Theoretical Analysis and Critical Design: Taste and Design - Essay Example

?Theoretical analysis & Critical design: Taste and Design Essay paper Insert 3656 Words Insert Insert Introduction This article will look analyse the theoretical analysis of taste and design. Taste and design will be used to analyse how it auger well with a museum. Museum it the item chosen for the purposes of this study, this articles will analyse how the museums architectural features are affected by taste and designs. Whether taste and designs help the museum to achieve its intended objectives in relation to its architectural features, the museum will be considered to be an object and the object in order to analyse this factors effectively. It will argue on the various natures of museums architectural features and whether the status as being an art or artefacts is influenced by taste and designs. Much emphasis will be placed on the museums external features than internal. This will enable the articles point of view to have depth. The museums that will be studied are those that have pre-purpose built features that represent the museums, not the ones that are used in the room somewhere. This will enable the article to bring taste and designs that aerated and the objectives of this study to light. Museum is an architectural design of its own; with a rich past and typology of its own. The working together of the different aspect of museums architectural designs bring out the overall taste that describes the museum.1 The symbioses of all this activities shore-up the museums image, as a representation of art in that area. It may not come as a surprise as the two most essential modern works of museum theory, practice and criticism talk about an architectural image. This book titles Andre Malraux, the museum without walls and Douglas Crimps Un the museum, ruins refer to the opening of museum wrapper, the breaking down of the museums integrity.2 These two books summed the state of museum architecture in the modern era; they represent an attempt to try and break through the boundaries that try to separate the building from existence in terms class and ethic make up. The desire to breakdown the museum architectural fortifications were either literally or figuratively. It represents an indication to inhere the architectural designs of museums around the world, to render its boundaries nonexistent and hence, open the museum to the free flow of activities. The edges of the museums thus represent seclusion from the world’s reality and activities, the walls of the museums. Sign of the walls of museums is both are both it official expression and interface between the museum and the world. The internal parts of the museum are where the works of arts hang. The walls of museum act as a representation of the world. They act as protection between the physical world internal worlds.3 The design of the walls is an expression of how the museums walls are made to keep us out while keeps its rich heritage inside the walls. Museum is not just a place where items are displayed but also as a full sense of marvellous construction in the world. The museum is a representation old strong foundation. Museums that are a have survived the test of time are a description of what is the strength. Considering that most museums were made decades ago, and they still maintain the old structures, when museums address themselves in matters of taste they are faced with a dilemma, of what is historical fact affecting their taste right now. When describing the taste of a building whether people define it as being value free, or non partisan, or whether endorsing or contesting a particular pattern of preference this shows that preference can be relative and absolute depending from your point of view. Taste becomes relative when it shows that a museums taste is just a symbolic description of what is valid to people at a certain time.4 When the structures of people’s language are considered then taste becomes absolute. People can describe a refurbished museum space to either be good, better or the best. When people take this particular stance, "the taste becomes absolute". When describing the taste of a museum it can take a discriminatory tone, especially when it is negative. Taste can be a meaningless object especially when it comes to architectural designs, when the designs take an extremely old and disgusted look then the taste of the museum is meaningless. Also of people do not pay attention to old and dilapidated structures. Hence, this article may try to find a proper taste and description of museums, both internally and externally. To analyse the various cultural values that come into play with museum, then it will be imperative to analyse the cultural values that are associated with museums. The taste and design of museums architectures are one of the contentions of this article; this article will attempt to look at the taste and design of the museums as one of the issues that surround the museum.5 The museum architecture in itself, a museum object and the museum object. It is figure and stuffing, container and contained. The museum built architecture has a superior taste and design over the museum that is just housed in a building somewhere. The assumption that is taken by this article is that museum architecture is purpose built architecture and not the museum house in a distant building.6 The other principal assumption is that their exist a rich museum art architecture inside the museums this goes along with the idea that the museum works in principle and in practice as expected by everyone in the world. Through secondary language of architecture museums have the potential to; reshape, restate and re-represent the historical aspects of the museums. The 2 studies serve as the opening to a series of questions about the museum as an object, an experience, and the architecture itself. This article pursues how the museum taste and design objectives can be achieved through the museum architecture, it apparent that museums architecture can shore up a particular style of museum exhibit.7 When museums act as a display for exhibition designers this enables the museum to foster its own taste. In museum politic museum and exhibition are becoming words that are used synonymously, the intertwining of the museum and architecture is ever growing with time, the marriage of this two things are becoming a reality day by day. It is a matter of time that the marriage can be finalised.8 The relationship between the two things can be seen at some level. Museum has the content of their own; the museum exercises some degree of control over the content, exercise