HERMITAGE FALL CONFERENCE Rem Koolhaas Presentation St Petersburg 22.10.2008
HERMITAGE 2014
H E R M I T A G E
2014
The State Hermitage Museum in cooperation with the PRO-ARTE Institute and the AMO Studio
International conference
Museums of the 21st Century Restoration, Reconstruction, Renovation Meetings will be held on 20-22 October 2008 at the Hermitage Theatre and the Conference Hall Staff Entrance: 34 Dvortsovaya Embankment The conference is organized with the support from: the US Consulate General in St Petersburg, the Consulate General of Germany in St Petersburg, the Institute of the Netherlands in St Petersburg, the Lykeion Museum Concepts and Projects Ltd and the Jo Carole and Ronald S. Lauder Travel Fund for Central and Eastern Europe. 1
Programme Monday, 20 October The Hermitage Theatre 9.00 - 9.45 10.00
Registration of the participants Opening of the conference Welcome by Mikhail Piotrovsky, Director, State Hermitage Museum (St Petersburg) Welcome by Elena Kolovskaya, Executive Director, PRO-ARTE Institute (St Petersburg) Welcome by Rem Koolhaas, Head, AMO/OMA Studio (Rotterdam)
Morning Session (10.30-13.00) The Hermitage Theatre Museum and City: The Museum Island-The General Staff Building 10.30 - 10.40 Moderators: Prof. Mikhail Piotrovsky (Director, State Hermitage Museum), Prof. Dr. Hermann Parzinger (President, Prussian Cultural Heritage Foundation) 10.40 - 11.00 Prof. Dr. Hermann Parzinger (President, Prussian Cultural Heritage Foundation) The Humboldt Forum - The Intellectual Architecture of a New Centre for the NonEuropean Cultures in the Berlin Palace 11.00 - 11.20 Prof. Dr. Andreas Sholl (Director, Berlin State Museums) Restructuring the Archaeological Collections of the Berlin State Museums on Museum Island 11.20 - 11.40 Dr. Gisela Holan (Head of the Department of the Reconstruction, Building and Techniques) Master Plan of Museum Island and the New Concept 11.40 - 12.10 Break 12.10 - 12.30 Prof. Dr. Werner Lorenz (architect, Technical University of Brandenburg) Modern Museums in the World Heritage. Structural Challenges, Structural Solutions 12.30 - 12.50 Valery Lukin (Chief Architect, State Hermitage Museum, St Petersburg) The General Staff Building - the Reconstruction Project 12.50 - 13.30 Discussion Bernhard Heres (engineer, Technical University of Brandenburg) Sergey Fedorov (engineer, Fakultat fur Architektur, Institut fur Tragkonstruktionen, Universitat Karlsruhe) 13.30 - 14.30 Break
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Afternoon session (14.30-18.00) The Conference Hall Transformations inside the Museum: Restoration and Restructuring 14.30 - 14.40 Moderators: Prof. Dr. Wilfried Seipel (General Director, Kunsthistorisches Museum, Vienna), Anna Trofimova (Head of the Department of Classical Antiquities, Executive Secretary of the Commission for Permanent Displays, State Hermitage Museum, St Petersburg) 14.40 - 15.00 Dr. Carlos Picon (Head of the Department of Greek and Roman Art, Metropolitan Museum of Art, New York) Renovation of the Ancient Greek and Roman Art Galleries 15.00 - 15.20 Dr. Karol Wight (Senior Curator of Antiquities, J. Paul Getty Museum, Los Angeles) Renovation of the Getty Villa 15.20 - 15.40 Prof. Dr. Wilfried Seipel (General Director, Kunsthistorisches Museum, Vienna) Renovation of the Galleries of Classical Antiquity 15.40 - 16.00 Prof. Dr. Raimund Wunsche (Director, State Collections of Antiques and Glyptothek, Munich) Glyptothek, Antikensammlungen and Pompejanum. Three Different Solutions for Archaeological Museums 16.00 - 16.30 Break 16.30 - 16.50 Anna Trofimova (Head of the Department of Classical Antiquities, Executive Secretary of the Commission for Permanent Displays, State Hermitage Museum, St Petersburg) Programme of the Renovation of the Galleries of Greek and Roman Antiquity 16.50 - 17.10 Prof. Dimitrios Pandermalis (President, Organization for the Construction of the New Acropolis Museum, Athens) The New Acropolis Museum: the Building and the Exhibition 17.10 - 18.00 Discussion Dorothy H. Abramitis (conservator, Metropolitan Museum of Art, New York) Merritt Price (exhibition design manager, J. Paul Getty Museum, Los Angeles) Kevin Marshall (leading specialist, J. Paul Getty Museum, Los Angeles) Mag. Karoline Zhuber-Okrog (curator, Collection of Antiques, Kunsthistorisches Museum, Vienna) Niki Dollis (Public Relations and International Liaison Coordinator, Organization for the Construction of the New Acropolis Museum, Athens) Angela Vinci (architect, Restoring Ancient Stabiae Foundation) Ferdinando Spagnuolo (managing director, Restoring Ancient Stabiae Foundation) 3
Tuesday, 21 October Morning Session (10.00-14.00) The Hermitage Theatre Going beyond: the Museum Extension and Reconstruction 10.00 - 10.10 Moderators: Svetlana Adaksina (Deputy Director for Curatorial Affairs, State Hermitage Museum), Peter Reed (Senior Deputy Director for Curatorial Affairs, Museum of Modern Art, New York) 10.10 - 10.30 Gail M. Harrity (Chief Operating Officer, Philadelphia Museum of Art) Re-Making a Modern Classic 10.30 - 10.50 Peter Reed (Senior Deputy Director for Curatorial Affairs, Museum of Modern Art, New York) The Museum of Modern Art. Work in Progress 10.50 - 11.10 Elena Gagarina (Director, State Historical and Cultural Museums of the Kremlin, Moscow) Formation of the Multifunctional Cultural and Restoration Centre in the Museums of the Moscow Kremlin 11.10 - 11.30 Dr. Taco Dibbits (Director of Collections, Rijksmuseum, Amsterdam) Building the New Rijksmuseum 11.30 - 12.00 - Break 12.00 - 12.20 Vladimir Bazhenov (Deputy Director for the Reconstruction, State Russian Museum, St Petersburg) Project of the Reconstruction of the Mikhailovsky Palace Yards 12.20 - 12.40 Elena Savostina (Vice Director, Pushkin State Museum of Fine Arts, Moscow) Renovation of the Gallery in the Pushkin State Museum of Fine Arts is the First Step of the Museum Development Programme 12.40 - 13.00 Igor Mitichkin (Vice Director for Renovation and Restoration, State Historical Museum, Moscow) Reconstruction of the Museum. The Museum Quarter 13.00 - 14.00 Discussion Jay Levenson (Director of International Programs, Museum of Modern Art, New York) Ekaterina Selezneva (Chief Curator, State Tretyakov Gallery, Moscow) Natalia Tolstaya (Research Secretary, State Tretyakov Gallery, Moscow) Elena Kalnitskaya (Curator of the Mikhailovsky Palace, State Russian Museum, St Petersburg)
