CHAPTER FOUR, THE CHIC.
Written By: Celeste Moore
During my research for spaces used in museums, I came across an academic article that talks about MOCA as a whole. In every article I've read about this museum always talks about the geometric shape of the building itself, how they use space wisely in order to not overwhelm it's visitors. That the aesthetic itself is valued because of it's "cutting-edge art" and clean look. So do you think I picked the perfect museum to study architecture? Because I sure do. The academic article mentioned before, Blue Steel, touches down on the points I've been making in the previous chapters. This article helps to back up my claims, to help you as the reader to dive a bit deeper into what I've been talking about this whole time. "MOCA's industrial aesthetic results from considerations of economy, the demands of changing installations and Moussavi's design philosophy. At street level, the polished concrete floor flows, in one direction, into a lounge and then a double-height space that can be used for exhibitions or performance and, in the other, into a store whose modular cabinetry can be pushed into a flush inner wall. Visitors can access far into the building, climb the enticing sculptural staircase, and catch glimpses of exhibitions and interior workings of the museum" (Blue Steel. Architectural Review, no. 1389, Nov. 2012, pp. 30–39. EBSCOhost). In the pictures to the left, I was able to capture those white floors, the polished walls, the only staircase in that entire building. I wanted to show that this museum does care about the direction it takes in construction, even if there's one way to go, it's still as organized as ever. I came to the realize that the building structure and over aesthetic is very pleasing because I could tell that everything came with deep thought behind it. "There is one further, and entirely unexpected, detail. The sloping slots of glass function as windows to admit light when desired and to offer glimpses to the exterior, to the life of the street and to Gehry's billowing metal structure across Euclid Avenue" (Blue Steel. Architectural Review, no. 1389, Nov. 2012, pp. 30–39. EBSCOhost).
