Abstract
This paper discusses the evolution of the form and program of major international museums over the last five centuries. We analyzed museums built between the 17th and 19th centuries; modern museums, including the Museum for a Small City (Mies van der Rohe), the Guggenheim Museum in New York (Frank Lloyd Wright), and the Museum of Unlimited Growth (Le Corbusier); and contemporary museums such as Centre George Pompidou (Richard Rogers/Renzo Piano) and the Guggenheim Museum Bilbao (Frank Gehry). Born from the habit of collecting, up until the 19th century, museums were not identifiable as the attraction we know today. Initially consisting of only a corridor, their program evolved from a set of rooms and library to spaces that replicate urban life synthesized in their interiors. In their buildings, historic architectural elements such as stairs, porticos, and rotundas were consecrated. However, starting from the mid-19th century, museums have become a place of formal audacity, assuming the transparency of glass, the dynamics of the spiral, or the movement of Boccioni’s bottle.
Highlights
This paper discusses the evolution of the form and program of major international museums over the last five centuries
Starting from the mid19th century, museums have become a place of formal audacity, assuming the transparency of glass, the dynamics of the spiral, or the movement of Boccioni’s bottle
Este artigo se refere apenas aos conhecidos museus de arte, mas o fenômeno dos museus poderia ser estendido a todos os seus homônimos, como os museus de ciências, de tecnologias, de história etc., trabalho que ampliaria o estudo sobre suas diversas formas, programas e concepções
Summary
El presente artículo trata de la evolución de la forma y del programa de los grandes museos internacionales, a lo largo de cinco siglos. Han sido analizados los museos surgidos entre los siglos 17 e 19; los museos modernos: Museo para una Ciudad Pequeña (Mies van der Rohe), Museo Guggenheim de Nueva York (Frank Lloyd Wright) y Museo del Crecimiento Ilimitado (Le Corbusier); y los museos contemporáneos: Centro George Pompidou (Richard Rogers/Renzo Piano) y el Museo Guggenheim de Bilbao (Frank Ghery). Surgido del hábito de coleccionar, hasta el siglo 19, el museo no constituía una envoltura identificable con la categoría que hoy conocemos. Inicialmente constituido tan sólo de un pasillo, su programa evoluciona, desde un conjunto de salas y biblioteca hacia espacios que reproducen una vida urbana sintetizada en sus interiores. A partir de mediados del siglo 20, el museo se convirtió en el lugar de osadías formales, asumiendo la transparencia del vidrio, la dinámica de la espiral o el movimiento de la botella de Boccioni
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