Simon Wimble_Y5 |Unit 14 | Bartlett School of Architecture by UNIT 14

SIMON WIMBLE YEAR 5

UNIT

Y5 SW

DEUTSCHE BANK MUSEUM OF UNEXPECTED OBJECTS

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All work produced by Unit 14 Cover design by Maggie Lan www.bartlett.ucl.ac.uk/architecture Copyright 2018 The Bartlett School of Architecture, UCL All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system without permission in writing from the publisher.

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SIMON WIMBLE YEAR 5 simon.93@btinternet.com @simon.93

THE DEUTSCHE BANK MUSEUM OF U N E X P E CT E D O B J E CT S New York, USA

An appetite for corporate sponsorship from banks, law firms, energy companies has also become a major priority, influencing not just financial management, but the cultural output too—BP were recently uncovered for influencing the Natural History Museum’s climate change exhibition. We could therefore argue institutions have become PR marketing tools for big businesses— subsequently limiting their potential as ‘civic space’ where the public voice can be expressed free from commercial domination. The Deutsche Bank Museum of Unexpected Objects speculates a future scenario where companies generate finance and social influence through cultural institutions. Situated in New York’s Financial District, Deutsche Bank (a financial leader combining banking services with the arts, owning a 70,000+ piece art collection) proposes a seemingly altruistic museum; however their motive is egotistical, capitalising upon the commercial potential of art. Deutsche Bank assumes the role of the artist by combining Duchamp’s principles of the ‘Readymades’ and uses the presentational methods and gallery’s spacial conditions to influence the assumption that the worthless, unexpected objects should be considered

conceptual or contemporary art. The role of the museum visitor, or ‘audience’, is equally important gaining the social media exposure or Mona Lisa style ‘hype’ increasing the object’s value as the lucrative label of ‘art’ is applied. Once this label has been reached, the art is quickly moved from the public galleries to a spectacular private collectors’ gallery where the work is sold and the bank’s profits generated. The public is therefore exploited for the generation of lucrative art world profits.

Y5 SW

t is evident that our public cultural infrastructure is becoming an increasingly commercial and privatised part of our civic life. Since the ideological Pioneering Sentiment of the post WWII era with the construction of the welfare state and modern institutions, the role of the cultural institution as a vehicle of public discourse and civic voice was founded, often being initiated, funded and maintained by the public purse. However, in times of recent economic recession with the effect upon public finances, institutions like the Royal Festival Hall have dramatically expanded their commercial activities with extra retail provision to supplement shrinking arts budgets.

Architecturally, the gallery is designed to generate these labels and influence the behaviour of the visiting public. Principles of retail architecture have been incorporated, with exhibit destinations, sight-lines and axis—voids cut through the building to generate framed views which present the works in unexpected angles and situations. Every piece of art is for sale within the museum and so principles of consumerism create new conditions where visitors are constantly overlooking or being overlooked. The opportunity to view objects, view people, and view the interaction between the two have formed highly controlled and curated spaces where visitors are manipulated to act in certain ways. The museum facade reinterprets the commercial domination of public space (demonstrated in Time Square) with faceted billboards aligning with Broadway and key sight-lines from Governor’s Island, Ellis Island and the Statue of Liberty advertising the museum’s sponsors on a monumental scale, projecting the cultural institution as the agent of ‘soft-power’. This project is therefore a critical speculation of our future cultural infrastructure where cash strapped arts centres are at risk of being exploited for cheap advertising by powerful corporate entities. It is also intended to be a critique on current trends and systems rather than a necessarily ‘dystopic’ vision, but nevertheless highlight the risk our current age will be ultimately defined by our culture of consumption as well as our consumption of culture. 3

the deutsche bank museum of unexpected objects the financial district, manhattan

speculating the future of a hyper-commercialised* cultural infrastructure. odifying

*hypercommercialism; the process of rapaciously comm anything marketable

Simon Wimble The Bartlett School of Architecture Architecture MArch 2017-2018

unit fourteen

cultural capital battery park, new york

The location of battery park sits in one of the most prominent and important sites within new york and manhatten. As the entry point to the city for hundred of the years, this was where people arrives after having been registered on Ellis Island, and is therefore one of the most culturally significant areas. It is also next to the major financial district and encapsulates the major, power commercial drive of america and new york.

cultural capital

‘tradition’ criteria for public space:

freedom of association The right to join or leave groups voluntarily, and the right of the group to take collective action to pursue the interests of its members.

freedom of expression

The right of every individual to hold opinions without interference and to seek, receive and impart information and ideas through any media and regardless of frontiers.

freedom of assembly

The right to express, promote, pursue, and defend ideas as a group of individuals. ‘Peaceful’ assembly is considered the right and anything more violent is subject to removal of right

‘public’ space will be determined by new principles:

to be public, the space does not have to be in public ownership but create moments of:

social interaction

The need to create social mixing between individuals and the collective is vitally important in a world where technology has reduced the opportunity for chance encounters and meeting people outside of social circles and norms

self discovery

the next generation will want to engage in activities which can make sense of themselves and explore their relevance to each other and the ‘collective whole’ of individuals.

participation

future generations will need spaces where they can sense their involvement is worthwhile and adding to a dialogue that brings change in real and noticeable outcomes.

adapting change

characteristics of civic space

Civic space is closely connected to the development of post-world war II human rights norms, and particularly the Universal Declaration on Human Rights in 1948 which established clear protections for the rights to freedom of association, peaceful assembly and expression. These are the drivers to what were possibly once already established ideals, but influences much of the post-war beliefs.

new york

upper bay

LIBERTY ISLAND

ELLIS ISLAND

U P P E R B AY

R I V E R H U D S O N

Battery Park

Bowling Green

FINANCIAL DISTRICT

GOVERNORSâ&#x20AC;&#x2122; ISLAND

Wagner Park

Rector Park

Battery Park Fields

40 BROAD

Rockefeller Park

17 BATTERY PL

Washington Market Park

Duane Park

Nevelson Plaza

City Hall Park

60 WALL ST

Vietnam Veterans Memorial Plaza

Hanover Sq.

