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commercial) has completely lost its meaning: to be undoubtedly talk about the most concrete influence of
commercial is a condition of survival. Instead of a world of materials and construction methods on architecture.
spiritual hierarchies, which is divided into high and low, we
live in a scattered world of a market that is divided into The architecture of museums, therefore, in many ways
mainstream and cult marginal. The mainstream has pop and creates its own arsenal of materials and construction
classic. A cult is considered just the vanguard and kitsch. A methods. An in-depth analysis convinces us that the history
striking example of postmodernism in museum architecture of museum architecture is not only a consistent change of
is the Guggenheim Museum, opened in September 1997, some completed structural solutions to others; rather, it is a
sensationally elevated modern architecture and the city itself multilateral development process, which, due to the internal
to the level of the 21st century. He contributed to the interaction of all its factors, constantly generates new
renewal of the city and stimulated its further development. It solutions, new forms, new building materials, constantly
can be say that the structure here prevails over functions, changes the very use of building structures. And instead of
and that the architecture of the Guggenheim is perhaps just stating the influence of materials and structures on their
better known than what is inside; however, it is difficult to architecture, it will be more correct to not bias and carefully
resist the creation of Canadian architect Frank O Henry, with consider this internal process, try to determine the nature of
inspiration using flowing canopies, cliffs, ledges, streamlined the changes that occur in it. Consideration of the evolution of
shapes and turrets. Like all great architects, Henry designed the architectural forms of museums provides very
the Guggenheim, implying a certain historical and instructive material for modern architecture as a whole. In
geographical context. The place he chose was a production the primitive era of the creation of the supporting frame, this
wasteland, part of the district on the banks of the Ria de basic structural element, was perhaps the only problem in
Bilbao, where there were dilapidated and deteriorated city architecture. Stone walls, their openings and floor beams -
warehouses. Bilbao's historic industries — shipbuilding and that's almost all the architecture of those times. Somewhat
fishing — reflected Henry’s own interests and, not least, his later, during the Hellenic culture, many details and their
previous experience with industrial materials. It is believed combinations, in essence, were only small “processes” of the
that the brilliant titanium tiles that cover most of the supporting frame and often were completely inseparable
building and resemble the giant scales of herring are a from it. Starting from Mycenae to the Parthenon, we see that
reflection of the admiration that the architect experienced in the beams made of natural stone for processing are similar
childhood, watching the fish. The interior of the Guggenheim to stone blocks of walls and that most of the construction
is truly enormous, and this also has a special meaning. The tasks were solved along with the construction of the building
cathedral-like atrium is over 45 meters high. Light pours in frame. Today, this only basic element of ancient architecture
through the glass cliffs. From the atrium there is Gallery 104 - the frame - has changed so much that it has actually turned
- the “fish gallery”, a spacious arena 128 m long and 30 m into a light metal structure, the manufacture of which is just
wide, where the structures of the “Snake of Richard Snake” a small part of the total volume of the structure. And if such a
and its “Meaning of Time” are located, which are massive metal structure in its character even resembles the tent
sheets of iron, bizarre and incomprehensibly arranged, buildings of antiquity, it still differs from it in the most
between that you can wander around, dissolving in the significant way. The frame of a modern building, unlike its
surrounding rusty red world among the muffled, whistling ancient prototypes, is often not only not the largest part of
and clanging metal sounds. Today, the tendency of the birth the entire structure in size, but, as a rule, is no longer crucial
of such museums is increasing every day. for its architectural forms. The architecture of the building,
deprived of decorations, gives aesthetic satisfaction if it has
Weisman Museum of Art, Minneapolis (USA). The building of impeccable proportions; in addition, it will be interesting
this museum is a complete abstraction, there is no single and expressive subject to a certain compositional
system. This museum is very famous among architects, completeness. The decor itself, when used correctly, can
designers, art historians, as well as ordinary people who like have great expressiveness, and if it is not replaced by
unusual buildings. Denver Museum of Art, Denver (USA). The something else that performs the same functions, the
building consists of large geometric elements, which architecture will lose more than win. When decorative
together constitute a single system, surprising in its elements are used in excess, without the right attitude to the
appearance. The influence of the designs of modern museum main forms of construction, they are used obsessively, the
complexes as a new period. Building materials and exposition building becomes clumsy and tasteless, beauty
structures by themselves do not have a large direct impact turns into its opposite. When used correctly, decor gives
on the architecture of museums and galleries. expressiveness to the architecture of the museum building,
introduces variety into it, dissecting smooth surfaces, serves
In ancient times - in the Mycenaean era or in even earlier as an accent and punctuation tool, enhances the effects of
epochs, when a person had almost no opportunity to process chiaroscuro and in some cases says something about the
building materials - their choice was offered by nature itself, purpose of this building. Another striking example of the
the only supplier of building material, thereby determining design innovation of museum complexes is the museum and
all construction methods. The architecture of these primitive gallery of modern art in the city of Graz (Austria) called
eras can be called the “genius of finds”, because the inability Kunsthaus opened in 2003. The unusual shape of the
to process building materials made them look ready-made in Kunsthaus Museum is fundamentally different from ordinary
nature. Suitable blocks of stone, tree trunks, animal skins - exhibition halls. The team of architects used an innovative
these are mainly the materials that could be used, and the stylistic language known as “drip architecture” (other
architecture itself consisted in their appropriate names: amoeba, blob, blobitektura, blobism). Due to the
combination. This primitive art gives us a special sense of unusual shape of the building, the creators affectionately
admiration for the first and modest victories of the human called it “Friendly Alien” (Friendly Alien). Surprisingly, the
mind over rough, untouched nature. Here we can rounded forms of the museum harmoniously fit into the

ID: IJTSRD37955 | Special Issue on Modern Trends in Scientific Research and Development, Case of Asia Page 116