{"title":"文化滨水区的艺术诱惑:他们在毕尔巴鄂河口超越古根海姆的边缘跨度","authors":"J. Lorente, Natalia Juan García","doi":"10.1344/waterfront2023.65.04.01","DOIUrl":null,"url":null,"abstract":"The opening of the Guggenheim Museum Bilbao in 1997 intensified a discernible presence of monuments, museums, galleries and other establishments in its surroundings by defining a cultural district. In this gentrified neighbourhood, there are still a few artists-run spaces left, while ever more studios of architects and designers are spreading by the riverside, where the domino effect seemingly results in a musealisation of public art as civic heritage and a tourist attraction.","PeriodicalId":41149,"journal":{"name":"On the Waterfront","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2023-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Art enticements in cultural waterfronts: their perimuseal span in the Bilbao estuary beyond the Guggenheim\",\"authors\":\"J. Lorente, Natalia Juan García\",\"doi\":\"10.1344/waterfront2023.65.04.01\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The opening of the Guggenheim Museum Bilbao in 1997 intensified a discernible presence of monuments, museums, galleries and other establishments in its surroundings by defining a cultural district. In this gentrified neighbourhood, there are still a few artists-run spaces left, while ever more studios of architects and designers are spreading by the riverside, where the domino effect seemingly results in a musealisation of public art as civic heritage and a tourist attraction.\",\"PeriodicalId\":41149,\"journal\":{\"name\":\"On the Waterfront\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2023-04-13\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"On the Waterfront\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1344/waterfront2023.65.04.01\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ARCHITECTURE\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"On the Waterfront","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1344/waterfront2023.65.04.01","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ARCHITECTURE","Score":null,"Total":0}
引用次数: 1
摘要
毕尔巴鄂古根海姆博物馆(Guggenheim Museum Bilbao)于1997年开放，通过定义一个文化区，加强了周围古迹、博物馆、画廊和其他设施的明显存在。在这个中产阶级化的社区，仍然有一些艺术家经营的空间，而越来越多的建筑师和设计师工作室在河边蔓延，多米诺骨牌效应似乎导致公共艺术作为公民遗产和旅游景点的博物馆化。
Art enticements in cultural waterfronts: their perimuseal span in the Bilbao estuary beyond the Guggenheim
The opening of the Guggenheim Museum Bilbao in 1997 intensified a discernible presence of monuments, museums, galleries and other establishments in its surroundings by defining a cultural district. In this gentrified neighbourhood, there are still a few artists-run spaces left, while ever more studios of architects and designers are spreading by the riverside, where the domino effect seemingly results in a musealisation of public art as civic heritage and a tourist attraction.
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