Table Of ContentViews across Boundaries and Groupings across Categories:
The Morphology of Display in the Galleries of the High Museum of Art 1983-2003
A Dissertation
Presented to
The Academic Faculty
by
Pegah Zamani
In Partial Fulfillment
of the Requirements for the Degree
Doctor of Philosophy in
Architecture
Georgia Institute of Technology
December 2008
Copyright © 2008 by Pegah Zamani
Views across Boundaries and Groupings across Categories:
The Morphology of Display in the Galleries of the High Museum of Art 1983-2003
Approved by:
Dr. John Peponis, Advisor
Professor, College of Architecture
Georgia Institute of Technology
Dr. Sonit Bafna
Associate Professor, College of Architecture
Georgia Institute of Technology
Dr. Ellen Yi-Luen Do
Associate Professor, College of Architecture
Georgia Institute of Technology
Dr. David Brenneman
Director of Collections and Exhibitions; Frances B. Bunzl Family Curator of European Art
The High Museum of Art
Dr. Kenneth Knoespel
Professor and Chair of School of Literature, Communication and Culture, Ivan Allen College
Georgia Institute of Technology
Date Approved: November 14, 2008
to my mother, Parvaneh, the butterfly
and
in memory of my father
Acknowledgments
In the broadest sense, the trajectory of my academic life has led me to encounter many individuals
who, whether deliberately or not, became instrumental for the progress of my doctoral study.
Without them, this dissertation would not have been possible, and to thank all of them deservedly
remains beyond words. Among all those, I wish to gratefully acknowledge:
Professor John Peponis, for being an enthusiastic advisor who constantly raised incisive criticism and
intellectual challenges, and for being a friend whose stimulation goes far beyond what is presented
here. John’s fundamental contribution and outstanding guidance have been reflected in my doctoral
research; his mode of thinking will certainly continue to influence my work in the future.
Dr. Sonit Bafna, for being a great source of insight and inspiration; I consistently had his
encouragement, friendship and support in crucial academic decisions through the Ph.D. labyrinth. Dr.
Ellen Yi-Luen Do, for her continuous interest, helpful recommendations and unwavering support.
The external examiners of my dissertation: Dr. David Brenneman, for his sharp criticism which
helped me bridge between curatorial and architectural worlds, and for his valuable comments which
sharpened my arguments; Dr. Kenneth Knoespel, for opening new horizons of learning, and for
encouraging me to blend my cross-cultural studies and life. In our discussions, the Western and non-
Western theories have constantly been in dialogue with each other.
Marjorie Harvey of the HMA and Merrill Elam of Mack Scogin Merrill Elam Architects for generously
opening their archives and for the willingness to share their intellectual points of view. They made
this research possible. Carol Thompson (curator at HMA), Marianne Eggler-Gerozissis (lecturer at
MoMA), Dr. Ivan Karp, and Dr. Corinne A. Kratz (co-directors of the Center for the Study of Public
Scholarship at Emory University), for providing their time for interviews, sharing their insightful
remarks and interests at key stages of this research.
Prof. Sabir Khan, for giving me his unbounded encouragement and multi-dimensional support for
several years. I feel deeply indebted to his tremendous influence, guidance and inspiration in my
teaching endeavors which deeply enriched my experience at Georgia Tech.
The late Dean Thomas Galloway and Prof. Doug Allen for their continued financial support that
made possible my studies at Georgia Tech. Prof. Christopher Jarrett and Prof. Ellen Dunham-Jones
for giving me the unique opportunity of teaching at the COA. Prof. Charles Eastman, for his valuable
support and providing opportunities to travel and present my research to a wider audience. Dr.
Craig Zimring, for his vigorous encouragement and faith in my insights, especially during the
challenging first years at the doctoral program. Dr. Ruth Conroy Dalton, for her interest and
stimulating discussions on the spatial cognition and virtual environments. Dr. Roozbeh Kangari, Dr.
Saeid L. Sadri, and Dr. Linda Thomas-Mobley for their generous support.
Researchers at the Graphics, Visualization & Usability Center at Georgia Tech, particularly Dr. Sha
Xin Wei at the Topological Media Lab, for exposing me to the art and science of interactive spaces;
and Dr. Bruce Walker and others at the Cognitive Science Program.
iv
Faculty members at COA for their insightful discussions and friendship, in particular: Dr. Franca
Trubiano for the ideas on spatial layering; Dr. Athanassios Economou for his introduction to shape
grammars; Jude Leblanc, Fred Pearsall, Gernot Riether, and Ann Gerondelis for the delightful
semesters of studio teaching. A special word of thanks also to my CFY and sophomore students for
being creative and bold and raising many stimulating questions which led me to ‘rethink’ the nature of
the design education.