some formal ideas well. The museum architecture taste and design can objectify the museums wider objectives, ideologies and outward appearance of the display. The programming and the sequence of steps in the museums architectural and exhibition phenomenon has helped shore up the museums taste and design. The designs of museums have taken up a unique structure that externally, it is usually easy to differentiate it from the other architectural buildings. The taste that these buildings shows exhibit a sweet taste of novelty and quality, the marvels of these pictures of art, show the originality of the museums that have been since time immemorial.9 The architectures ability to act as an object helps to hold all the objects, arts, and narratives that gather all the museums objects. Much of this article will deal with the museum's architecture design and tastes and it represents. The museum building architecture has a strong sense of communication and representation feature, and the various role of embodying certain museological traditions and beliefs. The aspect of museum architecture as an object is increasingly showing a sense of self reflection. How can museum as a category are placed? Is it an artwork or an artefact? To be straighter forward is a museum building architecture a work of art or is it a work of architecture? The architectural aspect of the museums incorporates the design, taste and the occupation of the building itself. Another question that arises is whether the building architecture taste and designs are located in the building, objects and the museums practices. The other fact is whether architecture is located in its product or practices.10 The museum building can be seen as a by product of architecture which is located outside the architecture, on the other hand, the museum building is seen as a form of medium. When the questions about the objects character are raised, these questions go to the root of the aspect of architecture being an art. Viewing architecture as ‘object’ in a manner of speaking can be an abuse. That statement implies that a building cannot fit in its perspective as a work of art; museum building architecture is designed to stand-out, and draw notice to itself. This is some form of sneering and stating that the building is a monument. Any form of architecture is used by people in their everyday activities hence; architecture has a connection with the world. A museum building architecture struggles with its double edged image; this complicates the view that people have of architecture as an art.11 There are broad questions that arise from the object of architecture; for instance, is the museums purpose further enhanced by its design? What is the museum building character and how does it affect its taste? These are just queries that this article will explore in deeply. The Museum’s Taste and Design The article is also apprehensive with the all-purpose design objectives that the museum sets out to achieve. This article also concern itself with the object of the museum in relation to objects, that is, the ways in which objects as the contents of the museum serve to further its purpose that is set out in the architectural design and taste. Museum architectural designs have historically been demonstrated through the design, presentation and display of work of art: The museum architectural design is one of its kinds through this object-based; it is the presence of specially designed objects and architectural buildings that differentiate museums from other forms historical description.12 The design of architecture plays a particular role in building its taste and supporting a particular historical version and the story behind it. Museums are usually designed to fit the need of cultures, and hence the design of the architectural building is a representation of the whole society. The museum architectural building is work of art and an object artefact. The historical exhibition of museum does not start when a person get inside the museum, they start when they view the external architectural design that is embodied in the building.13 The building becomes a display that tells the tale of the society; it tells the story of where the society has come from, it is a work on art in the sense that it took a fantastic deal of measures for the design to be put into action, the overall taste of the building come into play. The message that the building intends to communicate about is the taste. Most Museum architectural works of art are a representation of the society and hence it provides a rich heritage. The taste of this comes from the aspect that when people view this architectural building they will be seeing something that shakes their taste buds figuratively. The museum as an architectural building can be viewed in three different ways that include; specimens, artwork and artefacts. A specimen in the realm of natural history would hold any object, which can neither be touched nor made by any human being.14 The specimen fact about museum building architecture comes from the fact that can be derived from people’s feelings, taste and what they get from that taste. When it comes to taste, they can be sweet, tasteless and extremely distasteful. Most museums architectural features have been in existence for years some even hundreds of years; hence, they represent the marvel of the old architectural characteristic that come with it, this marvel are a marvellous form of art. People enjoying seeing this works of art, they are something genuinely good to look at, to some people the taste that is derived from this architectural features offers a sweet sensation and other think that these old features should be taken down to create room for a much more modern architectural design that will represent the current times.15 These old features represent a rich heritage, and hence, majority of people agree that on behalf of their rich culture. The design should be a protected feature. Museums architectural designs are artefacts because they embody all the objects that are visible or not artefacts are works of human beings. Hence, they are curved into the architectural design by humans. Museum building is an artefact and contains artefacts; the buildings are curved with distinctive designs that are aimed at making the build has a superior taste over other objects in the area. Museum buildings usually stand out from the rest; this is marvels that in part are made to enhance its attractiveness and taste. Artefacts usually embody the rich culture of the society; they are located both outside and inside the museum. The artefacts inside the building are usually on display, with