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Contemporary Approaches in Museum Space Design

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 Assoc. Prof. Dr. Funda K. Açıcı

19 Contemporary Approaches in Museum

Space Design

Abstract: The inclusion of the public/visitors in museum functions has led to the replace-
ment of the concept of museum by that of contemporary museum, that is, it has resulted in
the emergence of new museology, which has transformed museums into places that promote
broad public access to real-life experiences and emotions. What distinguishes contemporary
museology from traditional museology is that museums today engage in interactive commu-
nication with the public. Therefore, visitors of museums, which have been designed based on
modern functions and new understanding, are more open to different experiences and enjoy
them more. Contemporary exhibitions of artworks attract more visitors, and activity areas in
museums turn into meeting points where visitors can sip their coffee and enjoy a chat. It is,
therefore, clear that contemporary museums are and will be important landmarks that bring
together history, art and culture.

Keywords: Museum, Contemporary museum, Contemporary approaches, New muse-

ology

1 Introduction
The term “museum” has the connotations of “protection,” “safekeeping” and “tra-
dition.” Everything in museums constitutes the world of protection, knowledge,
culture and aesthetics. Museums, which are socio-cultural laboratories in a sense,
serve as repositories of historical and social developments (1).
Museums are the most important institutions bringing the history of cities to
today. Museums also play a key role in keeping cultural heritage alive by enabling
us to preserve the past in our memories and handing it down to future generations.
As İslamoğlu (2) states: “The safeguarding of cultural heritage allows for cultural
continuity and creates a sense of history in the minds of people, who, then, can
better understand the present.”
Museums not only serve the general public, but also respond to the needs of
various researchers and experts. Museums have different stakeholders with dif-
ferent perspectives such as visitors, scientists, historians, students, educators, and
local/central public or private museum managers and staff, and therefore, can be
regarded as institutions that serve different purposes. For some, the mission of
museums is to contribute to the education of society and to increase its intellectual
capacity by advancing and expanding knowledge while some see them as a venue
for intellectual entertainment and leisure, and some others consider them to be
research centers.
Globalization has also facilitated the change in people’s perception of museums.
Museums are one of the most important venues in reflecting the cultural heritage
276 Funda K. Açici

of cities, which are also the focal point of globalization. Bringing new meanings
and roles to cities, this position also results in dramatic transformations in a wide
spectrum ranging from urban life to urban spaces (3). Globalization has acceler-
ated communication and liberated people by virtually removing borders among
nations. This has found its reflection in people’s lives and in spaces as well (4). This
reflection has given rise to a contemporary museum concept.

2 Contemporary Museum Concepts

The second half of the 20th century witnessed the developments that lay the
foundations of contemporary museology. Although museology was an object-ori-
ented discipline until the 1960s, it made use of knowledge and methods from other
disciplines as well. The 1960s was a revolutionary period in which new museology
models and practices were introduced. The division of museology into sub-fields
such as museum management, restoration/conservation, exhibition design, edu-
cation, visitor relations, research, archiving and communication is considered the
second revolution in the field of museology (5). The third revolution has been the
emphasis on the social functions of museums. The changes in museum manage-
ment approach and the redefinition of museum professionalism in this context are
contemporary innovations in the field of museology. As for the social function of
museums, it is more important than ever to organize and manage the relationship
between museum and audience, the latter of which has now been rendered the
“agent” (6).

2.1 Development of Contemporary Museum Concept

According to Hall (7), what museums are is nowadays defined by what they are
not. Their unique identities are determined by descriptive elements that they do not
seem to possess. With the new understanding of museology, museums have gone
beyond being just a temple where muses are locked in (8). As Fleming (9) puts it,
museums are “a place” but “not just any place.” In line with this, Huyssen (8) states
that “the need for auratic objects, for permanent embodiments, for the experience
of the out-of the ordinary, seems indisputably a key factor of our museumphilia.”
In contemporary museology, museums should publicize their activities and
attract people’s attention in order to achieve integration with society. Museums
should reach out to the public through different media and undertake strategic
planning to expand their sphere of influence and appeal to a wider audience than
just the narrow circle of artists, scientists, intellectuals, art lovers and students (1).
Contemporary museums serving as non-formal education institutions today have
turned to public relations to reach a wider audience for the transmission of culture
and knowledge, and for the education of society.
Reeve and Woollard (10) emphasize that, along with the diversification of
functions of museums in the 21st century, many terms describing museum visitors
have been proposed. Some of these terms are “visitors, spectators, audience,
 Contemporary Approaches in Museum Space Design 277

