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From Follett
Includes bibliographical references.;The route to a building / Preston Scott Cohen -- The museum as genealogy / Preston Scott Cohen -- Herta and Paul Amir Building, Tel Aviv Museum of Art / Preston Scott Cohen -- Geometry(') rules: Preston Scott Cohen's Tel Aviv Museum / Robert Levit -- Surface activtion Sylvia Lavin -- Ornament of the city / Antoine Picon -- Knot vs. Dome: Peter Eisenman in converstion with Scott Cohen / Peter Eisenman -- The historicity of the modern: Preston Scott Cohen's Tel Aviv Museum / Daniel Sherer -- From concept to building: description of a process / Amit Nemlich -- A diagrammatic essay on the Tel Aviv Museum of Art Amir Building / Carl Dworkin and Preston Scott Cohen -- Competing proposal -- Lightfall design -- Final building design -- Plaza alterations -- Construction sequence -- Structure -- Facade construction -- Casting the lightfall -- Completed building -- Museum opening and installations -- Harvard GSD exhibition. For architecture, the Tel Aviv Museum of Arts Paul and Herta Amir Building provides a new spatial and tectonic paradigm; for museology, it represents a new approach for resolving tensions between divergent cultural agendas. The Tel Aviv Museum of Art is an unusual synthesis of two opposing paradigms of the contemporary museum: the museum of neutral white boxes dedicated to aesthetic contemplation and the museum of architectural spectacle, a site of public excitation. Rather than being concentrated in a grand lobby or atrium, the public spaces of the building are dispersed, becoming sites for artistic interventions. A series of rectangular galleries are organised around the light fall, a twenty-six-meter tall spiraling atrium that organises the building according to multiple axes that deviate significantly from floor to floor. The geometry and organisation of the building stimulates curatorial imagination, proving that architectural and museological space can be simultaneously segregated, contiguous, and synthesised.
From the Publisher
For architecture, the Tel Aviv Museum of Art's Paul and Herta Amir Building provides a new spatial and tectonic paradigm; for museology, it represents a new approach for resolving tensions between divergent cultural agendas. The Tel Aviv Museum of Art is an unusual synthesis of two opposing paradigms of the contemporary museum: the museum of neutral white boxes dedicated to aesthetic contemplation and the museum of architectural spectacle, a site of public excitation. Rather than being concentrated in a grand lobby or atrium, the public spaces of the building are dispersed, becoming sites for artistic interventions. A series of rectangular galleries are organized around the "lightfall", a twenty-six-meter tall spiraling atrium that organizes the building according to multiple axes that deviate significantly from floor to floor. The geometry and organization of the building stimulates curatorial imagination, proving that architectural and museological space can be simultaneously segregated, contiguous, and synthesized.