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Wednesday, 22 October Morning Session (10.00-12.10) The Hermitage Theatre Transformations inside the Museum: Creating New Displays 10.00 - 10.10 Moderators: Dr. Carlos Picon (Head of the Department of Greek and Roman Art, Metropolitan Museum of Art, New York), Aleksey Levikin (Deputy Director, State Historical and Cultural Museums of the Kremlin, Moscow) 10.10 - 10.30 Jeffrey L. Daly (Senior Design Advisor to the Director, Metropolitan Museum of Art, New York) Roman Gallery Installation 10.30 - 10.50 Sergey Kuznetsov (Curator of the Stroganov Palace, State Russian Museum, St Petersburg) The “6+1” Formula - the Stroganov Palace on Its Way to 2011. The Principles of Display in a Historical Building 10.50 - 11.10 Aleksey Levikin (Deputy Director, State Historical and Cultural Museums of the Kremlin, Moscow) The Moscow Kremlin Architectural History: A New Display in “Ivan the Great” Bell Tower 11.10 - 12.10 Discussion
Afternoon session (14.30-16.00) The Hermitage Theatre AMO/OMA + State Hermitage Museum Hermitage 2014 Masterplan presentation: Modernizing the Encyclopedic Museum AMO, the research and design group of the Office for Metropolitan Architecture (OMA) founded by Rem Koolhaas (Rotterdam) and the State Hermitage Museum (St Petersburg) have been collaboratively developing a visionary master plan for the Hermitage to mark its 250th anniversary in 2014. The ongoing work will be presented and discussed. 13.30 - 13.40 Introduction to the Hermitage 2014 Master Plan by Mikhail Piotrovsky 13.40 - 14.40 Presentation of the Hermitage 2014 Master Plan by Rem Koolhaas 14.40 - 15.40 Open discussion with Mikhail Piotrovsky and Rem Koolhaas, led by the respondents Peter Reed, Valery Lukin, Hermann Parzinger, Anna Trofimova, Alexander Borovsky, Elena Kolovskaya and Dimitri Ozerkov 15.40 - 15.50 Closing remarks by Mikhail Piotrovsky
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I would like to start by presenting the context in which I see this project and this most recent phase of it. I see every museum project that we have initiated—and this is one in a series— within the context of modernization. Modernization is a very dangerous word, and probably also an unpopular one in the museum world, as there are so many values it must guard and must keep. But nevertheless,
the museum world has been perhaps one of the most dynamic in terms of participating in the idea of modernization, typically in the form of enlargement.
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Guggenheim LACMA
10 1986 Anderson: 10,000 m2
1993 Tate St. Ives : 3,900 m2
1992 Soho: 2,324 m2
1988 Tate Liverpool 1988 Japanese Pavilion: 4,500 m2
1985 NYC Abortion: 14,400 m2
2004 28,800 m2
2003 NYC Abortion: 57,000 m2
2002 Soho Close: 2,324 m2 2003 Las Vegas Close: 6,370 m2
2002 Tokyo: 116 m2
2003 Rio Difficulties: 42,000 m2 2003 GSB 50,000 m2
2003 Taichung: around 10,000 m2
2001 Las Vegas: 7,136 m2 2001 Modern & Contemporary: 30,000 m2 2002 Rio: 42,000 m2 2001/2 NYC Abortion: 8,540 m2
1990 14,800 m2
1987 7,000 m2
1982 17,000 m2
1980 17,500 m2
1978 20,800 m2
Louvre
1984 6,300 m2
1981 Amanson: 4,400 m2
1979 Venice: 300 m2
1975 2,500 m2
1989 55,000 m2
1993 27,570 m2
What you see is that the museums all more or less follow the Wall Street lead of continuous expansion—all becoming larger and larger entities. The only museum that resisted this temptation to expand is the Hermitage, which already for a very long time has maintained an admirably horizontal line.
1997 Berlin: 510 m2 1997 Bilbao: 23,783 m2 1998 LACMA West: 29,700 m2 1998 NYC: 3,212 m2 2000 Linbury Gallery: 1,700 m2 2000 Tate Modern: 34,000 m2 2000 Hermitage-Guggenheim Las Vegas 766 m2 2000 PS1 1,300 m2 2000 NYC: 57,000 m2
MoMA Whitney 1965 : 26,570 m2 1966 NYC: 8,054 m2 1968 6,300 m2
Metropolitan
1880 156,000 m2 1880 106,200 m2 1801 Sommerset 200 m2 1852 Hermitage 127,478 m2
Hermitage
1897 Tate Britain : 10,000 m2 1939 5,600 m2 1954 1,780 m2 1959 NYC: 11,176 m2
In this image, the ‘mountain’ shows the behavior of Wall Street in the '90s, and in the foreground, the expansion trends of a number of international museums—the Louvre, LACMA, the Guggenheim, etc.
Area1000m2
The enormous expansion of the museum audience has generated a number of logistical issues, and of course art historical issues, that museums, whether they wanted to or not, or were designed to or not, must now face.
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I would say the effect of this escalation— and this is only a very brief version of a much larger argument—has become not only evident in the number of visitors, but also in the art itself. This is a project at the Tate by Olafur Eliasson, but we could show increasing numbers of examples that demonstrate how art itself is expanding in terms of its scale and ambition, as part of the same expansionist syndrome.
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So this was the context of our first involvement with the Hermitage.
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The first time I came to the Hermitage for professional reasons was on a visit directed by Thomas Krens of the Guggenheim. The trip included Frank Gehry, and the pretext was a future collaboration between the Hermitage and the Guggenheim.
St. Petersburg Summer 2000 14
We were exploring (and the imperialistic connotation of this word is perhaps appropriate) what we could do with the Hermitage to consummate its relationship with the Guggenheim and incorporate it within Krens’ scheme.
St. Petersburg Summer 2000 15
Here you see all the rooms of the Hermitage—an endless series of rooms (and I will talk more about this later) that prompted Krens and Gehry to quickly come to the conclusion that what the Hermitage needed was space big enough to accommodate American art—a space of larger dimensions, in which the larger dimensions of this art could be shown to their advantage. This marked a point of bifurcation between me and my colleagues, as
I was becoming increasingly fascinated, not by ideas of change, but by the existing condition of the Hermitage.
12 Contemporary art needs bigger spaces - none of the 2,000 rooms “big” enough...
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This image shows one of the General Staff Building courtyards at the time of the trip. I was particularly interested in the degrees of ‘neglect’ or ‘purity of the ruin’, now already partly undone, but so evident at that time.