consumers, mass, shareholders, participants, users and customers.” According to

Hudson and Ritchie (11), the main factors accelerating the change in the functions
of museums are as follows:
1. People’s increased expectations of social life
2. Increase in GDP per capita in Western countries
3. Changes in museum experts’ job descriptions
4. Increased number of independent museums
According to Hatton (12), the changes in the functions of museums in favor of
society began to take shape in the classical age of Europe. Museums used to be
regarded as the temples or treasure chambers of the classical world. The changes
in their social functions have come out in favor of the audience thanks to post-
modernism. The new understanding of museology has been integrated with a
contemporary educational approach which views visitors of all ages as “active
participants” and focuses on creating inclusive museum environments and facil-
ities to respond to visitors’ diverse needs and interests. Therefore, the experience
of the audience (the agent), in other words, the “museum process” becomes crucial
in contemporary museology. The museum process is a visitor-oriented experience
that focuses on visitors’ knowledge and experience to enable them to be active
participants in museum exhibitions (6).
The inclusion of the public/visitors in museum functions has led to the replace-
ment of the concept of museum by that of contemporary museum, that is, it has
resulted in the emergence of new museology, which has transformed museums
into places that promote broad public access to real-life experiences and emotions.

3 Contemporary Approaches to Museums

Nowadays, museums have stopped thinking of their collections as fixed enti-
ties and come to the realization that exhibition and presentation are often more
important than the collections themselves. The shift from the strict canons of the
traditional museology to the innovative presentation and exhibition methods
of the new museology has manifested itself in contemporary approaches to
recent museum designs. In this context, museums aiming to share technological
developments and different views with a broader audience incorporate visual edu-
cational materials (computer screens, holograms, virtual tours, interactive projec-
tion systems, three-dimensional scanning, simulators, three-dimensional modeling
and digital applications) into their exhibitions (6).
Developments and contemporary approaches in the field of museology
are an inevitable consequence of the era in which we live because we see new
developments in every sphere of life every day. It is, therefore, clear that we should
go beyond the common perception of museums as sites whose sole objective is to
exhibit the artifacts of ancient history.
According to Gurian (13), museums are “necessary” and “hybrid” organizations
that interact with their immediate environment and remove borders between other
278 Funda K. Açici

institutions. Viewers no longer want to visit exhibitions in which they are super-
vised by someone else. Contemporary museums should give the audience a pur-
pose, help them find answers to their questions and be organized in a way that
promotes participatory design processes, which are crucial for meaning-making.
Participation from within the museum refers to cultural heritage creators (through
museum objects or by direct participation), museum experts and other museum
stakeholders contributing to the process of learning, entertainment and inspira-
tion. Participation from outside the museum refers not only to visitors partici-
pating in exhibitions, screenings, educational events, live presentations and guided
tours, keeping up with museum publications and using museums’ information
services but also to non-museum institutions and organizations (public institutions
and organizations, non-governmental organizations and universities) cooperating
with museums (6).
Contemporary museums should include all the aforementioned concepts and
activities and be open to new ideas and creative approaches in order to respond to
the needs of the time and take it further.

