Page 19 - Studio International - September 1965
P. 19

View of the exhib1t1on "Masterpieces
          of Sculpture· July-August 1964
          Left to right are works by Couzijn,
          Urteil.  Etienne-Martin.  Dodeigne.
          Freundlich.  Hoflener and Guerrini.

                                  yard.  the  supporting  columns  were  arranged.  The  behind me,  I believe  I may say that the concept of the
                                  underlying  idea  for  the  plan  of  the  Brussels  building  open-plan exhibition  hall has stood the test.  As far as
                                  was for the ground-floor to be an  open  space for the   I know, it is based on a project of Otto Wagner's for the
                                  exhibition of items symbolic of Austrian economic life.   Vienna  Technical  Museum.  It  is  significant  that
                                  with  the  cultural  section  of  the  exhibition  housed  on  Wagner, while approving of the open-spaced room for
                                  the  first  floor  in  a  room  without  an  opening  to  the  technical  objects  which  he  believed  to  be  immune
                                  outside.  However,  the necessity  arose  for making  use  from changes of style, took great care, in his design for
                                  also  of  the  ground-floor  as  part  of  the  museum  by  a 'Gallery of Art of Our Time', to give its own space to
                                  incorporating the lower open space and remodelling it  each  stage  of  development.  By  now  the  work  of  art
                                  into a closed precinct.  This was achieved by covering  had lost more and more of its decorative character as
                                  the open courtyard with a glass roof on a level with the  an  ornamental  wall-hanging.  A  picture  is  no longer  a
                                  ceiling  of  the  second  floor.  On  the  ground-floor,  the  sectional  reprodl,Jctio17  of  an  optical  empirical  reality
                                  enclosure was effected partly by the use of glass walls,   but the  discovery  of  a  new  artistic  truth.  Therefore  it
                                  partly  by  solid  partitions,  thus  allowing  a  greater  can be considered as an autonomous image, a thing in
                                  concentration of space.  The glass was necessary both  itself.  Consequently, as an exhibit,  a picture dominates
                                  for letting in light and for creating a close relationship  its  surrounding,  it becomes three-dimensional,  related
                                  with the exterior,  especially  with the sculpture  courts  to sculpture.  The latter is no longer an expletive filling
                                  and  the  garden.  This  arrangement  resulted  in  trans­  an interval left by pictorial art. All these considerations
                                  forming the interior courtyard,  now covered by a roof,   are  taken  into  account  in  the  open-plan  type  gallery
                                  into a large one-room space·.                     with  its  movable  and  exchangeable  elem�nts  on  th�
                                   With the experience of twenty temporary exhibitions  ground-floor  (where  the  temporary  exhibitions  ·take
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