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Here you see another image of the General Staff Building. Its abandonment by its previous occupants—bureaucrats and even the military— left a condition I found so interesting as a museum environment. For, one of the most unique aspects of the Hermitage is that
it is not simply a repository of artifacts, but is itself a living artifact of Russian history.
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I was also deeply interested in certain curatorial moments in relation to their context—historical spaces whose crucial role in the history of mankind almost everyone in the world is aware of. Though perhaps curatorially unorthodox—exposing objects in full daylight in then (ten years ago) relatively dilapidated apartments,
the superimpositions of art and these incredibly potent historical spaces created a stronger impression than I felt was possible in more conventional museum spaces.
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Another point of fascination at the time was the sheer quantity of rooms in the Hermitage. It already had 1200 rooms and with the addition of the General Staff Building, it would obtain 800 more.
One of the challenges for the Hermitage was how to animate this vast number of rooms. One proposal we made at the time was to create a museum of the 21st century simply by annually giving eight artists or scientists‌ or architects even, one room of the General Staff Building each as their domain. After one century, by definition, and by the smartness of the selection of people, you would have one of the most significant accumulations and museums of 21st century thought. This is one of the many ways in which we imagined that this incredible luxury of quantity could be used...
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But what also became very interesting were the limitations—for instance, the demands of preservation. In this image the rooms you see in red are historical spaces that could not be changed; in white, rooms that were allowed some degree of liberty in terms of use; and in the grey, rooms that lay between these two regimes.
Unfolded walls GSB first level
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4 The existing Hermitage complex has 1200 rooms; the new building adds 800; the issue now becomes how to distribute 3.5m artifacts across 2,000 rooms...
palace and museum rooms with historical decoration fully preserved
Hermitage 1170 rooms
GSB 806 rooms GSB = General Staff Building
rooms with historical decoration maintained
rooms with historical decoration not maintained
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Though the entire story leading up to the current work is too long to tell in this brief introduction, what it led to was an understanding with Piotrovsky, the director of the Hermitage, that we would work together with Hermitage to think deeply about what it could achieve.
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This contemporary effort is first of all, a collaboration with the Hermitage. It is not an architectural proposal, nor a curatorial proposal. Rather, it is a project at the intersection of these domains, which attempts to answer to the questions of
‘what is the maximum potential the Hermitage can achieve with its physical composition?’ and ‘how can this composition be used?’
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The Hermitage consists of five buildings on the Neva, to which the General Staff Building is now being added. This means that
instead of a group or cluster of buildings acting as one, we are facing a new condition: almost an urban quarter of museums.
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As you see in this image, the Hermitage in its urban context is not only a museum, but
a significant urban texture in perhaps one of the most significant urban ensembles in the world. So consideration of its urban scale evolution has become a very crucial task.
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Now, to understand how great the responsibility of the Hermitage is, this image is perhaps the most impressive representation. It shows the Hermitage and the Metropolitan Museum at the same scale, and you can see that the Hermitage is at least twice the size of the Metropolitan.
Hermitage Museum
482m
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310m
551m
169m
Knowing the complexities of the Metropolitan—the incredible intricacies, the demands of history, the different regimes, and the diversity of efforts to make sense out of its single block,
one can imagine the intricacies and complexities of running, and conceiving how to run, this huge urban complex that is the Hermitage.
Metropoltian Museum of Art
Here we can see the individual public components of the Hermitage: the Winter Palace, the Small Hermitage, the New Hermitage, the Theater and the General Staff Building. When compared with other museums,
in terms of scale, the Hermitage is equivalent to the Metropolitan Museum, the Centre Pompidou, the National Gallery, the Altes Museum, and the Victoria & Albert in one. It is a truly humbling awareness, and to some extent one that we almost need to overlook in order to retain a certain innocence in the effort.
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Here we introduce a very vulgar comparison, but it serves to illustrate what I consider one of the central issues the Hermitage now faces. It’s an issue that many airports also face: should it stay a single entity or should it divide itself into different terminals?;
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Schiphol Airport
JFK Airport
(Amsterdam)
(New York)
Can pretentions of entity and unity be abandoned in favor of each element’s more autonomous and perhaps more authentic function?
Hermitage Complex
Hermitage Urban Quarter
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This is an aerial photograph of the Hermitage. Because there are now Hermitage entities on either side of the Palace Square, the Square itself also becomes a significant component of the museum—adding considerable exterior space to the territory of its curatorial management and ambitions.
Hermitage Theater
New Hermitage
Small Hermitage
Winter Palace
PALACE SQUARE
General Staff Building
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The Hermitage is comprised of a number of separate buildings, but it actually operates as a composite of buildings that have become increasingly interconnected over time (typically by bridges and other elements).
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The outdoor spaces between the buildings are not accessible to the public and are barely perceptible from within the museum.
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When one remembers the Hermitage, it is as a continuous interior only, without exterior spaces or internal divisions.
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In this image, you see the way the Hermitage is symbolically and perceptually defined today: a huge single perimeter with a single primary entrance. I would argue that
the introduction of the fifth element, the General Staff Building, makes this single perimeter concept unsustainable, and forces its reconception.
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I would also like to question—and this is part of what we are now working on—how this enormous complex, interpreted as a single complex, or a single building with marginal and in fact irrelevant separations, is used everyday.
MUSEUM CIRCULATION
METROPOLITAN, New York
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Any complex of this magnitude has a number of things with which it wrestles, and circulation is certainly not the least of them. Here we see the different circulation trajectories that these large and constantly expanding museum universes have to introduce in order to give the public a fair chance to visit their terrain.
HERMITAGE, St Petersburg
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CENTRE POMPIDOU, Paris
NATIONAL GALLERY, London
LOUVRE, Paris
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Each of these museums is not only defined by its circulation routes, but of course also by its collections. Here you see the departmental layouts of the Louvre and the Hermitage.
ench sculptures 18th-19th c.
The July Monarchy
Hermitage St Petersbourg
Items Renaissance
The Restoration Items XIX century
Items Middle Ages
Items XVII century
Culture of the peoples of the Caucasus and the Golden Horde Culture of the peoples of the Caucasus and the Golden Horde
Culture of the peoples of Eastern Europe in the Iron Age
Ancient Italy Ancient Rome
Ancient Rome
Items XVII - XVIII centuries
Arts of Islam
The treasure gallery
Ancient Towns on the Northern Sea coastlands Ancient Greece
Ancient Greece Ancient Egypt
What becomes very evident is that it is not just the scale that presents such complexity, nor its breakdown into different components, but also the richness and nuance within the collections. Sculptures
Napoleon III Apartments
Objects, Items
Asian Art
Ancient Egypt
Ancient Grece and Roma
English & Venetian Paintings
Crown diamonds
Large-Format french paintings
Italian drawings
English and Spanish paintings
Bronzes & Precious Objects
Painting Ancient Egypt Ancient Grece and Roma Drawings
Ancient Towns on the Northern Sea coastlands
The treasure gallery Prehistoric Culture Stone and Bronze Ages Culture of the Altaic Peoples and Scythians
Ancient Italy
Culture of the peoples of Eastern Europe in the Iron Age
Spanish Paintings
The knight's hall
Terracotta
Flanders
France 15th to 18th century
Italian Painting XV- XVII centuries
Portaits gallery romanov dinasty
Great Britain Palace interiors
The knight's hall Italy Flanders Spain
russian culture 17th and 18th centuries
Italian Painting XIII - XV centuries
European painting from 1250 to 1500 including
Culture of the Altaic Peoples and Scythians
Pharaonic Egypt
Apollon Gallery European painting from 1600 to 1700 including
Germany Netherland
Spain
Greek Ceramics
Coptic Egypt
National Gallery London
Prehistoric Culture Stone and Bronze Ages
Ancient Egypt
GSB
Holland Netherland
European painting from 1250 to 1500 European painting from 1600 to 1700
Western europe: middle age
Flanders 17th c.
