The practical "Museum Building guide for Dummies”
The practical "Museum Building guide for Dummies”
A museum
Introduction
1.
The following essay – as if it could be called so – will mainly discuss and describe the case of museums in the current architecture discourse , the essay nevertheless due to nature of his writer leans more on the side of describing rather than specifying , describing rather than giving any clear answers or opinions , despite the fact that the main requirement of the essay is to describe a and perhaps plan and provide a case or strategy for a museum a museum to be built , despite this fact , the essay itself announce and admit the lack of its ability to respond to this specific task , therefore this essay intention is to describe rather than to clarify . to see and witness rather than to believe. But believe that between the lines a case be presented a case. Alongside this process of identification and descripting, a method and strategy will be delineated. In doing so, a practical "the Museum Building guide for Dummies” will be a assembled woven into the text. Look for these readymade delicious recipes and hints, marked by an underline. When looking for these delicious recipes please exclude them for the text structure they are interwoven but not included or considered as the main argument. They are only they’re for your pleasure only.
Sidenote this text truly lack originality its combination of a mere conceptual recycling or lucky this is not the case for originality it’s the case for a museum.
A museum.
in the English language the article A and the article THE – as you known – provide a different explanation provide a specific meaning of the words the follow. This is the case for the A.
"A" (indefinite article):
The indefinite article "a" is used to introduce a non-specific or generic noun. It signals that the noun it precedes is just one of many possible items belonging to a certain category or class.
Example: "I saw a cat." Here, "a cat" refers to any cat, not a particular one.
Example: " I write about a museum “, "a museum"" refers to any museum, not a particular one
A non-specific a generic
While "The" (definite article):"The" is used when ones are referring to a specific item or when the item is already known to the reader or listener.
Example: "I saw the movie yesterday." (Here, it implies a specific movie that is known to the speaker and possibly the listener.)
Example "the museums building guide for dummies." (Here, it implies a specific guide that is known to the speaker and possibly the listener but most importantly for the dummies)
A non-specific a generic
A museum
2.
When architecture is discussed beyond its spatial effect and quality – which is secondary beyond the discussion of a specific building or the effect of a specific building to the genre – the discourse of the architecture starts to get overlayed over politics, accumulation of capital and , the economic regime , considering the these factors as the main abstract models to shape and move architecture in the sense to build in order to show or to present , a culture . the architecture here in this case could be discussed as the politics of the architect, the politics of the building or the politics of the client.
3.
In order for the discussion to be carried a slight shift from the generic to the specific in order to limit and guide the argument, must be established, a slight shift from the specific, a shift that depends on abstract assumptions – ironically -
In this case culture here would be identified as the accumulation of knowledge wisdom that is beyond the individual a shared belief, system of values, customs, behaviors, and artifacts that characterize a group of people, the culture of the collective
The economic regime in this specific case would be a neoliberal one, a western neoliberal agenda.
Last as pre mentioned the purpose of this essay aims to avoid personal opinions – at least tries -therefore politics of the architect would be ignored rather a focus of the politics of the building and the politics of the client would be emphasized.
4.
The politics of a museum
The politically infused ideology underlying the construction of a museum demands and sets forth a predetermined narrative. By labeling and identifying the structure as a museum, a straightforward narrative is established: whatever this container may contain is deemed significant and awe-inspiring. The term "museum" possesses the inherent capability to bestow authority and power, ensuring that whatever it encompasses is recognized and acknowledged.
A museum is not a neutral spaces, the museum as an architecture project has been mainly used and considered as the tool to display architecture as avant-garde to display architecture in its pinnacle height of power a tool to display and show both the architect and the client and their wisdom , it is the project the architect may admire and hope for as a commission , it is the project to display space , whatever this statement may carry as a further argument between the content and the container and who may come in display first in the foreground who may claims your short sided attention . Museums are not neutral spaces they reflect and shape cultural narratives.- Pre-established- narratives they are a tool to establish and prove the pre-established- argument The selection of artifacts, exhibits, and the overall design communicates a certain perspective on history, art, but mainly the city and the visitor -why fight what is rooted just go a long with it - Decisions about what to include or exclude in a museum is politically charged. Museums are -but not limited- sites of contestation.