the marvellous ones usually being placed under a heavy protection.16 Most artefacts that are external represent the rich history of the story they are meant to grab attention from passerby. These among many things are meant to shore up interest among the public of the architectural designs. The final category is that artworks, the museums are artworks that are meant to be recognised and acknowledged as work of arts. Architectural buildings are work of arts; they embody all forms of art and the marvel that come with them. Art and art works are usually meant to endure and stay in their original form from one cohort to the next. The forms of art are related to their concepts, museums in themselves are work of arts that have been passed through generations of existence, and museums deserve to be inside the museums themselves. Museums have been through various life cycles, and historical events, they usually represent a theme of being old but, they are also gold. They are marvels of historical fact that are displayed at the centre of time and the marvels of space. Whether or not, the design that is incorporate in the marvel of museum architectural design can cause the build to be called an object. This is entirely false because it rises above its existence as an object to an art work. Museums do not project the presence, time and the way of life in the world. In the sense of being an object of culture, an artwork will always be an artefact this fact counters the view about the museum rising above the transcending realm, going above the realm of time and existence in this world. The realms of transcending the aspects of time and existence have always taken a form of being displayed in the exhibition halls of the museum. In pursuance of the question whether, the museums tastes and designs have enable the museum objectives. This can be answered in different forms, incorporating the designs of the artefacts into the art help in achieving the intended objective by bringing the art form to life. The conceptualisation of this artefact into a form of art, this is a reality that can exposes the interlocking of things like tastes, fashion, architecture, art, artefacts and other form of artistic features. The interlocking and intertwining of this artistic features help to bring museums into life.17 The internal exhibitions of museums are usually made to bring out the conceptualised idea of taste and design this creates an ambience in the air that brings out the intended mood. The mood that follows the interlocking of these artistic things brings out the life in art. Conclusion At the beginning of this article, the article proposed to look at the ways in which taste and design affect the museum architectural work of art. The approach was to assume that the museums that are the centre of this study are those that have retained the shape and structural designs from the times immemorial.18 These museums represent a rich heritage of design and tastes that will be imperative for this study. The article reviewed the narratives that are involved in this work of arts. This book titles Andre Malraux, the museum without walls and Douglas Crimps Un the museum were reviewed for the purpose of this study. The study found out that museums provide the framework of being an institution and also, the niche of being a museum. The museum architectural designs were found to be both a representation of an object and the object. The architectural designs of a project took the forms of a specimen, artefact and artwork. It was found that all this factors played a pivotal role in ensuring that the museum achieved its objectives of taste and design and how they re incorporate in the museums way of life.19 The museums were found to have transcended through time, they have marvelled through life existence and the duration of time. This brought out the fact of art and artefacts. Artefacts embody the physical designs of a project. The combination of artefacts and artwork helps to bring the museums architectural work into life. The taste and designs of an architectural museum building are brought out by the combination of various factors including artefacts, artwork and specimens. Bibliography Barrett, Jennifer. Museums and the Public Sphere. New York: John Wiley & Sons press, 2012. Barry Lord, Gail Dexter Lord. The manual of museum exhibitions. Chicago: Rowman Altamira Press 2002. Clark, A. Taste Wars and Design Dilemmas: Aestethic practices at home. New York: Oxford Press, 2002. Edward Edward Porter Alexander, Mary Alexander. Museums in motion: an introduction to the history and functions of museums. Washington DC: Rowman Altamira Press 2008. Fyfe. Art Power and Modernity. New York: Continuum International Publishing Group, 2001. Giebelhausen, Michaela. The Architecture of the Museum: Symbolic Structures, Urban Contexts. Manchester: Manchester University Press, 2003. Guglielmo, Antoniette M. Workbench of American Taste: Richard F. Bach, Industrial Art, and Consumerism at the Metropolitan Museum of Art, 1917-1940. Santa Barbra, CA: ProQuest Press 2008. Kriegel, Lara. Grand Designs: Labor, Empire, and the Museum in Victorian Culture. Durham NC : Duke University Press, 2007. Lloyd- Jones, P. Taste Today: The Role of Appreciation in Consumerism and Design. New York: Pergamon Press, 1991. MacLeod, Suzanne. Reshaping Museum Space. Lodon: Routledge press, 2012. Moe, Kiel. Integrated Design in Contemporary Architecture. New York: Princeton Architectural Press, 2008. NAOMI STEAD, B.ARCH (HONS 1). On the Object of Museum and Its infrustructure. Queensland: University of Queensland press, 2004. Oberhardt, Suzanne. Frames Within Frames: The Art Museum As Cultural Artifact. New York City: Peter Lang Publishing,, 2001. Putman, James. Art And Artifact: The Museum As Medium. London: Thames & Hudson, Limited, 2009. Romans, Mervyn. Histories of Art And Design Education: Collected Essays. Bristol, United Kingdom: Intellect Books, 2005. Stephen Bayley, Victoria and Albert Museum. Taste: an exhibition about values in design. London: Boilerhouse Project, Victoria and Albert Museum, 1983. Travel, Airworld: design and architecture for air. Vitra Design Museum, Jochen Eisenbrand. Chicago: The Museum, 2002. Volker Fischer, Ulrich Schneider. Kengo Kuma – Breathing Architecture: The Teahouse of the Museum of Applied Arts Frankfurt / Das Teehaus des Museums fur Angewandte Kunst Frankfurt. Frankfurt: Walter de Gruyter press, 2008. Votolato, G. American Design in the Twentieth Century: Personality and Performance. Manchester: Manchester University Press, 2008. Zukin, S. Point of purchase. London: Routledge Chapman & Hall Press,, 2005. Read More