Art of Africa, Oceania and the Americas
Russian culture: 11th to 15th century
Italy
European painting from 1500 to 1600
Germany
holland European painting from 1500 to 1600 including
Netherlands 16th c.
Art of Africa, Oceania and the Americas
portaits gallery romanov dinasty
russian culture: 11th to 15th century
Netherlands 15th c.
western europe: middle age
France 15th to 18th century
russian interiors 19th century
Great Britain
French painting XVII century Antic Iran
France 19th and 20 th century
French drawings
Levant
Russian culture 17th and 18th centuries
Germany Western european and american art: 19th and 20th century
German, Flemish, Dutch, Belgian, Russian, Swiss and Scandinavian Paintings18th-19th c. Sculptures - XIX centuries
Asian Art
Holland 17th c.
Numismatics
China
Near and middle east byzantium
Drawings from Flander, Holland and Germany Painting
Ancient Egypt Ancient Grece and Roma
Russian interiors 19th century
India
byzantium China
Near and middle east
Drawings
French painting XIV - XVII centuries
India Numismatics
Western european and american art: 19th and 20th century France 19th and 20 th century
Centre Pompidou from 1905 to 1960
from 1960 till now 32 33 30 31 29 28 27 26 25
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Greek antiquities Etruscan and Roman Antiquities
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Pharaonic Egypt
French painting XVIII century 3 2 4
French painting XIX century
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14 16 14bis
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18 17 20 23 24 19 21
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from 1960 till now
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from 1905 to 1960
CENTRE POMPIDOU
NATIONAL GALLERY LONDON
LOUVRE
MET
HERMITAGE
The American Wing
Culture of the peoples of the Caucasus and the Golden Horde Ancient Italy
Sculptures
Arms and Armors Arts of Africa, Oceania and the Americas
European painting from 1250 to 1500
Egyptian Art
Ancient Rome
from 1905 to 1960
European Sclupture and Decorative Arts Greek and Roman Art
These layers of complexity create a very interesting dimension in our work of trying to compose clarity, in spite of knowing it is an impossible task.
Ancient Towns on the Northern Sea coastlands Ancient Greece Ancient Egypt
Oriental Antiquities Art of Islam
Here you can see that the Centre Pompidou has only two divisions in its collections, the National Gallery maybe four, the Louvre seven, the Metropolitan enough to stop counting, and the Hermitage simply too many to begin.
The treasure gallery
Prehistoric Culture Stone and Bronze Ages
Culture of the Altaic Peoples and Scythians Medieval Art
Culture of the peoples of Eastern Europe in the Iron Age
Modern Art
Portaits gallery romanov dinasty
Objets d'Art European painting from 1600 to 1700
The knight's hall Ancient Near Eastern Art Italy Arts of Korea Chinese Art
Paintings
Flanders Spain Holland
Drawings, Prints and Photographs European Paintings
Netherland Western europe: middle age Russian culture: 11th to 15th century
Art of Africa, Oceania and the Americas
European Sculpture and Decoratice Arts 2 Germany
Egyptian Antiquities Cypriot Art Islamic Art
France 15th to 18th century Great Britain Russian culture 17th and 18th centuries
from 1960 till now Japanese Art Greek, Etruscan and Roman Antiquities
Musical Instruments
Russian interiors 19th century Numismatics Near and middle east
19th c.European Paintings and Sculpture byzantium European painting from 1500 to 1600
South and Southeast Asian Art Prints and Drawings
The costume Institute The Robert Lehman Collection
China India Western european and american art: 19th and 20th century France 19th and 20 th century
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What you see in this image are the principle trajectories for foreign and Russian group visitors. What it shows is that both groups need ways of moving through the Hermitage that do justice to the treasures, but at the same time do not interfere too radically with each other.
PALACE
WINTER PALACE
SMALL HERMITAGE
START TOUR RUSSIAN VISITORS - JORDAN STAIR
RUSSIAN VISITORS
START TOUR FOREIGN VISITORS - KOMMENDANTSKY STAIR
FOREIGN VISITORS
START TOUR FOREIGN VISITORS - SOVIET STAIR
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CATHERINE’S HERMITAGE
MUSEUM
THEATER
GREAT/NEW HERMITAGE
THEATER
0m
50m
100m
PALACE
CATHERINE’S HERMITAGE
WINTER PALACE MALACHITE ROOM
JORDAN STAIRS
ALEKSANDR NEVSKY SARCOPHAGUS
SMALL HERMITAGE
MUSEUM
The main narrative of the building has to be coincidental with these tours and trajectories, but as a result,
THEATER
GREAT/NEW HERMITAGE
THEATER
MADONNA LITTA Leonardo Da Vinci
this intriguing mixture of history and art history is experienced only as a continuous narrative without any possibility for pauses, interruptions or informed deviations.
RUSSIAN INTERIORS:19TH CENTURY WESTERN EUROPE:MIDDLE AGES JUDITH Giorgione
EGYPT GROUND FL
MARIA LAMENTATION Veronese MAGDALENA Tiziano
RETURN OF THE PRODIGAL SON Rembrandt
RUSSIAN CULTURE: 17TH AND 18TH CENTURIES MADONNA WITH CHILD Raphael
FRANCE:15TH TO 18TH CENTURIES PORTRAIT
ITALIAN SKYLIGHT HALLS
RAPHAEL’S LOGGIAS
KNIGHTS HALL
GALLERY OF THE ROMANOV DYNASTY
ITALY SPAIN THE NETHERLAND THE KNIGHTS’HALL FLANDERS HOLLANDS
RUSSIAN CULTURE: 11TH TO 15TH CENTURIES GERMANY GREAT BRITAIN PALACE INTERIORS GOLDEN DRAWING ROOM
The DANCE, Matisse 19-20 CENT WESTERN ART 2ND FL
START TOUR RUSSIAN VISITORS - JORDAN STAIR
RUSSIAN VISITORS
START TOUR FOREIGN VISITORS - KOMMENDANTSKY STAIR
FOREIGN VISITORS
0m
50m
100m
START TOUR FOREIGN VISITORS - SOVIET STAIR
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I would like to compare this image of contemporary visitors with this image from Sokurov’s film ‘Russian Ark’.
