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‘PRODUCTION OF ICONIC ARCHITECTURE; CASE STUDY; MUSEUM

PROJECTS’

Ayça Arslan, Ph.D Student

Eastern Mediterranean University, Architectural Department

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‘PRODUCTION OF ICONIC ARCHITECTURE; MUSEUM PROJECTS’

ABSTRACT

In this paper a research of today’s ‘iconic museum buildings’ has been done by analyzing
famous architect’s projects, who are also themselves can be seen as an icon. Museum projects of
famous architects, such as Frank Ll.Wright’s, Frank Gehry, Zaha Hadid or Daniel Libeskind’s, are
analyzed under iconic architecture features and properties. When we think about the meaning of
‘iconic architecture’ , in history we find that ‘icon buildings’ were generally ‘cathedrals or churches’
which were assumed as icons for that era, they were also symbols and landmarks of the cities. But
when we look in recent era, post-modern period, we see that icon building features are more related
with technology usage. In recent era for a building to be an icon, unique properties is necessary. By
literature review iconic design is investigated under 2 categories; one is related with culture and
national identity, and the second type is unconnected with culture, unique design is created through
global properties.

Keywords: Iconic architecture, unique style, museums, culture

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1.1. INTRODUCTION
As the basic subject of the paper; firstly I want to start by ‘icon’s meaning; an icon is an image
as defined by Oxford English Dictionary, it can be a statue, a figure, representation or a portrait. A
representation of some sacred personage honored with a warship or regarded as secret. (Dictionaries,
2011). Through C.W. Morris’s definitions of icon, the basic aspect of an icon is ‘aesthetic’ and an
aesthetic sign is defined as an iconic sign (an image) whose design datum is a value.
Iconic, in generally refers to events, people and /or objects that are famous for those within the
fields in question (notably popular culture, fashion and sport) and often also for the public at large and
have special symbolic/aesthetic significance attached to them and the key factors of iconic are such as;
unique design, concept or symbolic values of design construction made it iconic.

1.2. PROBLEM STATEMENT & FIELD STUDY

Problem: When we analyze the buildings of modern period, we can say that they were designed
under design principles integrated with that era so when we consider recent era, what are the key
factors of design for new buildings, like iconic building designs ? And how can iconic designs be built
or produced ?
Field Study: is limited by analyses of four museum projects which include iconic architecture
features.
1.3. AIMS AND OBJECTIVES

Aim of this thesis is to find out and demonstrate; ‘iconic design’ principles and properties in
architecture. And while analyzing iconic buildings, technological developments and new devices in
architectural designs and constructions have been investigated. The development of computer
programs such as ‘Catia’ which is ‘Computer Aided Three-Dimensional Interactive Application’ in
designs offices and new materials for façade coverings and interiors are also investigated. And the new
construction methods are investigated.

1.4. METHODOLOGY

Methodology of this paper is an empirical research which consists of literature survey such as
books, journals, papers, internet, and media, and field study which consists of analyses and
observations of 4 museum projects.

Data Collection:

Literature review includes the meaning of icon, iconic design and iconic architecture in recent
era, in post-modern period and culture, nation, new international style has been researched and then
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principles and properties of iconic building design have been demonstrated through samples of famous
iconic designs.

And at the second part case studies of selected buildings, museum projects have been analyzed
under iconic design principles and properties through the key factors taken from literature review such
as; forms of buildings (formal design), unique styles, sustainability features, technological properties,
and material usage.

