The otherworldly ‘Utopian Museum’.
Text: Hong Wan | Translation: dilettante | Photo Courtesy: Utopian Museum

Taiwanese author Tomic Wu wrote ‘Design Tokyo’ in 2006, introducing contemporary Japanese design in details, in chapters covering architecture, museum, public art, graphic, product design and retail design on various scale. The publication received much praise and is regarded as the new ‘art travel guide’. Another Taiwanese author Li Qingzhi, with his architecture background, chose to base his book on fifteen contemporary art museums. Published in 2008, it is called ‘Utopian Museum’.

ARCHITECTURE

In the introduction, the author explained how he feels about contemporary museums. He argues that historic museums are set in classic architecture, its atmosphere heavy and less than stimulating. With the art pieces placed in dark corners, the setting is merely fit for archeologists and art practitioners.

Contemporary art museums are set in modern architecture, a minimum and comfortable space that often merges with its surrounding. Visiting contemporary museums is like entering a heavenly space, where one’s spirit is comforted and far away from the city. The author also writes about how art museums were revolutionized in the 20th century, the new generation of art education and the concept of art and finance.

In recent years, there have been a lot of criticisms on the design aspect of contemporary art museum. Some argue that architects can be too absorbed in self-expression on the aesthetic of the architecture and do not pay enough attention on the value and display of the art collection. The author remains diplomatic, yet by that he appears to agree with the criticisers. The book focuses on the architecture structure, design concept, and the author’s personal experience inside the space. A slightly biased view perhaps, but he is not shy from his love of modernist architecture, a minimal style emphasized with glass and concrete.

HEAVEN

The theme of ‘Utopian Museum’ is very straight forward, which is to inspire the readers to feel the ‘heavenly’ architecture. All museums included in the book were created by the contemporary architecture masters, as structures and forms that embody their architecture and artistic vision. The National Art Center of Tokyo, for example, was created by the Japanese architecture master Kisho Kurokawa, who is famous for integrating the philosophy of symbiosis in his design for the past forty years. The National Art Center of Tokyo was opened in 2007, soon after he passed away. Its highlight lies in the green-tainted glass wall in wavy shape. It is seen as the most visually powerful structure in Roppongi Hills. The luminous waves are especially eye-catching when the viewers look down from the Roppongi Hills Mori Tower. Kiyonori Kikutake, the architect responsible for Kyushu National Museum, also belongs to the ‘Metabolism Group’. Inspired by the interior of airport, he created an art museum that give the impression of an auspicious beast standing among the mountains of Kyushu. Kiyonori Kikutake wants to create an experience with space and structure, leading the visitors into an exquisite world.

Situated in Place de la Concorde in Paris and designed by Olivier Lahalle, the Impressionism-fused Musée De l’Orangerie is the only contemporary art museum which was renovated from an ancient building mentioned in the book. Musée De l’Orangerie was closed for renovation for no shorter than seven full years and only re-opened in 2006. With the original Napoléon III exterior intact, the interior boosts modern minimalism — glass ceiling instead of the original roof allows natural light into the space and concrete walls. The highlight, two oval-shaped spaces for Claude Monet’s signature lilies, enables the visitor to sit in the middle and be surrounded by the lily ponds — An intention of the great Impressionist artist. Compare to the Louvre and Musée d’Orsay, this comparatively low profile museum is less crowded and commercial, showing the work with its authentic and tranquil expression.

JAPAN

As for one of the most respected contemporary Japanese architects, Tadao Ando (whose most famous work includes Omotesando Hills and 21_21 Design Sight), the author chooses to introduce earlier work such as UNESCO ― Meditation Space in Paris, Benesse House ― Benesse Art Site Naoshima (Japan) and Chichu Art Museum. Female architect Kazuyo Sejima, known for the Christian Dior Omotesando (Japan) flagship store and hhstyle in Harajuku (Japan), is also featured in ‘Utopian Museum’ — The O-Museum and 21st Century Museum of Contemporary Art (co-designed with Ryue Nishizawa). Aomori Museum of Art by Aoki Jun, the Yoshitomo Nara display space also makes an appearance.

The book covers a range of international art museums as well as architects, including the Contemporary Art Container Zaha Hadid designed for Chanel, and MIHO Museum by I. M. Pei. It seemed that Japanese projects occupy a big part of Utopian Museum, which is eleven out of fifteen art museums in the book. Of course, Japanese architecture has established its names in recent years; but it also shows the effort they have been putting in for promoting contemporary art. These architects have all been invited to work on projects in China, which is something for to be anticipated.

HEALING

‘Utopian Museum’ does not overwhelm its readers with spectacular images, impeccable architectural details nor diagrams. The author merely aims to express his personal experience with simple words and images. However, the readers can benefit with the knowledgeable commentary and therefore choose to compare or contrast his views with their own personal experience. It is the first hand experience that really brings the satisfaction.

Li Qingzhi repeatedly emphasises that contemporary art museum is a place for ‘spiritual healing’ for modern beings. Through experiencing beauty within architecture, the author tries to bring the same sense of moving encounter to the readers. To Li Qingzhi, art has a secret force — The author’s father passed away in the beginning of 2008, he took his mother to Yokosuka Museum of Art along the Japan coast. Over art and coffee, and particularly surrounded by Taniuchi Rokuro’s paintings on childhood ‘in the pearl-like-museum sitting on green velvet’, his mother smiled.

‘UTOPIAN MUSEUM’ BY LI QINGZHI, 2008.