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The main claim and fame of the film, which portrays an imaginary visit to the Hermitage, traveling through all its spaces and its histories, was that it was shot in a single take.
Russian Ark A. Sokurov 2002
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Like the tours, the film moves continuously and seamlessly through the entire museum.
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PALACE
CATHERINE’S HERMITAGE
WINTER PALACE MALACHITE ROOM
JORDAN STAIRS
ALEKSANDR NEVSKY SARCOPHAGUS
SMALL HERMITAGE
MUSEUM
THEATER
GREAT/NEW HERMITAGE
THEATER
MADONNA LITTA Leonardo Da Vinci
RUSSIAN INTERIORS:19TH CENTURY WESTERN EUROPE:MIDDLE AGES JUDITH Giorgione
EGYPT GROUND FL
MARIA LAMENTATION Veronese MAGDALENA Tiziano
RETURN OF THE PRODIGAL SON Rembrandt
RUSSIAN CULTURE: 17TH AND 18TH CENTURIES MADONNA WITH CHILD Raphael
RAPHAEL’S LOGGIAS
KNIGHTS HALL
although it is a historical sequence and a historical narrative, the continuity itself and the experience itself are profoundly ahistorical.
FRANCE:15TH TO 18TH CENTURIES PORTRAIT
ITALIAN SKYLIGHT HALLS
I think this kind of single take or single tour mentality of the Hermitage is one of its current challenges. Although it’s a sensational experience, it begs the question of whether the individual visitor is able to have the best and most profound relationship with the artifacts, and certainly whether the visitor is able to make sense of the historical sequence of buildings. In other words,
GALLERY OF THE ROMANOV DYNASTY
ITALY SPAIN THE NETHERLAND THE KNIGHTS’HALL FLANDERS HOLLANDS
RUSSIAN CULTURE: 11TH TO 15TH CENTURIES GERMANY GREAT BRITAIN PALACE INTERIORS GOLDEN DRAWING ROOM
The DANCE, Matisse 19-20 CENT WESTERN ART 2ND FL
START TOUR RUSSIAN VISITORS - JORDAN STAIR
RUSSIAN VISITORS
START TOUR FOREIGN VISITORS - KOMMENDANTSKY STAIR
FOREIGN VISITORS
0m
50m
100m
START TOUR FOREIGN VISITORS - SOVIET STAIR
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So one of the first, and perhaps most significant steps that we suggest for the Hermitage is its
re-interpretation from a single continuous complex, to one of individual entities that have individual histories and potentials.
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WINTER PALACE
SMALL HERMITAGE
NEW HERMITAGE
HERMITAGE THEATRE
DOM 32
WINTER PALACE
SMALL HERMITAGE
NEW HERMITAGE
HERMITAGE THEATRE
DOM 32
TH EA TE R
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E H ER M IT AG
N EW
H ER M IT AG SM AL L
PA LA C E IN TE R W
The underlying thesis being simply that the addition of the General Staff Building and the Square makes the whole system too large to manage according to a single regime.
(future) MILITARY MUSEUM PALACE SQUARE
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Each part could be dedicated to a complementary emphasis that could nuance the current indistinguishable blur of histories. (future) MILITARY MUSEUM
THE MILITARY MUSEUM PALACE SQUARE
THE SQUARE
GENERAL STAFF BUILDING
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We propose creating a degree of autonomy for each of the parts, which could serve to clarify their roles and histories, and furthermore, define the different curatorial regimes they deserve and suggest.
If one were to proceed according to this logic, the perimeter would be undone, the spaces between the buildings would become accessible and legible, and each building would have its own entrance. The current single flow of circulation through the spaces of the Hermitage, regardless of their dimensions or capacities, could thus also be nuanced and made more subtle, though I will return to this idea a little later on.
URBAN ACCESS POINT URBAN CIRCULATION PRIMARY VISTOR ENTRANCE GROUP ENTRANCE SECONDARY VISITOR ENTRANCE STAFF ENTRANCE
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It would also mean that superb entrances, like this one to the New Hermitage, could emerge from their current latency and become reanimated.
Bill Clinton Heads Of State Entrance 48
We could also then easily organize not only independent paths...
URBAN ACCESS POINT URBAN CIRCULATION PRIMARY VISTOR ENTRANCE GROUP ENTRANCE SECONDARY VISITOR ENTRANCE STAFF ENTRANCE
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... but also continuous paths through the open spaces of the complex—the courtyards, the passages, the Square—where HERMITAGE 2014 | MASTERPLAN
visitors could visit the entire domain of the Hermitage without actually entering it. GROUND FLOOR PLAN exterior spaces
Legend Entrance - tickets, info
Gardens
Amenities Cafe Restaurant
Courtyards and squares urban circulation
Bookshop, giftshop
service areas
Education Services Programmatic platforms of the open air museum
connection path
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And of course, the Hermitage as a contemporary urban quarter could use new technologies and ideas to mark its entrances, facilities and attractions.
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The Hermitage’s emphasis, and its new identity for the 21st century, could thus become that of an urban quarter—semi-independent entities that work together to create a new, more urban, conception of the Museum.
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So this was the first block of ideas, and the second is perhaps more complex. It is based on a way of looking at museums that developed through a series of museum projects we pursued—projects that often came quite close, but were never fully realized. I developed the thesis that in the tury, and particularly at its end,
20th
TATE1995 Tate Modern
London, UK 14,000 m2
cen-
MoMA1997 Museum of Modern Art Charrette
New York City, USA 43,675 m2
museums were no longer ZKM1992 Karlsruhe, focusing, and could no 31,000 lon-m2 Germany ger focus—partly because of the extensions and partly because of the enlargement of the audience—on the pure experience of a visitor 2001 France in front of a single artifact. Paris, 33,150 m2 Zentrum für Kunst und Medientechnologie
Museum of Contemporary Art
Roma, Italy 2,000 m2
Fondation François Pinault pour l'Art Contemporain
Rather, they had to adjust to the changing conditions, primarily through extending their repertoire of facilities—initially comprised of a cafeteria, then of stores, info centers, more cafes, more stores, etc.
LACMA 2002 Los Angeles County Museum of Art
FLICK 2002 Haus Flick
Zürich, Switzerland 3,740 m2 54
Los Angeles, USA 57,765 m2
WHITNEY 2003 Whitney Museum of Art Extension
New York City, USA 5,575 m2
So whether desired or not, museums are these days a blur of their original ambition overlaid with a vast number of new experiences窶馬ew experiences that ostensibly serve to accommodate or enable the pure museum experience to exist. Rather than blurring these two types of experience, which I would argue is still the case in many contemporary museums, I am interested in proposing a degree of separation.