3.1 Contemporary Museum Approaches

The relationship between architecture and museum design has attracted much at-
tention nowadays, and to a lesser extent in the past. In the history of architecture,
the design of museum buildings has always sought more than functionality alone.
Since the Enlightenment, thinkers have approached the design of a utopian city
of universal knowledge as an architect and placed the museum at the center of
the city. With the sacralization of art and heightened focus on purely aesthetic
pleasures, ostentatious architectural designs that overshadow the works of art dis-
played in museums are generally replaced by plain and simple designs. One of the
most remarkable examples is New York’s Museum of Modern Art (1931) designed
by Philip S. Goodwin and Edward D. Stone in 1939. Both the building design and
the white walls in the interior mark the beginning of the era of the “white cube”
(14), (Fig. 1).
Mies van der Rohe designed Berlin’s Neue Nationalgalerie (1968) as an enve-
lope for artworks, and created an ideal setting for their viewing by minimizing the
visual impact of the building (Fig. 2). Although Frank Lloyd Wright reacts to this
process with his distinctive design of New York’s Guggenheim Museum, the design
of the building still raises questions about whether it has the ideal conditions for
the viewing of artworks (14) (Fig. 3).
The transition to a new architectural style—nurtured by the debates of new
museology, legitimized by the rise of contemporary art and perceived by many
as a rupture—is marked by Paris’ Centre Georges Pompidou designed by Renzo
Piano and Richard Rogers in 1972 (Fig. 4). Distinguished not only by its design,
but also by its style of exhibition, the Centre Pompidou ushers in a new era where
museums are part of the culture industry. Operating within the discourses of
emancipation from bourgeois constraints, democratization and going public, the
 Contemporary Approaches in Museum Space Design 279

Fig. 1: Museum of Modern Art, New York (1931), (15).

Fig. 2: Neue Nationalgalerie, Berlin (1968), (16).

280 Funda K. Açici

Fig. 3: Guggenheim, New York (17).

Fig. 4: Centre Georges Pompidou—France’s Museum of Modern Art (19).

Centre Pompidou blurs the boundaries between entertainment and education. The
impressive, subjective and sculptural design of the museum building is presented
as the most effective formula to emphasize this blurring. However, the museum
building could not have been conceived, if it had not been for the transnational
capital pouring into global cities. Competitive cities in the global economy turn
 Contemporary Approaches in Museum Space Design 281

Fig. 5: Guggenheim Museum Bilboa, Spain (20).

to prestige-oriented urban landscape designs rather than to urban planning (18).

Therefore, museum buildings become the most popular symbols of this process
with their distinctive designs, unusual styles and artistic expressions (14).
Thanks to the decanonizing features of the fine arts expanding the realm of
freedom available to architects, they can translate their artistic visions into unique
works of art, independently of their function. What might have been a disadvan-
tage in the past has placed architects in great demand by bureaucrats who strive to
make their cities more fashionable. Frank Gehry’s Guggenheim Museum in Bilbao,
Spain, is considered such a successful implementation of this formula that the term
“Bilbao Effect” was coined to emphasize the key role architectural and cultural
projects have in revitalizing cities (14), (Fig. 5).
So far, we have discussed how contemporary museum approaches have
progressed to today. Doing this, we have demonstrated the latest approaches in
line with the 21st-century contemporary art
Located in the Flaminio quarter of Rome, built on the grounds of the former
Montello military barracks and designed by Zaha Hadid, MAXXI is considered
one of the most important structures of the contemporary period. In fact, the pro-
ject was pitched in 1999 when Gehry was to build the Guggenheim Museum, but
it could be completed in 11 years due to budgetary and some other problems (14)
Speaking of contemporary museum approaches, MAXXI is worthy of further
discussion in this section as it won two awards and proved its success.

3.2 A Contemporary Museum: MAXXI National Museum of the

21st Century Arts
The National Museum of 21st Century Arts, alias MAXXI, was designed by Zaha
Hadid, and was opened in May 2010. Being the first national contemporary
art museum in Italy, it won two consecutive awards. Having been previously
282 Funda K. Açici

Fig. 6: MAXXI, National Museum of 21st Century Arts (21).

shortlisted three times, Zaha Hadid won the 2010 RIBA Stirling Prize, which is
one of the most prestigious architectural awards, against a strong candidate, David
Chipperfield, who restored the Neues Museum. The 2010 RIBA Stirling Prize Jury
described MAXXI as “a building for the staging of art, and whilst provocative at
many levels, this project shows a calmness that belies the complexities of its form
and organization.” In November of the same year, Zaha Hadid won the World
Architecture Festival (WAF) World Building of the Year (14).
MAXXI was designed by Zaha Hadid and completed in 2009. Since then, it has
been one of the most important museums of Rome, known for its cultural and artistic
richness. MAXXI is the first national museum of contemporary art in Italy (Fig. 6).
In designing the museum, Zaha Hadid set out to establish an “art campus”
with an interior design consisting of passageways that would overlap and con-
nect to create interactive spaces. She has created a layout based on flexibility. The
continuity of the exhibition areas allows these spaces to be used for temporary
and mobile exhibitions. She avoided designing walls or any obstacles that would
impede the continuity of the exhibition areas. The fundamental elements of the
museum building are in the courtyard at the entrance. The sinuously curving con-
crete walls and suspended black staircases connecting the floors form the main
architectural identity of the building (Fig. 7).
 Contemporary Approaches in Museum Space Design 283

Fig. 7: MAXXI, Suspended Black Staircases (21).