55 WATER ST 77 WATER ST 75 WALL ST FINANCIAL SQ 111 WALL ST

ZUCCOTTI PARK 85 BROAD ST

Tribeca Park

88 PINE ST

NEW JERSEY

17 STATE ST

55 CHURCH ST ST

125 BROAD

33 MAIDEN LN 10 LIBERTY ST 59 MAIDEN LN

ay w oa d br

105 DUANE LN

180 MAIDEN

8 200 WATER ST

Foley Sq.

Collet Pond Park

Columbus Park

M A N H AT T E N

National Monument

POPS - Privately Owned Public Space

B R O O K LY N

Coleman Square

Lions Gate Field

T E A S

Rutgers Park

Seward Park

E R R I V

cultural capital

united nations

east village

Lower Manhatten

new york city hall hudson river

Battery Park

world trade centre

east river

national monument

Governors Island

hugh carey tunnel

Ellis Island Museum

Statue of Liberty

statue of liberty boat: opened: 1886 visitors: 4,500,000 ferry ports: battery island and new jersey

site prominence

brooklyn battery tunnel: whitehall terminal length: 2779m opened: 1950 (68 years) annual traffic: 45,337 lanes: four tunnel clearance: 3.68m

opened: 1903 annual traffic: 22,000,000 (70,000 daily) lanes: two operators: stephen ferry

battery bark length: 2779m opened: 1951 (69 years) annual traffic: 45,337 lanes: four tunnel clearance: 3.84m

st ld

rect

wi lli

lisl

pla

trin ity p

car

st west

rec t

or s

ll s

tre

reet beaver st

FINANCIAL DISTRICT

er st

br oa dw a

hugh pl

lib

tte

ny exc stoc han k ge

carey

FDR

drive

tunn el

na ss

ide ma

cultural capital

lib

ue at

street

ne rey tun hugh ca

broad

hall st

battery park

white

lib

fro

battery park, lower manhatten

As city authorities struggle to maintain public parks, they become privatised and managed by organisations to enhance them for the public use and activity.

reimaginging the ny park commercially maintained spaces

products take a status of public art within their amenities

companies re-imagine the surrounding battery park when owned by corporations to influence public in overt and subtle ways

As city authorities struggle to maintain public parks, they become privatised and managed by organisations to enhance them for the public use and activity. They adopt new principles of public space, which goes beyond the traditional forms which were superseded by the rise of the internet and the freedom of expression and association that it has brought.

cultural capital

pay as you go culture must the state funds corporations to provide public space but adopt new principles of interactive experiences

deutsche bank museum of unexpected art a monument to the global power of the multinational commercial businesses generated through consumable arts and culture

entrance fee is purchase of small product of the as people enter, they buy a small item created by one product designers, to make visitors ‘buy into’ the brands.

digital payment

stores the the entrance fee could also be a transfer of data which personal search and info from visitors entering the building

learn about history of industrial design n as visitors learn about the history and development America industrial design as forerunners of this field

whilst also ‘buying’ into products the opportunity to create an environment where you are surrounded by the ‘culture‘ products and information which people can consume.

you experience something new

s that an opportunity to let people experiment with new product people form a connection with increasing ‘want’

buy the exhibits , you as you test the products or see pieces within the exhibits their purchase the exhibits, so before visitors leave, they collect items or are delivered to your door automatically.

consumer society driving corporate power monument to multi-national companies

The routes of visitors through the building is designed to influence and control the user in both obvious and subtle ways. They navigate through designed routes that creates intense experiences of the products and brands - this is achieved in curatorial ways, but mainly in the architectural manifestation of the museum.

cultural capital

Southbank Centre

19.7

1.5 2.6

41.8

£476

Royal Shakespeare Company

15.7

£128

61.3

0.3 3.6

UK’s dramatic increase of corporate sponsorship from 2013-14

Science Museum Group

39.7

79.3

National Theatre

17.5

2.2

6.5

124.1

British Museum

43.9

54.2

144

public funding sponsorship fundraising other sources

sponsorship

commercial v culture

These diagrams above show the breakdown of five key cultural institutions in London, with particular emphasis on showing the small levels of corporate sponsorship. Considering the amount of attention that this funding receives from advertising and media, it is a relatively small percentage in culture funding structures.

cultural capital

commerical culture

Sir John Soane Museum

Wallace Collection

National Portrait Gallery

Royal Armouries

state commercial

£1,983,000 £725,743

£2,711,000 £1,367,000

£6,637,000 £4,693,000

£7,088,000 £1,266,000

s c National Maritime Museum

National Gallery

Tate Galleries

state commercial

£15,520,000 £4,085,000

£24,100,000 £6,108,000

Imperial War Museums £28,651,000 £30,488,000

state commercial

£33,438,000 £8,902,000

k th

British Museum state commercial

£39,200,000 £23,000,000

Victoria and Albert Museum

Science Museum Group

Natural History Museum

state commercial

£40,300,000 £16,030,000

£45,111,000 £22,802,000

£49,115,000 £18,977,000

The British Library state commercial

£ 93,900,000 £ 13,658,000

london institutions london institutions directly funded by department of culture, media and sport

Key cultural institutions in London are funded directly by central government through the budget for the Departure of Culture Media and Sport. These are often closely related to key tourist attractions too which provide London with some major economic benefits

e c

cultural capital Museum of London

Barbican Centre

South Bank

state commercial

£14,641,000 £2,922,000

£16,900,000 £11,695,370

key institutions funded by state through arts council funding

Tate Galleries

state commercial

- Ticket sales supplement incomes with over 2,200 per performances - Some tickets costing £200+ - 96% occupancy rate at shows - Very well supported patrons and friends scheme - Corporate entertainment scheme for very high returns. - Multiple bars, restaurants and cafes within building - multimedia live streaming shows across world

london institutions economically successful cultural facilities

£19,428,000 £14,100,000

state commercial

£27,800,000 £32,000,000

Some money from the Department of Culture Media and Sport gets ring fenced for the Arts Council to allocate awarding funding. This is a pot of financial resources that can change from year to year and often deals directly to trusts or charities rather than public institutions.