Yi Lu for generously sharing with me his analytical computer scripts, and Matthew Swarts for his
valuable help on modeling and animation of virtual environments. My colleagues and friends at the
Morphology, ABC, HTC, and AEC Integration Laboratories, particularly Ghang, Frank, Anjali, Fehmi,
Hazem, Mahbub, Sharon, Weiling, Manu, Martin, Ayse, Alice, Selen, Carina, Myrsini, Atefeh, Elif and
Julie, among many others, for their warm support, knowingly or unknowingly. And many other
friends who made my past years a real happiness: Ann Campbell, Dr. Ruchi Choudhary, Dr. Barbara
Green, Dr. Fakhri Hagghani and Hassan, Dr. Houri Johari, Dr. Salman Mohagheghi. Dr. Delphine
Nain, Dr. Maneli Noorkami, Parisa Pooyan, Dr. Mina Raiszadeh, Pari Riahi, Ms. Rose, Dr. Amin
Saberi, Nusha Safabakhsh, Azin Sahabi, Dr. Mina Sartipi, Shadi Torab and Dr. Claudia Winegarden.
Numerous academic staff members at Georgia Tech for their kind help over the years. I am
especially grateful to Mercedes Saghini and Paula Peche for their assistance; Robert Gerhart, Jeff
Langston, Trent Chima, and Perry Minyard for the numerous computer support; Dr. Tolek
Lesniewski and Jonathan Shaw of the Imagine Lab; staff at the Architecture Library for facilitating my
research; and Ms. Gail Potts, director of graduate studies, for generously accommodating my
deadlines.
My teachers and mentors who significantly influenced the development of my ideas about
architectural design; I am especially indebted to my teachers at the University of Tehran, the
guidance of Dr. Hojat Ghadimi, and the research support by the Ministry of Sciences Research &
Technology.
My deepest gratitude is to my friends and family members, near and distant, stretched across
continents: Dr. Saghar Navid, Rozi Rofugaran, Dr. Katayoon Javadi, Dr. Mehrnaz Maleki Fischbach,
Baharhereh Amini and Padideh Alem, for their inspiring and solid friendship over the decades.
To Dr. Jusuf Shpuza, for keeping me in his caring thoughts - faleminderit shumë.
To my aunts Parvin, Minoo and Mahvash, who with their love and books led me to be the person I
am today.
To Pedram, Rashid and Rauf, for being the best brothers one could hope for. Their amusement and
humor was my escape when everything looked impossible in this endeavor. They put the color inside
of my world.
To Parvaneh, an amazing friend and mother, for her unconditional love, inspiration, sacrifice and
confidence in me. Her belief that education is a catalyst to fulfill one’s existence has been
instrumental in my life. Although divided by a geographic distance, her presence was never far away.
And to Ermal, for his enormous love, friendship and compassion, and for bringing the Primavera 02.
v
Table of Contents
Acknowledgments iv
List of Tables xii
List of Figures xiii
Summary xxi
Chapter 1 Introduction 1
1.1 Prelude: Galleries as Spatial Patterns 1
1.2 Methodology 4
1.3 Outline of the Thesis 10
Chapter 2 Objects and Arrangements: A Review of Literature 15
2.1 Objects, Classes, Groups 16
2.1.1 The Object 16
2.1.2 Classification of Objects 17
2.1.3 Grouping of Objects 20
Spatial Grouping or Isolation of Objects
2.1.4 Classes, Groups, Boundaries and Visual Fields 21
Cross-visibility and Cross-comparison
Co-visibility and Co-presence
2.2 Views, Movements, Sequences 26
2.2.1 Objects, Views, Paths 26
Sequential Order of Seeing and Moving
2.2.2 Dictated Sequences and Free Paths, Limited and Open Views 28
Museum Fatigue
2.3 Objects and Arrangements: Curatorial Paradigms 32
vi
2.3.1 Objects Grouping: the Doctrine of “Correlation” 33
“Varied Transparency”
The “Science of Relationships”
The Interrelation of Objects, Viewers and Space
Viewers with “Fields of Vision”
2.3.2 Mapping inside the White-box 38
The One-way Diagrammatic Map
2.3.3 Vistas: the Display Technique of “Overlapping Vistas” and “Visual 41
Comparisons”
The Theoretical Concept of “Affinity”
Stylistic Comparison
2.4. Synopsis 45
Chapter 3 Architectural and Curatorial Trajectories of the HMA -1903 to 49
