Theastre Gates How To Build A House Museum Analysis

In A Home Is Not a House, Reyner Banham starts by arguing that the main function of the typic American house is to cover its mechanical structure. In fact, he states that the use of mechanical services in architectural practice varies constantly because mechanical services are considered to be new in the profession, as well as, a cultural threat to the architect’s position in the world. To show his argument, Banham states that American houses are basically large single spaces divided by partitions inside that give a relative importance to the use of internal mechanical services, causing a threat to the need of architectural design. Similarly, American cultural characteristics, like cleanliness and hygiene, also foster the use and need of mechanical

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.

I hope to see museums make more concerted efforts to educate the public. Too many exhibits are of the “passive, didactic looking” than like the engaging Object Stories program (Dartt, Murawski). Exhibits should seek to tell untold narratives, and programs should be places of communication and cross-cultural encounters. For too long, difficult confrontations have been avoided, both inside the museum, and by dominant communities

An afternoon spent meandering through the winding paths of the Annmarie Sculpture Garden provides a cultural experience through art. The memories the sculptures preserve encourage the introspection of visitors, allowing an almost tailored learning experience for those willing to learn. Ultimately, it is an epistemological experience for those who attend, as what could be a quiet afternoon turns into a unique peek into the culture of Calvert

After arriving and going through the security screenings, I proceeded to go down the stairs, entering the exhibit itself. Before even observing anything specific, it was immediately realized that this was no typical museum. Most people know that upon arrival, but only when you first enter the exhibit do you realize that this museum is not one that inspects the past, but one that reminds us of it.

When I attend the Oklahoma Art Museum this morning, I was completely blown away by the different styles, technique, and artistic abilities that artist have. Art can come in many forms and can involve many different things. From paintings, sculptures, and abstract pieces of the modern world. Along with my visit, I got to experience a new collection of blown glass that was absolute remarkable. As I walked though the museum, it was as I walked though time and got to see how each period’s art changed throughout time. From the different shades of color to the different types of technique that filled the halls of the Oklahoma City Art Museum, each piece was genuine in its own way. I was starstruck as I witnessed Lowell Nesbitt’s Parrot Tulip, Richard Diebenkorn’s Albuquerque, and Dale Chihuly’s blown glass.

This decision held some controversy, as many patrons wanted to experience the knitted glory throughout the whole year, but the Institute made the decision to make itself a tradition within the community, so that Portland locals may visit the museum once or twice a year and experience it all over again. This idea comes from Carol Duncan’s 1995 book, Creating Rituals, where she compares the action of visiting a museum to that of a religious ritual , giving two examples of “the achievement of a marked-off, ‘liminal’ zone of time and space… [and] …the organization of the museum setting as a kind of script or scenario… ” Using this model, the Institute devised a way that would help bring back returning customers each year: the cycling of our collection. By doing this action, the museum sets itself up for a “liminal zone” as we allow patrons to escape their daily lives, and give them reason to do so, such as the new collection. With this method we also built the scenario of tradition, as the Institute becomes the “must-see” every holiday

This deliberate counterbalance against locality reduces site imprint and accentuates the precarious topography. A mix of materials including metal framed glazed windows, local hand cut sandstone and slate flooring. A departure from ‘Sydney School Houses’ being constructed in the era who’s architects had a different approach dubbed rustic ‘Nuts and Berries’. Politically engaged and independently minded this brave new architecture was an “expression of modern life” inspired by the “architecture of Gropius, Corbusier and the Bauhaus.” Buhrich’s radical building embodies these opposing two worlds. From the terrifying rail free spiral stairs cantilevered above an uncertain drop, to the copper clad roof and of course that bathroom. Moulded in high gloss, lipstick red, seamless fibreglass- it is visually unforgettable. The details extend further with all furniture freestanding or fixed designed specifically to compliment the space as sculptures within

I had an opportunity to visit the oriental institute museum . During my visit to the museum I was made aware of its location and the importance of it to chicago. The museum housed many exhibits of historical value dating civilization back to the paleolithic period of 2,500,000-100,000 B.C. Below you'll find examples of mans rise through the use of tools and refined skills from cave living to structured living throughout evolution. This is an experience that has grounded me to a new interest in structures that we have devised to become the homes we use today for the rest of my life.

The gallery currently has three exhibitions on view: a group show by the women artists from Studio 44, an artist run studio space in Sweden; “Making Power” by artist Joan Ryan; and “Destroy Edit Transform” by Andrea Burgay. In order to home these three exhibitions within its long and narrow storefront space, the gallery is divided into three tiny rooms. By presenting artworks that span several mediums including video, painting, and sculpture, the gallery exhibition space evolves somewhat haphazardly to become a charming, but cluttered and disorganized space. To be honest, the space is not large enough to show three different exhibitions, which made me feel overwhelming when I visited the gallery.

The de Young museum seen from a distance is a bold architectural statement, with its sleek horizontal building, indeterminate dark brown color and its massive tower emerging from its slightly bent curving roof. The building is an example of boldness, internationalism and cultural neutrality. Its setting in the Golden Gate Park’s landscape with the topography, vegetation; weather and light are taken advantage of. The significance of nature and the art that is housed in the museum from the Americas, Oceania, and Africa can be seen as having resonance in the architecture. Many of the works of art are sacred in their cultures, are made of natural materials and were never intended to be displayed in formal settings. Post modern theme of ‘context’ comes into expression as Jacques Herzog put it: “These objects belong to nature. We wanted to emphasize that”.

Positioned alongside Central Park within the heart of New York City, The Metropolitan Museum of Art is one of the largest and most influential art museums in the world. The Met houses an extensive collection of curated works that spans throughout various time periods and different cultures. The context of museums, especially one as influential as the Met, inherently predisposes its visitors to a set of understandings that subtly influence how they interpret and ultimately construct meanings about each individual object within a museum. By analyzing two separate works on exhibit at the Met, I will pose the argument that museums offer a unique expression of a world view that is dictated through every element of its construction.

In Wright and An alto's houses, a powerful sense of insides is generate by opacity. Which, in Falling water is express in roughly dressed stone masonry walls and, in Villa Mairea. By white-painted, solid walls. The transparency of glass windows in both houses thereby connect the two. In both houses, the architects created a strong sense of insideness yet, at the same time, devised ways to connect inside and outside and thereby create a robust continuity between the two. This inside-outside relationship can be translate into environmental and architectural experience in four different ways: (1) in-betweeness; (2) interpenetration generated by inside; (3) interpenetration generated by outside; and (4)

“How do you make a building for contemporary art that stays contemporary in the future without stooping to a neutral language? And how do you attract a big public without compromising the selfish, private, exclusive time we all want to have in a museum?” These questions, put forward by Elizabeth Diller of Diller Scofidio + Renfro, represent the urbanistic motivation supporting the construction of Boston’s Institute of Contemporary Art (ICA). In such a manner Boston’s ICA engages, not only with the urban citizen, but also the urban landscape in which the site is located. The ICA conveys the idea of architecture as art in itself. As a presenter of art to the urban citizen and because of its open design, the inside allows the citizens to not only appreciate the art within the building but also see the art of the building’s natural environment and setting.

……a movie that creates a montage of different eras of a building. As a re-born architecture, its’ property of narrative allowed visitors or residence to unfold the stories behind it.