THE ANGER OF MUSEUM PEILU CHEN 859989
CONTENTS 03 Wayfinding Plans 07 Prologue 08 Q+A 09 Material 11 Works 11 Works 11 Critic Review
EXHIBITION HALL 01 • • • • • • • •
Wade Guyton, Untitled, 2017 Piero Manzoni Impronta, 1960 Niki de Saint Phalle,Tir (fragment), 1962 Lutz Bacher, Big Glass, 2008 Michelangelo Pistoletto, Gabbia, 1973 Lorenza Longhi,Untitled,2019 Monika Baer, In Reserve, 2018 Olivier Mosset, Door, 2002
EXHIBITION HALL 02 •
• • • • • •
•
Jim Shaw, Futuristic Mushroom Meditation Buildings in City Park, 2020 Kurt Schwitters, Still Life with Flowers and Tin Plate, 1914 Richard Hamilton, A Little Bit of Roy Lichtenstein for…, 1964 Francis Picabia Soleils, 1949 Point, 1951 Ben Vautier, Banane, 1959 Louise Lawier, Chicago, 2011-12 Morton Schamberg, 'God' by Baroness Eisa von Freytag - Loringhoven AND Morton Schamberg, 1918 Walter De Maria, Sliver Portrait of Dorian Gray, 1865
CANAL GRANDE
EXHIBITION HALL 03 • • • •
David Hammons, Pissed Off, 1981; Photo Dawoud Bey Henry Flynt, Down with Art!, 1968 Morag Kell, Eye 1-4, 2018 Morage Kell, Untitled (Piss Painting 1)
Q&A Q1:
Because when we enter the museum or gallery, they are just like a container, which disconnects ourselves from the environment, that can put everything you want into the white box.
It is more like the destination for the people, sometimes you just goto places that are very popular and famous, because it is designed by somebody or there is an exhibition there, and there are people that went there just for taking photos and put it on the internet So the museum or the artwork itself just become a background, or may be somehow appeared in communication with others like “Where did you go?” “I went to XXX museum in the weekend”.
Q2:
Q4:
What did you find most
challenging when working with Stirling’s material from the CCA archive?
Do you think Stirling
is still relevant for contemporary discourse? If yes, why? If no, why?
And what Stirling was doing is somehow relate the building itself with the surrounding environment with the materials and the culture as well.
Q3:
What are the challenges
of thinking the museum beyond a container for art? What is exhibited and what does the exhibiting in your museum project? Is it that simple?
What are the challenges
you have encountered when working with the Ca Corner building? E.g. the Venetian context, the architectural ornamentation, the spatial structure, etc. How did that challenge inform your approach to the museum.
The plan that we were given does not match at all, maybe more information can be given on the architectural ornamentations like the drawings on the wall. Yes, it is a concern. New intervention has to contribute to the artwork and the way it is exhibited, it is more than an architectural elements or systems, but relate to what you want the audience to understand from the exhibition.
Q 5:
Considering the role
of technology in exhibition design, is this a concern for your design? If so, in what capacity?
Yes, it is a concern. New intervention has to contribute to the artwork and the way it is exhibited, it is more than an architectural elements or systems, but relate to what you want the audience to understand from the exhibition. Because when we enter the museum or gallery, they are just like a container, which disconnects ourselves from the environment, that can put everything you want into the white box.
Q 6:
Does
this
idea
of
exhibition or display technology change your conception of museum architecture?
Yes. At the very beginning, I think the museum is like a circulation one, or the special one, but now is more like what the artwork wants to present, or how do the verses(?) actually working on the system, you look at the structure in a more detailed way.
Q7:
How would you describe
an architecture that exists solely inside the museum? How is that architecture different to architecture that exists outside the museum?
I think the architecture itself has its own identity, so you get a museum first, and then you have an artwork, and then you put the artwork inside the museum. However, the artwork has to fit the museum, like what kind of message the museum is trying to deliver.. For architecture that exists outside the museum, they are Influenced by society, people and culture, and they interact with each other. I don’t think it is something that is fixed, but something that goes up and it gets their own energy. When the city , culture or people change, the museum will be changed, it shouldn’t be always like a white box standing there
Q8: Has your project for a museum changed your position or attitude to architecture more generally? If yes, how? I don’t know, maybe yes or maybe no. I don’t think architecture can change anything like in the society, it is always there to provide function, but it cannot solve all the questions.
MATERIAL FROM STIRLING
Stirling said, "I believe that the shapes of a building should indicate— perhaps display—the usage and way of life of its occupants, and it is therefore likely to be rich and varied in appearance, and its expression is unlikely to be simple ... in a building we did at Oxford some years ago (the Florey Building, Queen’s College, Oxford, 1971)
The particular way in which functional-symbolic elements are put together may be the ‘art’ in the architecture. ...If the expression of functionalsymbolic forms and familiar elements is foremost, the expression of structure will be secondary, and if structure shows, it is not in my opinion, the engineering which counts, but the way in which the building is put together that is important."
