This is a presidential library functioning as a museum for John F. Kennedy’s presidency and his administration. It, therefore, contains materials used and published during Kennedy’s reign and serves as a memorial for the president up to his assassination. The intent of this structure and its content is to serve the historical subject of preserving the memory of this president and his life while serving the country. The interior lobby is observable as an extension of this intent, and with its subject matter being in the depiction of a stage in history, it is possible to consider it as an attempt to preserve a moment in time, potentially just before the assassination. The lobby also acts as a communication of the memorabilia of an era captured through the design incorporating both artistic and functional values of an emotional experience from which the country found itself following Kennedy’s assassination.
The lobby features a combination of figures, with each of these holding a particular memory about John F. Kennedy. The historical rendering of these objects is placed on alternating sides of the walkway, with objects spatially organized to illustrate space and time distribution of events. It features wood paneling on the walls, with chandeliers spatially distributed in similar organization as the cabinets containing the objects mentioned. These cabinets are all hand carved, wooden (dark oak color) chests with glass visors. Their representation is that of the older art that appealed to furniture at the time of their making. Carvings and modelings do not have any visible traces of the used tools on their surfaces, and are difficult to identify as handmade objects.
The volumetric forms are cubic with pyramidal apices, with their carving being more traditional regarding geometric sculpturing. Their organization across the lobby is aligned to the direction of the passage, with the simplicity of spatial placement being in sync to the chandeliers and photographs on the walls. Line, as a property of each of these object, is used to illustrate the solid state of the objects, with none having open silhouettes. Therefore, with the elements seeming to align to the surface creation of volumetrically solid items, it is possible to appreciate its occupation of space and arrangement. Also, the consideration of the placement of the object within the space presents a similar closed, dense perspective. These figures displace space to a relatively high degree, with their visors reducing the point of view to a frontal intent. The lobby’s architectural plan, in general, pursues similar approaches, with the openness of its entire silhouette being limited only to the presence of these solid objects placed throughout its space. From a generalized perspective, the lobby’s design intent seems to be only viewed from the front or back for one to capture the entire concept of space and light.
The usage of contrasting colors (the lobby’s lighted perspective to the darkened chests and the red carpet spanning the entire length) presents the viewer with an exaggerated perception of length. Color has been added using paint, for the walls, chests, and ceiling. From this approach, it is possible to express that the color possesses an inclination towards the presidential concept, with the inclusion of a red carpet, lighting apparatuses throughout the length. Also, the entire lobby seems to pursue the preservation of history with the inclusion of objects that are identifiable with Kennedy’s presence in the administration, with inclusions of pictures. The placement of historical objects may be outside the artist’s intent to portray the lobby in specific meaning, but their presence arguably presents an observer with the impression that the lobby contains emotionally invested content.
Light in Fusion
The usage of light in fusion with color is relevant to the design of the lobby, with the arrangement of chandeliers being alternated with the darkened wood for the chests. In this regard, the forced usage of artificial lighting in the lobby ensures a constant perspective from both the front and back views of the entire space. Texture is not used significantly within the entirety of the area, with most of the objects being smooth and not enhanced in composition. Therefore, the significance of the other aspects overshadows these intents and makes them less observable and relevant to the entire space.
As a work of art, the lobby is, therefore, an expression to the visitor of a historical experience and an interface to relate to Kennedy’s legacy. Walking through this section allows one to perceive various facets of architectural intent enhanced by interior design and advancement of the concept by placement of objects. The relevance of the experience to understanding the artistic impression that this render makes on the visitor is in the emotional feeling of aged experiences from the period after the assassination of this president. It is, therefore, possible to say that the design is an expression of this historical reference on a communicative level.