Institute of technology in Chicago. Mies' design for Crown Hall is one of his most realised expressio...
The St. Louis Art Museum is one of the United States most renowned art museums that is located in our very own St. Louis. It has over 30,000 pieces of exquisite art that I had the privilege to witness. While there, I mainly examined the art pieces that were modern art, since that is of what I have a good working knowledge. There is a wide range of art that I also got to witness including the sculptures and the museum itself. In the past year, they have recently installed a new sector of their establishment that has done nothing less than enhance the entire museum’s overall beauty. The St. Louis Art Museum, there are many beautiful works, but there were three special projects that caught my eye while I was there. The Contemporary art periods, Modern art periods, the American art periods, and the museum itself.
Rowland, Kurt F. A History of the Modern Movement: Art Architecture Design. New York: Van Nostrand Reinhold, 1973. 142. Print.
Architecture is the manifestation of many intangibles. The museums in Ontario such as the Royal Ontario Museum (the ROM) and the Art Gallery of Ontario (the AGO), both illustrate many intangible force – the vision of the architects, the ambition and hope of the clients, as well as the resolve of the community, etc. These two representatives of Ontario public institutions have both gone through transformation from the classic style to the contemporary one.
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.
The Chinese-American architect Ieoh Ming Pei (I.M) is known as one of the greatest architects of the Twentieth Century. His long, brilliant career was highlighted by several internationally famous structures. While many of Pei’s buildings were generally accepted by the public, some of them precipitated fair amounts of controversy. The most notable of these controversial structures is his Glass Pyramid at the entrance of the Louvre in Paris. For these reasons, I.M. Pei seems to be an architect who exhibits interest in the avant-garde through both the creative design and aestheticism of his architecture.
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.
...f structure, a museum. The one contradiction in the contemporary design theory that Libeskind dares to fight is that to work in the upcoming century means to work with reduced means. His works pose optimism in the sense that architecture, if filled with a satisfactory amount of reasoning, and justification with the help of the advancement in material technology, and the foremost, creativity, will be able to address the profound of any project seeking for poetic embodiment. While modern architects have tried hard to eradicate the traces of history from the forms, postmodern architects like Liberskind would embody the traces of history in between the forms. In Lisbeskind’s Jewish Museum, the invisibility, the implication, and the embodiment come first, then the advancement of material methodology assists the build of the visibility, and the physical infrastructure.
Modernism as a new contemporary style was seen as pure geometric forms having distinct structural systems, and a relationship with the new technological advancements caused by the Industrial Revolution. Throughout Mies van der Rohe’s career he was in pursuit to provide clarity, and evolve his architecture to convert the technical solution into an architectural expression. He exposed the structure to exploit all expressive effects, which lead Mies van der Rohe to become one of four Masters of Modern Architecture
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 author says that the building belonged to none of the traditional style. He notes the commonly used construction materials of this time would have included stone, brick and wood but these building did not use the same materials, instead they used a combination of steel, glass and concrete. The structures forms did not follow recognised architectural styles and their interiors were not divided by traditional rooms, they were open and spacious. The buildings were lacking in ornamentation or decoration which was unusual in comparison to the more avant garde styles of this time.
Jencks briefly explains post-modern aesthetics from their modernist predecessors’ and pinpoints the instant of modernism’s death, writing “Happily, we can date the death of Modern Architecture to a precise moment in time… Modern Architecture died in St. Louis, Missouri, on July 15, 1972 at 3:32 p.m. (or thereabouts)...” (23). Unlike Jencks, literary scholars talk about the first, most original or famous representatives of modernism, but they completely avoid pinpointing an ultimate end to the movement. Due to architecture’s visual character and Jencks’ early, authoritative, and internationally read scholarship, the differences between modern and post-modern aesthetics are often clearer in architecture than in literature. Architecture provides a helpful visual counterpoint for modern and post-modern aesthetics in literature. According to him, architectural post-modernism favours pluralism, complexity, double coding, and historical contextualism.
When I arrived at the museum, ticket in hand and was given a map of the grounds like at Disney World, I was ready to get started. I started my day going to the Museum of Art to see Ringling’s private European art collections. The galleries took my breath away and ready to view the art differently, learning the art history dynamic in class. The galleries were arranged by time and geography. The galleries were made for the artwork so elements of the art pieces were built in the architecture. John Ringling purchased large pieces of art and from the artist that were going out of favor at the time.