Post on 14-Oct-2020
The University of San FranciscoUSF Scholarship: a digital repository @ Gleeson Library |Geschke Center
Master's Projects and Capstones Theses, Dissertations, Capstones and Projects
Winter 12-16-2016
Leandro Erlich: Towards A CollaborativeRelationship Between Architecture and ArtIsabel Tassaraitassara@usfca.edu
Follow this and additional works at: https://repository.usfca.edu/capstone
Part of the Architectural History and Criticism Commons, Contemporary Art Commons,Interior Architecture Commons, Modern Art and Architecture Commons, and the Museum StudiesCommons
This Project/Capstone is brought to you for free and open access by the Theses, Dissertations, Capstones and Projects at USF Scholarship: a digitalrepository @ Gleeson Library | Geschke Center. It has been accepted for inclusion in Master's Projects and Capstones by an authorized administratorof USF Scholarship: a digital repository @ Gleeson Library | Geschke Center. For more information, please contact repository@usfca.edu.
Recommended CitationTassara, Isabel, "Leandro Erlich: Towards A Collaborative Relationship Between Architecture and Art" (2016). Master's Projects andCapstones. 436.https://repository.usfca.edu/capstone/436
1
LeandroErlich:TowardsaCollaborativeRelationshipBetweenArchitectureandArt
Keywords:contemporaryart,museumstudies,architecture,interactiveinstallation,internationalartist,artexhibition,BuenosAiresArgentina,ContemporaryJewish
Museumby
IsabelTassara
CapstoneprojectsubmittedinpartialfulfillmentoftherequirementsfortheDegreeofMasterofArtsinMuseumStudies
DepartmentofArt+ArchitectureUniversityofSanFrancisco
_______________________________________________________________________FacultyAdvisor:MarjorieSchwarzer
________________________________________________________________________AcademicDirector:PaulaBirnbaum
December15,2016
2
AbstractForthisMuseumStudiescapstoneproject,IpresentedanddevelopedaproposalandprojectplanforanexteriorinteractiveexhibitionofanArgentineanartist,LeandroErlich,attheContemporaryJewishMuseum(CJM)inSanFrancisco,California.Afterresearchingdiverseconflictsbetweenarchitectsandartistsintheartmuseumcontext,mygoalwastoshowanapproachinwhichartcan“dialogue”withtheexteriorfeaturesoftheCJM’scuttingedgebuilding.TobepresentedonthecourtyardentranceoftheLibeskindconstruction,theexhibitionthatIproposewillpotentiallyprovethataneffectiverelationshipcanbeestablishedoutsidethecommoninteriorgalleriesofthemuseumbyembracingeachother’swork.Furthermore,theaudiencewillbeinvitedtointeractwithinthepiece.Theinteriorexhibitionwillbecomplementedwithaneducationalprogramandanafterlifepublication.Includedinthisdocumentismyprojectdescriptionandproposal,mygoalsandobjectives,athoroughactionplanincludingdepartmentaltasks,timelinesandmilestones,anannotatedbibliographyandsixappendicesthatbringthisprojecttolife.
3
TableofContents
Acknowledgments..............................................................................................................4
Chapter1:IntroductionandExecutiveSummary..............................................................5
Chapter2:ProjectBackground........................................................................................10
Chapter3:ProjectProposal.............................................................................................23
Chapter4:ActionPlan......................................................................................................31
Chapter5:SummaryandConclusions..............................................................................43
AppendixA:AnnotatedBibliography...............................................................................50
AppendixB:ProjectStakeholders....................................................................................61
AppendixC:AdditionalReferences..................................................................................63
AppendixD:AndyGoldsworthy–DrawnStone...............................................................67
AppendixE:TheChristos–Reichstag..............................................................................69
AppendixF:LeandroErlich–LaTorre..............................................................................70
AppendixG:LeandroErlich–DalstonHouse...................................................................72
AppendixH:LeandroErlich–PulledbytheRoots............................................................74
AppendixI:LeandroErlich–SwimmingPool...................................................................75
4
AcknowledgmentsAfterfivemonthsofwritingduringmostweekends,Icanfinallysaythatmycapstoneprojectthesisformymuseumstudiesmaster’sprogramisfinished.Iwouldliketomentionthepeoplewhohavesupportedandhelpedmethroughoutthisperiod.First,Iwouldliketothankmyclassmatesfortheirsupportandrespect.Iwouldparticularlyliketothankmyfacultyadvisor,MarjorieSchwarzer,whohasalwaystrustedandhelpedme,supportedandguidedmeineveryway.Inaddition,IwouldliketothankalltheprofessorsIhavehadduringthisMaster’sprogramwhohavegivenmetheknowledgetowritethisthesisandtheirfullsupportconstantly.Finally,IwouldliketothankmyparentsandJusto,whohavealwayssupported,helpedandguidedmeineverypossibleway.Theyhavealsogivenmethestrengthtostandheretodayandnoachievementwouldhavebeenpossiblewithoutthem.
5
Chapter1:IntroductionandExecutiveSummary
Introduction
FormyCapstoneProjectIdecidedtostudytheenduringtensionbetweenartand
architectureintheartmuseumcontext.Therivalrybetweenasinglearchitect’s
intentionsandthemuseum,andtheneedsofthemuseum’spublicandtheartists
exhibitedwithin,hasbeenacontroversialissueespeciallysincethe1960’s,generating
debateandoftendividingwhatissupposedtobeacohesive,complementaryand
fruitfulculturaldialogue.Someartmuseumsinparticular,intheirdesiretocreateanew
attractivebuildingfortheircommunity,generateastrugglebetweentheartists,whose
worktheinstitutionshowcases,andthearchitects,whodesignthesebuildings.Onthe
onehand,artistsmayfeeldisregardedbothphysicallyandemotionally,byaneye-
catchingdesignthatpotentiallyovershadowstheirartwork.Ontheotherhand,
architectslookforwardtocreatingnewbuildingsthatmightenhancethemuseums’
offerfortheirmanycommunities.Severalcasestudieshavesuccessfullyproventhatan
effectiverelationshipcanbeachievedamongthemuseum,thearchitectandtheartists
wherecommunicationprevailswithintheinteriorsofthebuilding.However,fewcase
studieshaveshownhowanembracingrelationshipbetweenbothdisciplinescanbe
achievedoutsidethecommonmuseumgalleriesafterthebuildinghasbeencreated.
ThisiswhyIcreatedaprojectmanagementplanforasite-specificinteractive
installationdevelopedbytheArgentineanartistLeandroErlichtobepresentedinthe
exteriorentranceoftheContemporaryJewishMuseum(CJM),inSanFrancisco,
California.Theexhibitionaimstoshowanapproachinwhichartcan“dialogue”withthe
6
exteriorfeaturesoftheCJM’scuttingedgebuilding.Atthesametime,itwillpotentially
provethataneffectiverelationshipcanbeestablishedoutsidethecommongalleriesof
themuseumbyembracingeachother’sworkandinvitingtheaudiencetoparticipate
within.
TheContemporaryJewishMuseumwasfoundedin1984,andisintheheartofSan
Francisco’sBayArea,736MissionStreet,betweentheFinancialDistrictandtheSouthof
Market(SOMA)neighborhoods.In1994,themuseumselectedarchitectDaniel
Libeskindtodesignitsnewbuildingandin2005,thenewbuildingopeneditsdoors.Asa
non-profitorganization,theCJMisanon-collectingculturalinstitutionwhichpartners
withnationalandinternationalinstitutionstopresenttimely,relevantandhighlyartistic
exhibitionsforitspublic.Themuseum’smissionstatementis:“TheCJMmakesthe
diversityoftheJewishexperiencerelevantforatwenty-firstcenturyaudience.We
accomplishthisthroughinnovativeexhibitionsandprogramsthateducate,challenge,
andinspire.TheMuseum’sDanielLibeskind-designedfacilityenablesandinspiresits
mission.Dynamicandwelcoming,it'saplacetoexperienceart,music,film,literature,
debate,and—mostimportantly—people.”LeandroErlichisanartistofJewishheritage
whoseworkandthisparticularprojectalignwiththeCJMmissionbecausetheycontain
asignificantmessagewhichgeneratesdialogueandaudienceinvolvementalongwitha
ground-breakinginteractiveexhibition.Thisprojectfullysupportsasocialjustice
commitmentaboutculturalinclusionanddiversitywhichthemuseumalreadyaimsto
accomplishduringmostofitsexhibitions.
7
Myroleinthisprojectwouldbeastheprojectmanager.Iwouldnotonlyworkwiththe
artistcreatingtheprojectproposaltobesubmittedtotheCJM,actingasaguideand
collectingallnecessarymaterialstobepresented,butalsowiththecurrentmuseum
staffmembersdevelopingandcreatingtheexhibitionpieces.Otherkeysources
informingtheprojectwillbethedirectorandthechiefcuratorofthemuseum,the
collectionsandexhibitionsdepartment,theeducationaldepartment,thePublic
RelationsTeam,thedevelopmentdepartment,themarketingdepartment,the
productionteamandthemediateam.
Thissite-specificinteractiveinstallationwillserveasamethodofpubliclyshowing
howtherelationbetweenarchitectureandartcanbesuccessfullyenvisionedoutside
thecommonmuseumgalleriesestablishinga“conversation”betweenartandthe
architectonicfeaturesofabuilding.Theprojectwillbeaccompaniedwithan
educationalprogramfosteringactivitiesanddialoguewiththeaudience,explainingthe
messageoftheexhibitionandgeneratingdialoguebetweenarchitectureandart.Lastly,
theexhibitionwillhaveanafterlifepublication.
8
ExecutiveSummary
Thefirstchaptertothiscapstoneprojectstartsbydescribingahistoricalbackground
oftherelationshipbetweenarchitectureandartandpresentsdiversefactorsthathave
influencedtherelationshiptheyhavetoday.Particularly,itexploresdiversecasestudies
inwhicharchitectureandarthavebeenconfrontedintheartmuseumcontext,and
variousproblemsthathavearisen.Thechapteralsoexplorestheparticularworkof
differentarchitectswhocollaborated--ornot--onhavingeffectiverelationshipwith
artistsrepresentedwithinthewallsofthemuseumbuilding.Thechapterfinally
describestheworkofthreedifferentartistswhoseworkslooktodialoguewithan
existingcutting-edgebuilding.Ipresenttheirworktoexplainhowaneffectivedialogue
canbegeneratedafterthebuildinghasbeencreated.
Thenextchapterpresentstheprojectproposal.ITexplainsindetailthevision,goals
andobjectivesoftheproject.Italsodescribeswheretheexhibitionwillbelocated,an
approximateideaonwhattheexhibitionwilllooklikeandwhytheprojectrespondsto
theproblemstatedbetweenarchitectureandartintheartmuseumcontext.
Thefourthchapterdescribesindetailtheactionplantobedevelopedinorderto
createtheexhibition.Thischapterpresentshowtoachievetheobjectivesstatedinthe
previouschapterandallexistingtasks,timelinesandmilestonesformuseum
department.HereIalsoproposethekeypoints,departmentsandteamsthatwillbe
neededinordertocreatetheexhibition:museumdirector,chiefcurator,project
manager,curatorandchiefcuratorassistants,designteam,educationaldepartment,
9
mediateamandpublicrelationsteam.Lastly,Iestimatethetotalbudgetneededto
createtheexhibition,developtheeducationalprogramandcreatetheafterlife
publication.
ThefifthchapteristheconcludingchapterwhereIpresentdiversewaysinwhichmy
projectcanbeevaluatedconsideringqualitativeandquantitativemethods,andinternal
andexternalsourcesofinformation.Afterthis,Iconcludemycapstoneprojectby
sharingunansweredquestionswhichhavearisenafterresearchingandwritingmy
projectproposal.Finally,Iallocatedifferentthoughtsandreflectionsabouthowthis
projectcaninfluencethemuseum’sfutureoperationsanddescribeinwhichwaysit
compelstosocialjusticeissues.
Appendicesincludemyannotatedbibliography,thedifferentstakeholdersforthe
project,additionalsources,andaseriesofphotographsoftheworksoftheartists
presentedinmyprojectbackground,whichincludepastworksofLeandroErlich.
10
Chapter2:ProjectBackground
In1943HillaVonRebay,firstdirectoroftheGuggenheimMuseuminNewYorkCity,
alongwithartcollectorandphilanthropistSolomonR.Guggenheim,decidedtocreatea
permanentbuildingforhis“non-abstract”artcollection.Rebaysaid“Iwantatempleof
spirit,amonument”(quotedinWolf,n.d.),andthatiswhatRebayandGuggenheim
commissionedarchitectFrankLloydWrighttodo.Atthatmoment,choosingFrankLloyd
Wrightwasrisky.Ontheonehand,Wrightwasknowntodislikeurbansettings(Wolf).
Ontheother,itwasriskyduetohis“futuristic”andmoderncreations.In1956,the
designofthebuildingwaspublishedandtherepercussionwasimmediatelyevident.
WhileRebay’sdesirewasto“createanaturalandorganicrelationshipbetween
artworksandarchitecture,”artistsreactedagainstitoncetheysawthenewbuilding
design(Bianchini,2015,n.p.).Agroupof32artistsincludingWilliamdeKooningand
AdolphGottliebexpressedtheirdisapprovalandconcernthatthenewdesignwas“not
suitableforasympatheticdisplayofpaintingandsculpture”(Bianchini,2015).
Nonetheless,Wrightdidnotlosefocusonwhatheaimedtocreate.Hisresolutepoint
ofviewcontinuedtogeneratemoreopposition.Somecriticswonderedwhetherthe
museumwasmadetoshowcasemodernartorLloydWright’sego(Kalb,2016).
Nevertheless,othercriticsconsideredthebuildingthesupremeartworkintheentire
Guggenheimcollection.AsauthorGuilfoylestates,“thereisanoldsayingaboutthe
Guggenheim,youcometoseeKandinskyandPicasso,butyoustaytoseeFrankLloyd
Wright”(1992,n.p.).
11
ThebiggestcontroversyarisingfromWright’sdesignwasthebuilding’sinterior.It
containeda“hugeinvertedconcretesnailshell,withitsquartermileofinternalramps
fromwhichtoviewthesculpturesandpaintings”(Guilfoyle,1992,n.p.).Thecurved
walls,thecontinuousrampandthenaturallightthatcamefromtheceilingweresome
oftheartists’concerns.Therewerefewhorizontalwallsandthismadethehangingof
thepaintingsaproblem.Additionally,thereducedceilingheightmadeitchallengingto
exhibitlargerpaintingsanditwashardtoplacesculpturesonafloorbasethatwasnot
horizontal.Conversely,therampallowedthepublictoseetheentirespacewhilethey
walkedthroughit.Finally,Wrightcreatedadomedlightentranceplacedinthemiddle
oftheshellstructurewithothercontinuouswindowsalongtherampwhichallowed
naturallighttoilluminatetheartworks.Wrightbelievedthatartworksshouldbe
illuminatedwithnaturallightwhich,hesaid,wasthebestwaytoperceiveobjects.
However,asLubowexplainedinhisarticleforSmithsonianMagazine,“ineverythinghe
undertook,thegoalofenhancingandelevatingthehumanexperiencewasalwayson
Wright’smind”(Lubow,2009,n.p.).
ThebuildingopeneditsdoorsonOctober21,1959,andalthoughmostartistswere
againstit,manypeoplefeltintrigueandadmiration.Itwas,andoverahalfcenturylater
stillis,anewrevolutionarymuseumdesignthatcreateddifferentwaysofperceiving
andexperiencingart.Wrightstated“doawaywiththestilted,pretentiousgrandmania
oftheoldfashioned‘art-exhibit’”(Kalb,2016,n.p.).Nevertheless,amoderndiscourse
betweenarchitectureandarthadbegun.
