This is the end of starchitectural museums, my friend…

In some of my previous posts I called some architects “archistars”. I admit I never heard the definition “starchitecture” but I don’t think it changes the sense of what the two words tries to define.

And so I think it is quite interesting to find an article speaking about some issues I already tried to bring to your attention, that is the worrying diffusion, among public and private museums, of management strategies trying to repeat the “Bilbao effect”.

Another thing I didn’t know (I know I don’t know, would say Socrates, so I’m in good company…) is that it does exist an off-broadway satire talking about these kind of archistars… This means that it’s a real phenomenon!

Anyway, there’s an interesting sentence in the article: “The trend that the play meant to skewer—dubbed “the Bilbao Effect” after the huge success of Frank Gehry’s 1997 Guggenheim Museum Bilbao in Spain—is just about over. The phenomenon of using iconic architecture to promote a city, an institution, or a real-estate development was a product of the economic boom that began in the late 1990s and ended with the recession in 2008”.

So, I wasn’t just completely wrong when I wrote about the recent tendency to replicate the Bilbao Effect, and just as I wrote the article reports the beginning of the end of this tendency!

For younger architects, in fact, these pharaonic building are like the ruins of an ancient past… or, as says Rosalie Genevro, director of the Architectural League in New York, “the spectacle building is kind of a dinosaur”.

And just because some museums’ collections are partly constituted by real dinosaurs it doesn’t mean that they should keep on funding these kinds of architectural proposals!

And so… Cut it off!

Already planned projects reduced their ambitions:

“New York’s Whitney Museum wanted Renzo Piano (there a pic next here) to slenderize his design for a downtown expansion to save costs, and the Tate Modern in London asked Herzog & de Meuron (take a look at the pic here: quite impressive, ah???) to simplify the scheme for its new addition by excising complex glass protrusions. Other new projects are already reflecting a slimmed-down sensibility. Jerusalem’s Israel Museum, scheduled to reopen in July, has been renovated and expanded to enhance the experience for visitors, not overload their senses”. (Doesn’t it sound familiar??? Take a look to my previous posts!)

New plans changed completely their approach:

“The Cincinnati Art Museum, for example—in a city that already has one knockout iconic arts center by Zaha Hadid—recently put on hold its plans for an addition by the hip Rotterdam office Neutelings Riedijk. The Berkeley Art Museum in California canceled a stunning design for a new building by Japanese architect Toyo Ito after failing to raise enough money. Instead the museum will retrofit an old printing plant for new gallery space”.

But these stream hasn’t completely gone away…

“Many of Asia’s economies are still booming, and China in particular hungers for spectacle architecture… In Abu Dhabi and Qatar, major cultural projects, with exuberant designs by Gehry, Hadid, and Jean Nouvel (it’s the last photo), remain on track, at least for now. And on the West Coast, two contemporary-art museums—one devoted to the collection of Eli Broad in Los Angeles, the other an extension of the San Francisco Museum of Modern Art, to house the collection of Gap founders Doris and Donald Fisher—have invited some of the usual suspects to compete for their designs. Diller Scofidio + Renfro, Adjaye Associates, Snøhetta, and Foster + Partners are up for the SFMOMA job, and Diller Scofidio + Renfro leads a list of six firms for the L.A. museum. But the winning architects are likely to propose schemes that are sensitive to their urban habitat and deferential to the art”.

These are some things we already talked about, didn’t we? 😉

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