5
sites of contestation
· Land and ground
· The city the nature or a countryside
· The body physical sensual movement in time over the flip , the switch ,the world at the mere touch of my fingertip. isn’t it lovely.
6
· The foreign object and the white ice cube
On what does a museum stand?
A building is physically situated on the ground, but its true connection lies with the land. The ground serves as the immediate surface you walk on, the platform for entering and departing the building. On the other hand, the land represents the broader context of social and political life, where policies are intertwined with the ground. The land is the space where these policies physically intersect with the ground. In architectural expression, the focus often shifts from merely occupying the ground to engaging with the broader socio-political landscape—the land.
A building that is elevated on a podium or submerged under the surface of the earth , may leave the ground allowing the visitor the occupant for the sincere short state of disbelieve a state where he may have left the ground -as he left himself and the world behind at least or even for just a little bit - to enter be elevated – physical literally and metaphorically - over a theatrical stage in a sense -where all is well organized well established suited for your pleasure only - . he she or it may leave the ground but only to enter the land.
The practical "Museum Building guide for Dummies”
1. whatever u may do make sure and ensure that the building is submerged into the ground. Why might you wonder?
By submerging the structure into the earth, the building intentionally disrupts conventional relationships between its form and the surrounding land, fostering an enigmatic integration. This deliberate blurring of boundaries not only adds visual lightness to the structure but also seamlessly conceals it within the natural topography. This approach strategically sidesteps the challenge of making a definitive statement about the external visual form.
As the foreign object gradually becomes embedded in the ground, its inherent contradiction begins to reveal itself. The juxtaposition of a foreign object standing on the ground, attempting to merge with the landscape, may result in a visual effect akin to landscape upon landscape. However, at this stage, any explicit discussion of the foreign object and its resemblance to a white ice cube is intentionally avoided. Further instructions on this nuanced design approach can be found in the subsequent steps of the guide.
2. Acquire the most expansive plot available, ensuring its uniformity with square dimensions. Please be aware that such a site might not be available within city limits; therefore, explore options in the countryside. This approach proves more cost-effective, considering cities already boast an abundance of museums. Redirecting cultural attractions to the countryside can serve as a catalyst to attract more tourists, addressing the issue of depopulation in rural areas and establishing a unique museum experience in an otherwise underutilized landscape.
3. Seek a site with varied topography, avoiding flat terrain. A diverse land typology will be crucial for articulating statements about nature in the subsequent stages of the project.
4. Construct a concrete podium over the chosen site, opting for a cubic shape with a height of at least 2 meters. Keep the podium vacant for the time being.
Congratulations, you've successfully established a new ground first stage completed. Now, contemplate what you'd like to place atop or within it. Keep in mind that the ability of individuals and groups to shape cultural expressions isn't entirely self-governing; it's influenced by non-human elements—artifacts, technology, physical space. Feel free to explore ideas without undue pressure.
Enter the land. Maybe through the city, take over nature-if you can find it, if it’s still there - in case you get lost, you shall get lost in a countryside I been told its green and empty over there.
The city
The essence of the current day city can be characterized by perpetual expansion. It embodies infinity through continuous economic growth, capital accumulation, energy expenditure, and rapid information transfer. Present-day urban conditions often reflect these characteristics, manifesting in cities that are marked by excessive pricing, stringent control measures, heightened security concerns, and the extraction of data. This urban landscape is shaped by the relentless pursuit of growth, both economically and technologically, contributing to a complex and dynamic environment where the interplay of these factors defines the city's identity.
it is essential to be recognized the narratives employed to elucidate neoliberalism, encompassing its preconditions, emergence, and various manifestations, often tend to veer towards a level of generalization an endless that borders on meaninglessness. Neoliberalism is frequently invoked as an explanation for all phenomena, attributing the force of existence to its influence. It becomes a catch-all rationale, transforming what was once considered sublime into a commercial realm—a sublime now available for purchase, provided one can afford it.
The new current state highlights the transition in the present economy—from an economy of scale and economy of scope to an economy that emphasizes the potential for mass customization. This shift signifies a move away from controlling assembly lines to embracing vertical disintegration.