12
TheTensionBetweenMuseumArchitectureandArt
Aroundthenineteenthcentury,asauthorSusanHolthamstates,“someofthefinest
buildingswhereartandarchitectureworkedinperfectharmonywerecreated”(2013,
n.p.).Problemsamongthesetwodisciplinesstartedtoariseasbothfieldsevolved.After
twoworldwarsandmanytechnologicaladvances,themodernistmovementappeared,
suggestingnewmaterialsforcreation(Holtham,2013,n.p.).AuthorRiccardoBianchini
explained(2015,n.p.),“theconfigurationofmuseumbuildingsremainedunchangedfor
almostthreecenturies:afixedsequenceofroomswherepaintingswerehangedonthe
perimeterwallsandlargesculptureswereplacedonapavement”(2015,n.p.).
Nowadays,thevisitor’sexperienceissometimesmodifiedduetonewcreationson
cuttingedgemuseumbuildingsmadefortheirmarketingpotentialtoattractmore
visitorsand/ortorenovateandoffernewexperiences.Consideringthecontroversial
aspectsthataregeneratedbecauseoftheconflictbetweenarchitectureandart,most
recentinnovativedesigns,suchastheDenverArtMuseumandtheGuggenheimBilbao,
havebroughtseveralissuesamongwhichtwocanbedistinguished:anexternal
problem,involvingegosandpositioningandaninternalissue,regardingtheinterior
designswhichsomeartistsexplainaffectsthewayinwhichtheirartisexhibitedand
perceivedbyvisitors.
Thefirstproblemisaboutegoandpositioning.Thisrivalryraisesthequestionabout
themuseum’sartisticstatement:whichstatement,architectonicalorartistic,willhave
moreweightonthepublic?AsauthorLarryShinerexplainsinhispaper(2007,n.p.),
“manycriticshaveworriedthattoooftentheartendsupplayingasecondfiddletothe
13
architecture”(2007,n.p.).ShinersharesinhislectureareviewfromthedeYoung
Museum,in2005,onceitwasopen(2007):“Itseemsthatarchitectshavebecomethe
bigbadwolfofthemuseumworld.Toooftenflashandbravurawinover
contemplation…andarchitecturetriumphsoverart”(n.p.).CriticslikeShinerbelievethat
somearchitectsarecreatingarchitectonicaldesignsthatimpressthepublic,generating
acompetitionwiththeartthatisexhibitedontheinside.Americanartcriticand
historianHalFosterstatedthatnewartmuseumbuildingswitheccentricarchitecture
liketheGuggenheimofBilbao,Spain,“inflatethecontemporarymuseumintoagigantic
spectacle-spacethatcanswallowanyart”(Shiner,2011,n.p.).Insomecases,whatis
supposedto“contain”artisbecomingtheartworkitself.Artistswhoseworkispartof
themuseumcollectionfeltdiminishedbythenewbuilding.PerformanceartistAndrea
Fraserfeltdisappointedwiththemuseumaudioguide,whichspentsixminutestalking
abouttheincrediblenewbuildingandthewayitupliftsthevisitors’experience(Shiner,
2009,n.p.).
Egosbetweenarchitectsandartistssometimescompete.FrankLloydWright
famouslysaid“I’veheardalotofthattypeofreactions,andI’vealwaysdiscounted
themasworthless,andIthinktheyare”(Lifson,2009,n.p.).Likewise,otherarchitects
suchasStevenHoll,architectoftheBlockBuilding,Nelson-AtkinsMuseuminKansas
City,comparearchitecturewithartbysaying:“Totheextentthatarchitectureis
connectedtothecity,tothelandscape,tourbanissues,itisastrongerartthanifit
becomesandobjectthatsitsinthecity”(Shiner,2007,n.p.).Ontheonehand,some
peopleseemuseumarchitectureasawayofenrichingtheartcontainedwithin.New
14
YorkTimesarchitecturecriticPaulGoldbergerwrote“Anarchitectcandosomething
that’spowerfulinitselfandthatenhancestheexperienceoflookingatart”.
Nevertheless,someartistsfeelarchitecturesometimescompeteswiththeirworkand
overshadowsit.IntheGuggenheimMuseuminNewYork,forexample,“manyartists
feltthattheirworkswereempoweredbythearchitecturalstrengthoftheir“container”
andworriedthattheirartworkswouldnotreceivethenecessarysympatheticattention
fromtheviewers”(Bianchini,2015,n.p.).Meanwhile,thecommunitysometimesfeels
inspiredbythebuilding,andothertimesthebuildingdoesnotembracetheir
experienceandartappreciation.MartinPedersen,editorofMetropolismagazine
explained:“Youfeelalwaysslightlyoff-killerwatchingartthere”,talkingaboutthe
GuggenheimMuseuminNewYork(Lifson,2009,n.p.).
Thesecondprobleminvolvesinteriordesign.Insomecases,architectscreatenew
buildingswithcomplexinteriorsthatinterferewiththeartinside.Sometimes,artworks
donothavetheidealspacetobeseen,andartistsexpresstheirdiscomfortthatvisitors
donotunderstandtheartexhibited.LetusreturntotheexampleoftheGuggenheim
MuseuminNewYork.Itscurvilinearwallsandtherampinclinationmadeitdifficultto
showcasepaintingsandsculptures,whichneededasmallplatform.Infact,theonly
placewithahorizontalbasetostandwastheentrancehall,whichWrightdesignedfor
socialpurposesandnotforexhibitingart(Bianchini,2015,n.p.).Theinteriordesignby
FrankGehryfortheGuggenheimMuseuminBilbao,alsohasunusualgalleries
specificallydesignedonalargescaletoexhibitcontemporaryart.However,questions
ariseaboutwhethertheseimposingwallsdistractthepublicfromviewingartand
15
becomeanewattractiontobeperceived(Shiner,2007,n.p.).Anothercaseisthe
HamiltonBuildingintheDenverArtMuseumwhichopenedin2006.ArchitectDaniel
Libeskindcreatedanemblematicexternaldesignwhiletheinternaloneis“another
matter”(Shiner,2007,n.p.).Theproblemwasthatthearchitectfollowedthesame
externaldesignintheinterior,bymakingitverydifficulttodisplayart(Shiner,2007,
n.p.).Conversely,thisisnotalwaysthecaseandmanytimes,architectscreateanedgy
exteriordesign,whiletheinterioroneisaccordinglyadaptedtothecollection
showcased.AnexampleisthePulitzerFoundationinSt.Louiswhichopenedin2001.
ArchitectTadaoAndowasaskedtoworkalongwithtwocontemporaryartistswhose
workisexhibitedinthemuseuminordertoservetheartwithin(Shiner,2007,n.p.).
Shinerconsidersthisoneofthefewcasesinwhichartandarchitecturearesuccessfully
combined.Thearchitect’sdesignenhancedtheartworksbyprovidingspecific
dimensionsandlighteffectgenerating“anunusuallyintegratedexperience”(Shiner,
2007,n.p.).AnotherexampleisthenewbuildingfortheWhitneyMuseuminNewYork
City(2015)createdbyRenzoPiano:“anangular,asymmetrical,ship-shapedbuildingat
thebaseoftheHighLine”(Saltz,2015,n.p.).JerrySaltzexplainsthat“theaudacityof
thebuildingshowsthattheWhitneywillsurvivethenewera[inmuseums]”(n.p.).Saltz
describesthemainreasonforitseffectiveness:morespaceforarttobeexhibited.The
buildinghasmoreandbiggerspacestoshowcaseoldart,whichinstorage,andnewart.
Additionally,thelight,theviewandthefreelobbygalleryareotherpositiveaspects
aboutthenewbuilding.Finally,andmostimportant,itisconsideredtohavebeenbuilt
forartandartists(Saltz,2015,n.p.).However,JustinDavidsonsuggeststhatthebuilding
16
containsanexcessoflightingandthat“itisawonderfulplaceforpeoplewhogeteasily
boredbyart”,referringtothenumberofwindowsithas(Davidson,2015,n.p.).
Allinall,sometimesproblemsresultfromthefactthatsomearchitectscreatenew
artmuseumbuildingswithcutting-edgeexteriorsthatenduprelegatingtheart
containedand/orhavecomplexinteriorsthatinterferewiththecollectionwithin
creatingaslightcompetitionamongtheworksofeachpart.Ontheotherhand,
KatherineSchwabexpressedanotherperspectiveregardingthis“conflict”.Thenew
BROADMuseuminLosAngeleshasacutting-edgedesignwith“universalcollection
staplesthatshowthatTheBROADisold-fashionedratherthanforwardthinking”
(Schwab,2015,n.p.).Schwabbelievesthatthecollectionshouldaccompanyand“make
room”forthe“underknown,offbeat,lessthanneat”artworks.(Schwab,2015,n.p.).
Oftennotconsideredthis“conflict”betweenarchitectsandartists,remainthevisitors
andthecommunity,whosemuseumexperiencemightalsobeimpacted.Aconfusing
newbuildingdesignmightdisorientthemwhilewalkingalongthegalleriesand
perceivingart.Furthermore,theconflictbetweenarchitectsandartists,mightdistract
themuseum’sfocusonitscommunity.Ibelievethatartmuseums,architectsandartists
shouldworkcohesively,enrichingoneanother’sworkandmakingthebestmuseum
experienceforvisitorsandtheircommunities.Toillustratethispossibility,Iintroduce
theworkofthreeartists--AndyGoldsworthy,TheChristos,andLeandroErlich--whose
workshaveinteractedeffectivelywiththeimposedarchitectureofanartmuseum
building.
17
AndyGoldsworthy:DrawnStone(2005)
BritishartistAndyGoldsworthycreatedasite-specificcommissionforthenewde
Youngmuseumbuildingin2005(Foraphotographofthework,seeAppendixC).The
workislocatedatthecourtyardtothemainfloorofthebuilding,evokinganearthquake
crack.Thisissignificantnotonlybecausethebuildingissitednearanearthquakefault
butalsobecausethe2005buildingforwhichitwascommissionedexistsbyvirtueofthe
factthatthepriorbuildingwassignificantlydamagedinthe1989LomaPrieta
Earthquake.AscriticJesseHamlinexplains,Goldsworthyusuallycreatesartworksthat
arerelatedtotheplacewheretheywillbeexposed(Hamlin,2005,n.p.).ThecriticRuan
explainsthatDrawnStonemixes“sevenbigstonesandcracks”includingYorkshire
stone,broughtexclusivelyfromEngland,theartist’shometown.Ruandescribesthe
projecttwoparts:“oneisthegroundwithcracks,andtheotherpartissandstones”
(Ruan,2013,n.p.).
Theworkisconsideredtoaccompanythearchitecturephysicallyandsymbolically,
throughitsmeaning.AsauthorJkimexplainsaboutthework:“itissuccessfullyableto
blendintothesurroundings”;perfectlyintegratedintothemuseumexterior(Jkim,
2014,n.p.).However,manyvisitorsdonotnoticethework.Ruanexplained“whenI
enterintothemuseum,Ineglectedthematfirst...sevenstoneswithnosequenceon
thecourtyardandothertwolinesonthemainentrance”,andstonesareusuallyusedby
visitorsforsitting(Ruan,2013).SomevisitorsdonotseeGoldsworthy’sartproject;they
donotrealizeitisthere.Conversely,oncetheydo,theyareabletoappreciatethework
andideabehindit,whichtendstoaccompanytheexteriorofthebuilding:“Itintegrates
18
theenvironmentperfectly.Thereasonwhytheworkisuniqueisthatthesculptureis
imposingoutsideandistouchable”(Ruan,2013,n.p.).
ChristoandJeanClaude
Christoandhiswife,JeanClaude,havecreatedseveralrevolutionarysite-specificart
projects.AsauthorAlbertElsenexplainsinhisarticle(2016),“itisinthepopulistnature
oftheirthinkingthattheybelievepeopleshouldhaveintenseandmemorable
experiencesofartoutsidemuseums”(n.p.).Theirworksinvokeserviceandfreedom,as
wellasinteractionanddialogue(Elsen,2016,n.p.).Elsenexplainsthattheirprojects
were“permanentlyidentifyingwithdifferentplacesthroughtheirartandcreating
‘gentledisturbances’”(n.p.).ChristoandJeanClaudehavealwayslookedforconnection
amongthingsandamongpeople,“theartists'personal,moralandartisticimperative
seemstobetoonlyconnect:connecttheelementsofartandnature,connectartand
engineeringtoshowthattheyarenotenemyfaculties,connectpeoplewithbeautiful
materialsandstructures”(Elsen,2016,n.p.).
Amongtheirworks,thecouplewrappeduptheinteriorandexterioroftheChicago
ContemporaryMuseumofArtin1969,abridgeinParisandattheReichstag
(Richardson,2016;Elsen,2016,n.p.;WilderNorton,2009,n.p.)Foraphotographofthe
work,seeAppendixD.AuthorElsendescribes,“bywrappingtheoldestandmost
handsomebridgeinParis,throughcenturiesoffamiliarityandneglect,TheChristos
restoreditsvisibility,drewattentiontothesimpleeleganceofitsform”(Elsen,2016,
n.p.).However,theirimpactwasnotalwayspositive.Forexample,whentheartists
19
wrappeduptheChicagoContemporaryMuseumofArt,asastatementthatartcould
coveramuseumbuildinginmuchthesamewayasamuseumbuildingcoversart,
“reactionsweremixed”(Richardson,2016,n.p.).AsRichardsonexplained,
“Understandably,somepeopledidn’tknowwhattomakeofit.Someassumedthe
wrapswerefunctionalwhileotherswerebaffledbyitslackoffunctionality”
(Richardson,2016,n.p.).Ontheotherhand,therewerethoseamazedbytheidea:
“contemporaryartwasbroughtoutofthemuseumandontothestreet”(Richardson,
2016,n.p.).Althoughtheyreceivedmanycriticismsupontheirwrappings,theiraimto
connectandgenerateadialoguewas,manytimes,effectivelyachieved.Theseartists
wereabletointerveneinapositivewaywithdifferentstructuresbycreatinga
connectionandasuccessfuldialoguebetweentheirartworkandthebuilding.
