The Rodin Museum, Seoul by Mario Gandelsonas, Kohn Pederson Fox, Ruth Butler

By Mario Gandelsonas, Kohn Pederson Fox, Ruth Butler

The Rodin Museum in Seoul, Korea, designed via Kohn Pedersen Fox to accommodate sculptures by means of Auguste Rodin, has been hailed as an architectural tour-de-force. Its undulating partitions, solely made from translucent glass, create a jewel like, serene area a long way faraway from the bustle of the Seoul company district, as a substitute making a position that blurs the diversities among West and East, among paintings and trade, and among the nineteenth and the 21th century. This publication outlines the inventive layout procedure, from notion via awareness, fascinated by developing this strange museum. It comprises quite a few preparatory sketches, particular technical drawings of the complicated steel and glass wall process, and colour pictures of the completed constitution.

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Hence, a fruitful combination of events that has made Rodin sculptor to the world. A state commission that never came to fruition thus turning his major public work into a highly personal undertaking for which he made a startling number of figures over the course of his life; an extraordinarily beautiful museum in an eighteenth-century building that has become the third most visited museum in Paris, providing visitors with an opportunity to see Rodin’s work in the context of his life; and the possibility of new casts made under the watchful eye of Musée Rodin curators.

The next cast, commissioned by Carl Jacobsen in 1903, is in the Ny Carlsberg Glyptotek in Copenhagen. , Pasadena, California, and New York City.

The work of a single sculptor on such a vast scale and, more importantly, why Rodin? The answer lies in a unique convergence of circumstances. When the Republican government commissioned Rodin to make a set of bronze doors for a new museum of decorative arts, it never occurred to him that the museum would go unbuilt and that he might never see his doors installed in a public space. But as the decades passed and it became clear that the doors were going nowhere beyond the entrance of his own studio, Rodin was increasingly intrigued by his plaster model.

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