Museum Madness

UC Berkeley UC Berkeley Electronic Theses and Dissertations Title The Denver Art Museum and the Bilbao Effect Permalink https://escholarship.org/uc/item/6dm3924c Author Lindsay, Georgia Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California The Denver Art Museum and the Bilbao Effect by Georgia Lucille Lindsay A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Architecture in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Galen Cranz, Chair Associate Professor Andrew Shanken Professor Emeritus Richard Walker Fall 2013 Abstract The Denver Art Museum and the Bilbao Effect by Georgia Lucille Lindsay Doctor of Philosophy in Architecture University of California, Berkeley Professor Galen Cranz, Chair Museum buildings have clear behavioral functions; they also have symbolic functions, to express the privileged space and valuable objects they contain. Our ideas about what art museums should look like in the United States have changed significantly throughout the past 150 years of the building type’s history here. In the 1990s, the number of museums built grew exponentially, and often these buildings are works of art in their own right. This research looks closely at a recently-completed museum building in Denver, Colorado. Placed in a regional city in the middle of the United States, the Denver Art Museum explicitly wanted to replicate the success of the Guggenheim Museum Bilbao with its new wing, making the Denver Art Museum’s Hamilton Building the perfect site for an in-depth study of the Bilbao-era paradigm for museums, its connection to urban issues, and what effects the form has on art display. This case study utilizes a multi- method approach, with findings based on interviews with key stakeholders, archival data, and direct observations of the building and the spaces it creates. From the beginning, the Hamilton Building had functions to fulfill beyond preserving and displaying art: it was to be its own fundraising tool, to represent Denver to the world and the Museum to Denver residents, and to draw cultural tourists in the same way that the Guggenheim museum drew tourists to Bilbao. As such, with a bond approved by the voters, the selection committee hired Daniel Libeskind as the primary architect, based on his personality, political savvy, and exuberant conceptual design. The resulting building has few vertical walls or horizontal ceilings. It has galleries for the Modern and Contemporary, the African, and the Oceanic art collections, in addition to space for travelling exhibitions, a lecture hall, and a large museum shop. Across the newly-created Martin Plaza, a parking garage is wrapped in retail and residences; the parking garage was required by the city, but the wrapped functions were part of Libeskind’s plan for the urban spaces around the new building. In these ways, the Hamilton Building fulfills the explicit requirements of the bond. 1 The form of the building also fulfills more symbolic functions. Its image is used as one of six in an international marketing campaign to boost tourism to Denver. The grand opening drew crowds for 35 straight hours, and membership and first-time visits both went up during the first year the building was open, and the Hamilton Building is a recognizable icon and a landmark. The building is written about in the local, national, and international press, and while not all comments are positive, it does draw attention to Denver. The irregular spaces for art push curators and exhibition designers to be creative in how art is displayed, even changing art display tactics in the older, square-walled building. Artists generally like creating art specifically for the space, and one of the most successful shows in the building allowed visitors to watch art getting created and installed—an idea that was completely new to the Museum. In conclusion, a new museum type has emerged, one where the building is as important as the art. This building type serves as a fundraising and advertising tool, not only the museum but also the city. 2 Preliminaries For Penelope, who was taking me to art museums before I could walk i Contents Preliminaries .................................................................................................................. i List of Figures .................................................................................................. iv List of Tables ................................................................................................... vi Preface............................................................................................................. vii Acknowledgements .......................................................................................... ix Chapter 1: A New Museum for Denver ........................................................................1 Museums are More Than Buildings ...................................................................2 The Denver Art Museum ...................................................................................4 The Hamilton Building ....................................................................................12 Research Overview ..........................................................................................14 Chapter 2: Museums as Containers, Museums as Art ................................................18 Building Types as Social Insight .....................................................................19 Before Public Art Museums.............................................................................21 Palaces for Art..................................................................................................24 Modern, “Neutral,” Containers ........................................................................29 Buildings as Sculpture .....................................................................................32 Chapter 3: Museum Madness.......................................................................................36 Branding the City .............................................................................................38 The Public Still Pays ........................................................................................41 Not the Only Icon.............................................................................................44 Denver’s Rent Gap ...........................................................................................46 A Symbol for Denver, a Symbol for the Museum ...........................................47 Building a Strategy ..........................................................................................49 Chapter 4: Building a “Bilbao” Building ....................................................................51 A Public Face ...................................................................................................52 A Shining Star ..................................................................................................55 Adding Practicality to a Spectacle ...................................................................59 Sculpting a Destination ....................................................................................62 Chapter 5: Building and Behavior ...............................................................................64 If You Build It… ..............................................................................................68 ii The “Wow Factor” ...........................................................................................73 Chapter 6: Unintended Consequences ........................................................................79 Popularizing an Elite Institution ......................................................................79 A Spectacle for Denver ....................................................................................83 Chapter 7: Conclusion.................................................................................................90 Working at Different Levels ............................................................................92 Final Thoughts .................................................................................................96 References ....................................................................................................................99 Bibliography of Documents and Press .......................................................................118 Primary Source List ...................................................................................................126 Interviews .......................................................................................................126 Archival Documents and Ephemera ..............................................................128 Appendix A: Methods ................................................................................................129 Interview ........................................................................................................131 Verbal Survey ................................................................................................133 Archival Documents ......................................................................................133 Analysis..........................................................................................................134 iii

Load more