LeandroErlich
LeandroErlichisanArgentinianartistwhocreatessite-specificinteractive
installationswhichrelatetoperception,illusion,ideasandconcepts(Guazzonedi
Passalacqua,2016,n.p.).Hisworksaremanytimesrelatedtoarchitecture,sincehe
buildsupurbanisticinterventionswhichcomplementthesurroundingbuildings,and
invitethecommunitytointeractwiththem.Petruelestatesthattheartistlooksfora
“surprising”experienceamongthecommonthingsinourdailylife(n.p.).Interestingly,
Erlichseeksadifferentinteraction,onethatcreatesatruemeaningonthevisitor.He
explainsabouthiswork:“whentheexpectationdoesnotaccompanythereality,the
visitor’sinterpretationactivates”(GuazzonediPassalacqua,2016,n.p.).Althoughhis
20
projectsmightbeseenasarchitectonicpiecesandcomparedtoarchitectureitself,his
aimistocreateastoryratherthanautility,whichhestatesasthemainobjectiveof
architecture(Petruele,2016,GuazzonediPassalacqua,2016,n.p.).Remarkably,sincehe
usuallycreatesinstallationsthathavearchitectonicfeatures,theydonotcompetewith
thesurroundingenvironment,butrathercreateanewrealitywherethepubliccan
participatewithin.Inaway,Erlichprovidesthepossibilityofcrossingrealityboundaries
andsubmergingintohisarchitectonicinstallations.Amonghismanyworks,LaTorre
(2009)wasveryimportant(Foraphotographofthework,seeAppendixE).Underthe
programmingofmakingmoreexteriorinstallations,themuseuminvitedtheartistto
inauguratethecycleandcreateaninstallationforthecourtyardoftheReinaSofia
MuseuminMadrid,Spain.JournalistBurgueniocalleditasuccess,“duetothehigh
interestamongthevisitors,theinstallationremainedfourmonthsmore”(n.p.).The
artistdescribestheimportanceofprovidinganemotionalandvividexperienceto
architecture,andthatiswhathelooksforinthesetypesofworks(Burguenio,2009,
n.p.).Borja-Villel,themuseumdirector,highlightedErlich’sworkasfinearchitectonic
piecesthatgenerateadialogueratherthananenforcement-asarchitecturetendsto
do-.(Burguenio,2009,n.p.).Moreover,inLondon2013,theartistcreatedanoff-site
installationcalledDalstonHouse,whoseaimwastoinvitethecommunitytointeract
anddialoguebyshowcasingarepresentationofaVictorianstyleconstruction(Fora
photographofthework,seeAppendixF).Moretdescribedtheinteractionas,“defying
thelawsofgravity,literallywalkingacrossthefaçadeofarathercuriousVictorian
building”(n.p.).Theinstallationwasvisitedby18,000peopleinitsfirsttwoweeks
21
(Moret,2013,n.p.).ItwascomposedbyagroundfloorofafaçadeofaLondonbuilding
andaperpendicularmirror.Theassistantcuratorexplainedthatthework“fostered
dialogueaboutthebuiltenvironmentandtheprocessofregenerationinDalston,which
hasundergonedramaticchanges”(Moret,2013,n.p.).Lastly,inGermany(2015),the
artistpresentedPulledbytheroots,asite-specificcommissionwasintendedtoinvoke
thepublictothinkaboutthenaturethatsurroundedtheconcreteconstructions(Fora
photographofthework,seeAppendixG).TheDeezenmagazineexplainedthat“the
installationisdesignedtochallengetheresidents’perception”,andtoremindthe
communityaboutthenaturethatremainsbelow.(n.a.,2015,n.p.)Throughthiswork,
Erlichwantedtomakethecommunityreflect:“Thespeedoftechnologyandthe
increasinglyvirtualdimensioninwhichweliveencourageustoseparateoutinventions
fromtheearththatsustainsus”(n.a.,2015,n.p.).Thearticleconcludesbystating:“As
weconsiderourimpactonthenaturalworld,climatechangeandthefateoftheoceans,
thispieceremindsusthathumancultureandnatureareintimatelylinked”(n.a.,2015,
n.p.).(Forphotographsofmoreofhisworks,seeAppendixH).
TowardaCollaborativeRelationshipbetweenArchitectureandArt
Asdiscussedinthischapter,thereisaconflictbetweenmuseumarchitectureandart
whenthesetwodisciplinesareforcedtohavearelationshipinacontextthatpitsand
artisticvisionseachotherratherthanallowingthemtoworktogethertoevokegreater
meaning.Manyquestionscanarisewhilediscussingissuesthatinvolvethesetwo
disciplines,aswellasmanypointsofview.Communicationanddialogue,asopposedto
22
egoandshowmanship,haveproventoachievebetterresultswhenimplemented.
However,whichpartis“supposed”tostartadialogueafteracutting-edgebuildingis
constructed?Thecurator,whoissupposedtocreatecontentforthemuseum,the
directorofexhibitionsofthemuseumortheartists?Andthenthequestionsarisetoo,
wouldn’titbemoreeffectivetomakeanewbuildinginwhichallpartshavebeen
successfully“included”ontheideasinsteadoffeelingthatthebuildingwasimposedto
them?
Consequently,inthenextchapter,thiscapstoneproposesaprojectofasitespecific
installationoftheArgentinianartistLeandroErlichattheContemporaryJewish
Museum,designedbytheabove-mentionedarchitectDanielLibeskind.Itwillnotserve
asasolutiontotheconflictbetweenarchitectureandart,butratherasanapproachto
startadialogueproposedbytheartist,withthearchitecturethatisalreadyestablished.
Itwillemergefromaclosedialogueoftheartistswiththearchitecturalfeaturesofthe
building,consideringthesocialhistoriccontextoftheplaceandlookingforwardto
interactwiththepublic.Theprojectwillserveasamethodologytoestablishamore
fluidconversationbetweencontemporaryartmuseumarchitectureandsite-specificart.
23
Chapter3:ProjectProposal
Thisprojectemergesfrommystudyofthehistoriccontextconcerningartmuseum
buildings,visitors’museumexperiencesandexamplesofhowartistshavecreatedworks
thatencouragepositivedialogueandbetweenarchitectureandart.Fromdiverse
examplesthatIhavepresentedinmyliteraturereview,suchastheDenverArtMuseum
andtheGuggenheimMuseuminBilbao,Ihaveshownhowarchitectureandartinthe
artmuseumcontexthavesometimeshaddifficultiestointeractandworktogether
cohesively.Ontheotherhand,Ihavepresentedsomepositiveexamplesonhowthese
twodisciplineshaveworkedeffectivelywhilethenewbuildingisbeingdesigned,and
therefore,achieveconstructiveoutcomesforallpartsinvolved.Forexample,inthenew
buildingoftheWhitneyMuseuminNewYorkCity,thearchitectworkedwithartiststo
createaneffectivestructureforallbyembracingeachother’sworks.Inathirdscenario,
whenthebuildingisalreadycreatedandtheartistsshouldadapttoitsnewstructure,I
presentedtheworkofthreeartists-TheChristos,GoldsworthyandErlich–whoseworks
Ibelievehaveessentiallyfoundawaytoexpandarchitectureinasymbolicway.
Therefore,IproposeacommissionoftheworkofLeandroErlichintheexteriorpublic
spaceoftheContemporaryJewishMuseuminSanFrancisco,whichhascutting-edge
architectonicfeatures,todemonstratehowarchitectureandartcanworktogether
successfully,evenafterthebuildinghasbeenconstructed,andhowanartisthasproven
tosucceedwhilecreatingtheseinteractions.
Mycasestudiesdemonstratedthatconflictsappearedwhensituationswereimposed
onartistsbyarchitects.Forexample,intheGuggenheimMuseuminNewYorkCity,
24
conflictsbetweenthearchitectandtheartistsaroseoncethebuildingdesignwas
presented.Asituationwasimposed,inthiscasetoartists,andtherewasnoprevious
communication.Theproposalbelowaddressestheneedforcreatingfluiddialogue
betweenarchitectureandart,andmakingthisdialoguevisibletoeveryoneinan
interactiveexhibition.Atthesametime,theworkwilleducatethepublicbyexplaining
andspreadingthemessagebehindtheworkandunifyingbothdisciplinesinwhich
everyonewillcollaborate.Additionally,theexhibitionwillinvoketheaudience’s
participationtocreatestronginteraction,solidcommunicationandaconnectionamong
thearchitect,theartist,thepublicandthecontemporaryartmuseum.Thesite-specific
projectcreatedbytheArgentineanartistofJewishheritage,LeandroErlich,atthe
ContemporaryJewishMuseuminSanFrancisco,Californiawillbepresentedinthe
exteriorentranceofthebuilding,onthecourtyard,wheretheperpendicularwallofthe
buildingislocated.Thisworkwillbepresentedasameansofconductingandcreatinga
dialoguewithDanielLibeskind’scuttingedgebuildingwhichhappenedin1998,
establishinganinteractionamongthelocalcommunities,theartist’swork,the
architectureofthebuildingandthemuseumasaculturalinstitution.Itwillserveasan
approachtostartadialogueproposedbytheartistwiththearchitectureoftheCJM
building.Atthesametime,itwillworkasanexampleforotherculturalorganizationsto
lookfordifferentwaysto“unify”throughprojectsthathavepowerfulmessagesand
thatprovokeaconversation.Theworkwillconsistofcreatinganexhibitionthatwill
worktogether,physicallyandsymbolically,withthearchitectonicfeaturesofthe
building.Furthermore,theaimofmyprojectistocreate“dialogue”outsidetheordinary
25
exhibitioncontext,intheformofasite-specificproject,anduseexteriorspacestore-
createtherelationbetweenthesetwodisciplinesandmakeitvisibleinapublicplace.
Astatedpreviouslyintheintroductionofthiscapstone,theContemporaryJewish
Museummissionstatementisasfollows:
TheCJMmakesthediversityoftheJewishexperiencerelevantforatwenty-firstcentury
audience.Itaccomplishesthisthroughinnovativeexhibitionsandprogramsthat
educate,challenge,andinspire.
TheMuseum’sDanielLibeskind-designedfacilityenablesandinspiresitsmission.
Dynamicandwelcoming,it'saplacetoexperienceart,music,film,literature,debate,
and—mostimportantly—people.(ContemporaryJewishMuseum,2008)
TheprojectthatIamproposingcomplieswiththemuseum’smissionstatementin
mostways.First,itwillconsistofadynamicandwelcomingworksinceitwillnotonlybe
locatedontheoutsideofthebuilding,invitingeveryonetointeractwithit,butitwill
alsoconnectthefaçadeofthemuseumbuildingwithanexhibition.Second,itwillbean
innovativesite-specificexhibition,adaptedtotheplacewhereitwillbepresented.
Third,itmightworkasaninspirationforotherculturalinstitutionstoseekdifferent
innovativewaystopresentafluidconversationbetweenarchitectureandart.
Moreover,itwillcontributetoCJM’sstatementof“experiencingartandpeoplethrough
anartisticstatement”involvingtwoimportantdisciplines:architectureandart.Finally,
theprojectwillbeaccompaniedbyaneducationalprogramthatwillfollowitsmessage
ofconnectingandembracingarchitectureandart,andstimulatethepublicandthe
26
communitytotalk,debateandproposeotherapproachestoavoidpotentialconflicts.
Thus,theeducationalprogramwillbeagoodadditiontomyprojectproposalasitwill
enableallpartsinvolvedtoworkaltogetherandcommunicatewithoneanother.
LeandroErlichstartedcreatingthesetypesofsite-specificinstallationsmanyyears
ago.Hisworkstendtocausesurpriseandgeneratepositiveoutcomestowardsthe
museumandthepublic,twoofhisasanartistgoals.ThemuseumdirectoroftheReina
SofiaMuseum,inMadrid,Borja-VilleldescribedErlich’sprojectsasameansof
generatinganopendialogue.Infact,theinstallationconsistedofabuildinginthe
courtyardofthemuseum.Erlichtendstoeffectivelyusediverseexternaland
accessorizedspacestorepresentaconversationbetweenhisworksandthesurrounding
architecture,andinvitethepublictointeractwiththework,andtherefore,withthe
meaningbehindit.
OneofhismostemblematicworkswasLaTorreexhibitedintheReinaSofiaMuseum
inMadrid,Spain,andanotheroneisSwimmingPoolpresentedintheTwentyFirst
CenturyMuseumofContemporaryArtinKanazawa,Japan.LaTorre,whichwas
showcasedfromNovember26,2008toJune1,2009atthePlazaNouvelcourtyard
insidethemuseum,hadbeenexpectedtobeondisplayforsixmonthsbutthemuseum
decidedtoextendthetimeduetoitspopularityandthepositiveoutcomesitgenerated
inthepublic.JournalistBurgueniocalleditacompletesuccess,“duetothehighinterest
amongthevisitors,theinstallationremainedfourmonthsmore”(n.p.).Erlichexplained
abouthiswork,“architecturedoesnotworkifit’snotinanemotionalorexperiential
27
sensetocommunicatecertainreflectionsaboutourownexistence”(GarciaMoreno,
2008,n.p.)SwimmingPool,isapermanentexhibitionatthe21CenturyMuseumof
ContemporaryArt,Kanazawa,Japan.Itwascreatedin2004,andthemuseumexplains:
“theworkinvitesouractiveinvolvementinitsspaces—oncewecatchontoits
deception—andproducesasenseofconnectionbetweenpeoplelookingateach
other.”(n.p.,2004)Asareviewofthework,authorBeckyPevertonwroteforTheDaily
Mail:“Thetrappedwaterconfusespeople'ssensesastheygazedown,withvisitors
clearlymesmerizedbywhatthey'relookingat.”(Peverton,2016,n.p.)Theconceptof
thisworkwaspreviouslypresentedin1999inthetemporaryexhibitionspaceatNew
York'sMoMAPS1andtheVeniceBiennale.
Bothworkshavedemonstratedpositiveoutcomesamongallpartsinvolved,including
themuseum,thebuilding’sarchitectureandmostimportantly,theaudience.The
commissionthatIamproposingwillhighlightthatarchitecturedoesnotendupwhere
thearchitectonicfeaturesfinish,butrathershouldcreateamoresymbolicand‘spiritual’
relationwithartthatgoesbeyondthephysicalstructure.Inthisway,artwillexpandto
dialoguewitharchitectureoutsidethecommonmuseumgalleries.Theprojectalsoaims
atdemonstratingthatartcanalsohaveasymbolicweightandpowertodialogue
effectivelywitharchitectonicstructures.Anotherideabehindthemeaningofthe
projectistoshowtheessentialsymbolismofeachdisciplineratherthanonlyperceive
thephysicalfeatures.Moreover,itwillbeawayofshowingtheartists’othercontextsto
presenttheirworksandhowartistscan‘use’architectureasawayofembracingthe
meaningoftheirprojects.Inmyproject,theartistwillworkdirectlywiththe
28
architecturalfeatures,asheusuallydoeswhilecreatingworksthatsuccessfully
accommodatetothesurroundingstocreateaninteractiveexhibition.Oneofits
objectiveswillbetoeducateandtransmitthemeaningofunificationbetween
architectureandarttothepublicandthediversecommunitiesofSanFrancisco.
Furthermore,theprojectwillcontributetosocialjusticeissuesregardingculturaland
religiousdiversitybystimulatingequitabilityandaculturalinclusivesociety.
Additionally,thiswillbethefirstexteriorinteractiveinstallationofaninternational
artistthattheContemporaryJewishMuseumwillpresentoutsidethebuilding,thefirst
timetheCJMusesitspublicspacetoshowcaseanexhibition,andtheartist’sfirstsite-
specificprojectinCalifornia.Theprojectmightalsoinspireothermuseumsand
organizationstolookfordifferentmethodstogeneratedialoguebetweenarchitecture
andartinanon-traditionalmuseumsettingandinvitemoreinternationalartiststo
sharetheirworkinSanFrancisco.
GoalsandObjectivesfortheProject
Myvisionistofindanartistic“solution”toaddresstheconflictbetweenarchitecture
andartthroughdialogue.Ihaveidentifiedfourmaingoalsthatwillhelpfulfillthis
vision.Thesegoalscorrespondtothetwopartsofmysitespecificexhibitionproject:to
createanexhibitionandtodevelopaneducationalprogramtocreatemeaningful
outcomesregardingtheconflictaddressedbytheexhibition.Aftersettingthemain
goalsofmycapstoneproject,Idescribedifferentinitialobjectivesthataccompanyeach
29
goalsuchascoordinatingandproducingtheexhibition,definingcostsandcreatinga
budget,andestablishingprogramobjectivesaccordingtoeachpublicsegment.
