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je da se prilagodjava svojoj publici i da razvije sopstvenikapacitet za pravljenje izložbi, publikacija i drugihprograma – svoj sopstveni intelektualni kapital. To bimogao biti partner za vaš novi muzej u razvoju izložbi.Manje srećan primer je iskustvo Gugenhajma u LasVegasu, gde je zatvorena jedna od dve srodne galerije.Uprkos tome, direktor Tomas Krens i njegov odbor ostalisu posvećeni ideji osnivanja ogranaka, kako pokazujenjihov sadašnji predlog da se u Taičung na Tajvanusmesti još jedan ogranak. Kao podsticaj za ovakav razvojsluži shvatanje da su masivne zbirke opterećenje svedok stoje u depou ali se mogu pretvoriti u prednost akosu izložene u ograncima koji umetnička dela čine dostupnima istovremeno grade ‘brend’ Gugenhajma širomsveta.Podjednako spektakularan je primer Tejt koji je svojmuzej u Londonu podelio na dva ogranka – Tejt britanskugaleriju i Tejt galeriju moderne, od kojih su obe bilenaši klijenti. Tejt takodje ima ogranke u Liverpulu iSent Ivsu, koji mu omogućuju da delove svoje zbirkeučini dostupnim za širu publiku u Britaniji i da, u istovreme, pojača privlačnost svog ‘brenda’. Najupečatljivijije uspeh Tejt galerije moderne u uspostavljanju savremeneumetnosti kao popularne dominantne struje a neavangardne pojave, privlačeći tako masovnu publikukoja je daleko nadmašila očekivanja. Savremena umetnostsada mnogima izgleda kao simbol slobode izraza,posebno medju mladim ljudima, koji može da se poredisa pop muzikom.Ermitaž je sledio primer Gugenhajma sa medjunarodnimograncima, dok Centar Pompidu sada sledi primerTejt galerije planirajući ogranak u severnom francuskomgradu Mecu.Još jedan zanimljiv primer u Aziji je Muzej nacionalnepalate u Taipeju, za koji sada planiramo novi južnocentralniogranak u Taibau, u provinciji Čiaji. Južniogranak Muzeja nacionalne palate imaće pan-azijski focusi povezivaće Tajvan sa celom Azijom, a ne samo saKinom, kao što je u Tajpeju slučaj. Ovde se može videtikombinacija obnavljanja nacionalnih identiteta – uovom slučaju to je specifično povezivanje Tajvana sadrugim azijskim zemljama a ne sa ostatkom Kine- sa osnivanjemogranaka da bi zbirka bila dostupna većembroju posetilaca.56ISTICANJE GRADOVA KAO DESTINACIJAKULTURNOG TURIZMAGlazgov je grad za koji se može reći da je bio pioniru svesnom razvoju svojih kulturnih dobara kao načinuda se podstakne kulturni turizam. Kada sam bio kustosGlazgovljevog Glazgova, velike izložbe postavljene sredinom1990. godine, kada je Glazgov bio evropska prestonicakulture, mogao sam da prepoznam da je to biopočetak novog odnosa izmedju gradova i njihovih muzeja.U stvari, naš kasniji rad na planiranju novog Nacionalnogmuzeja u Singapuru, proizašao je iz rešenostiSingapuraca da se povedu za uspehom Glazgova koji jeistrajao sa serijom novih muzeja tokom godina i za tovreme promenio svoj lik od industrijskog džina XIXveka do centra kulturnih komunikacija XXI veka.Grad koji je u Ujedinjenom Kraljevstvu najsvesnijesledio primer Glazgova je Mančester, gde je naša firmaradila u velikoj meri. Pomogli smo da se razvije konceptmuzeja posvećenog radovima L. S. Lourija, koji je slikaoscene iz svog radničkog života u industrijskom predgradjuSalford, a zatim smo nastavili sa pravljenjemradne skice za uzbudljivu novu zgradu tog muzeja, kojuje projektovao britanski arhitekta Majkl Vilford i dobiareexhibited in branches that make the works of artmore accessible, and at the same time build the ‘brand’of the Guggenheim worldwide.Equally spectacular has been the success of the Tatein dividing its Museum in London into two branches –Tate Britain and Tate Modern, both of which have beenour clients. The Tate also has branches in Liverpool andSt Ives, which allow it to make parts of its collectionaccessible to a wider audience within Britain, and at thesame time to reinforce the appeal of its ‘brand.’ Most remarkablehere has been the success of Tate Modern inestablishing contemporary art as a popular mainstreamrather than an avant-garde phenomenon, drawingcrowds that have far exceeded projections. Contemporaryart now appears to many as a symbol of freedom ofexpression, especially among young people, that may rivalpop music.The Hermitage has followed the example of theGuggenheim with international branches, while thePompidou Centre is currently following the example ofthe Tate by planning a branch in the northern French cityof Metz.Another interesting example in Asia is the NationalPalace Museum in Taipei, for which we are currentlyplanning a new south-central branch at Taibao in theprovince of Chiayi. The Southern Branch of the NPM isto have a pan-Asian focus, relating Taiwan to the wholeof Asia, rather than just to China as in Taipei. Here onecan see a combination of the reassertion of nationalidentities – in this case specifically relating Taiwan ratherthan the rest of China to all the other countries ofAsia – with the establishment of branches to make collectionsmore accessible to more visitors.Enhancing Cities as Cultural Tourism DestinationsGlasgow is the city that may be said to have pioneeredthe conscious development of its cultural resourcesas a means to stimulate cultural tourism. When I servedas Curator of Glasgow’s Glasgow, the large exhibitionthat was at the heart of Glasgow’s year as European Cityof Culture in 1990, I was able to recognize that thiswas the beginning of a new relationship between citiesand their museums. In fact, our subsequent work inplanning the new national museums in Singaporesprang from the Singaporeans’ determination to emulatethe achievement of Glasgow, which has been sustainedwith a series of new museums over the years, as thecity has transformed its image from a 19th-century industrialgiant to a 21st-century centre of cultural communications.Within the United Kingdom the city that has mostconsciously followed the Glasgow example is Manchester,where again our firm has worked extensively. Wehelped to develop the concept of a museum dedicated tothe works of L.S. Lowry, who painted his scenes of workinglife in the industrial suburb of Salford, and thenwent on to produce the Functional Brief for the dramaticnew building designed by British architect MichaelWilford, which won the award as the best British buildingof the Millenium Year 2000. The Lowry, which containstwo outstanding theatres and a children’s galleryas well as the permanent collection and temporary exhibitiongalleries, is situated on the canals that first ledto Manchester’s prosperity, bringing ships to carry Manchester’stextile manufactures throughout the world inthe 19th century. Now the city has placed across a magnificentbridge over the canal another cultural touristattraction, the Imperial War Museum of the North, anotherexample of decentralization, since it is a branch ofthe Imperial War Museum in London.