Some exhibition areas in the courtyard and museum are naturally illuminated
by sunlight. Zaha Hadid has designed a geometric layout with different perspec-
tive points and a fragmentary space to provide inter-site flow. This system is not
regular but chaotic, as in life itself. This chaotic system and the reconstructed flow
model are in contrast with the classical, historical and static structure of Rome.
However, she used classical touches in her design and formed a bridge between
the two disparate worlds.
The smooth, curved walls and the general configuration of the building are con-
sistent with the classical symmetrical facade design. In addition, the structure of the
building was characterized by the condition of the surrounding buildings. MAXXI’s
geometry was designed according to the axles of the surrounding buildings to make
it compatible with the city’s urban fabric. Special attention was given to make sure
that MAXXI is illuminated by natural light from the glass openings between the
concrete ceiling beams. The ceiling beams are also used to hang artworks. The
beams, staircases and floor lighting provide a route for visitors (22).
A large atrium with full height leads to the reception areas, cafeteria, bookstore,
and auditoriums and galleries hosting permanent collections and exhibitions (Fig. 8).
284 Funda K. Açici

Fig. 8: MAXXI, Temporary Exhibition Halls (21).

While glass, steel and concrete give the exhibition spaces a neutral appearance, the
movable panels ensure flexibility (Fig. 9).
MAXXI contains flexible spaces for sculptures and installations, which are
probably the most common form of expression in contemporary art. MAXXI was
defined as a collection-free project when opened in 2010. Exhibitions and collections
of contemporary art and architecture were presented after it was opened. In this
sense, it is clear that MAXXI is a work of art that already exhibits itself.

4 Epilogue
As Schubert states, the lesson to be learned from the past of museum is that it is
not at all true that the relationship between the present and the future is a constant
rule. What this only means is the replacement of the present with the precise rules
of the past. No matter what the future holds, museums will be capable of extraor-
dinary adaptation and continue to be both healthy cultural structures and open
to external influences. With their openness, flexibility, versatility, transparency,
imperviousness to corruption and appeal to a wide audience, museums are funda-
mental institutions of democratic societies (24).
Countless examples of museums from the past and present show that the main
function of museums has begun to change with modern approaches. Since the gen-
eral objective of museums is to fund artworks, their designs are generally plain and
simple with empty spaces. The main criterion for the design of museums is that
they do not overshadow the artworks themselves.
Gradual transformations in museum designs have brought about different
approaches that seek the “new” and capture the “contemporary” in the 21st cen-
tury. This approach, in a sense, has given birth to art itself as a defiance. Museums
designed based on contemporary approaches have created an aesthetic perception
as a work of art and come into prominence in this era. These approaches are steps
taken in the right direction for making sure that architectural structures that will
be passed down to the next generation reflect the characteristics of the period they
pertain to.
 Contemporary Approaches in Museum Space Design 285

Fig. 9: MAXXI Exhibition Areas (23).

MAXXI is a new manifestation of the formula of star architect+brand+contemporary

art. Even Italy, one of the few countries that do not compromise on museology and
protectionism, writes the story of its defeat by the culture industry and globaliza-
tion. Designed as a work of art, MAXXI promises to perform an art show on stage
and achieves it. The fact that it was Zaha Hadid’s MAXXI, not David Chipperfield’s
Neues Museum that won the RIBA Stirling Prize indicates that this trend is also
appreciated by architects (14).
In conclusion, what distinguishes contemporary museology from traditional
museology is that museums today engage in interactive communication with
the public. Therefore, visitors of museums, which have been designed based on
modern functions and new understanding, are more open to different experiences
and enjoy them more. Contemporary exhibitions of artworks attract more visitors,
and activity areas in museums turn into meeting points where visitors can sip their
coffee and enjoy a chat. It is, therefore, clear that contemporary museums are and
will be important landmarks that bring together history, art and culture.

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