tom postma design Beethoven Moves, Kunsthistorisches Museum, Vienna In this Ludwig van Beethoven exhibition, mounted at the palatial 19th-century museum last year, the great composer’s portrait appeared nowhere. But visitors could stick their head into a John Baldessari ear-trumpet sculpture in the stairwell and listen to his string quartets. With the show, the Amsterdam studio, which has made
be stofyear office corporate large
—Georgina McWhirter PROJECT TEAM: DANI MILEO; JORIS NIELANDER; ROEL SMIT; SHARON VAN WEZEL; RACHID ABU HASSAN.
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INTERIOR DESIGN
JAN.22
MARK NIEDERMANN
a name for itself designing the exhibition plans for such art fairs as TEFAF and Art Basel, crosses mediums and eras to connect music with other art forms. Conceived as movements in a symphony, the four traditional galleries it occupied were totally transformed. Like the composer, “Our aim was for the exhibit to be radical yet poetic,” design director Dani Mileo says. In the first room, keyboard sonatas played, layers of white fabric draped overhead, and all was serene—that is, until Rebecca Horn’s suspended upside-down piano spewed discordant sounds, a surrogate for Beethoven’s temper. Evoking his loss of hearing, the next room was silent and somber, with thick carpet to dampen footsteps and walls clad in fiber-cement panels, while the third room’s blue stretched-fabric walls, mirror-finished floor, and J.M.W. Turner watercolor sketches explored his relationship with nature. To separate the spaces acoustically, Tom Postma Design worked with Platform 78 to devise tunnelike portals lined with sound-absorbing pyramid foam, which functioned as auditory palate cleansers between galleries.
