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Above the galleries and below the trellis sits a sculpture
park, planned as the culmination of the experience for the
museum-goer - the anti-Guggenheim (New York) with the visitor
ascending instead of descending. The roof terrace, and the
movement through the museum, make sense in Tampa's climate
which allows year-round use, if not always year-round comfort.
Viñoly's simple, boxy design subdues itself towards
the effect of the trellis, the project's most important element
that hopefully will receive loving effort in detailing and
execution so it becomes the proper symbol (at all levels of
perception) for one of Tampa's important cultural institutions.
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