![]() 20 years later, on the occasion of Dia Beacon’s anniversary, Dia presents a film about Robert Irwin’s transformation of the former factory.Ĭonceiving of Dia Beacon as a work of art in and of itself, Irwin made subtle interventions into the building’s lighting and developed a symmetrical floorplan to ensure that the galleries are given equal importance and presented without a single overarching historical or chronological narrative. On May 18, 2003, Dia Art Foundation opened Dia Beacon on the banks of the Hudson River in Beacon, New York, in a former Nabisco box printing factory. Considering the possible ambulatory paths one could take through the grounds, Irwin designed a garden on the museum’s west side to serve as a bridge between otherwise unconnected parts of the building. Taking Beacon’s local horticulture and seasonal light conditions-as well as the former Nabisco factory’s architecture-into consideration, Irwin’s design for the landscape surrounding Dia Beacon incorporates indigenous plants that bloom throughout the year. The artist envisioned the museum as a “sequence of experiences” including riding the linear corridor of the Metro North railway up the Hudson River from Grand Central Station in New York City and descending into Dia Beacon’s parking lot. Specifically envisioned for the display of the works in Dia’s collection, Irwin’s design maintains the character of the original structure-with the sole addition of an entry vestibule-and ensures that Dia Beacon’s expansive galleries are entirely lit by natural light. Conceiving of Dia Beacon as a work of art in and of itself, Irwin made subtle interventions into the building’s lighting and developed a symmetrical floorplan to ensure that the galleries are presented nonhierarchically and without a single overarching historical or chronological narrative. ![]() ![]() On location, the visitor will be asked to become part of Beacon by rotating the illuminated ball elements.Robert Irwin’s design for Dia Beacon, Beacon Project (1999–2003), is the artist’s second collaboration with Dia Art Foundation, following Prologue: x18 3 (1998) and Excursus: Homage to the Square 3 (1998/2015). And we must try this, now more than ever.’ As Joseph Beuys (German visual artist) believed, everyone is an artist, and social art can bring about social change. Art and culture are powerful and can initiate a dialogue with citizens. I find it very interesting to combine folk elements that are time and location specific. Craig Morrison: I tried to think of a way of bringing people together to celebrate the creation of light festivals. Without local people, Beacon’s light would not shine so bright. Collaboration is essential for the project to exist. The residents of each city are involved in building the project they can create something unique. The project may encourage more sustainable choices in domestic environments.’ ![]() The motivation for Beacon is to stimulate residents to think about the use of different, conscious materials. Craig Morrison, artist and driving force behind Beacon, sums it up nicely: ‘Every experiment offers unique challenges, different languages and different ambitions. The three groups chose how they wanted to handle the project. So it is a special, international project that will travel on to the light festivals in these cities. The inhabitants of Jvakskyla in Finland, the residents of Eindhoven and residents of Lyon in France. The Beacon project was designed by three groups of in habitants in three different countries.
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