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For our Whitney extension project in 2003, we considered the Whitney a very beautiful museum and felt that if much larger numbers were introduced into much larger spaces, it would make sense to create one circulation trajectory that could accommodate all the additional facilities so that the original experience wouldn’t have to suffer from their introduction.
N 2003 Whitney “Experience™”: Art and circulation mix
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And perhaps something similar could be introduced in the Hermitage – or maybe not introduced, but rather created by building upon certain existing conditions that already suggest its possibility. A number of spaces along the Neva are the most intensely trafficked in the museum; in part because it is there that the buildings are connected, and in part because of the location of some the museum’s most visited works.
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This sequence comprises a series of very diverse spaces: classical museum halls, bridges, a monumental staircase, historical living quarters, etc. that each represent important historical moments in the Hermitage.
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Identifying and declaring this sequence of spaces as the main connective route between the different buildings
offers the potential to use the sequence itself as an informational tool about the buildings being traversed and entered.
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For instance, many of the significant historical spaces along the Neva are typically used for temporary exhibitions...
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... temporary exhibitions that frankly sometimes show little regard for the spaces themselves. This is another issue we are thinking about:
is it possible to find ways of cohabiting with the historical dimension in a way that is not only more elegant, but also does justice to the demands of both history and display? In a way, I very much like this casualness— simply using the space in a very direct way for different exhibitions—but still, I think it could perhaps be done more subtly... though I will return to these ideas again later in the presentation.
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In the Neva sequence we imagine that there could be a curatorial zone in each of the spaces where either artists could make installations, or curators could organize specific exhibitions in deliberate relation to the spaces, histories, buildings or sequence of movement.
PALACE
CULTURAL AND POLITICAL HISTORY
CATHERINE’S HERMITAGE
CATHERINE THE GREAT
MUSEUM
MUSEUM AND COLLECTIONS
THEATER
PERFORMANCE
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For instance, the Winter Palace history is now almost exclusively communicated orally, through guided tours.
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What you see here is an important moment in WWI, when the Palace was used as a hospital.
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Perhaps you could imagine that somebody with taste and artistry could refer to this moment to make it more explicit—perhaps not in a permanent way. You could imagine that every year, or every half-year, different episodes from the history of the building could be commemorated in such a deliberate way.
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Another feature of this sequence of spaces are the consistent views to the Neva.
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In terms of circulation, this provides one of the strongest and most consistent means of orientation within the museum.
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Typically filtered by these beautiful Russian curtains,
this view to an always changing, always beautiful, always empty space that again is so dense with historical reference, is perhaps one of the most stunning features of the Hermitage. Almost through osmosis, it adds so much to the museum itself.
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So we are proposing to reinterpret this space with a new emphasis on the Neva as not just something you pass by but as something that you look at and use.
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So what we would also like to introduce along the Neva are spaces of rest, where the visitor can step out of the obligation to circulate and enjoy the views.
PALACE
CATHERINE’S HERMITAGE
MUSEUM
THEATER
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At other moments on the path, where the space is narrower,
we see this contemporary museum syndrome in its pure form: too many people in front of artifacts that are too rare and too important.
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We imagine that this kind of congestion could be avoided simply by moving some of the most precious paintings out of this main circulation zone to just-off-circulation spaces in order to
reintroduce the possibility for their more sober and sparse experience.
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So by introducing this Neva spine, one could create
a zone exclusively dedicated to focusing and liberating other entities of the museum by absorbing the functions that currently dilute the pure and deliberate experience of them.
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So this could be a diagram of the multiplicity, the crowds, the flow, and increasingly rarefied and isolated zones in the rest of the museum, which would give a scaling and redemption that is perhaps missing now.
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In terms of circulation, we must think not only about the existing complex but also its connection to the new General Staff Building, which presents what we think are some interesting possibilities.
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The General Staff Building, as you probably know, has a series of ensuite courtyards that create its internal continuity.
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We imagine that this central General Staff Building spine could connect to the Neva spine at two very interesting moments: one coinciding with the Winter Palace entrance and exit and aligned with the symmetry of the Square, and the other connecting with the future Military Museum of the Hermitage and directly to the Neva spine via the Small Hermitage, forming a continuous 'T'.
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Soviet Stair Jordan Stair First
First
Ground
Pavilion Hall
Ground
Theater Stair Rotunda
This could produce a type of subway map, which could act as the driving image of the Hermitage’s organization instead of an always too-complex, classical categorization of endless departments.
Ground Basement
New Hermitage
Military Museum
GSB T1 Basement First
GSB T2
GSB T3
GSB T4 GSB T5
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So that was the second part of the presentation. In the third part, we assume the complex as a new whole given the General Staff Building extension, and look at what we could do, and how we could operate within the individual buildings.
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(future) MILITARY MUSEUM
THE MILITARY MUSEUM
GENERAL STAFF BUILDING
THE NEW MUSEUM
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So I would now like to return to this question of the coexistence between artifacts and history in a building like the Winter Palace.
HERMITAGE COMPLEX Winter Palace - Level 2
A good example of the current status is in the permanent exhibition of Islamic art, in the northwest corner of the Palace, facing the Neva and the Admiralty.
PERMANENT EXHIBITION OF ISLAMIC ART
0m Ground Floor Plan
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If you visit the Islamic exhibition, you see the architecture amidst the displays.
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If you take these away however, to strictly look at the space, it becomes clear that
it is a space with certain historical allusions but no historical reality.
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However, it was in fact once a completely oversaturated 19th-century environment when it belonged to the private quarters of Nicholas I.
For me, the genuine conundrum of the Hermitage is how these two responsibilities—the responsibility to show art and the responsibility towards history—can in some way be resolved.
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If you become sensitive to this contrast— the display vs. the environment, or display vs. history to make it more complex—you see that it is not only in this exhibition but everywhere a question: do you focus on the vitrine or do you focus on the space?
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And so the obligation to choose is something one suffers from, as well as the conundrum of whether it would ever be possible to pursue the two simultaneously.
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So with these thoughts in mind, we have been working in collaboration with the Hermitage on the permanent exhibition of Islamic art as a prototype for how these issues could perhaps be resolved. 391
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We looked at several means by which the different displays could be arranged within these historical spaces.
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For instance, one could create an exhibition area in the center of each room so that the walls of the room could be left available for history. In other words, rather than claim the whole room,
you could compress and segregate the exhibition area so as to maintain, or liberate, the historical environment.
TERRITORY OF DISPLAYS
ISLAMIC GALLERIES
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LINEAR SCHEME
In another iteration we looked at something close to compact shelving...
