Le Corbusier’s exhibition pavilion: The heterogeneous character of his modernism between representation and functionalism (original) (raw)
2017, A|Z ITU Journal of the Faculty of Architecture
This study investigates the exhibition spaces designed by Le Corbusier and their common features by describing and classifying them as the existing literature does not offer a full genealogy of his exhibition spaces with the intent to identify con- nections between them. The relationship of architecture and the exhibited object is the key concept in understanding of the exhibition spaces, including the pavilions, galleries, and some of his museums, which can be described in three main groups: in the first group, architecture becomes the representation itself as a nomadic ges- ture. In the second group, the structure separates itself from the materiality of the exhibition to create a dual existence and in the third group, the structure and the exhibition obtain singular yet connected and well-defined identities. The reading of exhibition spaces indicates a career-long search by Corbusier for the identity of architecture as a representation of the exhibition itself, which explains the emer- gence of a template in the late years. The development of exhibition spaces from 1924 to 1962, evidences the existence of a clear leitmotif, which connects Corbus- ier’s pavilions one another and represents his conception of exhibition space. All temporary exhibition spaces have a very specific shape, which can be described as a reverse double triangular at the roof or on the facade. The relation of this formal leitmotif as the common feature and the understanding of exhibition space reveals an example of Corbusier’s rationalism, which contains elements of symbolism, formalism, functionalism and structural innovation as a synthesis.
Related papers
EXHIBITION SPACES IN THE CONTEXT OF REPRESENTATION OF ARCHITECTURE.pdf
EXHIBITION SPACES IN THE CONTEXT OF REPRESENTATION OF ARCHITECTURE: TRANSFORMATION OF WAREHOUSE 5 OF ISTANBUL, 2018
It’s believed in the modern ages that the existence of architecture date back to first human who needs to take shelter and creation of architecture belongs to a natural human instinct. Although architecture is born from natural human needs, architectural intellection which is shaped by aesthetic thoughts is formed for a long time in the history. Architectural productions which are shaped with various physical environments and communities are probably the most tangible productions that represent the community in the physical environments over the context. From the ancient history to present, architecture represents social classes, economic and cultural structures, rulerships and beliefs. Before the modern ages, architectural production’s representation is formed by architectural needs with the context. With the modern ages, its changed into representation of architectural production itself and its architect beyond the context. One of these architectural productions are museums which are exhibition spaces. It’s known that modern museums are started to build in 18th century. In the 19th century, museums are designed and differentiated by the common approach “specific spaces for specific objects”. In 20th century, exhibition spaces have become exhibition object itself beyond the “only” exhibition space. Istanbul Painting and Sculpture Museum which is still under construction, could seen as one of these cases. In the frame of the study, transformation of representation of architecture over the exhibition spaces is researched and compared with the similar historical spaces’ transformations. With the relations between representation and the city is researched with literature views on global cases. Istanbul Painting and Sculpture Museum which is the case of the study is examined with site observations and photographs. The aim of the study is to scrutinise and understand that exhibition spaces’ representation of itself and transformation beyond-context with making comparisons between similar global cases.
Unconventional exhibition spaces as an example of the synergy of architecture and art
2020
The article pertains to the relationship between an artwork (painting) and architectural space, as well as the issue of adapting unconventional architectural spaces for an exhibition function in relation to the author’s exhibitions presenting the paintings from the same painting series. Different exhibition concepts of each of the exhibitions emphasize the role of a painting in shaping the architectural space and the quality of this space. An artwork becomes a tool that organizes space and influences its quality. At the Faculty of Architecture of Poznań University of Technology, as part of the research project of Professor A.M. Łubowski and J. Stefańska, D.Sc., titled “Artwork in Architecture”, there has been research conducted on the correlation of architecture and art. The author was invited to participate in three exhibitions carried out as part of this project. The experiences connected with the project have been described in this article. The problem of using the interiors of b...
Space & Form, 2020
At present, not only works of art and curatorial activity, but also the exhibition space seems crucial in the process of exhibiting art. The message formulated by exhibitions is influenced by their architecture through the architectural forms applied and the organisation of the space, along with its transformations, in order to create the individual character of a given exhibition. The paper analyses permanent and temporary exhibitions devoted to recognized artists (Felix Nussbaum Haus; Wyspiański and Wyspiański.Unknown exhibitions; Escher x nendo. Between Two Worlds exhibition). The aim of the work is an attempt to describe contemporary trends in exhibition design, pointing to the history of the phenomenon.
Architecture of the Exhibition: The Evolution of Exhibition Space in Relation to the Art Market
Changing demands of society and the art market have directly shaped exhibition space over the years, leading to its contemporary formal 'crisis': the 'white box' vs. 'building as object,' a rigid dichotomy that poses either the sacrifice of architecture or art at the expense of the other. This essay has found that contemporary trends in the art market have brought about the emergence of several new exhibition strategies, and seeks to evaluate these strategies as a means to move beyond the contemporary 'crisis' of exhibition space. This essay defines exhibition space as the physical setting of a public display of art work, including museums, galleries, fairs, and emerging typologies. The essay will focus on typology as opposed to detail, for the sake of eliciting the most meaningful relationships between exhibition space and the art market. These typologies will be referred to collectively as “exhibition space” throughout the essay, specifying between them only when necessary (the term gallery is often used interchangeably for galleries and museums). This is to promote a cross-sectional analysis of typologies in order to elicit commonalities, and because the developments of these typologies have great overlap. This essay is structured by three main sections: The Historical Development of Exhibition Spaces, Contemporary Exhibition Spaces, and The Future of Exhibition Spaces.
Loading Preview
Sorry, preview is currently unavailable. You can download the paper by clicking the button above.