A NEW STYLE OF THREE-DIMENSIONAL EXHIBITION DESIGN NEUE ASTHETIK IN DER RAUMLICHEN AU S S T E LLUN G S G E S T A LTU N G UNE NOUVELLE ESTHÉTIQUE DES EXPOSITIONS Francois Stahlj [Dcutscher Text: Seite 460] The last twenty or thirty years have seen the advent of a new trend in the aesthetics of three-dimensional design. The static and constructive possibilities of the new style spring from the logical and consistent exploitation of modern materials. First suggested by engineers and bridge-builders, artistically formulated for the first time by architects such as Le Corbusier and sculptors like Pevsner and Calder, the new style is being incorporated in everyday life in Italy in a way which it is a pleasure to watch. Modern art's experiments in plastic form, which are now collecting dust in a few tumble-down Parisian ateliers, have been taken up with youthful enthusiasm and translated into large-scale dimensions at the ninth triennale in Milan. Being a temporary exhibition, the triennale can take the liberty of experimenting with the plastic and archi tectural design of its exhibition rooms and structures even at the risk of a few minor miscalculations. The visitor is involved in the spatial organisation as soon as he sets foot on the stairs leading up to the triennale. The con ception of space is no longer that of some neutral medium spreading impalpably inside four walls. The daring neon loop that swings through the air lends the volume of the hall from which the staircase ascends a substantiality measurable to the [Texte francais: page 461] eye. The visitor who climbs the stairway is no longer the pas sive observer but takes part at every step in the relative dis placement of perspectives and thus in the creation of the spatial design about him. This active conception of space was also applied elsewhere in the exhibition and made itself manifest above all in the halls restricted to a set subject. The mistake was here occasionally made of laying too much stress on the presentation, so that the object exhibited lost something of its impact. It is true that all exhibition designers must reckon with the gradual fatigue of the visitor and with a measure of subsequent apathy which must be overcome with attractive effects; but it is an error to use a presentation in itself stimulatingsuch as the bright pattern of golden balls and flag-like photographs in the "Useful Articles" sectionwhen it is in complete contradiction to the functional and rational nature of the objects shown. A partic ularly successful attempt at an unstrained, plastic treatment of space which made an appeal to the general public was the use of articles of sport projected into the room. In this case the three-dimensional movement which modern art seeks to attain by the ascetic use of abstract media was brought home even to the footballer. 458

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