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The need to make things transparentto break down the barriers between inside
and out, between the realms of high culture and everyday lifeshapes the
structure itself as Mr Piano reveals aspects of the museums function that are
usually concealed. Since the museums house the countrys oldest art
conservation centre, Mr Piano decided to make that an integral element in his
design, exposing the functional guts of the building. Visible from the courtyard is
a collection of archival pigments, arrayed in glass jars like potions in an
apothecary. Work in the Straus Centre for Conservation takes place behind glass
walls so that, like diners at a restaurant with an open kitchen, visitors can
appreciate the behind-the-scenes workanother step along the path to the
demystification of culture. A similar commitment to openness is in the Art Study
Centre, rooms where scholars, students and members of the public can examine
original artworks under the eyes of museum staff.
The newly configured Harvard Art Museums do not pack an enormous visual
punch. They sit comfortably on the street, being neighbourly rather than assertive.
Mr Pianos design offers something more sustaining than an obvious visual hook:
it opens up a rarefied world to the wider community, encouraging engagement,
conversation, cross-fertilisation. In short, it is perfect metaphor for the role of the
museum and the university in a democratic society.