Goal1:CreateanengaginginteractiveinstallationintheexteriorentranceoftheContemporaryJewishMuseum(CJM)buildingObjective1:Developandcreatetheprojectproposalwiththeartisttakingintoaccountthemissionstatementofthemuseum,howto“dialogue”withthearchitectureandthemessagethattheprojectaimstotransmit.Objective2:PresenttheprojectproposalthateffectivelyalignswiththeCJMmission(whichwillincludeWhat-Why-WhenandHowstatement,theartist’sbiography,checklistandtheamountofspaceneeded,etc.)Objective3:Establishtheexhibition’sscheduleforimplementationalongwiththeDepartmentofExhibitions,theDepartmentofEducationandtheartist.Note:Iestimatethatitwilltake12monthstofundraiseandplantheexhibitionObjective4:ObtainthenecessarypermitstodeveloptheprojectinthespacebelongingtotheYerbaBuenaGardenFestival.Objective5:IdentifyresourcestobecontractedtoproducespecificpartsoftheinstallationObjective6:SuccessfullyinvolvetheartistinthecuratorialandproductionprocessObjective7:Completeallaspectsoftheexhibition’sdesignoutsidethebuilding(actionitems:exhibitionlayout,fontandformatofpanelsandinformativeposters,lighting,publicity)Objective8:GuaranteethepropermaintenanceandfunctioningoftheexhibitionObjective9:De-installplanGoal2:DevelopasuccessfuleducationalprogramsinsidetheCJMforallaudiencesObjective1:Developalleducationalprogrammingandmaterialsforchildren,teensandadultsbyestablishingobjectivesanddefininginteractiveandengagingcontentadaptedtoeachgroup’sinterest.Objective2:CoordinatewithlocalpublicandprivateelementaryschoolsanduniversitiestosetuptoursObjective3:Reachouttoschoolsanduniversitiesinstructorswithcoursesrelatedtothemesintheexhibition(i.e.architecture,arthistory,environmentalstudiesetc.)Objective4:Performacomprehensiveevaluationoftheexhibition’ssuccessGoal3:DevelopaneffectivepublicityandpromotionoftheexhibitionbyincorporatinglocalcommunitiesObjective1:Developamarketing/publicrelationsplanfortheexhibition(actionitems:writepressrelease,developcross-institutionalpromotionalmaterial,etc.)
30
Objective2:CreateandimplementasocialmediacampaignfortheexhibitionObjective3:Developallpromotioneventsandprogramming(openingevent,artists’talk,Q&A,debatesandpanels,pressinterviewsandinterviewsinlocalradiostations)Objective4:Establishmeaningfulconnectionsbetweentheartistandthelocalcommunities(i.e.bycoordinatinginterviewswiththeartistandtalks)Goal4:DeveloptheafterlifeexhibitionintheformofapublicationObjective1:Createacomprehensivepublicationthattracestheprojectfromitsconceptionuntilhisfinalexhibition.Includingartworksthathasservedasprecedentforthisparticularpiece,interviewswiththeartistandculturalagentsthathelpalongtheprocess.(i.e.Extensivephotodocumentation,curatorialtexts,etc.)Objective2:DeterminecontentofthepublicationanddefinephotographsObjective3:Includetheartist’sandthearchitect’s,ifpossible,voiceandperspectiveinthetext
31
Chapter4:ActionPlan
Overview
TheContemporaryJewishMuseum(CJM)inSanFrancisco,California,presents
approximatelytenexhibitionseachyear.Thesite-specificinteractiveshowofLeandro
ErlichwillhypotheticallyrunfromJuly10,2018toFebruary19,2019,inordertotake
advantageoftheprimarytouristseason.TheCJMplansitsexhibitionsfromonetotwo
yearsinadvance.Theproject’sactionplanandtimeline,featuringtheprojects
milestones,areexhibitedinthefollowingspreadsheets.Bothchartsarebrokendown
thematicallywithoverlappingactionitemsandnotedmilestones.Theactionplanis
dividedintodifferentphaseswhichrepresentthedifferentdepartmentsthatwillbe
calledupontoworkinsidethemuseumtodeveloptheexhibition.Theactionplanalso
allocatesresponsibilityandatimeframetoeachstrategictask.Particularly,thephase
fortheCollectionsandExhibitionsdepartmentisdividedintointernalphasesthatneed
tobedetailedandexplainedseparately.Inmostphases,itisstipulatedthatthechief
curatorandtheprojectmanagerwillmeetperiodicallywiththerespectiveteamstoget
updatesandmakesureeverytaskhasbeendonesuccessfully.Thiswillalsohelpsolve
anyproblemsorextraordinarysituationseffectively.Finally,theartistwilloccasionally
participateinthesemeetings,specificallyinthosewiththeCollections&Exhibitions
department,EducationDepartmentandtheproductionteamcreatingthepiecesofthe
exhibition.
32
KeyPointPeopleandResponsibilities
1. MuseumDirector
• Topleveldecision-makerandadministrator.S/herepresentsthe
ContemporaryJewishMuseum’sinterests,cultureandmission.S/hewill
alsoapprovetheallocatedbudgetandoccasionallymeetwiththechief
curatortoreceiveupdatesfromalldepartmentsandinallphases
involved.
2. ChiefCurator
• Mainresponsibilityforthedesign,implementation,installationanddes-
installationoftheexhibition.Hewillalsooverseenegotiatingamonthly
rentalfeeforthepublicspacewiththeYerbaBuenaGardenCity.Last,he
willmeeteverytwoweekswithhisteamandtheprojectmanagerto
overseeupdates,checkproductionoftheprojectandmeetwiththe
EducationDepartmenttodefinetheaspectstobeexplored,curatorial
contentandmessagethatwillbereflectedintheprogram.Theartistwill
constantlybeincontactwithhim/herandhewilloccasionallyparticipate
insomemeetings.
3. ProjectManager
• Responsibleforoverseeingtheactionplan,ensuringtheeffective
completionofprojectmilestonesandeffectivelysolvingissuesthatmay
arise.
33
4. CuratorialandProjectManagerAssistants
• Theywillaidthechiefcuratorandtheprojectmanagerwithall
administrativecapacitiesandwiththeirdailyagendas,keepingarecord
ofwhatisbeingdoneandupdatingthemasneeded.
5. DesignTeam
• Theywilloverseethedesignofalldigitalandprintedinvitationsthatwill
besent.Theteamwillalsoberesponsibleforcreatingcreativeand
innovativewallpanels,posters,newslettersandinformativepostersthat
willguidethepublicinsideandoutsidethemuseum.
6. EducationDepartmentincludingeducatorsanddocents
• Theywillberesponsiblefordevelopingandimplementingaccompanying
programseducatingthemuseum’spublicbyexplainingthemeaning
behindtheexhibition,pastworksoftheartist,andhistoricalcontext
abouteachdiscipline,amongotherthings.ThemaingoaloftheCJMisto
educatetheiraudiencecomprehensivelyandeffectivelyusingdifferent
interactivewaysandsuccessfuleducationalmethods.
7. MediaTeam
• Themediateamwillberesponsiblefordocumentingandrecordingall
typeofeventsandsituationsthattakeplaceinsideandoutsidethe
museum.Theywillalsomanagetherecordingandthephotographsfor
theafterlifepublicationaswellascreatinginnovativevideosthatwillbe
postedonthemuseum’swebsiteandsocialmediatoinvitetheaudience
34
totheexhibition.Finally,theteamwillrecordalltalks,debatesand
Question&Answerpanelsthatwilllaterbetransmittedthroughdifferent
platformsthatthemuseumpossesses.
8. PublicRelationsTeam
• ThePRteamwillberesponsibleforgloballycommunicatingthe
exhibition.Theywillsendanddistributethedigitalandprintedinvitations
aswellaslocatingpostersaroundthecity.Moreover,theywillcontact
thelocalandinternationalpressandarrangetalksandinterviewswith
theartistandthecuratoroftheexhibition.
Budget
Thebudgetforthedurationsite-specificprojectwillbedividedintotwomaingroups:
theproductionbudgetandtheprogrambudget.Thechiefcuratorhasestimatedthatto
produceapiecebyLeandroErlichwillcostapproximately$500,000.Regardingthe
programbudget,theCJMestimatesthatitwillrequire$50,000.Whatwillbeincluded
inthesefiguresisdetailedbelow:
ProductionBudget:
• Artistfeeandtravelexpenses
• Artistassistants(2)
• Engineering
• Insurance
35
• Materials
• Security
• Licenses
• Laborandmaterialsforbuilding
• Publicity
• De-installation
EducationalBudget:
• Trainingofeducators/docents
• Feesforguestspeakers
• Techniciansforsoundandvideoforevents.
TotalBudget:$550,000
Regularstaffhoursareincludedinthemuseum’sannualoperatingbudget,and
thereforearenotreflectedintheexhibition’sbudget.
Note:Tofundthetotalamountofthebudget,theDevelopmentDepartmentoftheCJM
willlookforoutsidefinancialsupport.Theywillneedapproximately12months.During
thisperiod,thechiefcuratorwillstartplanningtheexhibitionalongwiththeeducation
department,theexhibitionsdepartmentandtheartist,whowilloccasionallytravelto
36
SanFranciscotooverseeandparticipateofimportantdecisionsregardingtheexhibition
itself,theproductionofthepiecesandtheeducationalprograms.
ProjectMilestones
Thetimelineforfundraisingthemoney,implementingacompleteexhibitionplanand
startingworkingontheeducationalprogramswillbe18months(fromMarch2017to
March2018).Duringthisperiod,themuseumwillalsonegotiateandlookforthe
necessarypermitstosetuptheexhibitionintheexteriorentranceofthemuseum,
whichbelongstotheYerbaBuenaGardenCity.Theproductionofthepiecewilltake
approximatelyfourmonths,fromApriltoJuly2018.Theexhibitionitselfwillcoversix
months(fromJuly2018toFebruary2019).Thisistheidealtimetableplanconsidering
allthedifferentaspectsthatshouldbecoveredtocreateandsetuptheexhibition.
However,ifanyoftheseaspectsisalteredforanyextraordinaryreason,thetimetable
mightbeadjustedfollowingthesameschedule.Thespreadsheetfortheproject
milestonesineachdepartmentcanbeseeninthefollowingpages.
C&ECollectionsand
ExhibitionsDepartment
D DirectorC Curator
M&PMarketing&Promotion
EEducationalDepartment
A ArtistMS MuseumStaff
DDDevelopmentdepartment
F FacilitiesCA CuratorAssistantPM ProjectManagerDT DesignTeamEd EditorialMT MediaTeamPR PRTeamMI MuseumInstallers
MAMantainanceand
cleaning
Key
37
Phase1:Collections&Exhibitions/DevelopmentDepartment Start End Duration Resources Notes
Coordinatewithartistpossibledatestovisitthemuseum 12/17/16 12/17/16 1day C
Issueticketplaneandhotelreservation 13/17/2016 13/17/2016 1day CA
MeetingbetweentheChiefCuratorandtheartist 1/3/17 1/3/17 1day C,A,PM
Artistreturntohishometown 1/4/17 1/4/17 1day A
Brainstormingofideasanddefinethemessageoftheexhibtion 1/5/17 2/5/17 4weeks A
Ocassionall
y,the
Project
Manager
willbein
contactwith
theartistin
Drawsketchesofhowitwilllook 2/6/17 2/10/17 5days A
Definehowtheaudiencewillinteractandrelationtomuseummission 2/11/17 2/20/17 10days A
Describediversewaysinwhichadialogueamongbothdisciplinesisstated 2/11/17 2/20/17 10days A
DefinetemptativeWHAT-HOW-WHENandWHYofthepotential 2/21/17 2/28/17 8days A,PM
Estimatetheamountofspaceneeded 2/11/17 2/11/17 1day A
Writedownthefinaldraftoftheprojectproposal(Projectmilestone) 3/1/17 3/3/17 3days A,PM
Doublecheckallitemsthatmustbeincludedforsubmission 3/1/17 3/3/17 3days A
SubmitprojectproposaltotheCJM(ProjectMilestone) 3/3/17 3/3/17 1day A,PM
InternalMeeting1attheCJM-Evaluationandanalysisoftheproject 3/3/17 3/8/17 1week C,D
OutreachtoCEO,Board,otherdepartments 3/8/17 3/8/17 1day D,C
Deliberationandformalannouncementtotheartist 3/8/17 3/10/17 3days C,D
Schedueleameetingbetweentheartist,andtheCollections&
exhibitionsdepartmenttodefineprojectimplementation3/10/17 3/20/17 10days C,A,C&E,PM
Issueticketflightandhotelreservationforartistandartist'sassistants 3/10/17 3/10/17 1day CA
MeetingsbetweenChiefCurator,Exhibitionsdepartment,Education
department,projectmanagerandartist3/17/17 3/17/17 1day C,A,C&E,PM
Allday
meetings
Defineprojectprioritiesandresponsabilities 3/17/17 3/19/17 3days C,PM
Establishinstallationanddesintallationplans(procedure,datesand 3/20/17 3/24/17 5days C,A,C&E,PM
Talkwiththeproductionteamtodefinetheworkandestablisha
timetableforworking3/22/17 3/24/17 3days C,PM
Communicatetheexhibitionsideatothemarketingteamtostart
thinkingstrategies3/22/17 3/22/17 1day PM
Estimatetimesforobtainingpermits 3/23/17 3/23/17 1day C,PM
Createadigitalchartwithalldetailstosharewithalldepartments 3/24/17 3/27/17 4days PM
Callforameetingwithalldepartmentsinvolvedandcommunicate
definedscheduele,planandtimetable3/27/17 3/27/17 1day
C,A,PM,
C&E,DD,ED
Theartist
mightor
mightnot
jointhis
meeting,
dependingif
heisstillin
Phase1A-Proposalcreation,presentationandevaluation
LeandroErlich:TowardsaCollaborativeRelationBetweenArchitectureandArt
38
Callforameetingwithalldepartmentsinvolvedandcommunicatedefinedscheduele,planandtimetable 3/27/17 3/27/17 1day
C,A,PM,C&E,DD,ED
Theartistmightormightnotjointhismeeting,
dependingifheisstillin
MeetingwiththeDevelopmentdepartment(Projectpresentationplanandestimativeofamountofmoneyneeded)
3/8/17 3/8/17 1day C,DD,PM
Developmentdepartmentstartstofundraisemoney 3/8/17 3/8/18 48weeks DDMeetingwiththeexhibitionsdepartment 3/8/17 3/8/17 1day C,C&E,A,PMPresentexhibitionsplans 3/8/17 3/8/17 1day C,C&E,ACreateanexhibitionlayoutandestablishexhibitiontimeline(Project 3/8/17 3/14/17 1week C,C&E,PMDefinespecificlocationoutsidethebuilding 3/14/17 3/14/17 1day C,AContactpersonresponsiblefromtheYBGC(inchargeofthepublicspacebelongingtotheYerbaBuenaGardenFestivaloffice(YBGF)
3/27/17 3/27/17 1day C
Meeting1withMrs.Lucero-Presentationoftheprojectideaand 4/3/17 4/3/17 1day CInternalmeetingattheCJM 4/7/17 4/10/17 4days C,DMeeting2withMrs.Lucero-Presentationsanddiscussionoftermsandconditions
6/9/17 6/9/17 1day C
Createacontractstatingagreedtermsandconditions 6/10/17 7/10/17 4weeks C
Thisstagewillbedone
bythemuseum'satorney
