kevin

Some of the earliest galleries were the temples of ancient civilizations. In particular, the Greeks created solemn buildings to house images of their gods. The archetypical example could be found on the Athenian Acropolis in the temple to Athena Parthenos. A massive statue of the goddess stood inside, ensconsed within a dark, mysterious atmosphere accentuated by the burning of incense and the relative exclusion of natural light. The interior contrasted sharply with the sun-drenched conditions of the site. Externally, natural light would have been intensified through the use of copious amounts of white marble to construct the temple complex. The visitor/worshiper would have experienced a moment of uncertainty when moving from the intense light of the exterior of the temple to the dimly-lit, sacred space inside. This stark transition served to intensify the experience. The sculpture within was the point of interest, and faced towards the east and the rising sun. It would have only been visible gradually as the eyes adjusted to the changing light conditions. The overall effect was meant to instil a sense of reverence in the visitor.

Not only did the temple serve to create a sacred enclosure for a piece of sculpture, but it also served as a symbol of civic pride and accomplishment. Typically, as with the Parthenon, the temple occupied the highest point of the city. Elevated positions were associated with aristocracy, and these temples were reminders to the populace of the strength of their community.

The modern gallery serves many of the same purposes as the Greek temple. The interior conditions within them are carefully manipulated to create serene, reverential environments where works of art are venerated. The buildings themselves are usually powerful and prominent, exemplars of the wealth of their cities. To approach them, the visitor usually must ascend steps or ramps to access the elevated sites. The Metropolitan Museum of Art in New York, The National Gallery and British Museum in London, and the Prado in Madrid all follow this pattern. Clearly these characteristics, e.g. manipulation of light, and prominent location, hold a potent appeal.

Many artists have experimented with the manipulation of natural light. Edward Hopper in particular used the depiction of strong natural light to isolate and accentuate the subject of his work. Paintings like A Woman in the Sun, Morning Sun, and Excursion into Philosophy all use this technique in a manner I think is analogous to the use of light in the temple of the ancient Greeks. More recently, James Turrell accomplishes a similar effect in a more abstract way.

I would like to emulate these qualities in my own gallery design. My site is elevated on a roof-top which overlooks a busy commercial centre. The approach to the gallery will ascend prominently from street level. The gallery spaces on top will house single, iconic pieces in spaces utilising and manipulating natural light to accentuate the experience of viewing them. Each space will be dedicated to showcasing a work of art that is significant for one particular client drawn from tenants of the building. The intention is to provide contemplative, quasi-mystical environments that serve as true “temples to commerce”. By advertising the civic and artistic intentions of their sponsors, they serve as subtle endorsements of their products. For example, an iconic piece of Issey Miyake clothing in the TopShop gallery speaks to the aspirations of their target consumer- the 25-35 year-old, fashionably conscious woman. The video installation David by Sam Taylor-Wood appeals to the sensibilities of the 15-25 year-old girls who are the target audience of Miss Selfridge while establishing the progressive artistic vision of that retailer.

Recognising the importance of manipulating light as part of the experience, the gallery spaces must “interact” with the changing qualities of the natural light throughout the year. The procession through the spaces should be guided by these changing light conditions and should expose the visitor to sharply varying concentrations of light emphasising the works housed within.

Finally, light (sun) can be seen as a participant in the design by carving the exhibition spaces from the substance of the building. Their location and configuration will be partially determined by the position of the sun (altitude and amplitude) throughout the year.

Ultimately, I want to create an ordered series of atmospheric exhibition spaces on a prominent site which manipulate and are manipulated by natural light and serve to advance the image of their commercial sponsors.