Royal Opera House £27,800,000 £32,000,000

Royal Opera House

£28,651,000 £30,488,000

Major Funding Streams: - Extensive use of cafes and restaurants throughout their premises - Popular venues for large scale events and functions - Well developed friend/patrons scheme - Retailing offering particularly strong - Publisher of printed art books and documents - Very strong corporate interest - Highly popular paid for exhibitions

Key cultural institutions in London are funded directly by central government through

Some money from the Department of Culture Media and Sport gets ring fenced for the budget for the Departure of Culture Media and Sport. These are often closely the Arts Council to allocate awarding funding. This is a pot of financial resources that to key tourist toodirectly whichtoprovide Londonrather withthan some major economic canrelated change from year to yearattractions and often deals trusts or charities public institutions. benefits

£100,000,000

least commercially effective

X british library

7,000,000

£80,000,000

6,000,000

£70,000,000

5,000,000 £60,000,000

lin

£50,000,000

fit

4,000,000

X natural history museum X science museum X victoria and albert museum

£40,000,000

X british museum

3,000,000

X imperial war museum £30,000,000

X tate galleries X royal opera house

X national gallery £20,000,000

X barbican centre

X national maritime museum

X museum of london

most commercially effective

1,000,000

X national portrait gallery

visitors per year

X royal armouries

2,000,000

X southbank centre

£10,000,000

£30,000,000

£25,000,000

£20,000,000

£15,000,000

commercial income

£10,000,000

X Wallace Collection X Sir John Soane Museum £5,000,000

state funding

cultural capital

£90,000,000

8,000,000

public and commercial funding

cultural capital

8,000,000

X tate galleries

7,000,000

best value per visitor

X british museum 6,000,000

X national gallery

X southbank centre X

science museum

5,000,000

X natural history museum

4,000,000

X victoria and albert museum

3,000,000

X tate galleries X royal opera house

X national maritime museum X national portrait gallery

2,000,000

X royal armouries X imperial war museum

visitors per year

£60 57

58.50

55.50

52.50

49.50

£45 46.50

43.50

40.50

37.50

34.50

31.50

28.50

25.50

22.50

19.50

£15 16.50

13.50

10.50

7.50

4.50

public funding per visitor

£30

X Sir John Soane Museum 1.50

£30,000,000

X royal opera house

X Wallace Collection

state funding per person

least value per visitor

X barbican centre X museum of london

1,000,000

X british library

cultural capital

Direct Public Funding: National 70%

Local 28%

City Council 2%

Public Funded cultural activity and institutions 47% Department for Culture, Media and Sport

60% local authorities

40% Arts Council England 10% Local authorities

30% Local authorities

11% Heritage Lottery Fund

2% English Heritage

national funding $1082m

City Funding $19m

63% Greater London Authority 37% GLA

Local authority $447m

National Museums and galleries and the British Library

Museum of London funded by City of London

Local Library services within boroughs

National Portfolio Organisations and grants to other cultural organisations like the Arts Council UK

London funding to projects such as London Fashion week, the Fourth Plinth Trafalgar Square

Museums, galleries, theatres and public entertainment services

UK grants for heritage and arts projects

Arts development services, archives and heritage

Grants for heritage and arts projects

Funding cultural services in London

cultural capital We need art and our cultural institutions to expose injustice, promote debate and create change in society.

protests at the tate have resulted in arts instiutions backing down from controversial investments

Should values be put up for sale in this way? Natural History Museum with BP

BP has close ties with regimes that candidly violate human rights

dirty money

commercial sponsorship

Science Museum

with Shell

lobbies against measures to tackle climate change to support business

museum taking money from a company whose activity is highly damaging

Louvre Museum with Total

suggested modifications to the main climate change exhibition

used as PR for companies who struggle to create popular image

The term â&#x20AC;&#x2DC;dirty moneyâ&#x20AC;&#x2122; is used in reference to money which is profited off the oil industry, often by large multi-national companies. Some of the leading museums in the world all benefit from their money, often putting into question whether these institutions should take money which is made from sometimes often exploitative practises. The cultural institutions are often the focus of media and protesters attentions.

cultural capital For corporations, the benefits of donating to the arts is clear. As Gordon Pell, deputy chairman of Coutts, concedes, banks do not give money to the arts exclusively for charitable reasons. “This is a marketing exercise,” he told The Financial Times. “We get reflected glory... Bankers could do with any reflected glory we can get.”

£500,000

Tate receives around £500k annually from one of the largest and most controversial oil producers in the world.

who is benefiting? commercial v culture

Money from BP the Tate Britain receives per year which funds their art programme. They are one of the major sponsors of the arts facility.

Protesters campaign for years through Freedom of Information to reveal level of funding

For level of publicity the Tate receives, the amount it pitifully low in comparison to funding structure

Protesters demand Tate relinquishes funding through 25hr protest. Camping in the turbine hall, they are almost forced out

Tate backs down, allowing them to stay due to their right to protest... the turbine hall becomes civic space with protest expressions drawn on floor

This is one of the most high profile protests which lead to the less important role of BP within the Tate’s funding structure. The protest lasted 25hrs and consisted of a performance art piece where people wrote messages against the commercial practises of BP. The protesters were almost forced to leave, but the Tate backed down believing in their right of expression and right to protest. The building adopted an intrinsic quality of civic space and allowed the protest to unfold.