schedulingweeklymeetingswiththe
ReviewinternallythecontractwithCJMlegalatorney 7/11/17 8/20/17 5weeks C,DMeeting3withYBGC-Contractreviewandfinaldiscussions 8/22/17 8/22/17 1day CInternalworkwithmuseum'satorney 8/23/17 9/28/17 4weeks CMeeting4YBGCtodothefinalrevisionofcontractandsignit(ProjectMilestone)
9/29/17 9/29/17 1day C
Scheduelebi-weeklymeetingswitheachdepartmentresponsibleinvolvedtohaveanaccurateupdateoneachtask.Implementaneffectivewaytocommunicateandsharematerials(GoogleDrive)(ProjectMilestone)
3/8/17 6/10/18 12weeks C,A
Theartistwill
occasionallyparticipateinthese
Phase1B-Fundraising,planningandobtainingpermitsfortheexhibition
39
Scheduelebi-weeklymeetingswitheachdepartmentresponsibleinvolvedtohaveanaccurateupdateoneachtask.Implementaneffectivewaytocommunicateandsharematerials(GoogleDrive)(ProjectMilestone)
3/8/17 6/10/18 12weeks C,A
Theartistwill
occasionallyparticipateinthese
Meetingwithallpartsinvolved 4/1/18 4/1/18 1day C,C&E,P,A,PMConfirmproductionlocation 4/1/18 4/1/18 1day C,C&E,PMDesignpiecestocreatetheexhibition 4/1/18 4/4/18 4days C,C&E,A,PMDeterminedimensionofthepieces 4/3/18 4/4/08 2days C,AConfirmmaterials 4/1/18 4/4/18 4days C,A,PT,PMMeeting2-approvalofdesignedpieces 4/4/18 4/4/18 1day C,AProductionofpiecesstarts 4/4/18 6/4/18 8weeks PT
Scheduelebi-weeklymeetingwithproductionteam 4/1/18 6/4/16 12months C,C&E,PM
Artistwillocassionally
jointhismeeting
Phase1D-Installation,mantainanceanddesinstallationEstablishsecurityandcrowdcontrolplanandmeetwiththesecuritystaffofthemuseumtocommunicateit
4/1/18 4/4/18 4days C,A,F
MeetingwithFacilitiestodefineresourcesneededwhileinstallingtheexhibition
4/7/18 4/7/18 1day C,F
Definequantityandtypesoflightneeded 4/2/18 4/2/18 1day C,C&E,AIntallpublicitypostersinlocationandaroundthecity(strategichotspots) 5/1/18 5/5/18 5days PR,M&PConfirmarrivaldateoftheexhibitionpieceswiththeproductionteam 5/29/18 5/29/18 1day C,C&E,PTMeeting3-Executeinstallationplanandconfirmallresourceswill 6/8/18 7/6/18 4weeks C,C&E,MI
Receivethepiecesandstartinstallingtheminthepublicspace(ProjectMilestone)
6/8/18 7/6/18 4weeks C,C&E,MI
Theproductioncompanywillhelpinstallthepiecealong
withmuseumspecialisthandlers.Theartistwillalsobe
Executesecurityandcrowncontrolplan 6/5/18 7/6/18 4weeks MIEstablishdailycleaningschedueleandcommunicateittothemuseummantainancestaff
6/5/18 7/6/18 4weeks MC
Lightplacementsandadjustment 7/6/18 7/8/18 3days F,MIInstallinformationboxesandpostersinsideandoutsidethebuilding 7/6/18 7/6/18 1day C&E,FInstallbrochurespace 7/6/18 7/6/18 1day C&E,FInstalldonationbox 7/6/18 7/6/18 1day C&E,FInspectandrestorebrochures(daily) 7/10/18 2/19/19 28weeks C&E
Dailymantainance,securityandcleaning 7/10/18 2/19/19 28weeks MC
ExhibitionOpening(exclusivepreview) 7/10/18
ExhibtionOpeningEvent(ProjectMilestone) 7/11/18
Executedeinstallationplan(ProjectMilestone) 2/19/19 2/25/19 1week F,MISendpiecestostorage 2/19/19 2/25/19 1week F,MI,C&E
Phase1C-Production
40
Phase2:EducationalDepartment Start End Duration Resources NotesMeetingbetweencurator,headofeducationdepartmentandartisttostateaspectstobeexploredandlearned
9/4/17 9/8/17 5days C,ED,A
Definequantityofprogramsforeachaudience 9/4/17 9/8/17 5days C,ED,AMeeting2:Confirmanddefineeducationalprogramsthatwillbe 9/11/17 9/13/17 3days C,ED,AConfirmcontentforeachaudience 9/4/17 9/13/17 5days C,ED,ADevelopcontentforeachprogram 9/8/17 11/8/17 8weeks C,ED,AConductexhibitionsresearch 9/13/17 11/8/17 8weeks EDHireeducators 3/8/18 3/23/18 16days C,EDSchedueletrainingforeducators 3/27/18 5/30/18 4weeks EDDefineworkinghoursforeacheducator 3/8/18 3/9/18 2days EDMeetwithresponsiblefromtheexhibitiondepartmenttocreatelabelsanddefinemessagelabel
3/28/18 3/28/18 1day C,ED
Createdesignforlabelsandwallpanels 4/2/18 4/6/18 5days DT,EDIdentifypotentialprivateandpublicschoolsanduniversitiesfortoursandartiststalksandQ&A's
5/15/18 5/22/18 1week ED
Reachouttoschool,universitiesandlocalcommunities 5/22/18 5/25/18 4dyas ED,CDetermineeducationaleventsforschools,universitiesanddiverselocalcommunities
5/30/18 6/1/18 2days C,ED
Phase3:PublicityandPromotion Start End Duration Resources NotesMeetwiththedesignteam 3/12/18 3/19/18 8days C,A,DTWritepressrelease 4/2/18 4/4/18 3days M&PCreatedesignforthedigitalandprintedinvitationsforthegrandopening 4/2/18 4/6/18 5days DTConfirmfinaldraftsfordigitalandprintedinvitations 4/9/18 4/10/18 2days CPlaceorderfor500printedinvitationsforexhibitionpreview 4/10/18 4/10/18 1day CADevelopcross-institutionalpromotionalmaterials 4/3/18 4/6/18 4days M&PDevelopsocialmediastrategytopublicizeexhibtiion 4/10/18 4/17/18 1week M&PDefinepanelformatanddesignwiththedesignteam 4/1/18 4/3/18 3days DT,CReceivesamplesandchoosethefinalones 5/1/18 5/1/18 1day CDesignexhibitionflyerandpostcards 4/4/18 4/6/18 3days DTPlaceorderforflyerandpostcards 4/10/18 4/10/18 1day CA,CEDesignandaddexhibitiontowebsiteofthemuseum 4/4/18 4/6/18 3days DTMeetwithPRteamtosendinvitationsforthegrandopening 4/6/18 4/6/18 1day C,PRSenddigitalsavethedatetomembersandspecialguests 4/20/18 4/20/18 1day PRMailprintedinvitationsfortheopeningpreview 5/1/18 5/4/18 5days PRDistributepressrealesetoCJMmembersandaudience(Project 5/1/18 5/3/18 3days PRContactlocalradiostationsandmagazinestoarrengeinterviewstoartist 5/1/18 5/4/18 4days M&P,CCoordinatewiththeartistpotentialinterviewsanddates 5/1/18 5/4/18 4days PR,C,AAskmediatosendquestionsforinterview 5/4/18 5/4/18 1day PRSocialmediaposts(ongoing) 7/10/18 2/19/19 28weeks M&P
41
Phase4:Programmingandspecialevents Start End Duration Resources NotesMeetwithartisttoplanandselecteventsdates,potentialtalksanddebates 5/1/18 5/1/18 1day C,M&P,PRSchedueleeventinterviewsbetweenartistandlocalcommunities 5/4/18 5/4/18 1day PREstablishdaysandtimesfortechniciasandphotographersoftheCJM 5/4/18 5/4/18 1day C,F,MTConfirmguestspeakersandtalkdates 5/15/18 5/15/18 1day C,EDReservespaceinsidethemuseumtoperformtalks 5/15/18 5/15/18 1day CACommunicatetofacilitiesspecificdaystoaccommodatethespace 5/15/18 5/15/18 1day F,CA
Phase5:Developdeafterlifepublication Start End Duration Resources NotesMeetingwiththeeditorialanddesignteam,exhibitionsdepartment,thecuratorandtheartist
1/3/18 1/5/18 3days Ed,DT,CE,A,C
Definecontent 1/8/18 1/12/18 5days C,ADefinetimelineofcontentproduction 1/8/18 1/12/18 5days C,A,CEAssignresponsabilities 1/8/18 1/12/18 5days CDeveloprecordedinterviewsandtalksabouttheexhibitiontochiefcuratorandartist
1/15/18 4/15/18 12weeks MT
Assignphotographertodocumentprocessofcreationofexhibition,audienceinteractionandinterviews
1/15/18 7/25/18 24weeks MT
Assignwritertowritedownrecordedinterviews 1/15/18 4/15/18 12weeks MT,CConfirminformationandphotographieswiththeartistandchiefcurator 4/18/18 7/25/18 12weeks CA,C,AEdittext 4/15/18 5/15/18 4weeks EdDetailedreviewofallcontent,spellingandgrammar,quotations 5/15/18 7/25/18 8weeks C,APlaceorderoffirstafterlifepublicationroll 8/1/18 8/25/18 4weeks Ed
Firstgroupofpublicationavailable 8/25/18 12/1/18 16weeks C,CA,D
16weeksisthe
estimatedtimethatthefirstgroupofprinted
publicationwilllast
beforethey
Phase6:Evaluation Start End Duration Resources Notes
Interdepartamentalfeedbackontheexhibitiondevelopmentandsuccess 7/10/18 2/19/19 32weeksE,CE,F,P,PM,DD
ArtistfeedbackandexperienceofworkingwiththeCJM 7/10/18 2/19/19 32weeks AChiefcuratoranddirector'sfeedback,evaluationandanaylisisontheexhibitionimplementationandsuccess
7/10/18 2/19/19 32weeks C,D
Solicitfeedbackontheeducationalprogramandtheexhibitionitselftoschoolsanduniversitiesthatcametotourtheirclasses(throughsurveyssenttosupervisors)
7/10/18 2/19/19 32weeks D
Socialmediarepercussion,evaluationandanalysisoffeedback 7/10/18 2/19/19 32weeks DA,CAAmountofsales-Afterlifepublication 7/10/18 2/19/19 32weeks GiftShop
42
LeandroErlich:TowardsaCollaborativeRelationBetweenArchitectureandArt/Timeline
Collections&ExhibitionsDepartmentEducationDepartmentPRDepartmentAfterlifepublicationEvaluationDevelopmentDepartment
Q1MAR APR MAY JUN JUL AUG SEP OCT NOV DEC JAN FEB MAR APR MAY JUN JUL AUG SEP OCT NOV DEC JAN FEB MAR
Writedownthefinaldraftoftheprojectproposal(Projectmilestone) 1/3/17 3/3/17SubmitprojectproposaltotheCJM(ProjectMilestone) 3/3/17 3/3/17Internaldeliberationandformalannouncementtotheartist 8/3/17 10/3/17Developmentdepartmentstartstofundraisemoney 8/3/17 8/3/18Createanexhibitionlayoutandestablishexhibitiontimeline(Projectmilestone)
8/3/17 03/14/2017
Confirmanddefineeducationalprogramsthatwillbedeveloped 11/9/17 09/13/2017MeetingwithResponsiblefromtheYBGCtodothefinalrevisionofcontractandsignit(ProjectMilestone)
09/29/2017 09/29/2017
Productionofpiecesstarts 4/4/18 4/6/17Receivethepiecesandstartsettingthemuptheminthepublicspace(ProjectMilestone)
8/6/17 6/7/17
Mailprintedinvitationsfortheopeningpreview 1/5/18 4/5/18Distributepressrelease(Projectmilestone) 1/5/18 3/5/18Confirmguestspeakersandtalkdates 5/15/18 5/15/18ExhibitionOpeningEvent(ProjectMilestone) 11/7/18Solicitfeedbackontheeducationalprogramandtheexhibitionitselftoschoolsanduniversitiesthatcamewiththeirclasses(throughsurveyssenttosupervisors)
11/7/18 02/19/2018
Firstgroupofpublicationavailable 08/25/2018 1/12/18Executedeinstallationplan(ProjectMilestone) 02/19/2019 02/25/2019
Q2 Q3 Q4Year2:2018 Year3:2019
TASK/PROJECTMILESTONES START END Q1 Q2 Q3 Q4 Q1
43
Chapter5:SummaryandConclusions
Thesuccessoftheinteractiveexhibitionpresentedintheexteriorentranceofthe
ContemporaryJewishMuseumwillbemeasuredinseveralways:formalinternaland
externalevaluations,theuseofmetrictools,internalandexternalquantitativeand
qualitativeevaluations,andsocialmediaandinternetrepercussion.
Thefirstevaluationsofsuccesswillbeconductedinternallybythemuseumto
analyzeoutcomesfromaprojectmanagementperspective.Internallyandfollowingthe
actionplan,timelinesandprojectsmilestonesestablished,theevaluationwillconsistof
analyzingeachtaskandphasefromeachdepartmentanditseffectivenessand
productivenesstoachievetheproposedobjectivesandgoals.Likewise,thisinternal
evaluationwillserveasareflectionaboutcoreworkandhowtoimproveandcreate
betterindividualandgroupworkpractices.Fromaprojectmanagementviewpoint,this
willhelppolishandcreatenewworkmethodsandguidanceforfuturemuseum
projects,makingeachdepartmenthavemoreexpertiseandimprovedaily.These
evaluationsregardingdepartmentalproductivityandefficacyareextremelyimportant
togrowwithin,whichwillbeseenexternallyprovidingagreateroverallexperienceto
themuseum’spublic.
Secondly,successwillbemeasuredbyevaluatinginternalandexternalsourcesthat
willshowqualitativeandquantitativeinformation.Theexternalsourcesincludemedia,
communities,schoolsanduniversities,andthegeneralpublic.Thequalitative
informationwillbereceivedthroughsurveysandwrittenfeedbackfromtheexperience
44
ofprofessors,communityleadersandthegeneralpublicwhileinteractinginthe
exhibitionand/orparticipatingintheeducationalprogram.Thenumberofvisitorswho
engageansweringthesurveyscombinedwiththedifferentactivitiesthatthe
educationalprogramprovideswillbeanotherquantitativemeasurethatwillallowthe
institutiontomeasuretheeffectivenessoftheexhibition.Additionally,thequantitative
informationwillbeevaluatedthroughthenumberofattendeesineachevent,talksand
debates,theamountofpressrepercussionmeasuredbythedifferentarticlesreleased
abouttheexhibition,numberofinterviewsrequestedtotheartistand/orthecurator
andbyanalyzingthetotalnumberofnewmuseummembersthattheinstitution
obtainedafterthistypeofculturalmeetings.Asfortheinternalsources,the
developmentdepartmentisanotherimportantquantitativesourceofinformationsince
itwillprovideanevaluationofsuccessthatwillexaminetheamountoffinancialsupport
fromdiverseorganizationsthatthemuseumobtainedtofundraisetheexhibition.This
willprovideaclosesenseonhowtheprojectwasperceived,understoodandtrusted.
Ontheotherhand,successwillbeevaluatedthroughdifferentfiguresthatthegiftshop
managercanprovide.Thesefigureswillbeevaluatedfromtheamountofsalesthatthe
afterlifepublicationhadandtheamountofsalesfromobjectsthatarerelatedtothe
exhibition.
Thethirdmethodthatthemuseumcanusetoevaluatethesuccesswillbeusing
GoogleMetricsandothersimilartoolsthatproviderelevantinformationregardingthe
trafficofthewebsiteandthenumberofclicksthatapublicationreceives.Thiswillbean
interestingsourceofinformationinordertoanalyzesuccessthroughdiversemass
45
media.Whileexaminingtheinformation,themuseumstaffshouldobserve,for
example,iftheamountoftrafficisreflectedrespectivelyonthenumberofattendees
thattheexhibitionreceived.Inthisway,iftheamountoftrafficforcertaindayishigher
thanthenumberofattendeestothemuseum,whatcouldhavehappenedandhowto
revertoravoidthissituationforfutureprojectsshouldbeconsidered.Thesetools
provideinterestingandrelevantinformationifthisinformationiseffectivelyevaluated
andmetricsarecross-analyzedproductively.
