Iconoclasm, or the breaking of art, has existed for as long as there has been art to break. Despite examples ranging from antiquity to present day, iconoclasm is often associated with a barbaric ancient world far from US soil. Yet, Richmond, Virginia recently served as a backdrop to one of the largest instances of iconoclasm in recent history when, in the summer of 2020, Black Lives Matter protestors defaced and tore down monuments depicting Confederate leaders. This most recent occurrence brings up larger questions about the story of iconcoclasm in the United States and how a museum should be designed to answer them. By investigating different methodologies and philosophies behind immersive museums, as well as what it means to break and be broken, this project seeks to create an experience that is rewarding and impactful for visitors of all kinds while reintroducing empathy and humanity into a topic that has proven divisive for the country.
This project considered the act of breaking, what it means to break, and what it takes to bring someone to want to break something. Destruction is an outpouring of emotion and the concept work needed to reflect that. By breaking pieces of chalk and examining the forms that resulted as well as creating models made from the fragments of broken dinner plates, the overall language for the project came to life.
Exhibits are designed to put interaction at the forefront of the visitor experience. By providing interactive learning devices such as digital puzzles to try and simulate the process of reconstructing a work from fragments or sliders that allow visitors to mix, match, and compare the appearance of a statue, visitors have to truly engage with the exhibit content, even though it is sometimes difficult.
Hanging a replica of the Robert E Lee monument over the reception area was a major design decision for the project. Not only does it make excellent use of what would otherwise be dead space, but it also serves as exhibit content, a method of lowering the ceiling for a more intimate feeling lobby space, and as a teaser for guests of what is to come. Hanging it as though it is still being carried off by the cranes ensures that the subject is not being glorified by being displayed.