ANALYZING TABLE CONTENTS:

1-Formal design of building

2-Unique style of building (which makes it icon)

3-Technology usage in building design

4-Sustainablity issues (if exist)

2. LITERATURE REVIEW; ICON, ICONIC DESIGN, ICONIC ARCHITECTURE

An icon is religous work of art, most commonly painting, from Greek, from Eastern Christianity
and in certain Eastern Catholic churches. More broadly the term is used in a wide number of contexts
for an image, picture or representation, it is a sign or likeness that stands for an object by signifying or
representing it either concretely or by analogy, as in semiotics, by extension, icon is also used ,
particularly in modern culture, in general sense of symbol, a name, face, picture, edifice or even a
person readily recognized as having some well-known significance or embodying certain qualities:
one thing, an image or depiction, that represents something else of greater significance through literal
or figurative meaning, usually associated with religious, cultural, political or economic standing.
Icons are famous not simply for being famous, as in the case for various forms of celebrity, but
famous for possessing specific symbolic/aesthetic qualities, qualities that are the subject of
considerable debate within the specialist fields and, increasingly, with the recent rise of the
blogosphere, debate to which the general public actively contributes.
And Iconic , in general refers to events, people and /or objects that are famous for those within
the fields in question (notably popular culture, fashion and sport) and often also for the public at large
and have special symbolic/aesthetic significance attached to them.
When we look through architectural view, for a building to be an iconic, it must consist or have
variety of integrated features such as; unique design, large scale, high level, spectacular representation
and a specific message signify by the building. And, iconicity in architecture is also defined as fame or
a special symbolic/aesthetic significance that is contributed with buildings, places and sometimes
architects them.
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On the other hand an iconic building is created to make money in the global era through Jencks
approach. This can also be indicated by iconic architecture strives to turn more or less all public space
into consumerist space, not only in case of shopping malls generally in all cultural spaces especially
museums. He says that an iconic building must give viewers a strikingly new impression by its height,
shape or its unique location. And it must be noted that generally cities create icons not only for
purposes of generating revenues but also to indicate that they have a remarkable landmark. Commonly
all iconic buildings have a considerable amount of popularity in cities that propelled by media tool.
This draws attention to the city and makes it popular, the society knows about them.

TWO TYPES OF ICONIC DESIGN

An iconic design can be separated into two through their inspiration points, it can have a
relationship with culture of nation or it can have a unique design in global era with consisting different
type of features like technology & material usage or sustainability.

Iconic design principles:

1-New international style, unique design, high standards of aesthetic distinction, technology,
material usage, sustainability
2-Culture, national identity, vernacular design, traditions of design.

UNIQUE DESIGNS RELATED WITH GLOBAL ERA

In addition, iconic design can be seen all fields of arts especially product and furniture designs,
by their unique styles. For example; some significant furniture designs can be given as ‘iconic product
designs’ because of their popularity and unique designs such as ‘Hill House Chair’ by Charles R.
Mackintosh which is also known as ‘Ladder Back Chair’ by its unique form or Mies van der Rohe’s
‘Barcelona Chair or Mr. Chair’ which was firstly designed for Barcelona Pavilion by M. Rohe, these
furniture became icons as product designs and can be seen at lots of interior spaces. And when we
consider in recent era, post-modern period, we can Zaha Hadid’s coffee-tea sets or bar designs as an
iconic product designs.
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Figure. ‘Hill House chair’ by C.R. Mackintosh and ‘Barcelona chair’ by Mies van Der
Rohe.

MR CHAIR

Figure. A modern classic, the tubular-steel cantilever cahir.1927.

(icons of design , the 20th century, Prestel publishment, Münich,New York)

Mies van Der Rohe’s tubular-steel cantilever chair, known as the ‘MR’ chair, was designed in
1927. Since its inception it has been one of the most esteemed icons of the modern movement in
architecture and design.Its continued success is largely due to its relaunch by American furniture
company, Knoll Associates, in the 1940’s , when it became established as the most desirable chair to
offset the purism and high status of modern interiors. It still retains its reputation today.

