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Wednesday, October 28, 2009
Friday, October 16, 2009
Thursday, October 15, 2009
Wednesday, October 14, 2009
500 word text DRAFT
Just like an artist who responds to their audience through their chosen medium to convey a message, similar to the way Renzo Piano designed the Tjibaou Cultural Centre in Noumea in responds to the cultural origins and the search for identity of the native Kanak people of New Caledonia, Frank Gehry's Virta Design Museum responds to Rolf Felbaum's wish to document the roots and history of his craft. The end result was simply a large white block, with large-scaled elements added to it at different angles and heights in an non-traditional way which challenged the notion of the audience of what the building should be.
Inspired by Frank Gehry's theme of these large-scaled elements added to the exterior of the museum, I would like to continue this theme throughout the interior of the museum. By adding these elements on a smaller scale throughout the interiors of the museum, not only allows me to interact with the audience on a physical dimension but allows me to change the function and context of the museum.
Drawing inspiration from mazes and how they have the ability of controlling the direction in which their audience walks, like Jose Antonio Coderch's La Barceloneta, 1951 where the different shaped rooms and tapered hallways affect the way his audience walk throughout their home is one element along with continuing on with Frank Gehry's theme of the exterior inside is something I would like to incorporate in my re-envisioning of Frank Gehry's Vitra Design Museum.
Incorporating a maze-like characteristic aspect in form of block-like elements can be compared to the game, 'tetris', different sized blocks being placed on top of each other leaving empty spaces can also add another dimension to my re-envisioning of Frank Gehry's Vitra Design Museum. These empty spaces can alter the way the audience view certain works, which then can change the audience's perception of the work. Also, leaving empty spaces out, can leave the audience in a range of different states of emotion from anticipation of seeing something they like through a gap to confusion of not being able to see that certain work to frustration from walking around the museum in circles.
The ability to control the direction in which people move is a powerful feature but to combine it with the ability to change people's emotions is an even bigger aspect which adds another dimension to my re-envisioning of Frank Gehry's Vitra Design Museum, this is similar to the way an architect has the ability to change a city's skyline with their designs which then in turn evokes different emotions from a large range of people.
Inspired by Frank Gehry's theme of these large-scaled elements added to the exterior of the museum, I would like to continue this theme throughout the interior of the museum. By adding these elements on a smaller scale throughout the interiors of the museum, not only allows me to interact with the audience on a physical dimension but allows me to change the function and context of the museum.
Drawing inspiration from mazes and how they have the ability of controlling the direction in which their audience walks, like Jose Antonio Coderch's La Barceloneta, 1951 where the different shaped rooms and tapered hallways affect the way his audience walk throughout their home is one element along with continuing on with Frank Gehry's theme of the exterior inside is something I would like to incorporate in my re-envisioning of Frank Gehry's Vitra Design Museum.
Incorporating a maze-like characteristic aspect in form of block-like elements can be compared to the game, 'tetris', different sized blocks being placed on top of each other leaving empty spaces can also add another dimension to my re-envisioning of Frank Gehry's Vitra Design Museum. These empty spaces can alter the way the audience view certain works, which then can change the audience's perception of the work. Also, leaving empty spaces out, can leave the audience in a range of different states of emotion from anticipation of seeing something they like through a gap to confusion of not being able to see that certain work to frustration from walking around the museum in circles.
The ability to control the direction in which people move is a powerful feature but to combine it with the ability to change people's emotions is an even bigger aspect which adds another dimension to my re-envisioning of Frank Gehry's Vitra Design Museum, this is similar to the way an architect has the ability to change a city's skyline with their designs which then in turn evokes different emotions from a large range of people.
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