Thesetoolsprovideacloseandin-depthqualitativeandquantitativeevaluationof
theexhibition’srepercussion.Thequalitativeevaluationwillbeseenexamining
commentsandfeedbackonpictures,publicationsandvideosthatuserspostonsocial
media.Thequalitativeevaluationwillbethroughthenumberof“likes”and“shared”
clickseachpicture,videoorarticlehas.Lastly,themuseumwillcreateandencourage
thepublictousedifferenthashtagswhilesharingpicturesonsocialmedia.Thenumber
ofhashtagswillalsobeawayofmeasuringthequantitativeeffectivenessofthe
exhibitionwithinsocialmedia.
Allthesedifferentgroupsthatwillbe–intentionallyandunintentionally––providing
informationandfeedbackabouttheexhibitionandtheeducationalprogram,willbe
previouslydefinedandselected,tolaterbeinternallycombinedwithinter-
departmentalreflectionsandseveralmethodsofaccomplishment.Thekeytoevaluating
thistypeofprojectsreliesoncombiningquantitativeandqualitativeinformation
consideringtheextentofeachdepartmentinvolved.Myprojectwillinvolveinformation
46
comingfromthecollectionsandexhibitionsdepartment,educationdepartment,
marketingandpublicrelationsdepartmentandthepressteam.Thisinformationwillbe
effectivelyappraisedwhilebeingpairedwithinternalfeedback.Inthisway,theproject
willbeanalyzedfromallpossibleanglesandpotentiallyeffectiveconclusionsandresults
willbeobtained.
Formycapstoneproject,Ihavedevelopedaprojectmanagementplanforanexterior
site-specificinteractiveinstallationcreatedbyanArgentineanartisttobepresentedat
theContemporaryJewishMuseum(CJM).Theexhibitionwillbethefirstexterior
interactiveinstallationofaninternationalartistthattheContemporaryJewishMuseum
willshowcaseoutsidethebuilding,thefirsttimetheCJMusesthepublicspaceto
presentanexhibition,andtheartist’sfirstsite-specificprojectinCalifornia.Theshow
aimstoestablishafruitfuldialoguebetweenarchitectureandartinanon-traditional
museumspace,invitingthepublictoparticipatewithin.Inmyliteraturereview,Ihave
discusseddiverseconflictsthatthesetwodisciplineshavefacedintheartmuseum
contextinwhichthefeelingofexclusionandenforcementcombinedwithpoor
communicationprevailedandpotentiallygeneratedaproblembetweenbothparts.The
projectwillinvitetheaudiencetoparticipatewhileinteractingwiththeartworkthatwill
bedialoguingwiththearchitectonicfeaturesofthebuilding.Theeducationalprogram
aimstoprovideadeeperyetrichunderstandingoftheproject’sgoalsthroughactivities,
debatesanddialogues.Lastly,theafterlifepublicationwillshowaphotographicand
writtendocumentationoftheevolutionoftheproject’sideawhichwillbenarratedby
theauthorandthechiefcuratoroftheCJM.Thecombinationofaninteractive
47
exhibitionwithaneducationalprogramandanafterlifepublicationlooktoengagethe
publicphysicallyandsymbolically.Hopefully,theprojectinspiresotherartmuseumsto
discoverdifferentwaystoestablishanefficientdialoguebetweenarchitectureandart
whileinvolvingtheaudiencewiththeartisticstatement.
Myprojectstillhassomeunansweredquestionsregardingtheeffectivenessofthe
projectitself.However,thesequestionswillbeansweredoncetheprojectisdeveloped
inreal-life:
• Wasthedialogueeffectivelyachievedbetweenbothdisciplines?
• Wasthe“dialogue”betweenbothdisciplinescommunicatedsuccessfullytothe
audience?Wasitunderstoodbythepublicwhileinteractingwithinthe
installation?
• Willtheprojectbecapableofinspiringotherartmuseums,institutionsand
organizations?
Ontheotherhand,whileresearchingdiversecasestudieswhichinvolveaproblem
betweenarchitectsandartists,Iconcludedthataconflictbetweenbothdisciplinesis
generatedwhenasituationisimposedandthereislackofcommunication.Aneffective
approachfromthemuseumwillbefundamentaltocreatesynergyandproductivity
betweenbothpartstoworktogether.Ibelievemostcasestudieswouldhavehad
differentresultsiftheyhadbeentreatedandconducteddifferently,encouraginga
conversation.Thisissomethingimportanttopertain,notonlyinthemuseumfieldand
betweenapotentialconflictbetweenarchitectureandartbutalsoinourdailylives.
48
Manyproblemsarisewhenthereislackofcommunicationandpeopledonothavethe
spacetoprovidetheiropinionaboutcertainsituations.Wheneverthereisaspaceto
stateavoice,apositiveandembracingsituationwillreign.Communicationisthekeyto
successandinthesecases,museumsthemeanstoachieveit.
Thisprojectmayimpacttheorganization’sfutureoperationsbyopeningthescope
andmakingmuseumstaffmembersthinkmorewidely,outsidethecommonmuseum
spacesthatareusuallyused.TheCJMhasasignificantspaceintheexteriorcourtyard
notusedbeforeuntilthisprojectwasproposed.Itwillhopefullyencouragethemuseum
andotherlocalinstitutionstostartofferingalternativewaystopresentafruitful
dialogue,invitingdifferentdisciplinestointeract.Atthesametime,itwillbeaunusual
waytoreachouttothepublic.Theseshowswillopentheirextentbyshowcasingnon-
conventionalexhibitions.Furthermore,thisprojectmayactivateeducationalprograms
thatcanfocusongeneratingactivitiesanddebatesconcerningpersistingunsolved
issuesinthemuseumfield.Ontheotherhand,theexhibitionalsoinvokestosocial
justiceissuesconcerningculturediversityandreligiousheritage.Theimportanceof
fosteringculturalexchangeandmakingitpublicisfundamentaltocreatebetter
societiesandpromoteunity.TheCJMworkscloselywithitspublicandoffersan
educationalprogramwhichinvolvessocialjusticeissuescalled“ArtWorkshop:Outside
theBox”.Thiswillbeadistinctivewaytocommittosocialjusticeissues.
Toconclude,whenIstartedthinkingaboutdifferenttopicsIwantedtoexploreand
developformycapstoneproject,Iwassureabouttwothings:Iwantedtoshowthe
workofanArgentineanartistandtodevelopaprojectwhichinvolvedinteractionwith
49
thepublic.Hereafter,Ithoughtaboutimportanttopicswhichwouldfulfillmeasa
MuseumStudiesstudentandpotentiallycontributetothemuseumfield.Finally,I
decidedtoexplorethepotentialrivalrybetweenarchitectureandartintheartmuseum
context.Bycreatingthisproject,Iwantedtoestablishadiplomaticsolutionforrelevant
problemsintheartmuseumcontext.Inthiscase,museumsshouldencouragea
genuinepartnershipbetweenarchitectandartisttoembraceeachother’swork
accordingly.Asawayofmeetingandgeneratingdialogue,mycapstoneprojecthopesto
unifypeople,merginganartisticstatementcreatedbyarchitectureandart.
50
AppendixA:AnnotatedBibliography
Bianchini,R.(2015,June25).TheGuggenheim,AnAmericanRevolution.Retrievedfromhttp://www.inexhibit.com/case-studies/the-guggenheim-museum-an-american-revolution/InthisarticlewrittenforInExhibit,awebsiteaboutart,architecture,designandcreativity,RicardoBianchiniexplorestheproblematicstoryabouttheGuggenheim
Museum’sbuildingthatopeneditsdoorsin1959inNewYorkCity.Bianchinistartsby
providinghistoricalcontextaboutartmuseumsandthemaincharacteristicsabouttheir
buildings.Later,theauthoraddssupportivequoteswhilespecificallytalkingabout
differenteventssuchasthemomentwhenhewasaskedtodesignthenewbuildingand
theconflictwiththeartists,amongothers.Healsosharespicturesthatallowthereader
tovisuallyunderstandhowthebuildinglookedandhowitlookstoday.Inthesetypesof
historicalstories,Ibelieveit’sfundamentaltoprovidevisualexamplesforthereaderin
ordertounderstandinabetterwaywhatwashappening.Furthermore,thearticleis
dividedbyseveralsubtitlesthathelpthereadercomprehendthemostimportantissues
andprovideananalysisabouteachproblem.Forexample,inthesectiontitled“A
RevolutionaryExhibitionSpace,”Bianchinidescribestheinteriordesignproblem,which
wasthemainreasonfortheconflictbetweenartistsandthearchitect.
Thisarticlewillbeagoodsourceofinformation,sincetheauthornotonlyprovidesus
withworthyhistoricalcontext,butalsospecificallyanalysesseveralproblems,whichI
willaddresswhiledevelopingthesection“ArchitecturevsArt”.
Burguenio,M.(2009,May17).“LaTorre”deLeandroErlichamplíasupermanenciaenelMuseoReinaSofia(video).RevistaDeArte-Logopress.Retrievedfromhttp://www.revistadearte.com/2009/03/17/la-torre-de-leandro-erlich-amplia-su-permanencia-en-el-museo-reina-sofia-video/
MariaJesusBurguenioisaSpanishjournalistanddirectoroftheonlinemagazine
RevistaDeArte.ShehasalsoworkedasaprofessorindiverseculturalinstitutionsinMadrid,Spain,aswellasgivenartcoursesinlibrariesandschools.Inthisarticle,
Burgueniotalksaboutthesuccessoftheinstallationin2009,thatLeandroErlichdidfor
theReinaSofiamuseum,inMadrid,underthecontextofamuseumprogramnamed
“Productions.”Burguenioexplainstheideawastosharetheworkofselectedartists
51
outsidethestandardmuseumgalleriesandLeandroErlich’swaschosentoinaugurate
theprogram.
Theinstallationwaspresentedinthemuseum’scourtyardnamed“JeanNouvel”and
thewriterexplainstheconnotationbehindtheartist’sworktitled“LaTorre.”Maria
JesusBurguenioaddressesseveralthoughtsconcerningthisparticularwork(“LaTorre”)
andwhyitwassucharealizationforthepublicandthemuseum.Moreover,thearticle
sharestheopinionofthemuseumDirectorManuelBorja-Villellwhoexplainswhythese
typesofinstallationsarepositiveforthemuseum.Also,theauthorstatesinteresting
andcompellingthoughtsabouttheartist’swork,hisobjectives,andtheimportanceof
creatinginteractiononabiggerscalewhileitoffersadifferentperspectiveforthe
viewer.
AsitoffersinsightsaboutthisparticularinstallationwhichIplantoaddressinmy
writing,thisarticlewilldefinitelycontributewithsupportingmaterialtomyproject
exhibitionattheContemporaryJewishmuseumandasasourceofinformationabout
theartist’spreviousworks.
Elsen,A.(2016,August27).TheFreedomtobeChristoandJeanne-Claude.ReadingpresentedatStanfordPresidentialLecturesandSymposiaintheHumanitiesandArts.Retrievedfromhttps://prelectur.stanford.edu/lecturers/christo/elsen.html
AlbertElsenwasaprofessoratStanfordUniversity,Rodinscholarandarthistorian.In
thisessay,ElsendescribestheworkoftheartistsChristoandhiswifeJean-Claudeas
beneficialandunrestricted.Heexplainsthattheirartwasrelatedtoanaesthetic
intuition,tonature,andmainlyfocusedonbuildinganddevelopingintheexterior
environments.Elsencontinuestoexplainthattheartists’workispermanently
identifyingwithdifferentplacesthroughtheirartandcreating“gentledisturbances.”
ElsensummarizeshisessaybystatingthatChristo’sworkfocusesoninteraction,service
andgeneratingmemorableexperiencesinordertocreatechangeanddifferentpoints
ofviewamongpeople.
ThisessayhelpsmeunderstandChristo’smeaningfulworkbypresentinghis
principlesandobjectiveswhilecreatinganartwork.Besides,thistextcouldbeeasily
incorporatedinChristo’ssection,wheretheirworksaddresshowtopresentanartwork
thatpushesboundariesandbringsnewperspectivesapartfromtheartmuseum
context.
GuazzonediPassalacqua,V.(2016,May6).LeandroErlich:“Unaobraprofundanodeberíaseraburrida”.RevistaNoticias.Retrievedfrom
52
http://noticias.perfil.com/2016/05/06/leandro-erlich-una-obra-profunda-no-deberia-ser-aburrida/
InthisinterviewforRevistaNoticias,oneofthemostimportantprintedmagazinesin
Argentina,journalistVictoriaGuazzonediPassalacquadescribesthemaincharacteristics
ofartistLeandroErlich.GuazzonediPassalacquatalkswithErlichabouttherelation
betweenhisworksandarchitectureandtheimpactthatErlichworkshaveonthepublic.
Moreover,sheaskshimabouthisobjectiveswhilethinkingandmakingsuchimposing
installations,whilesheexploresthemeaningofhisworksregardingtheirparticular,yet
involving,focus.Erlichstatestheimportanceofgeneratingmeaningandsurprise,and
describestheprocessofanideatransformingintoaconcreteproject.Healsoexplains
thereasonwhyhecreatesartworksthathavealargerscaleanddescribeshisearlydays
intheUnitedStateswhenhestartedcreatingworksthatexploredarchitecture.
Additionally,theydiscusstheartist’segoandhowhemanagesthisfeelingwhile
creatinghisworksandduringhisdailylife.Finally,theartistsharesparticularitiesabout
certainworks,howtheyweredevelopedandwhatreallyhappenedasidefromwhat
wasseen.
ThisinterviewisagoodadditiontomypaperforthesectionwhereIwilltalkabout
theartistandhiswork’s.Sinceitisaninterview,itwillbepositivetostatetheartists
ownwordsandwhathewantstotransmitwhilecreatingtheseinteractiveandlarge-
scaleinstallations.Consequently,itwillprovidegoodinformationwhileadaptinghis
worktotheexterioroftheCJMbuildingneartheentrance.
Guilfoyle,U.(1992,July28).Architecture:ExtensionofaNewYorkcontroversy:TheGuggenheimisnoordinarymuseum.UltanGuilfoylelooksatthelegacyofFrankLloydWright.Independent.Retrievedfromhttp://www.independent.co.uk/arts-entertainment/art/news/architecture-extension-of-a-new-york-controversy-the-guggenheim-is-no-ordinary-museum-ultan-1536218.html
AuthorUltanGuilfoylerecountsthestorybehindtheproblemoftheGuggenheim
museum’snewbuildingdesign.Theauthordescribesthehistoricaleventsandsituations
fromthemomentthatthearchitectwascalledbyHillaRebay,firstdirectorofthe
SolomonR.GuggenheimFoundation,untiltheconflictwassettledandthemain
characters(architectandartists)wereconfronted.Healsoprovidesameticulous
descriptionregardingtheproblemsabouttheinteriordesign:theramp,thelightning
andthecurvedwalls.Inaddition,ausefulaspectaboutthissourceisthatGuilfoyle
describesthewaysitwassolvedbythemuseumduringtheyears.
53
Iconsiderthisarticlebeneficialforthesectionofmypaperexplainingtheproblem
amongartistsandthearchitect.Likewise,itishelpfultounderstandwhattheissues
wereandanalyzethepositionandargumentsofeachsideeffectively.
Hamlin,J.(2005,April28).FollowthefissuretothenewdeYoung--Andy
Goldsworthywillleadtheway.Retrievedfromhttp://www.sfgate.com/entertainment/article/Follow-the-fissure-to-the-new-de-Young-Andy-2637545.php
JournalistJesseHamlinisawriterforTheSanFranciscoChronicle.InthisarticletheauthordescribesthesitespecificcommissionthatAndyGoldsworthycreatedforthe
courtyardofthenewbuildingofthedeYoungmuseumin2005.Additionally,Hamlin
sharespreviousworksachievedbyGoldsworthywhilehedivideshisworksintotwo
groups:theephemeralandthepermanentones.Thisdivisionprovidesagood
understandingonGoldsworthy’sworksandhowtheycanbeidentifiedandcategorized.