SHELF MODULUS
VARIANT 1 : even
VARIANT 2 : directional
distribution
DISPLAY MODULE
DISPLAY MODULE
TERRITORY OF DISPLAYS
TERRITORY OF DISPLAYS
ISLAMIC GALLERIES
ISLAMIC GALLERIES
VARIANT 3 : expanded/compressed
distribution
VARIANT 4 : extended
DISPLAY MODULE
DISPLAY MODULE
TERRITORY OF DISPLAYS
TERRITORY OF DISPLAYS
ISLAMIC GALLERIES
ISLAMIC GALLERIES
displays
displays
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...where one could simply create a sequence of vitrines that in one direction always contains Islamic art, and in the other enables a procession of history—so on one axis you would see Islamic art, on the other axis, history.
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ISLAMIC PERMANENT EXHIBITION
And finally, we are currently proposingLINEAR a SCHEME river, or band, of Islamic art, that would create a linear, continuous, and independent exhibition across this sequence of historical rooms.
TERRITORY OF DISPLAYS
ISLAMIC GALLERIES
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This idea was inspired by one of those magnificent and heroic moments in the history of the Hermitage when all of the artifacts had to be evacuated because the museum was in danger of being seized during WWII. You see can see in this quite amazing picture, that out of protection, without really any concern for display,
the sheer beauty of density, continuity and juxataposition was made evident.
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Piranesi's Via Appia was another strong reference.
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We imagined a Via Appia of art running through the historical environments of the Hermitage...
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... that could allow this dual quality of art and history to be accepted and embraced rather than relatively repressed or denied.
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We’ve also had other ideas for how history and the collections can coincide and coexist in the Small Hermitage. I won’t discuss these now for the sake of time, but I will show one of the more significant proposals we’ve been developing for this building.
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We found on the ground floor a storage space in the former stables, it now holds a very diverse collection of carriages and other large items.
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We are proposing to create inside this space, a Kunsthalle for the Hermitage.
Study Proposed Tunnel Connection to GSB
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Contemporary Research Archive & Library
Kunsthalle
Kunsthalle
Entrances & Tickets Proposed Tunnel Connection
s& Cafe / Events
Shop
Bookstore
Artists Studios
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It is a space relatively free of history that could accommodate internal exhibitions not necessarily connected to the larger mandates of the Hermitage, as well as external exhibitions.
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The Kunsthalle could thus create an independent address inside this huge complex, complementing the museum activities to create a more animated curatorial regime.
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We are also proposing for this space, an exhibition—perhaps and hopefully the first one—that would exhibit the Hermitage displays themselves.
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In our whole work and presence here we have became completely fascinated by what at first appears invisible. The vitrines are part of this collection: something that functions primarily to enable you to see artifacts and to which you most often grant little attention.
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But of course the vitrines themselves are incredible artifacts.
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And not only that, the Hermitage contains without any doubt, the largest collection of vitrines in the history of mankind, spanning from the imperial period to the Soviet era to the present.
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If you focus on the vitrines as a collection, you begin to understand their variation: chronological, typological, stylistic, etc.
18TH CENTURY
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19TH CENTURY
SOVIET
CONTEMPORARY
HYBRIDS
OTHER
TABLE
WALL CASE
CABINET ‘GORKA’
PYRAMID
OBELISC
18TH CENTURY
19TH CENTURY
SOVIET
CONTEMPORARY
HYBRIDS
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It is an incredibly interesting exhibition that emerged from our conception of the Kunsthalle, and our explorations of what the Hermitage is and could be.
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I will move now to what is perhaps one of the more architectural interventions of the project...
‘’LABORATORY FOR A FUTURE MUSEUM’
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... located within the Yawein brothers’ project for the General Staff Building.
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You can see here their scheme, which proposes a sequence of ensuite exhibition halls, which create a perfect path through the entire entity, organized systematically according to art historical categories.
PROGRAM AND CIRCULATION
Ex ry ora p m Te
Floor 2
itio hib
(19thc. pre-impressionist)
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19 th c.
French
Paintin gs
Program: • 19th c. European Paintings • Oriental Art • Temporary Exhibitions • Military Museum • Lab for a Future Museum Laboratory™
Circulation: • Primary and Secondary circulation (red) • Vertical circulation (blue)
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Oriental Art
19th c. European Paintings
Milit ary M u
seum
Inside this scheme, we would invade with a single experimental space where we could initiate a series of deliberate experiments with the Hermitage.
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This space would allow such experiments to be tested, without having to experiment on the Hermitage itself. Experiments could be conducted in acquisition, curating, and all these categories you see here...
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Bilbao economy Institutional transgressivism
Neoliberalist museum
So for this project, we have been creating a book of writings, thinkers, and intellectuals...
Sensual experience
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... as a means by which to begin mapping the territory...
THEORETICAL Idea of reality
ECONOMIC
Multitude againstShomogenization Negri & Hardt Amartya Sen
Incompatibility of mathematics and imagery
Institutional transgressivism Institutional transgressivism
RELIGION
Structure of universe cannot be visualized
Neoliberalist museum Neoliberalist museum
Art-Stations Of The Cross She Christs’ empty tomb
Raising ethical questions
Central Christian icon: invisible, perfect Koerner: A Hidden God?