Wha t value is our enjoym ent of art when it comes at th e ex pense of th ose on the fron tlines of climate chan ge an d the dest ructive impa cts of the fossil fuel indust ry? We need art and our cu ltural in stitutions to expose in justice, promote deba te and create chan ge in societ y.

Dr Chris Garrard, Culture Unstained - Monday 11th

September 2017

wallace collection

cultural capital

national portrait gallery

royal opera house

national maritime museum

national gallery

natural history museum

national theatre

v&a museum

science museum group

british museum

tate modern

(and tate group)

commercial sponsorship

Cultural institutions rely on grants and funding donations, whether through official terms, or through other sources that are not always listed in accounts; such a event space hire, private events and corporate entertainment. The above listings show who are sponsored by which firms, often from large legal or banking industry services.

£12,000

corporate membership

Rio Tinto John Lewis clifford chance

The price of corporate membership of the Royal Academy of Arts. Benefits to members will often include: private tours, VIP queuing and discounts.

£50,000

corporate premium membership

For corporate premium membership at the Royal National Theatre. Benefits include 100 person special event and chair’s annual dinner

£100,000

UBS Linklaters G3 Security

bespoke membership

Often one-off deals which often include sponsorship of particular events, performances or exhibits. Packages will still include vip passes for exhibitions and discounted use of facilities

£250,000

sponsorship deals

Sponsorship for major exhibitions with publicity and advertising will often start at this price. Recent exhibitions include National Gallery’s Rembrandt exhibition with Shell and the British Library’s Magna Carta exhibition with Linklaters.

£500,000

blockbuster show publicity

Julius Baer Credit Suisse

Shell Linklaters

received by Royal Opera This was the annual amount ry, British Museum and House, National Portrait Galle rtising the oil company Tate Britain from BP. The adve on all promotional had was significant featuring eums blockbuster material, such as British Mus exhibition, Vikings.

£5m

major works commission

Hyundai’s sponsorship of Tate Modern’s turbine hall will allow for a yearly large scale art exhibit to be created under the name of the company. This will be seen by 5,000,000+ visitors the tate receives each

what does it buy you?

year.

Hyundai Unilever

Stockholm ($714m)

for cultural institutions across the world

public v private money

Los Angeles ($910m)

San Francisco ($624m)

New York ($2338m)

Public indirect % -

Amsterdam ($371m)

Brussels ($712m)

Paris ($3544m)

Shenzhen ($443m)

Shanghai ($707m)

production incentive

Sydney ($412m)

61 45 8

Sydney ($412m) 9

Moscow ($2942m)

Public indirect % -

i.e. tax breaks to creative/cultural work

Public indirect % -

no VAT added to particular cultural sector activity

Public Direct

funding from authorities, national governments, arts council, local councils etc.

Private Giving + sponsorship

corporate sponsorship, legacies, private donations 1

Unquantifiable incentive

Public indirect % -

giving incentive

money reclaimed from income tax payers giving to charity

corporate sponsorship, legacies, private donations

funding from authorities, national governments, arts council, local councils etc.

Private Giving + sponsorship

no VAT added to particular cultural sector activity

Stockholm ($714m)

Public Direct

operation incentive

Shanghai ($707m)

Public indirect % -

i.e. tax breaks to creative/cultural work

production incentive

for cultural institutions across the world

Public indirect % -

Toronto ($1098m) 70

20 61

Brussels ($712m)

New York ($2338m)

London ($2606m) 45

Amsterdam ($371m)

San Francisco ($624m)

Seoul ($1063m)

Los Angeles ($910m)

City Average

Tokyo ($1276m)

London ($2606m)

Tokyo ($1276m)

Toronto ($1098m)

Paris ($3544m)

City Average

Shenzhen ($443m)

Seoul ($1063m)

Moscow ($2942m)

public v private money

52 3

operation incentive

Unquantifiable incentive

giving incentive

money reclaimed from income tax payers giving to charity

54 3

cultural capital

81 1

100

$443m

$624m $714m

Toronto, Canada

Tokyo, Japan

total cultural spending

London, UK

$3544m

$2942m

Moscow, Russia

$2606m

$1276m

Los Angeles

Seoul, Korea

New York, USA

Stockholm

$1098m

Brussels

$1063m

Shanghai

$910m

$412m

San Francisco

$712m

$371m

Shenzhen

$707m

Sydney

$2338m

cultural capital

Amsterdam

Paris, France

The cultural spending from country to country varies enormously, and this is something which reflects the political make up of each established state. The figures above provided financial output of both public and private funding. Note how four US cities all compete on a global scale alongside other capital cities.

cultural capital

san francisco

los angeles

Seoul, South Korea

London, UK seoul

tokyo

Tokyo, Japan

Los Angeles, US

new york

San Francisco, US

New York,

london US

public money private funding production incentive

indirect public giving

the top privately funded cultural services

These charts show the funding composition of the six largest cultural budgets that have the highest amount of private input. Three of these are cities in the US, where a very low tax rate (at 30%) allows people to spend more of their money in donation to organisations and cultural institutions. On the right is the make up shown in proportion to each other in terms of size of output.