The contemporary city bears the weight of a dehumanizing impact. This effect can primarily be mitigated through the creation of special places known as museums. As cities grapple with the pressure and congestion that have become inherent, the response has predominantly taken the form of parks—a typology necessitated by urbanization. These parks either replace or attempt to recreate nature, providing a renewed ground in the aftermath of cities encroaching upon and replacing natural landscapes.
the response has not been limited to parks alone. Another solution has emerged in the form of museums—a unique space designed to counteract the dehumanizing effects of city life a relief. Unfortunately, the prevailing trend has confined museums to serving mainly as entertainment avenues, propaganda tools, or destinations visited intermittently. throughout the year. This limitation undermines the potential of museums to serve as more profound and transformative spaces within the urban environment.
In its historical origins, the museum traces back to Cabinets of Curiosities, where during the Renaissance, the concept of amassing and displaying captivating objects emerged. These cabinets, initially private collections, presented a diverse range of specimens and artifacts. The act of collecting, integral to the museum's roots, inherently reflected the culture it represented. This wasn't merely a consequence but rather the fundamental essence, character, and identity of the collecting process, encompassing both the collection and the collector.
The challenge arises in identifying culture through objects, particularly in a context where non-human agencies play a crucial role in shaping culture. This dual relationship becomes complex in the present economic landscape, where objects seem to exist on equal footing without a clear hierarchy. This equality is further influenced and established through consumer choices, blurring the boundaries between what was a cultural value and what is a commodity. In this scenario, cultural representations are subject to the same forces as consumer choices, challenging the distinction between a cultural value and a commodity.
While a museum differs from a typical supermarket involved in direct commodity transactions, it can be perceived as a crucial link in the intricate supply chain. Within this metaphorical context, the museum takes on the responsibility of shaping rules and dynamics in a pre-market phase, navigating the complexities involved in cultural and artistic exchanges. Operating outside the traditional market structure, the museum serves as a pivotal component in the supply chain, establishing rules and dynamics before artifacts enter the market or trading sphere. The influence is akin to a two-way street, lacking a clear hierarchy, where reciprocal impacts occur and the market and pre-market become intertwined, with no single dominant actor taking the forefront. This metaphor underscores the museum's pivotal role in molding the narrative, value, and context of cultural items, thereby influencing how these artifacts are perceived and valued within the broader cultural and economic landscape.
For example, while you cannot directly purchase artwork from a museum, providing a clear distinction exists between galleries and museums. However, you do have the option to acquire art through galleries auction house etc. and lend it to the museum. This allows you to influence and control the storytelling context while also providing potential benefits such as tax advantages. Within this dynamic, a significant reflection surfaces: culture has transformed into a commodity, accessible at a price, with museums operating as archives for such transactions. This transformation is not confined solely to transactions but extends to broader consequences—an outcome of urbanization and the pervasive influence of capital. This influence, intrinsically tied to shaping cities and its inhabitant, prompts a crucial inquiry into the role of architecture as a cultural agent. Historically, architecture propelled cultural evolution, but presently, it grapples with a loss of meaning, a sentiment shared with current cultural elements and narrative.
Displaying again the fact that culture values or even the sublime is also a responding to the narrative of supply and demand.
This shared loss of meaning signals a shift from architecture being an active agent of culture to architecture being shaped by the prevailing culture—a reflection more than a production. It becomes a tool to exhibit pre-established ideas rather than challenging future possibilities. This shift is a topic for further exploration, especially concerning the case of the foreign object, an element that is out of the alignment.
For now, the primary concern centers on the nature of cities. The transition from the metropolis as the promised land, the city of dreams, to a state of overwhelming complexity is a pressing issue deserving deeper consideration.
Nature
Considering a fact that the Amazon Forest has been extensively replanted, covering up to ninety percent of its original surface, a question arises: what truly defines nature? In a world where human presence and control are pervasive, the very essence of nature undergoes a transformation. It leads one to ponder whether the concept of nature is, at its core, a reflection of humanity's innate desire to seek a higher power—a force that transcends individual awareness. This pursuit appears almost like a correction of mistakes, allowing humans to relinquish some responsibility for their actions.
