TATLIN NEWS #44

which both lets air in and makes the volume look airy, because it is placed with a gap be- tween the screen and the facade; was chosen; it is a kind of an unobtrusive emanation of the materialized object back into the world of ide- as. Such skin both sets the emotional disposi- tion and has a potential to deflect light in a certain way – during the day the building un- dergoes constant change because of the shift- ed blocks, but being sifted through the mesh, the sunlight diffuses and we could poetically say that the building is then dissolved in the environment. As to its interior, the division of the building into blocks allowed making the inner space column-free and open to the maximum. The special importance in such visual expansion of the area is given to the ground floor lobby, the whole wall of which is glazed, which follows the trend and involves the audience into the process, taking place inside the building. The architects say that they did not want to hide the structure behind plaster slabs, but on the contrary they wanted to reveal the structure of the building, open the space to the maximum, strip it and make it a part of the exhibition. They have well managed to do so, because the white colour in hands of SANAA turns out not to be neutral. Being filled with light, it gains weight, one can physically feel its resistance. And as Sejima and Nishizawa claim, the rays of sun falling at different angle provide multi- dimensionality, letting the viewers see the ex- hibition in a new light as the day goes. The most surprising fact is that as soon as the museum opened in the end of 2007, pro- duction of lamps with globes shaped like mod- els of the building was arranged. Perhaps this is what it takes to make SANAA well known? object New Museum | location New York City, the USA | design started 2003 | con- struction completed December 2007 | cus- tomer New Museum | architects Sejima + Nishizawa/SANAA | area 5500 m 2

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