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Whether the content of an exhibition is as ethereal as digital sound pieces or as concretely grounded as full-scale model houses, whether it draws on art, architecture, written documents, household objects, anthropological artifacts, or any other collection of information, the perennial conundrum is how to render the immaterial spatial—how to give the show’s concept impact and three-dimensional meaning for visitors moving through it. As artist Marcel Duchamp made abundantly clear when he signed a urinal for display in an art exhibition, the immediate surroundings can influence the perception, if not the experience, of the work presented. After all, even the
Like shooting stars against a night sky—or a glowing game of pick-up sticks—thin rods of white light dynamically charge the black-box auditorium of the Billy Wilder Theater in the Hammer Museum at UCLA.
Before moving to this surprisingly exposed location in the Old Town area of Pasadena, California, the 10-person advanced-design team, an in-house R&D engine, had been buried deep in Honda’s corporate campus some 25 miles down the freeway, in Torrance.
Unexpected edge conditions and juxtapositions characterize not only the location of McGill University’s New Music Building (NMB—until it gets a donor name), but also the complexities of the department itself.
Christ Church was one of four dozen iconic churches erected by Christopher Wren in the City of London after 1666, when the Great Fire annihilated much of the famous Square Mile—a world center, then and now, for trading and banking.
After punching holes in the fundamental concept of museums, Diller Scofidio + Renfro actually creates one: a new building for Boston’s Institute of Contemporary art