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Paradoxically, the museum feels light and welcoming, even if not warm. The structure reflects multicolored light because of the architect's selection of experimental materials like titanium shingles that "shimmer…changing color…according to the time of day or the weather," ("Chapter 29: The Postmodern Era: Art Since 1980").
Also a part of the Beyond Function: Form for Form's Sake special collection is Antonio Gaudi's Casa Milo apartment complex in Barcelona. Occupying an otherwise normal city block in the Catalonian capital, the Casa Milo represents the culmination of Gaudi's artistic expression. The apartment complex exemplifies Gaudi's commitment to moving beyond the rigid dictum of purely functional architecture, while also providing a fully functioning and highly relevant edifice. Curvilinear and lacking the appareance of any straight lines, the Casa Milo is representative of the body of Gaudi work, which is acknowleged by the United Nations Educational, Scientific, and Cultural Organization (UNESCO) as being of tremendous historical and cultural...
The presence of the Casa Milo in Barcelona is testimony to the city's emergence as a global hub of art and culture.
In fact, both Gaudi's Casa Milo and Gehry's Guggenheim Museum in Bilbao reveal ways architects transform whole landscapes. These two buildings are iconic and instantly recognizable, highlighting their ability to transform the cultural consciousness. The urban character of Bilbao and Barcelona has been inextricably altered by the presence of Gehry and Gaudi and by their contributions to the aesthetic feel of the cityscape. Gehry and Gaudi use both form and function to change the spaces around them, offering people the opportunity to interact with art in a way only possible through architecture.
Works Cited
"Chapter 29: The Postmodern Era: Art Since 1980."
Cuff, Dana. Architecture: The Story of Practice. MIT, 1992
Hill, Jonathan. Architecture: The Subject is Matter. New York: Routledge, 2001.
Van Buggen, Coosje and Gehry, Frank O. Frank O. Gehry. Guggenheim Museum, 2003.
Works Cited
"Chapter 29: The Postmodern Era: Art Since 1980."
Cuff, Dana. Architecture: The Story of Practice. MIT, 1992
Hill, Jonathan. Architecture: The Subject is Matter. New York: Routledge, 2001.
Van Buggen, Coosje and Gehry, Frank O. Frank O. Gehry. Guggenheim Museum, 2003.
Museum Methods museum is usually a non-profit organization with intent to provide education and enlightenment by the organized collection, preservation, interpretation and exhibit of items deemed to be of interest to the public or community. Historically, museums have evolved as collaborative projects to house collected works gathered for the appreciation of the current and future generations in our society. However, such definitions cannot be regarded as the last word on
He also asserts that government participation in the arts beyond its role as a consumer can pose significant hindrances to the artistic processes. He claims that politics tends to "seek stability, compromise, and consensus," and as a result avoids supporting art that may "offend majority opinion or go over its head" (38). The market, on the other hand, has "liberated artists…from the potential tyranny of mainstream market taste" (23). Is