TheauthoralsodescribesindetailtheprojectcreatedforthedeYoungmuseumby
Goldsworthynamed“DrawnStone,”suchasthe“effortless”ideaofthecracking,which
theartistexplainsthedifficultiestodothat,andmaterialsusedandtheonesthathadto
bereplaced.Moreover,Hamlinpresentssomeimportantideasthatcharacterize
Goldsworthy’sworkandhisideologiesforcreatingthemsuchastheimportanceofthe
contextwheretheprojectswillbeexhibited,andtheirconnectiontonature,among
otherthings.
Thiswillbeagreatadditiontohaveadetailedoverviewoftheartist’scommission
workforthedeYoungmuseum.Italsocontributesspecificideasonthemain
componentsofhisworks,howitsprojectscanbeanalyzed,andhowhebecame
inspiredtocreatethisspecificprojectforthemuseum.Theprocessofcreatingthis
projectswillcontributeunderstandingandknowledgewhileconstructingmyprojectat
theCJM.
Hotham,S.(2013,April11).TateDebate:Whatistheimpactofartonarchitecture?
Retrievedfromhttp://www.tate.org.uk/context-comment/blogs/tate-debate-what-impact-art-on-architecture
SusanHothamhaswrittenseveralreviewsandmadeartcriticsfortheTateModern
blog.Inthesectioncalled“TateDebate”,Hothamstartsbydescribingtheimpactof
architectureonartandhowartworks,andthereforeartists,overcomethissituation.
Hothamraisesquestionsregardingthisissuebystimulatingthereadertothinkabout
54
theconflictamongthesetwodisciplinesandhowhistoricaleventsinfluencedthe
situationtomakeitwhatitistoday.Theevolutionofmachineryandtheappearanceof
newconstructionmaterialshavebeentwofactorsthathavemadearchitectureevolve,
andtherefore,increasetheconflict.
Interestingly,itgeneratesquestioninganddebatebymakingthereaderthinkabout
certainissuesregardingthearchitecturevs.artstruggle.Usuallythesetypesof
questionshelpthereaderhaveabetterunderstandingofthetopicsincetheyare
challengedtoreflectaboutdifferentaspectswhichmightleadtointerestingdebates
andeffectiveconclusions.Bypointingoutdifferentfactorsthatinfluencedpastevents,
thisreviewprovidesabetterknowledgeoftheconflictnowadays.
Jkim184.(2014,October23).DrawnStoneattheDeYoungMuseum[Weblogreview].
Retrievedfromhttps://jkim184.wordpress.com/2014/10/23/drawn-stone-at-the-young-museum/
ThispublicationstartsbyprovidingspecificinformationabouttheworkofAndy
GoldsworthylocatedinthecourtyardofthenewdeYoungMuseum.Itdescribesin
detailtheexperienceofvisitingthemuseumandhowthewriter“perceived”thework
ofAndyGoldsworthyandhisprocesstofullyunderstandit.Italsoexplainsthedifferent
feelingstowardwhathethoughtitwasandwhatitreallywas,andheshareshisopinion
ontheartwork.Thewriteralsoprovideshispointofviewtowardsseveral“problems”
thathefindsregardinghowitisperceivedbymostofthevisitors.Heconcludesby
statingwhytheworkisagoodadditiontothemuseumandhispositiveoutcomes.
Ithinkthisisaninterestingpointofviewfromavisitor,describingwhathefeltand
whathisthoughtsabouttheworkare.Iaminterestedinthewayhestatestheproblem
andlatershareshisopinion.ThissourcewillbeagoodadditiontothesectionwhereI
discussGoldsworthy’sworkandtheoutcomesregardingthepublicandthecommunity.
Lifson,E.(2009,August5).TheGuggenheimat50:ALegacySpiralsOnFifth.Retrievedfromhttp://www.npr.org/templates/story/story.php?storyId=111434035
AuthorEduardLifsonwritesaboutthecontroversialproblemintheGuggenheim
MuseumconcerningthecreationofthenewbuildingbytheemblematicarchitectFrank
LloydWright.Lifsondescribesseveralattitudesofthemaincharactersinvolved,
includingthearchitect,thenewlydesignatedmuseumdirectoratthattime,James
JohnsonSweeney,theartistsandthepublic.Bystatingtheiropinionsandquotes,the
authorhelpsthereadercreatethestoryeffectively.Inthisarticle,Lifsonsupportshis
writingbyaddingseveralquotesregardingthearchitect,thepublicandtheartists,
55
whichhelpthereaderunderstandinaclearsensethelevelofconflictand
repercussions.Henarratesthedifferenteventsthatconsequentlyweregeneratedand
divideshisarticleintothreesections:introduction,thenewbuildingbyWrightandthe
futureGuggenheimbuildingtocomeinAbuDhabibythearchitectFrankGhery.
Ibelievethisarticlewillbeagoodadditiontomyintroductorystory.Notonly
becauseitprovidesdirectquoteswhichwillsupportmylecture,butalsothewaythe
writerseparatesandfocusesonthesmallconflictsinsidethebiggerproblem.Finally,it
alsooffersabetterunderstandingoftheoverallconflict.
Lubow,A.(2009).TheTriumphofFrankLloydWright.Smithsonian,40(3),52-61.
InhisarticlefortheSmithsonian,theauthorArthurLubownarratesthestoryoftheGuggenheimMuseumanditsnewbuilding.Thearticleismainlyfocusedon
rememberingthearchitect’swork,sinceitwaswrittenintheyearthemuseumturned
50yearsold.Thenarrativeisfocusedondescribingwhathappenedandremembering
theworkofFrankLloydWright,andhisfuturisticvisionforthattime.Theauthor
remarksthatthebuildingwasandwillbeoneofthemostimportantartmuseum
buildings.Lubowdescribeswhathappenedandremarksthepositiveresponsethatthe
publichadoverWright’snewdesign.Infact,thearticleistitled:“TheTriumphofFrank
LloydWright.”Lubowclearlyassumesapositionovertheconflictbylettingthereader
knowthatbesidesalltherepercussionsandconflict,thebuildingandthearchitectstand
outovertheartcontainedinthebuilding.
AlthoughIbelievethattheauthorfocusesontheremarkablethingsWrightdid,Iam
interestedinconsideringapointofviewthatfullysupportsitsdesignandthearchitect.
Besides,Lubowalsotalksaboutthepositiveattitudethepublichadtowardsthenew
building,andthisisanotherimportantissueIaddressinmypaper.
Moret,A.(2013).LeandroErlich:WelcometotheDalstonHouse.Installation.
Retrievedfromhttp://installationmag.com/leandro-erlich-dalston-house/
ThisarticleaboutLeandroErlich’sinteractiveinstallation“DalstonHouse”wasmade
bytheco-founderandeditor-in-chiefofInstallationMagazine,arespectedonlinemagazineaboutcontemporaryartthatprovidescuratorialanalysisandartcritique
aboutglobalcontemporaryartinstallationsandexhibitions.Theauthor,A.Moret,isan
artcollectorandwasacontributorfortheLosAngelesTimesMagazine.ItdescribestheinstallationmadebytheArgentinianartistLeandroErlichinLondonin2013.By
presentingtheprojectassomething“unusual”thatwashappeninginthestreetsof
London,theauthordescribesindetailhowitwasconstructedandinwhichwaysthe
56
projectengagedthecommunity.Theimportanceofgeneratingaconnectionwiththe
publicissomethingfundamentalinErlich’sworks.Moretcontinuesbyexplainingwhy
theworkhavebeensuccessfulwiththepublicandasanartworkitself.
ThisarticleprovidesimportantfeedbackontheimpactofLeandroErlich’sworkona
globalaudience.Itcanclearlybestatedthatalthoughthecultureandcountrymight
change,hisobjectiveisstilladdressed.Thislecturewillprovideinterestingsupportto
showtheeffectivenessandpositiveoutcomesofErlich’sworkswithindiverseaudiences
andindifferentcountries,besidesArgentina.
Petruele,M.(2016,May20).LeandroErlich:"Elmisterioproduceatracción"Infobae.Retrievedfromhttp://www.infobae.com/2016/05/20/1812808-leandro-erlich-el-misterio-produce-atraccion/
InthisinterviewforInfobae,oneofthemostimportantonlinenewspapersin
Argentina,journalistMartinaPetrueleexploresLeandroErlich’saimstocreatedifferent
experienceswhilegeneratinginteractionswithhisworksamongthevisitors.Petruele
statesthattheartistlooksfora“surprising”experiencebetweenthecommonthingsin
ourdailylife.Erlichtalksaboutthegamehecreateswhilegeneratinganastonishment
experience,leadingtoinvolvementandinterpretationoftheworkthatisbeing
perceived.TheauthorstatesthatErlichcreatesworksthatarenotalignedwiththe
visitors’reality,andconsequently,theystartcreatingtheirowninterpretationsaboutit.
MartinaPetrueledescribes,inaprofoundway,themeaningandunderstandingof
Erlich’sideasthroughtheartworkshecreates.TheauthoralsocomparesErlich’s
opinionregardingarchitectureandhiswork.
Thisarticleaddsthoughtsandperspectivesabouttheartist’sopinionconsideringhis
projectsandtheimportanceofmakingthevisitorsthinkanddeconstructtheirreality.It
willpresenttheartist’sideatothinkwidely,createsignificantartworksthatgobeyond
thetraditionalspacesandgenerateadialoguewithitscontextandthepublic.
Richardson,M.(2016,March1).AsktheAMC:ChristoWrapstheMuseum.Retrieved
fromhttps://mcachicago.org/Stories/Blog/2016/03/Ask-The-MCA-Christo
AuthorMaryRichardsonisthelibrarydirectoroftheblogforthewebsiteofthe
MuseumofContemporaryArtinChicago.Inthisreview,Richardsonwritesaboutthe
workofartistChristoandhiswifeJean-Claudewhentheywrappedthemuseuminterior
andexterior,manyyearsago.Richardsontalksaboutthe“aesthetic”reasonswhythe
artistsdecidedtodoit,howitwasperceivedbythemuseumstaffandvisitors,and
whichcomplicationsandrepercussionsithadduringandaftercompletingthework.
57
AsChristowillbeoneofthreeartiststhatIwillanalyzebeforepresentingmyproject,
Ibelievethisarticleprovidesagoodunderstandingofhiswrapupworks,andtheir
meaning,ideasandthoughtsbehindthem.Furthermore,itwillberelevanttoanalyze
thereasonstheyhadandtheoutcomesitproduced.Thiswillbeanotherexampleofan
artistwhoworksoutsidethecommonspacesofatypicalmuseumgalleryandona
largerscale,lookingtoconnectandimpactthecommunity.
RootstrailfromhousesuspendedaboveaconstructionsitebyLeandroErlich.(2015,July22).Retrievedfromhttp://www.dezeen.com/2015/07/22/pulled-up-by-the-roots-suspended-house-installation-leandro-erlich-construction-building-site-crane-karlsruhe-germany/
ThisarticlefortheDeezenmagazineoffersadescriptionandanalysisofthe
installationmadebytheArgentinianartistLeandroErlichinGermanyin2013.Titled
“Pulledbytheroots”,theinstallationwasdesignedtochallengetheresidents’
perceptionandtoprovidespecificthinkingregardingthenaturethat“lives”underneath
eachconcretebuildingandconstruction.Onceagain,Erlich’sworkpursuestogenerate
diversefeelingwhichinvolvingarchitectureandart.Thearticleemphasizesthe
singularityofhisworkandtheeffectiveimpactithadonthelocalcommunity.Bystating
diverseaspectsabouttheworkanddescribingitsmeaningandideasbehindit,the
installationhaddifferentaspectsthatcalledtheattentionofthelocalcommunity.
AsawayofprovidingotherreviewsaboutLeandroErlich’sworks,thisarticleisa
goodsourceofinformationtoexplainhowadifferentwork,withseveralmeaningsand
adifferentform,stillreducestheconflictbetweenarchitectureandart,while
generatingaconnectionwiththepublicandcreatingameaningfulmessage.
Consequently,thisarticlealsoproveshowsuccessfulhisprojectscanbeindiverse
contexts.
Ruan,S.(2013,October19).CriticalWritingAboutAndyGoldsworthy:DrawnStone
[Weblogreview].Retrievedfromhttps://steveruan.wordpress.com/2013/10/19/critical-writing-about-andy-goldsworthy-drawn-stone/
ThisblogreviewbyStevenRuanprovidesadetaileddescriptionofGoldsworthy’ssite
specificcommissionforthedeYoungmuseum.Theauthordescribessomespecific
informationaboutthematerialsusedandhowthe“piece”wascreated.Additionally,
Ruanprovidesabackgroundoftheartist’spreviousworks,andlater,heshareshis
experiencewhilewalkingalongthemuseumandobservingthework.Thisparticular
58
workofAndyGoldsworthyissomewhatcontroversial.Althoughitrespondstoagroup
ofartiststhatcreateworksthattrespassthetypicalboundariesofthemuseumgalleries
andthatmightcreateadialoguewiththebuilding;inthisparticularcase,itis
sometimesnotperceivedbythepublic.IbelievethatGoldsworthy’sworkisagood
example,oncepeoplereallynoticeit.Inthisreview,theauthornarrateshisexperience
whilevisitingthemuseumandexpresseshisfeelingsabouttheworkandthedifferent
stageshewentthroughwhilediscoveringitsmeaning.
Thissourcewillbeaninterestingadditiontoknowtheexperienceofatypicalvisitor
withthework,whattheyperceiveandhowsuccessfulitis.Italsosupportstheideaon
howacommissionedartprojectissuccessfulonceitisnoticed.Thiswillbethesecond
visitorreviewregardingGoldsworthy’swork.
Shiner,L.(2007,October1).Architecturevs.Art:TheAestheticsofArtMuseum
Design1.ContemporaryAesthetics.Retrievedfromhttp://www.contempaesthetics.org/newvolume/pages/article.php?articleID=487
AuthorLarryShinerisanemeritusprofessorofphilosophy,arthistoryandvisualarts
attheUniversityofIllinois.InhispaperArchitecturevsArt:TheAestheticsofArt
MuseumDesign,theauthordiscovers,analysesandpresentseightdifferentcasestudies
thatshowtheconflictbetweenarchitectureandart.Helaterexploresandstudiesthe
differentreasonswhytheseconflictsarise.Interestingly,hehasfirst-handexperienceof
thesemuseumsbecausehetouredmostoftheminperson,ratherthananalyzingfrom
thedistance.Afterexplainingtheseproblems,hedarestoprovideasolutiontothis
issuebysharingthoughtsonitscausesandexaminingasasolutionthedifference
betweenfunctionalarchitectureandartsymbolismwhiletryingtofindpeaceand
communicationamongthesedisciplines.
Thispaperhasbeenoneofthemostrelevantsourcesofinformationregardingmy
project.TheauthordirectlytalksabouttheconflictwhichIamgoingtopresentand
evenanalyzesdifferentcasestudiesthatprovidemeawiderperspectiveaboutit.
Furthermore,thediverseissuesregardingeachcasestudyhavehelpedmecreatetwo
mainproblemsthatIwillpresentinmypaper:anexternalproblem(egos,leadership
positioning)andtheissuesregardingthe“new”internaldesignofthebuildingandthe
artwithin.