CULTURE INSPIRATION OF ICONIC DESIGNS

Culture can be broadly defined as the beliefs, value systems, norms, myths, symbols , language,
behaviour and structural elements of a given group or society. (Parsons,1999;Onibere et
al.,2001;Hugo,2002)
CULTURE INFLUENCE ON DESIGN
Some researches ( De Souza and Dejeani1999) imply that culture is linked with tradition as
opposed to the notion of design, which is associated with modernity and innovation.
The relationship between design and culture has taken many twists and turns throughout last
centuries, as design is seen both as a mirror and an agent of change. (Moalosi et al, 2005).
It is the culture that gives products meaning and provides the rituals within which artefacts are
used and the values that are often reflected in their form and function.(Press and cooper 2003).
TURKISH DESIGN

When we examine Turkısh design, we find out the ‘integration of orientalism of the east and the
modernism of the west’ with inputs of; cultural habits, craftsmanship, history or details of daily life.
An iconic design can reflect cultural identities. This can is achieved by concept of ‘Anatolian heritage
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transformed into contemporary design through leading edge technologies and manufacturing
processes’ in Turkey by some famous designers.

Figure. ‘A contemporary interpretation of the sofa in the old Turkish home. (Koleksiyon - Home ,Sofas
& armchairs,2005)
There are however some challenges: the two biggest risks are to either fall into a generic
‘International style’, following global trends without a critical attitude, and the opposite risk of falling
into vernacular. In my design I am always looking for an original, contemporary interpretation of my
multiple roots and inspirations.’Defne Koz

bkandil by Defne Koz

‘Resolve’ by Ayse Birsel, reinvents the very shape of system furnitures.They’re replaced by
versatile and inviting workstations made of 120 degrees.
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‘Nargile’ waterpipe Arzum,2004 Arzum cezve Turkısh coffee robot

Historical background, local product,

global market..(Taner-Kunter Şekercioğlu)

3. PRODUCTION OF ICONIC ARCHITECTURE BY MUSEUM

PROJECTS

In recent era ‘iconic architecture’ is generally related with some basic project types such as;
museums, shopping centers and Olympic centers whose external designs become unique and different
in the cities. And this paper examines iconic architecture under museum projects which are icons.

THE ROLE OF MUSEUMS AND EXHIBITIONS IN PROMOTING A GLOBAL SESIGN

CULTURE
While a growing number of museums are beginning to embrace wider definitions of design
culture in twentieth century , the majority have endorsed a policy which is centered on celebrated
products or the output of specific designers whose work is seen to embrace high standarts of aesthetic
distinction or cultural status. The twentieth-century design galleries of many museums around the
world have their roots in the collection and display of objects in which, it was originally felt, would
‘improve standarts of taste and enhance the cultural well-being of their visitors
‘As an object is chosen for its quality because it is thought to achieve , or have originated , those
formal ideas of beauty which have become the major style concepts of our time. Historical
significance is a more flexible criterion. It applies to objects which may not resolve problems of
aesthetics and function with total success, but which neverthless have contributed importantly,or may
yet contribute , the development of design.’
3.1. GUGENHEIM MUSEUM OF FARNK L.WRIGHT, NEWYORK

The cylindrical museum building in New York which is designed by Frank Lloyd Wright at
1959 is seen as one of the most important landmarks of 20th century. Its unique ramp gallery extends
from just under the skylight in the ceiling in a long, continuous spiral along the outer edges of the
building until it reaches the ground level. And building underwent extensive expansion and
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renovations from 1992 to 1993 while an adjoining tower was built and also from 2005 to 2008. The
building has become a cultural icon throughout popular culture.

Figure. Exterior Design of Museum at night Figure. Exterior Design of Museum

UNIQUE STYLE

When we analyze building under design features, its exterior form which comes from interior by
a huge spiral unique ramp gallery from ground floor to skylight, makes the building an icon.