1500

1400

1300

1200

1100

1000

900

800

700

600

500

400

300

200

100

cultural capital

Berlin

museum theatres art gallery cinemas public library live music venues

Paris

museum theatres art gallery cinema public library live music venues

London

top private funder s

museum theatres art gallery cinema public library live music venues

Los Angeles

national museum theatres art gallery cinema public library live music venues

New York

national museum theatres art gallery cinema public library live music venues

San Francisco national museum theatres art gallery cinema public library live music venues

Seoul

museum theatres art gallery cinema public library live music venues

Tokyo

museum theatres art gallery cinema public library live music venues

cultural facilities per city

Cities all across the world use public and private money to support varying types of culture. These usually reflect the traditions of each culture, with places like Paris, having the top number of art galleries and places like New York having the top number of cinemas, which all respond to demand of residents and tourists alike.

cultural capital

british museum, london

the louvre museum, paris

the future cultural institution?

As the cultural budgets for departments are slashed, who will take the shortfall? Multinationals who require good marketing and PR, could help subsidise works in return for greater media and sponsorship coverage. This will come at a price, either curatorial, or by the political leverage taken in return to improve or be favourably seen during legal or regulatory challenges.

the future cultural institution?

cultural capital

sponsor

$100,000+ partner

$60,000 leader

$40,000 benefactor

$25,000 associate

$15,000 friend

$7500

MoMA

corporate sponsors

Anonymous Ace Hotel New York Apollo Global Management, LLC Camron Public Relations Cheim & Read First Eagle Investment Management, LLC Flavorpill

Havas Worldwide New York, Inc. Hilton New York LIM College Material ConneXion PHHHOTO Inc. USM Modular Furniture Warwick New York Hotel

Anonymous Angelo, Gordon & Co. Canon U.S.A., Inc. CHANEL, Inc. Clifford Chance US LLP Crystal & Company Doris Duke Charitable Foundation Grupo Habita, Mexico HarperCollins Publishers ITOCHU International Inc.

Kikkerland Design, Inc. Knoll, Inc. Lévy Gorvy Linklaters LLP Lisson Gallery Maharam Mitsubishi Corporation (Americas) Mizuho Bank (USA) Ogilvy & Mather Worldwide

Party Rental Ltd. Phillips Proskauer Room & Board Sumitomo Corporation of Americas Foundation The Vilcek Foundation W. P. Carey Inc. William Kaufman Organization

Anonymous Adlens AKRF, Inc. ARTBOOK | D.A.P. Bonpoint Callison Carbone Smolan Agency 34 CHAMBERS The Charles A. Dana Foundation Risk Services Citizens’ Committee Columbia Business School The Fan Fox and Leslie R. Samuels Farrow & Ball Ltd. FXFOWLE Graham Windham Havas Health, Inc. The Hilton Club New York Hines ICFF

Industrial and Commercial Bank of China Jack Resnick & Sons, Inc. Kikkerland Design, Inc. La Prairie Macy’s Marubeni America Corporation MEAG New York Corporation Mitsui Fudosan America, NAIC – National Association of Norton Rose Fulbright NYK Line (NA) Inc. Orrick, Herrington & Sutcliffe LLP Paulson & Co., Inc. The Peninsula New York The Pierre and Tana Matisse Foundation POSCO America Prestone Press, LLC

Promemoria USA Protégé Partners Roche Innovation Center New York Rolex Watch U.S.A., Inc. Roy Lichtenstein Foundation S2 Design Group, Inc. Siegel+Gale The Stop & Stor Charitable Fund Suntory International Corp. Surdna Foundation, Inc. The THANC Foundation, Inc. U.S. Olympic Committee University of Florida Foundation VOA Architecture Yabu Pushelberg Inc. The Yale Club of New York City

MoMA is one of the biggest specialist modern art galleries in the United States and attractions millions of visitors per year. It is also successful fianicailly where modern and contemporary arts are popular to support, compared to more traditional art collections. These list illustrates the corporate support and therefore excluding private foundations or private individuals who donate towards the institution.

There is an increasing polarisation between the art world and the public art gallery, as their ability to acquire art is increasingly limited. As sales within the art world become progressively inflated, prices are forced up, removing the opportunity for the public collective to encounter art.

+680%

cultural capital

Major recent international art sales

+420%

$450,000,000 salvator mundi

+361%

leonardo da vinci (1/15 known works)

$300,000,000 willem de kooning

+160%

interchange

$266,000,000

the card players paul cezanne

$150,000,000

adele bloch-bauer II

inflated art markets inflated art markets and increasing growth

gustav klimt

National Gallery London - $57,621,465.94 (total annual income) As the art market continues to grow as a desirable, if sometimes unreliable, investment market - art prices are set to increase. Although this can make it seem like the art world is becoming more recognised and popular, it has greater repercussions across the art world. Museums and galleries which could once afford to liberally acquire new works are struggling to compete against a network of millionaires and investors all bidding for the same major works. 31

cultural capital

the whitechapel fatberg the last remaining part of the fatberg which blocked London’s sewage network went on display at the museum of London. The exhibition has been extended due to demand.

an ‘audience’ creates exposure and potential financial gains

inflating art prices and growth by continually moving or displaying works, perhaps from particularly exhibitions, the price rapidly increases. Therefore the continual promotion and exposure of the art works allows a greater profit to be capitalised by the owners. Getting your art into galleries can be difficult, they need to be high profile, relevant and staging exhibitions. This link is particularly strong in combination with the criteria of the Readymades, who claim the art label is secured by the presentation of the work, which naturally has spacial, physical attribute.

how is art created and by whom?

Tom Friedman Untitled (A Curse), 1992 hayward gallery exhibition, London 2012

the readymade’s criteria for art:

the choice of object is itself a creative act

cancelling the ‘useful’ function of an object becomes art

the presentation and title have given it ‘a new thought’ and meaning

this is potentially a spacial and physical concern...?

