Dale Chihuly’s installations do not only appear in Museum’s. Two Chandeliers were set up at the Salk Institute for Biological Studies in La Jolla, California. Dr. Jonas Salk, the founder of the Institute, commissioned Chihuly, because he believed that art and science coincide. These chandeliers were specifically designed to hang between the towers, bordering the courtyard. Each chandelier contained a different color-scheme, but both were vivid colors that could serve as an inspiration to the scientists who worked hard each day. Every evening, the installations were lit, exerting glowing light on the glistening stone floor. However, the chandeliers were not the only pieces being exhibited. A Sun was set up symmetrically at the end of the Institute’s
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Together, the Garden and Glass installations at the Seattle Center were made possible. The initial architecture was designed in 2009, then alternations were made from 2010 until May 2012 in order to accustom to the design aspect. The extensions made consisted of a Garden, Glasshouse and the Interior Exhibition space. The interior was composed of eight galleries, which all held Chihuly’s work. Furthermore, the Glasshouse was even inspired by Chihuly’s love of Greenhouses and Botanical Gardens. Plenty of changes were made to this structure and so it resembled a glass chapel, with a minimalist style that cooperated with the white arches of the Pacific Science Center, which stood nearby. This 43-foot-high ceiling allowed the sculpture to be hung and even dropped down to 12 feet from the floor. The reason why Chihuly wanted this structure closer to the audience was so that it enabled them to fully see the glass up close and become a part of it. Furthermore, the Glasshouse was positioned asymmetrically, with a shift of placement. This position allowed the audience to get a centered view of the chandelier, creating a dynamic spatial experience. The chandelier framed yet another element, the Space Needle, which lied above. Finally, the Exhibit Hall needed further redesigning, so that it coincided with Chihuly’s work. The interior walls were painted in warm, dark colors (closer to the gray scale), so that they would create a greater contrast with his vivid
Together, the Garden and Glass installations at the Seattle Center were made possible. The initial architecture was designed in 2009, then alternations were made from 2010 until May 2012 in order to accustom to the design aspect. The extensions made consisted of a Garden, Glasshouse and the Interior Exhibition space. The interior was composed of eight galleries, which all held Chihuly’s work. Furthermore, the Glasshouse was even inspired by Chihuly’s love of Greenhouses and Botanical Gardens. Plenty of changes were made to this structure and so it resembled a glass chapel, with a minimalist style that cooperated with the white arches of the Pacific Science Center, which stood nearby. This 43-foot-high ceiling allowed the sculpture to be hung and even dropped down to 12 feet from the floor. The reason why Chihuly wanted this structure closer to the audience was so that it enabled them to fully see the glass up close and become a part of it. Furthermore, the Glasshouse was positioned asymmetrically, with a shift of placement. This position allowed the audience to get a centered view of the chandelier, creating a dynamic spatial experience. The chandelier framed yet another element, the Space Needle, which lied above. Finally, the Exhibit Hall needed further redesigning, so that it coincided with Chihuly’s work. The interior walls were painted in warm, dark colors (closer to the gray scale), so that they would create a greater contrast with his vivid