Both human and non-human agencies have the power to shape our understanding of reality, both in the physical environment and metaphorically in one's own awareness. However, the notion that nature, untouched by human influence, represents a higher power is an outdated idea. It echoes an old argument of seeking and admiring what is untouched or pristine, beyond human reach for a fleeting moment. Nature is now being reconsidered, recognizing that what is beyond human touch is limited, as is the current state of the landscape—seemingly difficult to attain and on the verge of disappearing.
The question of what nature is parallels the inquiry into what it means to be human. This seems almost irrelevant unless acknowledging a state of confusion. Historically, clear understanding of identity emerged in the aftermath of disasters like world wars, the Vietnam War, youth movements, or civic rights movements. This clarity appears to follow or arise through a state of grief. The loss of consciousness and meaning appears tied to human existence. Clear statements about identity are brief, becoming outdated quickly. The sustainability of concepts over time seems uncertain.
Nature, often portrayed as existing beyond the bounds of human comprehension, elicits both awe and terror. This portrayal prompts an inquiry: Is nature, for humanity, a quest for a new deity? Does the concept of nature serve as a manifestation of the human inclination to seek a power greater and more self-aware than themselves? This perspective suggests that the idea of nature serves as a substitute for a divine authority, allowing individuals to navigate their actions and consequences within a framework that transcends their immediate control.
The practical "Museum Building guide for Dummies”
Are you done with the construction of the concrete podium?
have you explored ideas?
Are you feeling stressed out?
don’t it’s all going to be okay.
5. Now, observe your surroundings, explore the physical world, and marvel at its wonders. Engage in the process of selection of plants —choose, pick out elements. The subsequent steps involve relying on the technical regime. opt for an untouched landscape full site that matches the dimensions of the podium. don’t pay attention to its location. Its appearance or utility for survival all doesn’t matter. Observe, wonder, and select, whether one or all, mixing and matching freely. Be unrestrained in your choices, precision is irrelevant.
6. Once you've chosen a landscape, employ algorithms and machines to meticulously scan and analyze this captivating piece of land that reflects the wonders of your taste. The intent is to duplicate it across every and over the podium, turning it into the adornment. Post the completion of scanning and categorization, devise strategies to recreate it precisely on top of a concrete podium will be provided, mirroring the original land. Better than the original land
Put nature on display.
A countryside
As a result of being a son of a concrete city the countryside seems as an equally ambiguous same as exactly as the idea of nature.
It has always seemed as nothing more than a factory an empty land that provide the city with its nutrients need and occasional sessional visitors.
A space for the city to occasionally extend its limit when the congestion gets over the limit, a space the city can easily demand it according to its means needs and desires, it has always seemed like a servant that exist to provide when called for.
It is as if, it is the experiment space for the city, a space for the city to try the uncertain for the safety of it. for the safety of its inhabitant is it the current colonized space of the city?
As mentioned, the case for the city is addressed as a space of the overpriced the overly populated the security obsessed, elements that seems to make the case pre-established for the favor of the countryside, a case that leans on romanization over facts,
what is the relationship between the urban and the rural? - I don’t know –
equally elusive, equally hyper and equally artificial .
Equally elusive, the impact of globalization on the architecture of modern cities has led to a pervasive building scheme characterized by a uniformity seen in most metropolises—a prevalence of glass facades and steel frames. This scheme prioritizes maximizing inhabitable volume. Meanwhile, the countryside historically embraced vernacular architecture, rooted in local space and time. However, the current state of rural architecture, influenced by depopulation or the neglect of its structures and sites, has witnessed the deterioration of the vernacular style. This traditional approach is deemed unsustainable in the context of the current technical regime.
The decay has given rise to an equally generalized architectural scheme, albeit one responding through diverse scales. Remarkably like the urban trend, rural areas have adopted an architecture founded on mass-produced, cost-efficient profiles. The consequence is a form of gentrification that mirrors the urban model, albeit adapted to the unique characteristics of the countryside.
Similar characteristics can also extend to the current state of farming, which has transformed from a communal endeavor to an occupation now resembling an office space. The tractor, a central element in contemporary agriculture, shares commonalities with an office setting as both are digitally mediated through screens and touchpads. The technical regime has facilitated the precise assembly of data, leading to the development of innovative farming strategies that are highly efficient and rooted in technological tools.
