c. 150 BC Stoa of Attalos
1517-34 Palazzo Farnese
1824-30 Altes Museum
1975 Museum for Nordrhein-Westfalen
1977-83 Neue Staatsgalerie
From: Stirling's Inheritance To: Stirling's Legacy Re: Stirling's Muses 1.0 5713
[hyper]mural @ the Altes Museum
I have decided to design my own mural for the porch at the Altes Museum. This will reenact the original and now destroyed mural. I could also incorporate murals into the upper balcony area. This will make for very provocative perspectives. The new imagery will derive from my own composite paintings-drawings.
It is now time for me to begin on part 2 of the Stirling Muses essay.
The article will begin with the obvious similarities between Düsseldorf and Stuttgart and the Altes Museum--the circular court, the path through the site--however, I will make it look as though the similarities end there by then calling out what Düsseldorf doesn't have that Stuttgart does., i.e., the column of trees and the "narrative of architectural history"--although Düsseldorf does have a porch like the Altes Museum and Stuttgart doesn't.
Next, I will outline the path of the visitor (and I can do this in a variety of ways: aerial perspectives with a line of transparent people and/or a sequential series of eye-level interior perspectives), and also bring in the G. Shane article. (I will also show the through-the-site route.) The path through the lobby ends with the choice of either taking the ramp or the elevator to the upper gallery level. Here I will recall the conference room "construction" from the Olivetti Headquarters design (project) as the "origin" of the ramp-elevator motif. (I can here also go briefly into the Maison Dom-ino connection.)
It is here that I will make the connection to the Altes Museum stairs (I might even graft the Altes stairs as transparent into the Düsseldorf model), and, in so doing, I will have to then describe the sequential path of the Altes Museum, and, subsequently, relate the sequential paths of both museums--porch, inside/outside, symmetrical vertical circulation, moving deeper inside toward the rotunda.
At this point, I address Stirling's modern transformation--metabolic?--process, and introduce the transformed Altes Museum model. In conclusion, I will note how Düsseldorf reenacts the movement/circulation path of the Altes Museum--much more so than the Stuttgart design--and this manifestation of path and goal relates to the Corbusian promenade architecturale.
I may just end part 2 with the words promenade architecturale, and leave it at that. Of course, part 3 will be all about the Cologne-Strasbourg connection where the promenade architecturale is the total theme. Part 3 of Stirling's Muses will double as a note-link to Part 2 of Promenade Architecturale: the formula.