They also show faith that architecture is something like music or painting or literature, that it is something to be composed, with tensions and harmonies to be resolved within its overall structure Like artists and writers, he wanted to be provocative. He wanted to wake people up.
---“How Art Is Framed: Exhibition Floor Plans as a Conceptual Medium”， 2021
Archive 01
From Canadian Centre for Architecture up axonometric of the NordrheinWestfalen Museum, Dusseldorf, Germany
Archive 02
From Canadian Centre for Architecture
Archive 03
From Canadian Centre for Architecture
B
A
B
1ST FLOOR PLAN C
A
C 0 1
2M
N
1st MEZZANINEFLOOR PLAN
0 1
2M
N
CANAL GRANDE
2rd MEZZANINEFLOOR PLAN
0 1
2M
N
1ST PIANO NOBILE PLAN
0 1
2M
N
SECTION A-A
0 1
2M
N
SECTION B-B
0 1
2M
N
SECTION C-C
0 1
2M
N
EXHIBITION ROOM 01
STRUCTURE 01
STRUCTURE 02
EXHIBITION ROOM 02
STRUCTURE 03
STRUCTURE 04
EXHIBITION ROOM 03
Critics ReviewS The
project name at hand toys with the existing Ca corner building, modifying
it, yet retaining a strong essence of its former self. A decision has been made, to retain existing portions of the building within the new, remnants of an existing condition. This overarching strategy of embedding the new within the old comes into play across all levels in the project. On the first Piano Nobile, the existing walls of the building are abstracted and fragmented into a formal device that spatially segments the existing building into a series of smaller volumes. Experienced in elevation the walls exist as isolated moments, but in plan they work as a connected device working across the entire floor. The tension between mass and thinness in Stirling’s work is at play here, as the additional walls occupy both conditions. They imply a relationship to the existing mass of the Ca’ Corner walls, whilst also questioning the monumentality of venetian architecture, via a reconstruction at approximately one third of the original width. There is a strategic use of colour here, reminiscent of the Balenciaga palette. Brown, beige, white and green is used to coat the walls, removing the fresco and intricate ornamentation whilst flattening the detail of the walls into a surface. In addition there is a striation of the walls through the use of colour, with the vertical pilasters emphasised in a darker shade of brown. An interesting rhythm is achieved through this means, and rather than being perceived as one surface, the wall is compartmentalized into segments. There is attention paid to the intersection between wall and floor - the skirt. A decision has been made to disconnect the reading of the wall from the floor and vice versa. The space is read as a series of discrete surfaces. The ghost of a Scarpa lurks here. On the ground floor, the [exhibition name]'s strategy manifests via a utilisation of existing columns as structure for the apparatus. A degree of transparency is retained however, the existing Ca’ Corner atrium is spatially transformed, with the artworks forming a large part of the obstruction and mass. The architect coats and substitutes part of the existing space with scaffolding. Contesting the mass and the monumentality of the existing walls. The choice of scaffolding both showcases the gap in the economic ecology of the museum and links to Stirling’s interest in technology. However, a degree of ornamentation is applied here, a layer of green paint, subduing the connotations of the half-finished construction scaffold. Like Cedric Price's fun palace, it would have been interesting to see the scaffolding take on a more operational role, in addition to the hanging of art. Stirling’s unionising grid is a manifest planning logic here, spanning across the axis to infect the vertical and horizontal surface. The unionising grid comes outside and begins to fragment the canal facade. It is here the architect interacts directly with the face of the building, albeit spanning the first level only. This gesture encapsulates both the subtlety and boldness of the architect's hand. A truly perplexing project.
PHASE 1 - Object 01 - Orgiastic Column
PHASE 1 - Object 02 - Orgiastic Unbounded Artifact
Index PHASE 1 - Object 03 - Spatial Frame
PHASE 2 EXHIBITION PLAN
Index
REFERENCES
- Anthony Vidler, 2012,James Frazer Stirling Notes From the Archive, New Haven and London: Yale University Press
- "Canadian Centre For Architecture". 2021. Cca.Qc.Ca. https://www.cca.qc.ca/en/. - Dreamideamachine.com. 2021. ARCHITECTURE:James Stirling. [online] Available at: <http://www.dreamideamachine.com/ en/?p=12107> [Accessed 1 November 2021]. - Rackline. 2021. Art Storage Solutions | Storage for Galleries | Rackline. [online] Available at: <https://www. rackline.com/art-storage/> [Accessed 1 November 2021]. - "Scaffolding". 2021. OMA. https://www.oma.com/projects/ scaffolding. - How Art Is Framed: Exhibition Floor Plans as a Conceptual Medium (Published 2008) https://www.nytimes.com/2008/03/08/arts/design/08ashe. htmlewYork Times https://static01.nyt.com/images/2008/03/08/ arts/asherspan.jpg?quality=75&auto=webp&disable=upscale