Shiner,L.(2011).OnAestheticsandFunctioninArchitecture:TheCaseofthe"Spectacle"ArtMuseum.TheJournalofAestheticsandArtCriticism,69(1),31-41.
59
ThisessayforTheJournalofAestheticsandArtCriticismescribesdiversearchitectonicalfunctionsaboutartmuseumbuildings,therelationtotheartexhibited
andthesocialinteractioninsidetheconstruction.Shinerwritesabouthowthesymbolic
aimsofartmuseumshavechangedovertime,andhowsocialfunctionsinfluencethe
visitorexperience.Shinersuggestsawaytoresolvetheconflictbetweenartand
architecturebydevelopingtheconceptof“moderatefunctionalism”.Thisconcept
embodiesseveralimportantissuesregardingarchitectureintheartmuseumcontext:
symbolicfunctions,socialfunctions,aestheticfunctionsandiconicityfunctions.Shiner
explainsthatforartmuseums,theaestheticsandpracticalfunctionsarefundamental
butthesocialandsymboliconesarethemostimportantintheartmuseumcontext.
Thisessaysupportsmyanalysisoftheconflictbetweenartmuseumarchitectureand
art.Theauthorexplains,usingseveralexamples,howinteriordesignaffectstheart
withinandhowotherarchitectonicalexamplesembraceit.Itwillbeinterestingto
analyzetheconflictfromanarchitectonicperspectiveandpropervocabulary.Itmight
behelpfultoexplaintheimportanceoffindingthebalancebetweenallthesefunctions
inordertogenerateadialogueandnotaconflictwithintheartmuseumsetting.
WilderNorton,A.B.(2009).Site-specificartgetsabumwrap:illustratingthelimitationsofthevisualartsrightsactof1990throughastudyofChristoandJeanne-Claude’suniqueart[Review].CumberlandLawReview,(39).
Inthispeerreviewavailableonline,authorAnaBelleWilderNortondescribesthe
storyoftheartistcouple,ChristoandJeanClaude,andhowtheystarteddevelopingand
creatingemblematicsite-specificartprojects.Theauthoralsowritesabouthowsome
peopleperceivedtheirworkandwhatnegativethoughtstheyhadinthetimetheywere
presented.Moreover,WilderNortonexploresdifferentprojectsthatthecouplecreated
includingthewrappingoftheReichstaginBerlin(1971-1995)andValleyCurtain,Rifle,Colorado(1970-1972),amongothers.
Additionally,thesetwoprojectscomplementtheideaofprovidingasolutiontothe
conflictofleadershipamongarchitectsandartists.Bydescribingsomeparticularitieson
eachproject,itwillcontributetominebyprovidinganunderstandingofthepositive
outcomesofthesetypesofworks.Theseprojectsmightbebrieflyintroducedinmy
capstoneinordertohaveanideaoftheirmaincharacteristics.Theinterestingaspect
aboutthissourceisthatinordertotalkaboutanartist’swork,itisnecessarytoget
involvedinwhattheyhavedonetounderstandtheirfocus,ideasanddirection.
Wolf,J.(n.d.).TheSolomonR.GuggenheimMuseum.Retrievedfromhttp://www.theartstory.org/museum-guggenheim.htm
60
InthisstoryfortheonlineplatformTheArtStory,JustinWolfexploresthe
backgroundandrelevanteventsconcerningtheGuggenheimMuseum,itscollectionand
thenewbuildinginauguratedin1959.Wolfspecificallyinvestigatesthehistoryofthe
museum,theincidentsconcerningthedecisiontomakeanewbuildingandthe
evolutionofitscollection.Inhiswriting,theauthoralsodescribesthechallenging
relationshipbetweenthenewmuseumdirectorSweeneyandFrankLloydWright.
Ibelievethissourceofinformationisinterestingtoaddsinceitprovidesafocuson
themuseumitself.Bytalkingaboutthebuilding,thecollection’sgrowthandevolution,
andseveralsignificanthistoricalevents,itprovidesaremarkableoverviewofthevital
thingstoexaminewhileanalyzingthismuseum.Iconsiderthisarticleasseenfromthe
museumside,asawayofmentioningthethingstheGuggenheimmuseumachieved,
andhowitcontinuestobeoneofthemostimportantmuseumsoftheworld.
61
AppendixB:ProjectStakeholders
• ContemporaryJewishMuseum
History:
Sinceitsfoundingin1984,theContemporaryJewishMuseum(CJM)hasdistinguished
itselfasawelcomingplacewherevisitorscanconnectwithoneanotherthrough
dialogueandsharedexperienceswiththearts.
Everchanging,theCJMisanon-collectinginstitutionthatpartnerswithnationaland
internationalculturalinstitutionstopresentexhibitionsthatarebothtimelyand
relevantandrepresentthehighestlevelofartisticachievementandscholarship.
MissionStatement:
TheCJMmakesthediversityoftheJewishexperiencerelevantforatwenty-firstcentury
audience.Weaccomplishthisthroughinnovativeexhibitionsandprogramsthat
educate,challenge,andinspire.
TheMuseum’sDanielLibeskind-designedfacilityenablesandinspiresitsmission.
Dynamicandwelcoming,it'saplacetoexperienceart,music,film,literature,debate,
and—mostimportantly—people.
Location:736MissionStreet,SanFrancisco,CA94103
StaffingOffices:Chair,VicePresident,Secretary,Treasurer,MuseumDirector,ChiefCurator
Trustees:41members
• YerbaBuenaMuseum
• YerbaBuenaGardenCity
• Teenagers(13-17yearsold)
• Adults(18-up)
• Children(5-12yearsold)
• PublicandPrivateschoolslocatedinSanFrancisco
• PublicandPrivateuniversitieslocatedinSanFrancisco
• Educatorsanddocents
• BookEditorial
• CJMMembers
• CJMDonors
• EducationDepartment
• DevelopmentDepartment
• CollectionandExhibitionsDepartment
62
• MediaTeam
• PublicRelationsTeam
• JewishHeritageCommunity
• LatinAmericanCommunity
• SanFranciscoBayAreaandSOMACommunity
63
AppendixC:AdditionalReferences
• Baan,I.2010,June.Retrievedfromhttp://www.archdaily.com/66619/m-h-de-
young-museum-herzog-de-meuron
• Bianchini,R.(2015,June25).TheGuggenheim,AnAmericanRevolution.
Retrievedfromhttp://www.inexhibit.com/case-studies/the-guggenheim-
museum-an-american-revolution/
• Burguenio,M.(2009,May17).“LaTorre”deLeandroErlichamplíasu
permanenciaenelMuseoReinaSofia(video).RevistaDeArte-Logopress.Retrievedfromhttp://www.revistadearte.com/2009/03/17/la-torre-de-leandro-
erlich-amplia-su-permanencia-en-el-museo-reina-sofia-video/
• Davidson,J.(2015,April19).RenzoPiano’sNewWhitneyBuildingIsFilledwith
Light–andContradictions.Vulture.Retrievedfrom
http://www.vulture.com/2015/04/whitney-museum-architectural-review.html
• Elsen,A.(2016,August27).TheFreedomtobeChristoandJeanne-Claude.ReadingpresentedatStanfordPresidentialLecturesandSymposiainthe
HumanitiesandArts.Retrievedfrom
https://prelectur.stanford.edu/lecturers/christo/elsen.html
• GarciaMoreno,B.(2008).“LaTorre”deErlichenelReinaSofia,noesloque
parece.RevistadeArte.Retrievedfrom
http://www.revistadearte.com/2008/11/25/la-torre-de-erlich-en-el-reina-sofia-
no-es-lo-que-parece/
• GuazzonediPassalacqua,V.(2016,May6).LeandroErlich:“Unaobraprofunda
nodeberíaseraburrida”.RevistaNoticias.Retrievedfrom
http://noticias.perfil.com/2016/05/06/leandro-erlich-una-obra-profunda-no-
deberia-ser-aburrida/
• Guilfoyle,U.(1992,July28).Architecture:ExtensionofaNewYorkcontroversy:
TheGuggenheimisnoordinarymuseum.UltanGuilfoylelooksatthelegacyof
FrankLloydWright.Independent.Retrievedfrom
http://www.independent.co.uk/arts-entertainment/art/news/architecture-
extension-of-a-new-york-controversy-the-guggenheim-is-no-ordinary-museum-
ultan-1536218.html
• Hamlin,J.(2005,April28).FollowthefissuretothenewdeYoung--Andy
Goldsworthywillleadtheway.Retrievedfrom
64
http://www.sfgate.com/entertainment/article/Follow-the-fissure-to-the-new-
de-Young-Andy-2637545.php
• Hotham,S.(2013,April11).TateDebate:Whatistheimpactofarton
architecture?Retrievedfromhttp://www.tate.org.uk/context-
comment/blogs/tate-debate-what-impact-art-on-architecture
• Jkim184.(2014,October23).DrawnStoneattheDeYoungMuseum[Weblog
review].Retrievedfromhttps://jkim184.wordpress.com/2014/10/23/drawn-
stone-at-the-young-museum/
• Lifson,E.(2009,August5).TheGuggenheimat50:ALegacySpiralsOnFifth.
Retrievedfrom
http://www.npr.org/templates/story/story.php?storyId=111434035
• Lifson,E.(2009,August5).TheGuggenheimat50:ALegacySpiralsOnFifth.
Retrievedfrom
http://www.npr.org/templates/story/story.php?storyId=111434035
• Lubow,A.(2009).TheTriumphofFrankLloydWright.Smithsonian,40(3),52-61.
• Moret,A.(2013).LeandroErlich:WelcometotheDalstonHouse.Installation.Retrievedfromhttp://installationmag.com/leandro-erlich-dalston-house/
• N,a.2007.Retrievedfromhttp://www.leandroerlich.com.ar/works.php?id=17
• Pemberton,B.(2016).Don'tworry,they'renotdrowning!Thefakeswimming
poolthatcreatestheillusionvisitorsaresubmersedinninefeetofwater.
MailOnline.Retrievedfrom
http://www.dailymail.co.uk/travel/travel_news/article-3393808/Don-t-worry-
not-drowning-fake-swimming-pool-creates-illusion-visitors-submersed-nine-
feet-water.html
• Petruele,M.(2016,May20).LeandroErlich:"Elmisterioproduceatracción"
Infobae.Retrievedfromhttp://www.infobae.com/2016/05/20/1812808-
leandro-erlich-el-misterio-produce-atraccion/
• PowellEvans,G.2013,June.Retrievedfrom
http://www.dezeen.com/2013/06/26/dalston-house-by-leandro-erlich/
• Richardson,M.(2016,March1).AsktheAMC:ChristoWrapstheMuseum.
Retrievedfromhttps://mcachicago.org/Stories/Blog/2016/03/Ask-The-MCA-
Christo
65
• RootstrailfromhousesuspendedaboveaconstructionsitebyLeandroErlich.
(2015,July22).Retrievedfromhttp://www.dezeen.com/2015/07/22/pulled-up-
by-the-roots-suspended-house-installation-leandro-erlich-construction-building-
site-crane-karlsruhe-germany/
• Ruan,S.(2013,October19).CriticalWritingAboutAndyGoldsworthy:Drawn
Stone[Weblogreview].Retrievedfrom
https://steveruan.wordpress.com/2013/10/19/critical-writing-about-andy-
goldsworthy-drawn-stone/
• Saltz,J.(2015,April19).TheNewNewMuseum:TheWhitneyMayJustWon
NewYork’sMuseumArmsRace.Vulture.Retrievedfrom
http://www.vulture.com/2015/04/jerry-saltz-on-new-whitney-museum.html
• Schwab,K.(2015,September16).AttheBroadMuseum,theArchitectureRivals
theArt.TheAtlantic.Retrievedfrom
http://www.theatlantic.com/entertainment/archive/2015/09/at-the-broad-
museum-the-architecture-rivals-the-art/404584/
• Shiner,L.(2007,October1).Architecturevs.Art:TheAestheticsofArtMuseum
Design1.ContemporaryAesthetics.Retrievedfrom
http://www.contempaesthetics.org/newvolume/pages/article.php?articleID=48
7
• Shiner,L.(2011).OnAestheticsandFunctioninArchitecture:TheCaseofthe
"Spectacle"ArtMuseum.TheJournalofAestheticsandArtCriticism,69(1),31-41.
• Smith,M.2013,April.Retrievedfrom
http://mitchellsmith.weebly.com/research/wrapped-reichstag-by-christo-and-
jeanne-claude
• TheSwimmingPool.(2004).Retrievedfrom
https://www.kanazawa21.jp/data_list.php?g=30&d=7&lng=e
• Watanabe,O.2004.Retrievedfrom
https://www.kanazawa21.jp/data_list.php?g=30&d=7&lng=e
• WilderNorton,A.B.(2009).Site-specificartgetsabumwrap:illustratingthe
limitationsofthevisualartsrightsactof1990throughastudyofChristoand
Jeanne-Claude’suniqueart[Review].CumberlandLawReview,(39).
66
• Wolf,J.(n.d.).TheSolomonR.GuggenheimMuseum.Retrievedfrom
http://www.theartstory.org/museum-guggenheim.htm
• ZKM.2015.Retrievedfromhttp://www.designboom.com/art/leandro-erlich-
house-pulled-by-the-roots-karlsruhe-07-01-2015/
67
AppendixD:AndyGoldsworthy–DrawnStoneAndyGoldsworthyDrawnStoneDeYoungMuseum
Permanentcollection
Jkim184.2014,October.Retrievedfromhttps://jkim184.wordpress.com/2014/10/23/drawn-stone-at-
the-young-museum/
68
Harris,A.2013,August.Retrievedfromhttps://www.famsf.org/blog/summer-art-comes-en
Baan,I.2010,June.Retrievedfromhttp://www.archdaily.com/66619/m-h-de-young-museum-herzog-de-
meuron
69
AppendixE:TheChristos–ReichstagChristoandJeanClaudeWrappingtheReichstagReichstag,Berlin
1971-1975
Smith,M.2013,April.Retrievedfromhttp://mitchellsmith.weebly.com/research/wrapped-reichstag-by-
christo-and-jeanne-claude
70
AppendixF:LeandroErlich–LaTorreLeandroErlichLaTorreReinaSofiaMuseum,Madrid,Spain
November2008–June2009
N,a.2007.Retrievedfromhttp://www.leandroerlich.com.ar/works.php?id=17
71
N,a.2007.Retrievedfromhttp://www.leandroerlich.com.ar/works.php?id=17
72
AppendixG:LeandroErlich–DalstonHouse
LeandroErlichDalstonHouseBarbicanArtGallery
Hackney,London
June2013
PowellEvans,G.2013,June.Retrievedfromhttp://www.dezeen.com/2013/06/26/dalston-house-by-
leandro-erlich/
73
PowellEvans,G.2013,June.Retrievedfromhttp://www.dezeen.com/2013/06/26/dalston-house-by-
leandro-erlich/
74
AppendixH:LeandroErlich–PulledbytheRootsLeandroErlichPulledbytheRootsKarlsruhe,Germany
June–September,2015
ZKM.2015.Retrievedfromhttp://www.designboom.com/art/leandro-erlich-house-pulled-by-the-roots-
karlsruhe-07-01-2015/
75
AppendixI:LeandroErlich–SwimmingPoolLeandroErlichSwimmingPool21stCenturyMuseumofArtofKanzawa,Japan
Permanentcollection
Watanabe,O.2004.Retrievedfromhttps://www.kanazawa21.jp/data_list.php?g=30&d=7&lng=e
76
Watanabe,O.2004.Retrievedfromhttps://www.kanazawa21.jp/data_list.php?g=30&d=7&lng=e
77
Watanabe,O.2004.Retrievedfromhttps://www.kanazawa21.jp/data_list.php?g=30&d=7&lng=e