Synopsis
Kohn Pedersen Fox's jewel-like glass pavilion for the Rodin Museum evolved from the search to create a home for two seminal bronzes, The Gates of Hell and The Burghers of Calais, by Auguste Rodin. The tension created between the two pieces suggests gesture and dance, which architect Kevin Kennon interepreted as a kind of pas de deux between two glass walls. To heighten the experience of the museum as a place of contemplation and spirituality, the space is suffused in light with glass walls and ceilings of varying degrees of translucency. The serene space, far removed from the bustle of the Seoul business district, blurs the difference between West and East, between art and commerce, and between the nineteenth and twenty-first centuries.
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About the Author
Mario Gandelsonas is a professor of architecture at Princeton University who has also taught at Yale, the University of Illinois, Harvard University, and the Rhode Island School of Design. His New York-based design practice with Diana Agr
Review
"Like Rodin, the architect has sculpted a beguiling space that begs viewers to enter and revel in its presence as much as its absence." -- Architecture
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