Проблеми організації експозиції художніх музеїв та їх вплив на формування архітектурно-просторового рішення музейних споруд (ХХ–ХХІ сторіччя)

Abstract

У статті визначено проблеми в організації художніх музеїв ХХ – початку XXI ст., відповіді на які стали відправною точкою в пошуку нових архітектурно-дизайнерських рішень експозиційних просторів. Розглянуто видатні музейні споруди, об’ємно-просторова і організаційна структура котрих стала відповіддю на актуальні проблеми, що характеризують етапи розвитку музейної експозиції. Показано, що хронологічно першим постало питання про формування експозиційного інтер’єру як відкритого простору. З другої половини ХХ ст. визначилися питання організації музею як поліфункціональної установи. В цей же період відбуваються пошуки розв’язання проблеми театралізації художнього простору. На початку ХХІ ст. музейний простір уже розглядають як масштабний мистецький об’єкт, дизайн котрого формується як синтетичне дійство, базоване на взаємозв’язку архітектури, експозиційних засобів і самих експонатів.

В статье определены проблемы в организации художественных музеев ХХ – начала XXI века, ответы на которые послужили отправной точкой в поиске новых архитектурно-дизайнерских решений экспозиционных пространств. Рассмотрены выдающиеся музейные сооружения, объемно-пространственная и организационная структура которых стала ответом на актуальные проблемы, характеризующие этапы развития музейной экспозиции. Показано, что хронологически первым встал вопрос о формировании экспозиционного интерьера как открытого пространства. Со второй половины ХХ века стал актуальным вопрос организации музея как полифункционального учреждения. В этот же период происходят поиски решения проблемы театрализации художественного пространства. В начале XXI в. музейное пространство уже рассматривается как масштабный художественный объект, дизайн которого формируется как синтетическое действо, основанное на взаимосвязи архитектуры, экспозиционных средств и самих экспонатов.

Searches for new approaches to museum representation of art in the twentieth century were associated with current trends of the artistic world, as well as changes in the attitude towards the very work of art as an object of perception. The purpose of this publication is to identify problems in the organization of art museums throughout the 20th – early 21st centuries, the solution of which served as a starting point in the search for new architectural and design solutions for exposition spaces. Formation process of architectural space of art museums in the first half of the 20th century was marked by a new approach associated with the transition from a closed, rigidly defined scheme to an open, free planning system. The project of Frank Lloyd Wright for the Guggenheim Museum in New York (USA, 1943–1959) was one of the first implementations of this solution. The scheme for organizing the viewing of the exposition was the novelty. The visitor’s route starts from the upper exhibition spaces, an open spacious atrium dominates in the space and descent occurs along the walls, along a screw ramp. The second half of the twentieth century was characterized by an orientation toward the polyfunctionality of structures in the aspect of museum design. The National Center of Art and Culture of Georges Pompidou in Paris was an important museum building, noted for its novelty. It was designed by Richard Rogers and Renzo Piano (1969–1977). The center united a modern art museum with a cinema-center, a music archive, a library, a restaurant, a bar and a shop, including a public square in front of the building and observation deck at the top. This building marked the formation of a new concept of the museum as an entertainment institution, which later received its active development. By the end of the 20th century, under the influence of changes in the social demands of society, many museums became cultural and leisure centers, and their spaces acquire one more function, it is gaming function. The Guggenheim Museum in Bilbao (Spain), designed by architect Frank Gehry (1997) is an epochal construction in the development of museum architecture. It was immediately recognized as one of the most spectacular buildings in the world. Its huge interior spaces represented the notion that modern art requires exhibition spaces of enormous scale and extraordinary character. The museum practice of the 21st century demonstrates that the modern museum is more aimed at reflecting artistic processes than names in its space. The architectural and spatial organization of interiors of art museums today carries semantic meanings, conditioned by cultural background of a society. The Tate Gallery in London (UK, 2000), housed in the building of a former power station is a famous example. Exposition design of art collection of the 20th–21st centuries is organized in such a way that each block represents a complete finished picture of art of a certain period, refracted through the prism of modernity. Thus, a number of problems have been identified that have influenced the development of exposition spaces of art museums. Chronologically, the first question was raised about the formation of exposition interior as an open space, allowing the visitor to organize his own route. The Guggenheim Museum in New York (USA, 1959) under the project of Frank Lloyd Wright is a significant construction that marked the new principle of interior space organization. From the second half of the twentieth century, the problem of organizing the museum as a polyfunctional institution, formed in the framework of new concept of the museum as an entertaining cultural center was identified. The National Center of Art and Culture of Georges Pompidou in Paris became an epochal building designed by Richard Rogers and Renzo Piano (1969–1977). In the same period, there have been searches for the solution of the problem of theatricalization of artistic space. Architectural design solution of the Guggenheim Museum in Bilbao (Spain), designed by Frank Gehry (1997) was the virtuosic outcome of the problem. By the beginning of the 21st century, museum space was viewed as a large-scale art object, whose design is formed as a synthetic action based on interrelation of architecture, exposition means and exhibits themselves. The problem lies in the orientation of exposition design to maintain reflexive interaction of space with the objects of art that it contains. An example of its successful solution is the design of exhibition space of the Tate Gallery in London (UK, 2000), housed in the building of the former power station.