The Museu Calouste Gulbenkian in Lisbon has undergone a significant transformation, returning to its mid-century modern roots after an 18-month renovation. This iconic museum, named after the Armenian tycoon and collector, has been reimagined to honor its original vision while addressing essential systems upgrades. The €7.8 million renovation aimed to restore the display to its 1969 state, paying homage to the museum's founding year and the 70th birthday of the Gulbenkian Foundation. This restoration is a testament to the museum's commitment to preserving its rich history and cultural significance.
The museum's history is deeply intertwined with the life of Calouste Gulbenkian, a man of immense wealth and cultural appreciation. Born in Istanbul in 1869 to an Armenian family of merchants and bankers, Gulbenkian amassed a vast collection of over 6,000 objects, including rare books, Renaissance tapestries, Islamic tiles, and 18th-century French furniture. His collecting eye was exceptional, and his vision as a collector was far-reaching, setting him apart from contemporaries like Henry Clay Frick.
The museum's architecture is a masterpiece in itself, designed by Portuguese architects Alberto Pessoa, Pedro Cid, and Ruy Jervis d'Athouguia, with input from renowned consultants like Leslie Martin and Franco Albini. The single-story building, with its restrained use of wood, granite, marble, and raw concrete, and large expanses of glazing, created a Brutalist setting with a strong Japanese influence. This design seamlessly integrated fine and decorative arts, offering a unique relationship between art, architecture, and nature.
Over time, the museum's original vision was diluted by repairs and changing curatorial outlooks. Showcases influenced by Albini disappeared, and some lost their original linings. The renovation, led by Director Xavier Salomon and architects Teresa Nunes da Ponte and Frédéric Ladonne, aimed to restore the museum's original spirit. Anti-reflective glass and LED lighting were introduced, enhancing the display's clarity and ambiance.
The Islamic world section showcases 14th-century Mamluk mosque lamps in individual vitrines, while the Asia galleries feature a practical zigzagging display case, improving accessibility. The renovation also added a new numismatic cabinet for coin displays and moved the Assyrian winged-guardian relief to a more prominent position. A gallery dedicated to French designer René Lalique was transformed with silk hangings, showcasing Art Nouveau and Art Deco glassware and jewelry in dialogue with paintings by Edward Burne-Jones and John Singer Sargent.
The renovation's philosophy emphasizes simplicity and the museum's architectural purity. Labels are short and to the point, and multimedia screens are absent, allowing visitors to immerse themselves in the art and architecture. Director Salomon's vision for the renovation reinstates the unique relationship between art, architecture, and nature, paying homage to the museum's founding principles and the legacy of Calouste Gulbenkian.