Duchamp’s Readymades: Using the principles outlined in Marcel Duchamp’s exploration on the Readymades series of works, three criteria were established which created a revolutionary change in how we understand and label art. These principles are largely still at work today and influence the creative output, particularly amongst the more conceptual and theoretical artists. These have however questioned the role of the artist.

cultural capital the duetsche bank increases its interest in the art world by operating and curating an art institution. the bank produces finance and produces ‘culture’ through creation and sales of objects

the art installation above utilises metal balls used in demolition to create a piece of art displayed at the shanghai art fair.

becomes an art market where ‘visitors’ help create the production of art

a source of generating finance and investment into the art world

produces cultural output as a banking institution rather than just financial

does ‘readymade’ art need to be produced by the traditional notion of ‘the artist’? How about a bank?

duetsche bank art world

The building takes the form of this ‘cathedral’ through which people identify and connect with their brands and products of which they consume. This monument is dedicated the powers of large multinational giants of which they buy into and have created in their own small way of consumption.

cultural capital

public funding is good for keeping instiutions ticking-over and for creating a stimulus for other types of funding.

commercial, private funding+ philanthropy cons the culture of sponsors can be a reflection on the institution - funds can be used as PR or advertising for the cultural institutions, who have no control over the sponsor’s actions - sponsorship can be unreliable and unstable which is driven by wider economic conditions - sponsors can be very specific about how they want funds spent and for what purposes reducing artistic flexibility - private funders often want programming which is relevant to their interests and needs, leading to a potentially less inclusive environment

pros offers institutions funding in financially difficult times - Private money can often pay for events which are more artistic and boundary pushing - allows for a more direct connectivity between the community and institutional bodies - corporate sponsors can offer leadership, financial management advice - sponsors often want to pay for high profile, very expensive things that institutions can find difficult to afford - greater feeling of involvement and public engagement when people pay into their local institutions

the balancing of public funding is complex within an increasingly economic turbulent time which often throws doubts over cultural provision

funding structures

- helps cultural programmes respond much more efficiently to audience demands.

governmental+ public funding cons funding is often questioned as a good investment of public funds - difficult to include all demographics of society into cultural offering - often subject to spending cuts and considerable contention within government ideologies. - allocation of money is incredibly competitive and intensive on resources - restrictive on how allocated funds can be spent within institutions and laden with bureaucracy.

pros maintains the arts and cultural life of communities - money ensures the long term continuation of institutions - known for being good for ‘keeping the lights on and paper in the printer’ - public funding creates greater pressure on institutions to provide an output which is relevant to the public - money is regular and there is a advance notification and planning for any funding changes

- many results-based demands placed upon institutions

There are many advantages and disadvantages to funding sources- which allows the cultural institutions to function. Any extra money paid for by private groups is usually welcome as it extends the effect that institutions can have. Ideologically though, many countries disagree with the extent to which private interests should have within an organisation which is designed to be ‘public’.

2016

Exxon Mobil

Apple

General Electric

Alphabet

Gazprom

Microsoft

Berkshire Hathaway

Citigroup

Exxon Mobil

Bank of America

Amazon

Shell

Facebook

Johnson & Johnson

PetroChina

General Electric

HSBC

China Mobile

$600

$400

$200

$600

$400

$200

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2006

worldâ&#x20AC;&#x2122;s largest listed companies by market capitalisation data source: boomberg

energy

financial

healthcare

industrials

telecoms

rising power of multi-nationals

the rise of multinational companies is one that almost defines our age. They have grown in power in many ways, through industrial design and products, but also financial, tax, political and commercial ways which rival the power integrity of established political systems. Over the last ten years, the change in these has been very noticeable, a move away from energy giants, to tech giants which create products and tech-services for millions across the world.

cultural capital designing within the financial district context

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cathedral space

the main space within the complex is the cathedral, rising up through the building. This is not only for the experiential qualities of the space and impact psychologically, but also so the viewing platforms cut into the main space for exposure.

exhibition core

on the east side, which connects to the service roads near the ferry terminal, an exhibition core leads up the building, servicing both temp and perm galleries.

temporary galleries

the temp rooms are located on the south, overlooking the upper bay and the dramatic views of the empire state. These rooms are light filled and contrast sharply with the previous experiences

permanent galleries

the main galleries are located on the north side, with dark and dramatic spaces, they focus on exhibits for permanent collections marking history of industrial design

entrance hall

visitors arrive from broadway which terminates at this point, entering the museum where they purchase objects as their tickets

collection storage

museum artefacts are kept here before entering the galleries, or being sold and redistributed

collection depot

this area is the interchange between the collection and delivery routes where instant purchase and delivery takes place

brooklyn tunnel

the existing tunnel routes stretched between manhatten and brooklyn, under the east river creating a key infrastructural link

spatial surfaces

One of the major driving principles of the building is being able to viewing across the exhibition spaces into other areas, floors and planes of the building. Whilst the galleries should not be total glass, moments of sightlines are framed within the monolithic forms of the architecture. Raised slopped planes allow you to view over objects, visitors and visitors interacting with objects.

cultural capital

the culture of consumerism “consumerism is a social and economic order and ideology that encourages the acquisition of goods and services in ever-increasing amounts” consumerism is a 21st century phenomena which has been in existence since 17th century, but exploded in the West post WWII and will likely come to define our age because of the repercussion of its effect; socially, economically and environmentally.

the consumption of culture

technological developments have brought a new dimension to mass media culture, fuelled by globalised music, entertainment, design industries.

technical and social relations that structured the mass media all over the world made it very easy for new consumerist lifestyles to become the dominant motif for these media, which became in time extraordinarily efficient vehicles for the broadcasting of the culture-ideology of consumerism globally.

museum architectural driver:

the American dream of the individual’s economic freedom helped generate a society driven by the ability to provide to the wants of the family

people

viewing objects

objects

artefacts and products

people

principles

designing for consumerists

watching people

an intrinsic part of the american culture has always been the freedom of choice, which is closely linked to a ‘freedom of purchase. In ‘Ways of Seeing’, John Berger explores this and its effect upon the built environment and artistic envrionment which developed in the US. This poster was created during a time when food was scarce, but the sentiments live in today, but in different forms as to what society deems as ‘essentials’.