Politics propagates ideology Science replaces religion
Brain paints self-portrait
In doubt we find truth Nonlinear time Precarious lifestyle Precarious lifestyle Uncertainty Fun Palace Uncertainty Quantum imagery Algorithm Peter Galison: Cells of Science Flow/density of images
Ideological destabilization
Precarious museum Precarious museum
Network vs. Institution
Insecurity
Curating as structured chaos Obrist: Szeeman interview
RK WO NET
Looking beyond Composition and Museum as musical instrument immediate discourse interpretation Clash of personal values CT QUANTUM Incompleteness as Catalyst Bruno Latour: What is Iconoclash? Icon as agenda JE Machine at end of Mechanical Age (Cedric Price) Preservation stabilizes OB culture Shows within shows Art and citizenship POLITICS Marathon within marathon Defacement brings The Gatherings Catalyzing dialogue the image to life Exhibition generates discourse Museum as node Destruction as memory/ Sociological curating Curation and ideology Institution as node destruction as amnesia Art/society relationship Stylistic diversity Gamboni: Image to destroy, Biennial as sociological event Framing heterogeneity = iconophilia over originals Using reproductions IconoclashIconoclasm Attitude over style Poetry Must Be Made By All! Sedimentation Role of object in exhibition Pilgrimmage part 3: Aesthetic discipline Virtual Guggenheim Aesthetic discipline Perceive the icons objectively (Merzbau & SJS) Contemporary archive Audience fragmentation Fraser:Isn’t Isn’t This Fraser: This a a Role of machine in art Wonderful Place? Understanding through Wonderful Place? Idea of time Music/acoustics 24-Hour Experiment imagery Evolving display
Mental museum Museum of Obsessions
N
ST-
O
RA CT I
TE IN
Opentoto populist Open populist city city
ARTI Backlash against public
Artist as curator Curator-artist collaboration Artist as curator Curator-artist relationship Curator-artist relationship Challenging icons Curatorial (Wei Wei) deference to artist Destructive interaction Artist bypassing curator Samson (Burden) East-West Fluxus (Beuys)
Responsive interaction
Time-based art Vertical complexity Vertical museum typology Political curating Poetry Must Be Made By All! Curator-education Curator-institution Curator-government Kunstahlle economics power relations Documenta Platforms power relations power relations Curator as city employee Art moving in museum Multi-regional exhibition design Obrist: mip Camouflage Town (Wortzel) Urban exhibition Art controlled via Internet Camouflage Town (Wortzel) Biennial International telex white cube Artist as administrator U&V Serpentine Pavilions Biennial white cube Obrist: Hulten interview America-Europe relationship Hickey: Beau Monde Paris-NYC relationship Business model Business model Paris-Moscow relationship Paris-Berlin relationship TI EX Evolving traveling exhibition HIBIT M Outdoor exhibition MoMA 1929 Cities on the Move ION S U&V cube E MoMA vastnesswhite Network ownership PA Filipovic: Global
MACRO
URBAN
Nanomuseum Body as museum She
TURE
Performance vs installation
Slowness and stillness
for ILE Museum sensual scrutiny of reality TACT Sensual experience Goldberg: ZKM Sensual experience
Tainted white cube
ITEC
Exhibition as process
H
Disciplined viewing Disciplined viewing
MICRO
ARCH
Linear time Process-oriented art
WT GRO
Awareness of time Information over experience (Sandberg)
User modifications “Prosumer” Fun Palace R Take Me I’m Yours CURATO NEW Newspaper as medium “Put your handContributory on your sex”interaction Modificatory interaction (Marina Abramovic) Modificatory interaction Black Panthers participation PDA as exhibition space CE PMBMBA White Cube ‘68 Milan Triennale storming Internet as global First task: create public Benefits of white cube Obrist: Iconoclash? exhibition space Paul: New Media Art Neural museum Patron-exhibition interface Saatchi interactive art gallery Public printmaking Curator as masterplanner International telex Curator as coach U&V Art at technology fairs Internet as platform Audience quizU&V Obrist: Panel Statement Unique museum architecture Online projects Exploratory interaction International forum Communal participation Bowery Artists Tribute Manifesta Curating as process Fiction relay 6 Nicosia User participation in SL Audience participationInteraction Spaceflight Museum Evolving traveling exhibition Music, theatre, dance Weibel: User Art Mixing art and everyday 100 Days 100 Guests participation Curating as theatre Educating curators Expansion Grand-Father Guitar instructions Museum as Hub network Curatorial Vaudeville Informal education(Kim Gordon) Music school Educating curators Growth Growth Screven Museum as educator U&V The Automobile and Culture Viewing time Global staff exchange Pilgrimmage part 2: Formal curatorial Night School 33 Preguntos per minuto Hickey: Response education Art of the MotorcycleUnderstand icon’s construction Privatesponsorship sponsorship Private Viewing time Exhibition learns from context ZKM Institute for Media, Manifesta 5 Basque History of curating Cities on the Move Chanel Mobile Art Pavilion Education & Economics urban rehab Louvre-Lens Museum as Hub Education Center Bilbaoeconomy economyexperimental space Bilbao Education vs. attention span Viewing time Attention span Economics of Serpentine as lab Kipnis: Who’s Afraid Bilbao effect relative to video institutional curating 24-Hour Experiment Attention span Kulturhuset as lab Reconstructing destroyed exhibition Gug worldwide presence Kunsthalle as labas lab Museum TION Recycling A Krens: Interview (Isozaki) C U exhibition design National Gallery Grand Tour Museum as lab D E Globalmuseum museum Global Accelerated Merzbau Pilgrimmage 1: Hermitage Kazan Chose an Icon to defend Hermitage Vilnius Bell labs assistance (Kluver) Hermitage Ferrara Exhibiting Internet in drawings Pompidou-Metz Guggenheim Abu Dhabi net.ephemera Best practices and Guggenheim Guadalajara Louvre Atlanta conflicts of interest Pompidou Shanghai Curating digital exhibitions
LAB
Tactile engagement
Rijksmuseum Schiphol $Louvre Abu Dhabi $ Biennial as trade show
Collection as backbone of museum
Hardware
Dealing with administration Cost limitations
Installing new media art
Widgets
Scale and audience of lab Single-room reconstruction (Isozaki) Exhibit maintenance
Micro Cell Imaging
Hardware issues
De-accessioning
NEW
MEDIA
New Museum - Rhizome partnership New Museum Intro to Museum Store Mgmt
ICS
PRACTICAL 124
Market forces on curating
Museum Mile partnership
ECONOM
MET gift shops
... and investigate precedents of experimental museum practice...
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... as well as precedents of experiment and invention at the Hermitage, such as the Ballet Russes...
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... Mayakovsky and his Free Exhibition...
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... non-conformist artists from a radical exhibition in ’64, etc.
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So in keeping with these traditions, we are proposing that new contemporary experimental efforts could be incubated in this particular space.
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For example, in the continued development of the Hermitage 20/21 contemporary art program...
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... or as a site for experiments related to this effort of rethinking the relationships of history and art. All of which could be made publicly accessible or inaccessible according to the contents.
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The thesis behind its architectural treatment is similar to something we proposed in our earlier work...
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...we do not add to the architecture but simply add to elimination to reveal other dimensions and possibilities.
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The experimental laboratory could also become part of a distributed presence throughout the Hermitage, where all the spaces that are not used for the Hermitage program could be claimed for sympathetic efforts—the Lab, the Kunsthalle...
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... as well as the incredible attics that also represent phenomenal potential.
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But these potentials and explorations are in a way, the very scary thing that we face because
by exploring, we constantly find and realize more and more possibilities for intervention, or for inclusion in this huge question: what to do with the Hermitage? It’s not only two thousand rooms, two thousand rooms is a very conventional way of accounting, rather if you look at the basements, the attics, the in-between spaces, the outdoor spaces, etc., it becomes evident that
the Hermitage is in fact, a city that is asking for ‘programmation.’ Thank you.
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HERMITAGE 2014 MASTERPLAN 2008 AMO*OFFICE FOR METROPOLITAN ARCHITECTURE Rem Koolhaas with Talia Dorsey Chris Barley Willem Boning Ekaterina Golovatyuk Marieke van den Heuvel Matthew Jull Amandine Kastler Tanner Merkeley Anna Neimark Henry Ng Vassilios Oikonomopoulous Chris Parlato Rocio Paz Anastassia Smirnova Kyo Stockhaus Boris Vapne Olly Wainwright Mian Ye
Š OMA 2008
2014
H E R M I T A G E
OFFICE FOR METROPOLITAN ARCHITECTURE HEER BOKELWEG 149 3032 AD ROTTERDAM THE NETHERLANDS +31(0)10 243 8200 office@oma.com www.oma.eu
Hermitage 2014 Masterplan is generously supported by :