A R T

G A L L E R I

E S

What is a gallery?
A cultural institution
A way of displaying and exhibiting art
It frames our experience of art shaped by the
architecture, design of the exhibition, curators and
curatorial text.
A place of commercial transaction for art

A place that assigns value to art, either monetary or

cultural value

Galleries have not always existed So how, when and why did they come about?
The Enlightenment Museum
During the Enlightenment (18th century Europe), the belief in
knowledge as a challenge to religious dogma, led to the idea that
artistic, scientific and natural artifacts and objects could and
should be held in trust as national collections.
It was considered that these collections would of interest and
value to everyone, not just the elite.
Museums at this time were thought of as enshrining
knowledge.

Art for the Aristocracy

have a long tradition of assembling private collections of
painting and sculptures. These were not for public viewing
but may have been available for viewing by connoisseurs,
collectors, artists and scholars. TENIERS, David the Younger
(b. 1610, Antwerpen, d. 1690, Bruxelles) The Art Collection
of Archduke Leopold Wilhelm in Brussels (c 1651) Oil on
canvas, 123 x 165 cm Kunsthistorisches Museum, Vienna

Cabinets of Curiosities
The tradition of the cabinets of curiosity was
popular at this time, where collections of artifacts
such as scientific instruments, natural history
specimens as well as paintings and sculptures were
displayed in special rooms or cabinets.
At this time art was not seen as a separate form of
cultural production.

The Musee de
Louvre(1792 )
was founded in Paris
by the leaders of the
new Republic, a year
after the fall of the
monarchy in the
French Revolution.
The museum was a
deliberate symbol of
a new nation state
where
enlightenment
through
education
was to be available to
the public not just
the privileged few.

The Great London Exhibition

(1851) in the Crystal Palace
These galleries were places where
different social classes could mix freely.
Such exhibitions were a means of
demonstrating the industrial might of the
British empire, but were also a means of
democratizing art.
By the end of the 19th century the
concept of the public museum was firmly
established.

The 20th century Gallery

The Guggenheim Museum, New York

Architect: Frank Lloyd Wright

Into the 20th century the USA led with way with
developments, probably due to the impact of the wars in
Europe.
With modern art taking on importance in the art world,
questions began to be asked about how to house and
display new kinds of artwork

Frank Gehry Guggenheim Bilbao

The Postmodern Gallery

Architects experimented with new ways to house artworks by
designing museums that increasingly reflected the innovation
of the works they housed.
At the same time they invited audiences to engage in
artworks in different ways.
Today this innovation in architecture has developed to the
extent that criticism has been directed at the galleries
upstaging the artworks.

Yale University Art Gallery / Louis Kahn

This art gallery is considered by historians to be a response to Kahn's desire for a new monumentality in the post-World War
II period. His masterful sense of space and light worked to create structures that emotionally impacted those who
encountered them, as he combined visually compelling spaces that varied under the transforming light during different
times of the day.

As is apparent in this structure, Kahn typically tended toward heavily textured brick and bare concrete, which he wonderfully
juxtaposes against more refined and pristine surfaces, like the large glass windows of this building beautifully lined by steel.
The front door is found in a recessed corner that is defined by an absent rectangle following the pattern of the glass
fenestration. The door leads to a series of open loft spaces on the first floor, which flow horizontally until the space is broken
by core circulation elements, including the main stair, elevator and mechanical core. The highly flexible space not only stores
a portion of the University's art collection but also functions as a studio for architecture students.

His interest in pushing the boundaries with technology led him to

design this waffle-slab that served as the floor of one room and
just as functionally became the ceiling of another. The stairway in
the center reflects the triangular patterns and lines of the
exterior and also acts as an sculpture in the center of the gallery
space.

The more prominent features of this building include

the hollow concrete tetrahedral space-frame that
allows for the omission of ductwork while also reducing
the standard requirements regarding floor-to-floor
height.

Delhi Art Gallery Re-Design

Architects: Abhhay Narkar

Location: New Delhi, India
Architects: Vertex Inc / Abhhay Narkar
Area: 9000.0 sqm
Project Year: 2011
The revitalization of the Delhi Art Gallery required a complete
restructuring of interior spaces and the positioning of a striking
architectural exterior to sit in with the contours of the heritage precinct
of the 13th century Hauzkhas village, Delhi. The new simple facade
stands apart from todays chaotic urban sprawl, yet still resonates with
the regions historic fabric.

A strong contrast between the exterior and interior is visibly demonstrated as one walk into the reception area. The natural
finish and roughness of the stone clad walls inside are heightened by the precision of the soft metal skin of the exterior,
inspired by the surrounding fort.

The interior of the gallery had constraints of structural stability as the space was fragmented into various sections across
adjacent buildings. The challenge was to fuse disparate spaces and create cohesive volumes with visual connect across the
three levels of the main gallery, constantly surprising and delighting visitors. From this we managed to carve out a private
zone for a large administrative block that seamlessly and more importantly - invisibly controls the gallerys daily functioning.
The sculpture court towards the end on the ground level is a dramatic, yet intimate space where the stone architecture
adds another dimension to the experience of the works on display.

T H A N K Y O U