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The architectural dimension of museums

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  1. Introduction.
    1. Comprehending the main purposes of the museum.
    2. Tthe guiding line of this study.
  2. The architectural element as a determining factor that influences museums' policies.
    1. The Stedelijk Museum (Amsterdam, Netherlands): The paradox of a modern and contemporary art museum.
    2. The Modern Art Museum (New York City, USA): The complexity of an edifice in constant expansion.
    3. The Centre National d'Art et de Culture Georges Pompidou (Paris, France).
  3. Mirrors for the evolution of their status within the society.
  4. Appendix.
  5. Pictures.
  6. Documents.
  7. Sources.

My decision to retain the architectural dimension of museums in their modern and contemporary acceptation as the central theme of my study has been orientated by personal grounds as well as it has been prompted by technical reasons. Indeed, my profound interest in architecture has invited me to consider the option of adopting this viewpoint in order to approach the problematic of the course inasmuch as it has incited me to believe that this discipline permits a number of interesting theoretical developments. The confrontation of these intrinsically linked subjective and objective selection criteria may explain why I estimate that the focus on this specific topic involves a more accurate and complete survey of the problem handled by my assignment. With a view of comprehending the main purposes of the museum within the framework of this museological exercise, the present research aims to look into the various functions that are assigned to what is commonly defined as a permanent public institution of acquisition, conservation and exhibition of valuable items.

[...] It implies to rethink the present organisation of the establishment and beforehand to interrogate its new emergent vocations The Centre National d'Art et de Culture Georges Pompidou (Paris, France): The ambiguity of a cultural polymorphic infrastructure On the basis of the objectives stated by S. Loste's team, the international architectural competition is launched in 1970 for the creation of an art and culture establishment. Under the presidency of J. Prouvé, the judges elect R. Piano and R. Rogers assisted by Ove Arup & Partners to achieve the Centre Pompidou. [...]

[...] The architectural restructuring therefore appears necessary albeit insufficient to remedy the deplorable situation pointed out by the Sanders Committee report in the sense that it has to be accompanied by an organizational renovation so as to upgrade the current primitive conditions of conservation and exhibition of the art pieces The Modern Art Museum (New York City, USA): The complexity of an edifice in constant expansion Fruit of the ambition of three influential progressive patrons of the arts, Miss L. P. [...]

[...] Rockefeller Jr, the MoMA inaugurates its six rooms rented for galleries and offices in 1929 with the intention of challenging the conservative policies of traditional museum management. Its founding director A. H. Barr Jr affirms that the building is dedicated to the popularization of visual arts of the epoch. The public reaction is so overwhelmingly enthusiastic that the institution moves three times into larger temporary quarters within the following ten years until it finally opens the doors of the location it still occupies in midtown Manhattan by 1939. [...]

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