In this context, the land undergoes processes of scanning, digitalization, and monitoring, turning the modern tractor into the equivalent of a countryside office space. Technological advancements even extend to addressing animal needs, exemplified by features like robotic brushing for cows. For instance, when cows receive attention to their emotional needs, such as having their skin brushed, it can enhance milk production. Additionally, self-managed cleaning machines are becoming commonplace, efficiently sweeping, and maintaining the cleanliness of farm grounds.
The transformation resulting from the depopulation of the countryside, leading to its emptiness, has now given way to a renewed interest in embracing a new tenet—immigrants. This shift has introduced a fresh cultural dynamic in rural areas, characterized by a newfound hybridity. Just as cities have historically sought diversity to perhaps eliminate boredom, there is now a recognized imperative to cultivate and sustain a diverse culture in the countryside. This shift signifies a departure from the current emptiness,
Prompting an inquiry into the desire and efforts of preservation specific cultural values, it leads me to question the rationale behind preserving elements that are inherently dynamic. This sparks an exploration into the rationality and logic associated with preserving what may soon become regarded as outdated batteries.
In the evolving architectural landscape linked to the countryside, a region known for its vast expanses and its unique ability to provide land and space when needed, a distinct character emerges. This stands in stark contrast to the urban environment, where such traits are notably absent. The countryside's expansive land becomes a pivotal element in this narrative—a characteristic that is absent in cities but increasingly valued.
As cities grapple with the need for perpetual growth, innovative preservation efforts are underway, giving rise to unconventional architectural forms like data centers. These structures demand extensive open spaces crucial for their optimal functioning, serving the machinery's requirements. The countryside plays a crucial role in accommodating these structures, ushering in a new architectural paradigm specifically designed for machinery rather than human habitation.
This development invites a critical examination of historical parallels between contemporary typologies and established infrastructure, such as dams. It prompts questions about the relationship between past and present infrastructure—both responses to specific technical regimes and solutions to meet the city's demands.
While electric towers historically operated without the need for enclosure, the new data center demands both protection and enclosure from environmental elements. These characteristics align with the architectural language, creating a clear distinction between an electrical tower and a data center and resulting in a shared sense of artificiality.
The practical "Museum Building guide for Dummies”
If you're curious about why the construction is happening in the countryside, consider it as a new form of amusement park for the recently settled inhabitants. Their amusement is vital to anchor their desire to stay. Therefore, it might be worth considering including spaces like a 24-hour restaurant or an underground pool in the building program of course it shall be considered as a method for public engagement while Providing entertainment becomes essential in sustaining their engagement and satisfaction.
7. Now after showcasing nature, the next step involves introducing a grid circulation element. Imagine it as establishing pathways in the newly explored, vast, and potentially hazardous forest. The grid's placement ensures a sense of neutrality, essentially creating a gridded nature. This allows for the control of visitor movement across the podium, guiding them seamlessly toward the museum entrance. Congratulations, you've now created a museum that feels equal to an excavation city, also by placing it underground you have just protected nature you insured that its astatic may not be interrupted after all the concrete podium is just 2 meters height, it ensures the stability of the new city within its imaginary context.
the world at the mere touch of my fingertip. isn’t it lovely.
The nature of the contemporary world, although the term "new" might be a misnomer, is intricately tied to the characteristics of the present technical regime, which is defined by its remarkable speed of transformation. In contrast to the previous technical regime, which was marked by the integration of visual media into daily life, the current regime has ushered in a profound shift in the way information and data are transmitted, making them instantaneously available. This marks a historical transformation in our capacity to process knowledge.
The sheer volume of information has necessitated a shift in its presentation, with a significant portion now being distilled into visual formats, essentially transforming data into images. This shift has redefined our understanding of exploring the external world. What used to be a physical requirement for direct interaction has evolved into a process limited only by the speed of a swipe on a touchscreen device. This transformation has led to a paradigm shift in the way we experience the world, with almost all aspects of our surroundings becoming accessible through the exploration of visual stimuli.
