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What’s This Business about Culture Part6louis vuitton wallets
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Event Architecture
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The case studies in this book deal mainly with the graphic elements of identity, but of course this is only one part of a more complex picture. Considering museums worldwide, the icons that spring to mind tend to be architectural not graphic. These include not only recent museums, such as Tate Modern and the Bilbao Guggenheim, but also older structures, such as the original Guggenheim in New York or the nineteenth-century Museum Island complex in Berlin. The effect of spectacular architecture in drawing an audience and kick-starting broader urban regeneration has been well documented. There are sceptics (in particular there are many who question the long-term benefits of the Bilbao effect, both specifically in Bilbao and in other cities such as Newcastle), but for the time being ‘event architecture’ remains a popular strategy for cultural institutions. The Serpentine Gallery has taken a particularly ingenious approach to this trend. Based in a classical 1930s tea pavilion in the middle of London’s Hyde Park, the gallery has little scope for permanent expansion. Instead it raises a temporary structure on its lawns every summer, each one designed by a renowned architect. Where ‘event architecture’ is often criticized for being unsuited to day-to-day use, the Serpentine scheme has the advantage of allowing architects to construct buildings with the sole purpose of creating an event.
The Social Whirl
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The Serpentine uses its temporary pavilion for a number of purposes, the most prominent being the gallery’s annual summer party. Drawing hoards of celebrities and featuring in the social pages of publications such as Vogue, this party has, in itself, become an important part of the Serpentine’s identity. Its status as a fixture on the London social calendar was cemented when Princess Diana was pictured arriving at its precursor, a fund-raising dinner, held in June 1994. This kind of event remains fairly unusual in British arts circles, but in the United States fund-raising galas are commonplace. The mother of them all is the Metropolitan Museum’s Costume Institute Ball, a grand party that draws the most glamorous stars decked out in their finery. Not only does this gala raise enormous sums of money, it also wins the museum acres of coverage in everything from the fashion press to the daily newspapers.
Other arts institutions take a more democratic approach to marketing themselves through their events. PS1 in Queens, New York, holds its openings on weekend afternoons/evenings, bringing in live music and DJs. Tate Modern staged a much promoted series of art, dance, theatre, film in the spring/summer of 2003. Even those institutions without a high-profile events programme tend to be running educational activities, including lectures and workshops. As well as being worthwhile in their own right, these happenings are the material through which the institution constructs its identity. Contemporary museums and galleries often aim to offer their audiences all-round, multi-sensory experiences: at their worst these constitute distracting clutter, but at their best they can enhance the audience’s encounters with the arts.
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