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y ar

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typical floor sketch

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cultural capital manipulating the social experience and consumption of art

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transport intersection:

rethinking the ‘public’ amenity of a manhatten city park how would new multinational design a park to influence the public?

reimangined ‘public space’ amenity

major tunnel route into manhatten

boat station to statue of liberty/ellis island

battery park underpass to FDR Drive

deutsche bank museum of unexpected art

- archetypal parts of the new york park are re explored through concepts of the commercialised multi-national company

‘consumable’ culture promoting a monument to industrial the global power design’s ability of multinational to drive global companies prominence

showcases history and development of industrial design

uses products to adapt architecture

tracking data allows museum to adapt to expected volumes of people architecture adapts to visitors numbers

- when a large body of people use the museum, it creates a different experience, as people form a ‘collective’.

educates the masses about industrial design, whilst promoting brands

- the gallery expands and new paths open to keep people within the space longer and ‘entertained’. -

commercially maintained spaces

creating hype

The financial resources therefore change user experience; as museum management stem the flow of visitors into certain exhibits to become ‘blockbusters’. As the spaces are packed with visitors , it creates hype around certain art works (whichever is popular to buy at the time), which in itself becomes a spectacle to on- look.

in st al

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Financial control of culture Financial buying power of art market directly controls which galleries within the museum are opened and closed.

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installation

ontrol

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of art market alleries within the losed.

therefore change eum management nto certain me ‘blockbusters’. ed with visitors , certain art works buy at the time), a spectacle to on-

commercially fabricating ‘hype’

As the building welcomes visitors, there are areas which can be closed and open, depending on the capacity of the galleries. It also means that if there is low demand, certain galleries can be closed in order to ‘crowd’ galleries and create further hype. Busy spaces have greater energy and atmosphere, and this can be manipulated by the curators.

cultural capital

cultural capital commercially maintained spaces

As the building welcomes visitors, there are areas which can be closed and open, depending on the capacity of the galleries. It also means that if there is low demand, certain galleries can be closed in order to â&#x20AC;&#x2DC;crowdâ&#x20AC;&#x2122; galleries and create further hype. Busy spaces have greater energy and atmosphere, and this can be manipulated by the curators.

cultural capital gallery space with viewing platforms over the floors in which to view interactions between objects and people

gallery qualities interior spaces

gallery space with viewing platforms over the floors in which to view interactions between objects and people

The connection between the gallery two and three is via a stepped platform which creates axes to focal points, leading visitors through the museum. Destinations are used to create these pulls, and when one arrives at a destination, the focus is then drawn onto the next, leading to a continuous sense of curiosity.

cultural capital

gallery entry point

battery park

maintaining connectivity bridging the park and water

The qualities of the park will change when the view over the upper bay areas is lost. Therefore new â&#x20AC;&#x2DC;publicâ&#x20AC;&#x2122; spaces have been created, both on top of the wall, and behind the wall which will maintain a level of connectivity.

cultural capital

battery park

maintaining connectivity alternative public space

concept image of sea wall and public spaces

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battery park as seen from west avenue, looking towards the gallery (concept view)

concept view of the main entry point, leading from Broadway

initial concepts

The monolithic base of the building creates a plinth which elevates the museum above the park level, whilst also containing functional spaces and forming part of the flood defence system. Below this the collection is protected by

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gallery five

platform

gallery one

cathedral platform

platfo

ry fo

gallery

three

galle

ry tw

galle

designing planes

The building takes the form of this â&#x20AC;&#x2DC;cathedralâ&#x20AC;&#x2122; through which people identify and connect with their brands and products of which they consume. This monument is dedicated the powers of large multinational giants of which they buy into and have created in their own small way of consumption.

atio

cultural capital

form

entry point

ticke

t sal

es in

upon entering the building, the sales and information are situarted to the left, and to the right, a viewing gallery and cafe overlooking battery park

cat

sta

ff c o

dra

cathedral

the main point and experience of the building is the cathedral, where the largest scale works are situated and can be experienced from multi angles.

visito

r cor e

t oin

ntr

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clie exit point as visitors leave the building via the core (going from the top to the ground floor) they leave the building collecting any objects bought.

spatial organisation layout visitor organisation and administration visitor services cores

it p il e x reta

ground floor organisation

oin t

circulation space

viewing

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axis

retail spaces

reta

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ace

as visitors circulate the building they move through many complex spaces which create experiences of objects and spaces. The retail zones are designed for close interaction and encourage visitor participation.

private gallery space

the facets of the building become display surfaces which are angled corresponding to major sightlines across the upper bay area. the surfaces

visito

r cor e

reta

il sp

ace

viewing galleries

the facade is cut to allow viewing panoramas across the upper bay area. These instances create destinations which pull visitors through the building ensuring a continuous experience and an interaction with all objects and exhibits.

spatial organisation layout gallery and retail spaces visitor services cores circulation space

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axi

viewing

axis

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viewing galleries

the complex network of the galleries allow different experiences and interactions with the artwork. this is designed to create an opposition to the â&#x20AC;&#x2DC;white boxâ&#x20AC;&#x2122; typology, but rather a journey which is defined by the management

the viewing axes allow work to be situated and framed creating view points, leading visitors through a series of spaces. People can see the work, whilst also viewing the interaction between both people are work.

gall

ery

thre

viewing axes

visito

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spatial organisation layout gallery and retail spaces visitor services cores circulation space

gallery floor organisation

cathedral shafts

the shafts cutting through the building create view points from Broadway and then out to the entry ferry point. These frame the large scale installation within the cathedral space.

