Selen Basman
In the second chapter of our exploration of iconic museums and their architects, we turn to five more visionaries who have redefined the way we experience art through space, light and form. From I. M. Pei’s bold intervention at the Louvre to Louis Kahn’s poetic mastery of natural illumination, each of these architects has left a lasting impact on museum design.
Their creations go beyond mere structures, shaping the cultural dialogue between history and modernity, movement and stillness, and innovation and tradition. Whether through Santiago Calatrava’s dynamic, wing-like forms or Tadao Ando’s meditative use of concrete and water, these architects have crafted spaces that heighten our engagement with art. Norman Foster, meanwhile, bridges the past and future, proving that even historic institutions can be transformed with a fresh architectural vision.
As we step into these museums, we are reminded that architecture is not just a backdrop for art; it is an essential part of the artistic experience itself.
Louvre Pyramid
I. M. Pei’s (1917-2019) glass pyramid at the Louvre stands as a striking dialogue between heritage and modernity. A daring intervention in the heart of Paris, its unveiling in 1989 was met with fierce debate. Critics decried the juxtaposition of a futuristic glass structure with the historic palace, fearing it would disrupt the character of one of the world’s most revered museums. However, over time, the pyramid has become an inseparable part of the Louvre’s identity – a beacon of geometric precision and cultural sensitivity.
The glass-and-steel pyramids were designed as part of an extensive renovation of the old royal palace. They were conceived to bring natural light into the underground galleries while reorganizing visitor circulation. Pei’s vision was about aesthetics and reimagining how people engage with space. Beneath the surface, his underground lobby seamlessly connects the museum’s wings, vastly improving accessibility while preserving the dignity of the historic structure.
Reflecting on the Louvre project, Pei once remarked to The New York Times in 2006: “That project taught me that to know a country, you have to work there on a project of consequence. So, after that project, I told myself, ‘Let’s learn about the world.’” His experience with the Louvre broadened his perspective, inspiring future designs that merged modern architectural techniques with deep cultural awareness.
Pei’s mastery of light and form extended far beyond the Louvre. The angular elegance of the National Gallery of Art’s East Building in Washington, D.C. and the serene, geometric grandeur of the Museum of Islamic Art in Doha reflect his ability to balance innovation with tradition. Whether shaping a contemporary museum or redefining the entryway to one of history’s greatest institutions, Pei’s work continues to bridge the past and future with enduring brilliance.
Milwaukee Art Museum
Santiago Calatrava (1951) designed the Milwaukee Art Museum not just as a building but as a living sculpture. The museum’s signature feature, the Burke Brise Soleil, opens and closes like the wings of a bird, creating a dynamic rhythm that changes throughout the day.
Inside, expansive white spaces and vast glass walls dissolve the boundary between interior and exterior, allowing light and air to flow freely. This design reflects Calatrava’s biomorphic design language.
During his speech at the opening of the Quadracci Pavilion in 2001, Calatrava discussed how he envisioned the new addition connecting the museum to its natural and urban surroundings: “Expanding the museum was an opportunity to offer something extraordinary for our community. The design wasn’t just about adding to the existing building, but also about linking the museum to the landscape of the lake and the city.”
The Quadracci Pavilion was built with a transparent and light form, contrasting with Saarinen’s older structure. This new addition features a bridge extending outward, connecting the museum to the city and lakefront. The leaning mast of the bridge symbolizes direction and movement, while the roof and Brise Soleil complete this dynamic flow.
Calatrava described the building as “not just a building, but a part of the city, an extension of its spirit.” Calatrava’s design philosophy, blending movement with structure, is also evident in other iconic works, such as the City of Arts and Sciences in Valencia and the Oculus at the World Trade Center in New York, where his architecture brings fluidity and motion into the urban landscape.
Modern Art Museum of Fort Worth
Tadao Ando (1941) designed the Modern Art Museum of Fort Worth as a place of quiet and reflection. By using simple materials like concrete, glass and water, Ando creates a space where the building steps back, letting art and nature become the focus.
The museum’s reflecting pools extend the building into its surroundings, blurring the line between the artificial structure and nature. The water reflects the environment, creating a sense of unity with the landscape. Ando’s design creates a balance between architecture, art and nature, where each element enhances the others. This harmony helps create a peaceful environment where silence becomes a meaningful part of the experience.
Ando’s ability to evoke emotion through minimalism is also seen in his other works, such as the Chichu Art Museum in Naoshima and the Church of the Light in Osaka. In these spaces, light, shadow and materials come together in a quiet yet powerful way, making visitors reflect deeply on the space.
Although Ando never studied architecture formally, he became one of the most important architects of the 20th and 21st centuries. By blending Japanese minimalism with modern styles from Europe and America, Ando has brought a new dimension to international architecture.
British Museum’s Great Court
Norman Foster (1935) reimagined the British Museum’s Great Court as a perfect union of history and modernity. Under its grand glass-and-steel roof, natural light floods the area, creating a vibrant yet peaceful space that blends seamlessly with the museum’s historical architecture.
The roof, inspired by Foster’s design for the Reichstag Dome in Berlin, features 3,212 unique panes of glass. This transparent canopy not only brings light into the space but also creates a dynamic experience as the vista changes with every step taken through the court. This ability to transform the visitor’s perspective is one of the key elements that makes the space so special.
The redesign increased the museum’s floor area by 40%, offering a new level of openness and accessibility. For the first time in 150 years, visitors could freely explore the main floor of the museum, navigating between centuries of history with ease. Foster’s vision for adaptive reuse is also seen in projects like the Zayed National Museum in Abu Dhabi, where his use of modern materials and designs complements the historical and cultural context.
The Great Court’s opening on Dec. 6, 2000, by Queen Elizabeth II marked a new chapter in the museum’s history, a perfect example of how modern design can elevate and refresh traditional spaces. Foster’s work demonstrates how thoughtful architecture can breathe new life into historic structures while maintaining their legacy and connection to the past.
Kimbell Art Museum
Louis Kahn’s (1901-1974) Kimbell Art Museum in Fort Worth, Texas, is a defining example of his mastery over light and space. The museum’s iconic cycloid vaults are split open at their crests to allow daylight to filter through, creating a soft, diffused light that transforms the entire experience. This interplay of light, structure and material, especially over polished concrete surfaces, generates a peaceful and meditative environment. The architecture invites contemplation, encouraging a quiet connection between the visitor and the artwork within. Kahn’s design philosophy is evident throughout his work, seen not only in the Kimbell but also in his monumental structures like the National Assembly Building in Dhaka (1961) and the Salk Institute in La Jolla (1965).
Kahn’s structures are not merely functional; they evoke a sense of transcendence, where light and space combine to create a divine atmosphere. His use of light as a structural element in his work was revolutionary, transforming spaces into more than just environments – they became emotional experiences. His projects reflect a harmonious fusion of Eastern and Western traditions, as seen in his use of symbolic geometries in the National Assembly Building. His designs were influenced by many sources, including classical architecture and Buddhist stupas, and he masterfully used these forms to create new, modern symbols of nationhood and identity.
Courtesy: Dailysabah