This transformation has given rise to a new aesthetic regime centered around imaging. The ability to abstract and condense the exploration of space and time into visual representations has not only revolutionized how we perceive our surroundings but has also introduced a novel dimension to the aesthetics of information. The exploration of the world, once bound by the constraints of physical presence, has now become an exercise primarily conducted through the eyes, leading to an unprecedented era of visual exploration. This shift in our interaction with information and the external world challenges traditional notions of spatial and temporal limitations, ushering in a new era where the visual experience takes precedence in shaping our understanding of reality.
In the current landscape, the prevailing conditions offer a fertile ground for reconsidering the significance of the foreign object. The foreign object, which was once systematically portrayed as losing its essence of being foreign, is now undergoing a transformation. Its essence, closely tied to its ability to evoke a limited sense of awe, has been somewhat diminished due to the rapid succession of new foreign entities. This cyclic pattern ensures that the previous foreign object becomes outdated, its novelty fading as it gets superseded by the next iteration, thereby limiting its capacity to sustain a profound sense of awe.
The essence of foreignness, which currently rested on its ability to elicit a unique and limited sense of wonder, is challenged by the perpetual introduction of newer foreign elements. Each successive arrival dilutes the impact of its predecessor, fostering a climate in which foreignness becomes a transient
quality rather than a lasting source of awe. The anticipation of the new foreign object, often compared to the newer and the newest, accentuates this phenomenon, creating a cycle where the foreign loses its distinctive allure as it is replaced in rapid succession.
This contemporary dynamic raises questions about the nature of fascination and novelty in a world inundated with a constant influx of foreign elements. The transient nature of awe associated with foreign objects prompts a reevaluation of the value we ascribe to these elements and the enduring impact they have on our perception of the world even if it is limited for such a small period and an attention span , which raise the question of the desire of longevity , where the nature of the world to endless shift , the nature of architecture remains as a desire of longevity , they possibility of the foreign object to exist even for such a limited time , may be accepted if it be addressed and intentionally created as a short span object , it exist to maybe replaced soon allowing for an endless supply of alienation , alienation that may shift once more as indicated to bring into question the essential means of form , as a result the effect of the culture as losing its sense of meaning maybe address in the architecture language once more , meaning that the foreign object may also carry the possibility to shift focus on what is mundane and part of the everyday life giving awareness once more to the architecture language , giving it conscious once more , only through an extreme ability to alienate .
The practical "Museum Building guide for Dummies”
8. After Following the implementation of the superimposed grid, a grid that is guiding visitors to the museum entrance, an entrance which is artistically carved into the podium, the entrance leads to a captivating staircase. It is prudent to consider the museum's program, and a strategic decision would be to designate the initial underground floor as a perpetually open public space. This space can host facilities such as coffee shops or restaurants, providing visitors with an opportunity to liberate themselves from the burdensome weight of everyday life. This gradual transition allows them to seamlessly shift into an active state of exploration.
For the next phase, it is crucial to begin contemplating unconventional and elusive forms as a means to envelop the museum spaces.
the white ice cube.
The concept of the "white cube" has historically been integral to the display of visual arts, encompassing painting, sculpture, and various forms of representation within museum spaces. These art forms often necessitate specific spatial considerations, spanning from appropriate lighting conditions to the dimensions and layout of a room, facilitating optimal viewing and circulation. In response to these requirements, the conventional white cube has evolved beyond its role as an interior design concept to become an exterior form.
This transformation serves a dual purpose: it addresses the practical aspects of showcasing artworks by providing a neutral and flexible display space, while simultaneously sparking inquiries about the relationship between the content and its container. Questions arise concerning which elements take precedence, who determines their prominence, and when certain aspects demand foregrounding. This shift in spatial dynamics within the museum setting has consequences—
by prioritizing an austere and uniform environment, it can inadvertently lead to a lack of engagement with the individual artworks, relegating them to a homogeneous backdrop on the visual horizon.
A space that is resulting in a monotone of sensual exploration.
The practical "Museum Building guide for Dummies”
9. To ensure an interior sensual active exploration of the space and the entertainment value of the visitor also ensuring establishing the new expensive structure as critical form and from other museum space, paint the interior black.
While it may be considered extreme to paint an interior black an alternative such as leaning on the museum actual architecture form such as curved and non-planar geometry to display the artwork may be a worth considering option.
10. Congratulation you have now created an existing architecture space being able to claim a higher culture as a result of your financial investment, also you have reached the end of the practical guide.