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This essay aims to provide a brief summary of the most controversial restoration realized on four cases out of the eight Frank Lloyd Wright's works listed as Unesco World Heritage (the Solomon R. Guggenheim Museum, the Unity Temple, the Robie House, Taliesin West), in a comparative view between the recurrent methods of the American approach to architectural restoration and the shared values of the Italian theory of conservation. In this way, the principles laid down by Unesco to list this valuable heritage (Integrity, Authenticity, Protection) are looked under a critical perspective, showing how liable they are in within the selected cases. Furthermore, the text will focus on the complex implications deriving from the design intent, the authorship, the architectural history and the use of photography in the restoration process, opposed to the principle of time and authenticity deriving from the Venice Charter and the Nara Document. [ABSTRACT FROM AUTHOR]

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The idea of a transportable architecture has been present throughout history. Different architects have experimented with this concept, managing to materialize it in typologies such as the pavilion at international exhibitions. Along the same lines, the museum, as a typology that seeks to get closer to the masses, has found a useful variant in the portable building. If temporary exhibitions acquire their value in their constant contact with the public, the idea of bringing the exhibition together with the architecture becomes relevant. Thus, this paper analyses the paradigmatic experience of the Guggenheim Foundation, a leading museum institution in the competition for a temporary museum in Tokyo. Through the analysis of the proposals of Ban, Nouvel, and Hadid, it will be observed how architects use the full force of their representational styles whilst facing a typological innovation, aiming to appeal and to communicate the original architectural content that will be the main object of the exhibition. [ABSTRACT FROM AUTHOR]

In this article, the author describes labyrinth as both metaphor and method. It interprets the clash between fashion and the art world that occurred at the Giorgio Armani exhibition at the Solomon R. Guggenheim Museum on 2000 and the Rei Kawakubo exhibition at the Metropolitan Museum in New York on 2017; and also mentions that by blurring the boundaries between the boutique and the museum, the exhibitions served to disrupt the chronological and progressive aspects of the museum.

The article focuses on an extraordinary and yet to date overlooked figure - German-born artist Hannes Beckmann (1909-1977), a graduate of the Bauhaus in Dessau, one of the refugees who fled to Czechoslovakia to escape Nazism, and, no less importantly, director of the Photography Department of the Guggenheim Museum in New York. Beckmann’s work represented the fulfilment of the avantgarde ideas about the synthesis of the different arts. He was a painter, a photographer, a scenographer, a theorist, and a teacher, but he also created a number of abstract objects that border between minimalist and kinetic constructions. He graduated from the Bauhaus in Dessau, where he studied under Wassily Kandinsky, Paul Klee, and Josef Albers. For a year he was a guest student in the Photography Department under Walter Peterhans, a representative of the ‘New Objectivity’ and he worked for two years more in a photography studio in Vienna. It would be impossible to responsibly interpret how Beckmann’s work was impacted by his emigration to Czechoslovakia, where he lived in 1933- 1948, without looking for its foundations in the Bauhaus and the influence of a classical education in photography from Graphische Lehr und Versuchsanstalt in Vienna. This article draws attention to several thematic areas of the photographic work Beckmann created in Prague that tied in with the poetics of the everyday within the frame of the artistic and theoretical influence of a Bauhaus education. [ABSTRACT FROM AUTHOR]

The paper describes how new digital methodologies can be used within the field of Cultural Heritage, not only with the aim of documenting the actual state of an architecture but to review the past transformations it has undergone, conserving and representing these histories as well. The premise to conservation and enhancement of our Heritage is a deep study in terms of position, shape, colour, and also of the historical and artistic features. Survey methods have acquired data acquisition techniques in line with technological progress: today's electronic and IT technologies, that are the tools of modern Geomatics, allow the effective survey and representation of 3D objects, from architectural structures to sculptures or archaeological finds. Over the last few years, the methodologies of acquisition and integrated representation for 3D patrimony documentation have developed and consolidated considerably: the possibilities of the digital realm can augment the understanding and the valorisation of a monument. The specific case offered in the present paper, Ca' Venier dei Leoni, the palace where is the Guggenheim Museum in Venice, is a significant example. It suggests not only the theme of the "no longer existing", or better never built, but also the opportunity to formulate hypotheses regarding its implementation and the impact that the palace would have had in the Venetian contest. [ABSTRACT FROM AUTHOR]

As freeform architecture becomes popular, the observation method for complex geometries is also becoming important. In particular, stereoscopic 3D is one of the most useful approaches to explore 3D space realistically with extrusion and depth feelings. In this work, we propose a stereoscopic 3D exploration to observe an internal space structure of freeform architecture effectively. For a visually comfortable stereoscopic 3D navigation, we analyze causes of visual discomfort and control perceived depth by adjusting virtual camera separation and virtual screen depth in a stereo scene. Since a user notices rapid changes of a scene, we measure JND (Just Noticeable Difference) for the optimal changes of virtual camera separation and virtual screen depth. For the camera movement in complex and curved pathways, we use automated navigation utilizing cubic Bézier curves. During the navigation, the camera parameters are controlled automatically in order to produce visually comfortable stereoscopic 3D scenes. We also performed a user study to verify the effectiveness of the proposed explorations using famous freeform architectural models such as the Guggenheim Museum and the Jubilee Church. [ABSTRACT FROM AUTHOR]

In "The Order," Matthew Barney transforms the Guggenheim Museum into a space reminding of a computer game or sports-arena. The protagonist struggles his way through different 'levels' and at the heart of the setting, he is confronted with the para-athlete Aimee Mullins, a cyborg embodying the Deleuzian notion of the ani/omalous. To complete his final task, the protagonist kills the creature. The question arises, why the ani/omalous has to be violently eliminated. In this respect, it is important to know that the DVD offers two viewing options: a film version structured according to a fixed narrative order and an interactive version where one can switch between the levels simultaneously. Thus, Barney's film also raises the question of the aesthetic order at work and invites to consider how what is shown relates to the way in which it is shown. [ABSTRACT FROM AUTHOR]