Figure.Unique spiral ramp of the building Figure.Interior, Skylight of the Museum

CRITICISM BY ARTISTS

Building is seen as icon by its form, huge spiral ramp from ground floor to ceiling, and it has
become very popular even also people wanted to see building and its interior more than exhibitions.
However its unique style and aesthetic exterior features, building got criticism by artists for the
interior design about the bad placement conditions for their paintings and sculptures because of non-
vertical , spiral walls. It is difficult to hang paintings in the shallow, windowless exhibition niches that
surround the central spiral.

3.2. GUGENHEIM MUSEUM OF FRANK GEHRY, BILBAO SPAIN

PROJECT DESCRIPTION
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The Guggenheim Museum Bilbao which is a museum of modern & contemporary art , designed
by Canadian architect Frank Gehry, built by Ferrovial, is located in Bilbao Basque Spain. It is built
alongside the Nervion River which runs through the city of Bilbao to the Atlantic Coast, is one of the
several museums belonging to the Solomon R. Guggenheim foundation. The museum hosts permanent
and visiting exhibitions of works by Spanish and international artists.

Figure.External design with titanium and glass materials.

The museum building was most frequently named as one of the most important works
completed since 1980 in the 2010 World Architectural Survey among architecture experts.

DESIGN CONCEPT

The museum is designed and covered with glass, titanium and limestone. When we consider
material usage of the building it indicates the technology usage.

Figure. External covering of

the building.

The curves on the exterior of the building were intended to appear random; the architect said
that "the randomness of the curves is designed to catch the light". The interior "is designed around a
large, light-filled atrium with views of Bilbao's estuary and the surrounding hills of the Basque
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country." The atrium, which Gehry nicknamed The Flower because of its shape, serves as the
organizing center of the museum.

Figure. Interior design of the museum.

The museum is seamlessly integrated into the urban context, unfolding its interconnecting
shapes of stone, glass and titanium on a 32,500-square-meter site along the Nervión River in the old
industrial heart of the city; while modest from street level, it is most impressive when viewed from the
river. With a total 256,000 square feet, it had more exhibition space than the three Guggenheim
collections in New York and Venice combined at that time. Eleven thousand square meters of
exhibition space are distributed over nineteen galleries, ten of which follow a classic orthogonal plan
that can be identified from the exterior by their stone finishes.

Figure. The museum

by night, November
2007.

CONSTRUCTION METHOD OF THE ARCHITECT

The building was constructed on time and budget, which is rare for architecture of this type. In
an interview in Harvard Design Magazine, Gehry explained how he did it. First, he ensured that what
he calls the "organization of the artist" prevailed during construction, to prevent political and business
interests from interfering with the design. Second, he made sure he had a detailed and realistic cost
estimate before proceeding. Third, he used computer visualizations and collaborated closely with the
individual building trades to control costs during construction. Computer simulations of the building's
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structure made it feasible to build shapes that architects of earlier eras would have found nearly
impossible to construct.

Figure. Environment design of the museum

building.

Figure. Ariel view of the Guggenheim Museum

UNIQUE STYLE

The museum building is an icon of the city Bilbao; even people go to see building more than
exhibitions inside it. The unique style of the building comes from its formal design by curves and
unfolding its interconnecting shapes of stone, glass and titanium and by its huge exhibitions areas such
as there has been eleven exhibition areas in the museum. And the shapes of existing eleven galleries
such as nine galleries are irregularly shaped and can be identified from the outside by their swirling
organic forms and titanium cladding.

Also the unique style comes by the technology such as computer simulations of the building's
structure made it feasible to build shapes that architects of earlier eras would have found nearly
impossible to construct.
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3.3. MAXXI MUSEUM OF ZAHA HADID, ROME ITALY

TEMPORARY GUGENHEIM MUSEUM

PROJECT DESCRIPTION

Zaha Hadid architects were invited for to design a new temporary Guggenheim museum in
Tokyo which’s structure is 116 square meters to Odasiba Island. The new museum building was
accepted to be a new architectural identity of the area. The museum was designed for the art science
and technology exhibitions.