1983
3.1 HMA Pre -1983: the Institutional Chronology 49
3.2 HMA 1983: the Opening 55
3.2.1 HMA 1983: Architectural Principles - Richard Meier 59
The Spatial Organization of the Layout: Squares
The Spatial Organization of the Layout: Grid and Columns
Spatial Experience of Layout: the Atrium and the Ramp as the
Choreographed Route
Spatial Experience of Layout: Galleries
Overlapping of Systems: “Where the Movement System is a Viewing
System”
The Notion of “Multiple Views in Displaying an Object”:
Frank Stella
“Shifting views”: New York School Exhibition, 1977
vii
Meier’s Formal Intentions
Phenomenal and Literal Transparency
Promenade Architecturale
Layering: Frontality and Deepness in the Picture-Plane
An Embodiment of the Meier’s Formal Language: HMA
3.2.2 HMA 1983: Curatorial Principles 88
The Objects: the HMA Permanent Collection
The Objects Arrangements: The HMA Opening Installation – 1983 to
1996
Curatorial Narrative and Description
An Account of Critical Reception
3.3 Synopsis: Tension Between Architectural and Curatorial Principles 99
Chapter 4 Architectural and Curatorial Trajectories of the HMA - 1997 104
and 2003
4.1 HMA 1997: Internal Transformation 105
4.1.1 HMA 1997: Curatorial Principles 106
HMA 1996: the Installation of “Rings: Five Passions in the World Art”
An Account of Critical Reception
HMA 1997: the Installation of “Multiple Choices: Themes and Variation
in Our Collection”
Curatorial Design Intention
An Account of Critical Reception
Design Properties Reflecting Curatorial Intent
4.1.2 HMA 1997: Architectural Principles - Scogin, Elam and Bray 119
Architects
Architectural Design Intention
Design Properties Reflecting Architectural Intent
4.1.3 Architectural and Curatorial Design Evaluation 123
viii
4.1.4 HMA 1997: the Main Curatorial and Architectural Principles of the 127
Installation
4.2 HMA 2003: Internal Transformation 129
4.2.1 HMA 2003: Curatorial Principles 130
Curatorial Design Intention
Design Properties Reflecting Curatorial Intent
4.2.2 HMA 2003: Architectural Principles - Lord, Aeck & Sargent 135
Architecture
Architectural Design Intention
Design Properties Reflecting Architectural Intent
4.2.3 HMA 2003: the Main Curatorial and Architectural Principles of the 140
Installation
4.3 Synopsis 142
Chapter 5 Morphological Analysis and the Syntactic Properties 146
5.1 Space Syntax: Theoretical and Methodological Framework 147
5.1.1 Theoretical Ideas and Definitions 147
Line Maps
Convex Partitions
Visibility
5.1.2 From Representations of Geometrical Elements to Graphs of 152
Spatial Relationships
Depth
Integration
Integration Radius n
Connectivity
Intelligibility
“A Configurational Theory”
5.2 Analyzing HMA: Profile of the Spatial Structure 157
ix
5.2.1 Convex Space Analysis of the HMA: 1983, 1997, 2003 158
Justified Graph
5.2.2 Line Map Analysis of the HMA: 1983, 1997, 2003 171
5.2.3 Visibility Graph Analysis of the HMA: 1983, 1997, 2003 177
Syntactic Centrality
5.2.4 Tensions Between Architecture and Space: 1983-1997 183
5.2.5 Spatial Changes and Display Narratives 186
5.3 Synopsis 196
Chapter 6 Emergent Structure: An Analogous Analysis of the 198
Architectural and Curatorial Design
6.1 Objects 199
The Layout of the Objects: 1983
The Layout of the Objects: 1997
The Layout of the Objects: 2003
6.2 Objects, Layouts, Visual Fields 207
6.2.1 The Spatial Structure of the Visual Fields: 2003 207
Targeted Visibility Patterns: 2003
Layering: 2003
6.2.2 The Spatial Structure of the Visual Fields: 1983 and 1997 211
The Spatial Structure of the Visual Fields: 1983
Targeted Visibility Patterns: 1983
Layering: 1983
The Spatial Structure of the Visual Fields: 1997
Targeted Visibility Patterns: 1997
Layering: 1997
6.2.3 Gallery 204: Patterns of Visibility – 1983 to 2003 227
x
Description:Director of Collections and Exhibitions; Frances B. Bunzl Family Curator of
European Art. The High Museum of Art. Dr. Kenneth Knoespel. Professor and
Chair of
