Over the last decades a real revolution happened in the type, perception and use of art work: objects to be shown, subjects to be celebrated or more simply the demands of artists don't need large and introvert spaces; the events can happen outside the big cities and the small cities have an important role in the structure of the cultural world. The improvement of the historical, financial and cultural origins increased very much the demand of various and more or less large spaces, where to give the right shelter to all signs of human activity and therefore not only to those canonically classified as artistical. The various expositive offer and demand, doesn't necessarily involve monumental buildings made by rich materials. No more (or better not only) blind and heavy walls, stones and precious metals covering, but also the use of light and ethereal walls that were considered poor materials (like wood, adobe, sheet metal, mats, paper and bamboo). New contents, and most recently, subjects linked to the respect for the environment, caused the concept of volumes, sometimes on a small scale, that find, the confirmation of their own language and the technical constructive solutions in local references, and in the observance of energy saving. In this general description, the envelope project my be one of the most interesting and innovating aspects that come out during the last years, with results that appear in many cases every thing but mere solutions. From this point of view Hilton Judin and Nina Cohen's designs for Mandela Museum in Mvezo (South Africa), the Weald and Downland Museum by Edward H. Cullinan in West Sussex, and the most recent Shigeru Ban's Nomadic Museum in New York are all very significant examples. This research, through the study of these works, shows how it is possible to recognise, in places very far among themselves both physically and culturally, at the same time common objectives and variety of materials and design solutions. These very important both technical and formal plans, allow to assign to these sphere selections a right qualitative and ethical degree, that it well symbolises a new way to see and to do the culture and the architecture.
Nuovi musei - Nuovi involucri
LODDO, GIANRAFFAELE;
2005-01-01
Abstract
Over the last decades a real revolution happened in the type, perception and use of art work: objects to be shown, subjects to be celebrated or more simply the demands of artists don't need large and introvert spaces; the events can happen outside the big cities and the small cities have an important role in the structure of the cultural world. The improvement of the historical, financial and cultural origins increased very much the demand of various and more or less large spaces, where to give the right shelter to all signs of human activity and therefore not only to those canonically classified as artistical. The various expositive offer and demand, doesn't necessarily involve monumental buildings made by rich materials. No more (or better not only) blind and heavy walls, stones and precious metals covering, but also the use of light and ethereal walls that were considered poor materials (like wood, adobe, sheet metal, mats, paper and bamboo). New contents, and most recently, subjects linked to the respect for the environment, caused the concept of volumes, sometimes on a small scale, that find, the confirmation of their own language and the technical constructive solutions in local references, and in the observance of energy saving. In this general description, the envelope project my be one of the most interesting and innovating aspects that come out during the last years, with results that appear in many cases every thing but mere solutions. From this point of view Hilton Judin and Nina Cohen's designs for Mandela Museum in Mvezo (South Africa), the Weald and Downland Museum by Edward H. Cullinan in West Sussex, and the most recent Shigeru Ban's Nomadic Museum in New York are all very significant examples. This research, through the study of these works, shows how it is possible to recognise, in places very far among themselves both physically and culturally, at the same time common objectives and variety of materials and design solutions. These very important both technical and formal plans, allow to assign to these sphere selections a right qualitative and ethical degree, that it well symbolises a new way to see and to do the culture and the architecture.
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