The MAXXI consists of two museums: "MAXXI art" and "MAXXI architecture". In addition to
the two museums, the MAXXI also features an auditorium, a library and media library specialized in
art and architecture, a bookshop, a cafeteria, a bar/restaurant, galleries for temporary exhibition,
performances, and educational activities. The large public square designed in front of the museum is
planned to host art works and live events.

“With respect to the architectural iconography the structure should signify the creative

employment of state of the art science and technology. As a visitor experience the object has to

excite curiosity and desire.

A considerable degree of strangeness is indispensable. The project - like any true object of desire -

will at first appear mysterious, an unknown territory waiting to be discovered and explored.”
Zaha Hadid Architects.

Design concept Design concept

DESIGN CONCEPT

In line with the temporary nature of the structure Zaha Hadid Architects opted for a light weight
envelope. A strong signature figure is created as two folded planes, like sheets of paper lean against
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each other and encapsulates a generous space. This image of an elegant light weight wrapping seems
an appropriate response here where a space for changing exhibitions needs to be receptive to constant
internal redefinition. However the empty space itself is already its own attraction. Although the spatial
concept is extremely simple, in effect the parallel extrusion of three simple sections, the size, level of
abstraction and dynamic profile of the folded planes insures an exhilarating spatial sensation.

The proposal by Zaha Hadid Architects offers a big, single space wrapped by a snakeskin like
envelope, which is animated by a large integrated media-screen. The quality of the skin proposed has a
snakeskin-like pixilation that allows the formally coherent integration of various surface
performances. The primary cladding material would be large scale ceramic tiles (offering smooth
surfaces and brilliant colors). These would be interspersed by light-boxes which
allow further daylight to penetrate the space as well as acting as artificial light source at night. Further
panels would be photovoltaic elements. Finally Zaha Hadid Architects are proposing to embed a large
media screen, in the form of honeycomb based "smart slabs". The media screen would nearly be
camouflaged into the overall animation of the skin. Internally the skin operates according to the same
concept but is aesthetically much more muted. Here light, ventilation and heating is incorporated
within the pixel logic. The outdoor courtyard surrounding the museum provides a venue for large-
scale works of art.

Design concept-Interior design Design concept-Interior design

The building is a composition of bending oblong tubes, overlapping, intersecting and piling over each
other, resembling a piece of massive transport infrastructure.

INTERIOR DESIGN

Inside a large, full height atrium leads to the museum's reception spaces, the cafeteria
and the bookshop, the auditorium and galleries that host rotating displays of the two
museum’s permanent collections, exhibitions and cultural events.
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The fundamental character of the architectural and structural project consists in the use of
walls as spatial ordering elements. The interiors of the galleries, almost linear, are delimited
by couples of parallel walls that follow the building's longitudinal movement. Plasterboard
connected with concrete walls creates the technical cavity that contains the museum's complex
mechanical systems.

MATERIALS
Materials such as glass, steel and concrete give the exhibition spaces a neutral appearance,
while moveable panels ensure the flexibility of exhibition layouts.

Materials Materials

ROOF

The roof system is a particularly complex element, in technological and mechanical terms.
it integrates exterior glazing, complex light shading devices (blinds, louvers etc)
and artificial lighting systems, a system to control temperature and humidity and tracks to
hang panels. The vertical blades that characterize the roof system are realized in steel
and covered with a finishing material. The glass roof is protected on the exterior by a
steel mesh that screens light and ensures easy maintenance. All vertical columns including
the columns supporting the cantilevered volumes are constructed in steel.

Roof-exterior Design Roof-exterior Design

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UNIQUE STYLE

Museum project’s unique style comes from firstly its design concept in other words from its
form and shape and secondly the materials and technology usage at exteriors, facades and interiors and
by using sustainablity issues.