cultural capital

tunnel entry point

loading bay

art collection store

unexpected objects

the existing tunnel routes stretch between manhatten and brooklyn which offer the building infrastructural links. Here the works are brought in through trucks and hoisted into sorting areas.

at the base of the cathedral, a loading bay offers space for the workers to organise deliveries before distribution into fabrication or collection stores.

private client gallery

deutsche bankâ&#x20AC;&#x2122;s vast art collection will be brought into the building for storage and protection. The works, largely on paper, will mean there is a greater ease of buying and selling from within the museum

the collection of unexpected are stored within the vaults, where there are also workshops for refabricating and remodelling those that require further attention before displaying.

boat unloading

gallery

retailing

private gallery

deutsche bank

arts and private investment dept.

for objects displayed in the cathedral, particularly those of installation media of a big scale, the proximity to the water is utilised by creating an access route via boat.

a main exhibits core runs from the unexpected objects store into the galleries which focus primarily on the displaying of the unexpected objects. The north core is connected to the private collection

retail floors

the cores run directly into the retail spaces which therefore allow quick manoeuvre of stock, unloaded in the basement level

the private gallery has access to the major core, so works from the main galleries can be removed and sent directly up for sales.

museum floors

cathedral broadway

5 4

3 2

movement and delivery of art works

infrastructure + collections

cultural capital

Morgan Stanley switched on new digital signs covering its Times Square headquarters. The signs measure three stories tall, contain 6 million LED pixels, can display 281 trillion colors and comprise 12,800 square feet of screen space.

“the great hoardings and the publicity neons of the cities of capitalism are the immediate visible sign of ‘The Free World’... publicity it is thought, offers a free choice”. pg. 131

john berger ways of seeing The public space is dominated by the corporate interests of the advertising firms.

generates over

$110bn to local economy

domination of commercial interests

83% of visitors will go to times square for the adverts

50,000,000

pedestrians visit times square annually.

250+

advertisement billboards in times square

the use of commercial imagery upon the public space is integral to the value of what times square is about. It is a public and tourist destination which is serves a purpose of creating a highly colourful and energetic environment which draws huge crowds of people, adding dramatically to local commercial and cultural interests.

cultural capital domination of commercial interests

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the architecture of public space is characteristically defined by the use of billboards and other commercial signage. The elemental architecture is superfluous to the advertising properties.

the billboard typology is expressed three dimensionally which creates a gallery experience of visual screening, whilst also embracing the potential for commercial benefit

the facade is expressed as permanent screening which abstracts the billboard architecture, positioning screens to direct those viewing from above, below and at distance.

billboard architecture

times square building elevation broadway

the billboard architecture of new york, and America generally, is a culturally significant and embraced visual language. Developed in Times Square incrementally, it was until the late 20th century when the advertising took home and became so synonymous with the public space. The opportunity for the building is to create an envelope which provides commercial revenue as well as exposure for the banks and the cultural output.

private gallery space

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At the top of the building, there are large planes which enclose the private clientsâ&#x20AC;&#x2122; gallery. This is where the most prominent, most lucrative adverts are located.

the billboard

broadway ferry terminal

fort jay

re-imagining the commercial facade

viewing galleries

upper bay

governorâ&#x20AC;&#x2122;s island

statue of liberty

ellis island

financial district

the facets of the building become display surfaces which are angled corresponding to major sightlines across the upper bay area. the surfaces chamfer the building into a form which allows direct views.

cultural capital re-imagining the commercial facade

All work produced by Unit 14 Unit book design by Maggie Lan www.bartlett.ucl.ac.uk/architecture Copyright 2018 The Bartlett School of Architecture, UCL All rights reserved. No part of this publication may be reproduced or transmited in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retreival system without permission in writing from the publisher.

UNIT @unit14_ucl

P I O N E E R I N G S E N T I M E N T

2018

At the centre of Unit 14’s academic exploration lies Buckminster Fuller’s ideal of the ‘The Comprehensive Designer’, a master-builder that follows Renaissance principles and a holistic approach. Fuller referred to this ideal of the designer as somebody who is capable of comprehending the ‘integrateable significance’ of specialised findings and is able to realise and coordinate the commonwealth potentials of these discoveries while not disappearing into a career of expertise. Like Fuller, we are opportunists in search of new ideas and their benefits via architectural synthesis. As such Unit 14 is a test bed for exploration and innovation, examining the role of the architect in an environment of continuous change. We are in search of the new, leveraging technologies, workflows and modes of production seen in disciplines outside our own. We test ideas systematically by means of digital as well as physical drawings, models and prototypes. Our work evolves around technological speculation with a research-driven core, generating momentum through astute synthesis. Our propositions are ultimately made through the design of buildings and through the in-depth consideration of structural formation and tectonic constituents. This, coupled with a strong research ethos, generates new and unprecedented, viable and spectacular proposals. They are beautiful because of their intelligence - extraordinary findings and the artful integration of those into architecture. This year’s UNIT 14 focus shifts onto examining moments of pioneering sentiment. We find out about how human endeavor, deep desire and visionary thought interrelate and advance cultural as well as technological means while driving civilisation as highly developed organisation. Supported by competent research we search for the depicted pioneering sentiment and amplify found nuclei into imaginative tales with architectural visions fuelled by speculation. The underlying principle and observation of our investigations is that futurist speculation inspires and ultimately brings about significant change. A prominent thinker is the Californian Syd Mead who envisages and has scripted a holistic vision of the future with his designs and paintings. As universal as our commitment and thoughts is our testbed and territory for our investigations and proposals. Possible sites are as such global or specific to our visits, as much as the individual investigations suggest and opportunities arrive. Unit 14 is supported by a working relationship with innovators across design. We engage specialists, but remain generalists, synthesising knowledge towards novel ways of thinking, making and communicating architecture.

UNIT 14 @unit14_ucl