A
R
C
H
I
T
E
C
T
U
R
E
+
D
E
S
I
G
N
J O U R N E Y S | L O U I S I A N A M U S E U M O F M O D E R N A R T
P
H
O
T
O
S
B
Y
:
K
I
M
H
A
N
S
E
N
As a whole, the Louisiana is too. Of this
alliance between the built environment
and the natural world, French architect
Jean Nouvel perceptively observed: "In
Louisiana, each thing is immediate. Each
thing is immediately felt and everything is
at home." The flowers, the sea, and the
sky—all of it, he pointed out. The museum
belongs to the landscape. The buildings
belong. The art too. "Everything belongs
to everything," Nouvel insisted. "And this
doesn't exist anywhere else."
Actually, a version of that observation
happens a lot in Denmark where
harmonious design is a watchword, a
practice, and a museum. In this instance,
a quality and uncomplicated expression
of the democratic, humanistically-driven
Danish Modern ideal—good design for
everyone.
louisiana.dk
Outside is splendor, the museum's
Sculpture Park, a swath of open lawns,
shady trees and a grand panorama of the
Sound. Here is one world-class piece of
sculpture after another, including works
from American atists Alexander Calder
and Richard Serra whose installation,
"The Gate in the Gorge," is a sharp-lined
triumph. There same is true of Polish-
German sensation Alicja Kwade's
thought-provoking spherical stones.
With its thoughtful distribution of trophies,
Sculpture Park is a highlight of the museum.
Nonetheless, the Louisiana's founder had
concerns. "For [Jensen]," as noted by the
museum, "nature could almost become
too dominant if there was not something
man-made added to it." In his own words,
Jensen remarked: "Each work demands to
be seen without too much competition from
other works of art and without a restrictive
landscape setting." For his scrutiny, the
park is perfectly balanced.
60 DIGS.NET
| 6.16.23