3.4. JEWISH MUSUEM OF DANIEL LIBESKIND, BERLIN

The Jewish Museum in Berlin is one of the largest Jewish Museums in Europe. In two
buildings, one of which is a new addition specifically built for the museum by architect Daniel
Libeskind, two millennia of German Jewish history are on display in the permanent exhibition as well
as in various changing exhibitions. German-Jewish history is documented in the collections and can be
reached from the library, the archive and in the computer terminals at the museum's Rafael Roth
Learning Center, and is reflected in the museum's program of events. The museum opened to the
public in 2001.

UNIQUE DESIGN

The museum adjoins the old Berlin Museum and sits on land that was West Berlin before the
Berlin Wall fell. The Museum itself, consisting of about 161,000 square feet (15,000 square meters), is
a twisted zig-zag and is accessible only via an underground passage from the Berlin Museum's
baroque wing.

Exterior design of the museum Irregular windows external Irregular windows internal view
view
Its shape is reminiscent of a warped Star of David a "Void," an empty space about 66 feet (20
m) tall, slices linearly through the entire building. An irregular matrix of windows cuts in all
orientations across the building's facade. A thin layer of zinc coats the building's exterior, which will
oxidize and turn bluish as it weathers.
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INSPIRATION

Libeskind, a musician himself, took inspiration from music and considered the museum the final
act of Arnold Schoenberg's unfinished opera, Moses und Aron. Walter Benjamin's One Way Street's 60
sections determined the number of sections that comprise the museum's zigzag section.

4. CONCLUSIONS
The research problem of paper was;
When we analyze the buildings of modern period, we can say that they were designed under
design principles integrated with that era so when we consider recent era, what are the key factors of
design for new buildings, like iconic building designs ? And how can iconic designs be built or
produced ? What are the principles of iconic design like in modern period ?
Modern period design principles were; Rhythm,Balance, Scale & Proportion, Integrity, Texture,
Color, Harmony.
And the solution of the problem:
An iconic design can be separated into two through their inspiration points, it can have a
relationship with culture of any nation or it can inspire from new international style which have a
unique design in global era with consisting different type of features like technology & material usage
or sustainability.
Iconic design principles:
1-New international style, unique design, high standards of aesthetic distinction, technology,
material usage, sustainability
2-Culture, national identity, vernacular design, traditions of design.

As seen from the examples iconic design generally comes from a unique style and technology
usage in recent era. It is seen in all fields or arts such as product design, furniture units and architecture
of course. And ‘iconic design principles’ can be separated into two through their inspiration points, it
can have a relationship with culture of nation or it can inspire from new international age style, which
can have a unique design, with consisting different type of features like technology & materials usage
or sustainability or even from music as seen at Jewish museum concept.
As sum up, when we talk about iconic architecture with case of museum projects as seen in the
examples, an iconic building generally must have a unique property to be an icon in the city such as a
high quality exterior form, using last technologic devices for both at design process and construction,
high quality and expensive material usage or having sustainable issues. These issues make building an
icon in the city which perceived very quickly by people.

REFERENCES
1. http://www.shafe.co.uk/art/Frank_Lloyd_Wright Guggenheim_Museum-_New_York-_1955-59.asp
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2. http://en.wikipedia.org/wiki/Jewish_Museum,_Berlin

3.Sklair L. (2010). Iconıc Archıtecture and The Culture-Ideology of Consumerısm. Publisher; Sage.
4. http://en.wikipedia.org/wiki/Guggenheim_Museum_Bilbao

5. http://www.designboom.com/architecture/zaha-hadid-maxxi-rome-complete/

6.http://en.wikipedia.org/wiki/MAXXI_%E2%80%93_National_Museum_of_the_21st_Century_Arts

7. http://www.arcspace.com/architects/hadid/Temp_Guggenheim_Museum/index.html

8.’Turkish Designers’, Interior Design Master Course Notes ‘Housing & Culture & Design’ by
Assit.Prof.Gülnur Ballice, Yaşar University/Izmir/Turkey.