Posts tagged with "Art Museums":
After almost two years of construction, The Bass, Miami’s museum of contemporary art, is scheduled to open this fall. The project was initially scheduled to be completed December 2016 to coincide with Art Basel, but was forced to extend the construction timeline to accommodate the extra care needed to revive a historic structure.
The original building was constructed in the 1930s and was designed by Miami architect Russell Pancoast. It was first built as the Miami Beach Public Library and Art Center—considered South Florida’s first public space dedicated to art—and was renamed The Bass Museum of Art in 1964. Soon after, it was added to the National Register as “an exemplar of Art Deco architecture [sic].”
In 2001, the building underwent its first expansion at the hands of Arata Isozaki & Associates, a Tokyo-based architecture firm known for its work on projects such as the Museum of Contemporary Art in Los Angeles and the Olympic Stadium in Barcelona. The renovation added a wing to the building and a second level to house 16,000 square feet of exhibition space.
The museum board soon realized that it would need more room, and began plans for a second renovation, which broke ground in 2015. The team for this renovation includes Arata Isozaki & Associates and David Gauld, a consulting architect in New York, in addition to Jonathan Caplan of Project-Space, who redesigned the interior aesthetic of the museum.
The new additions build on the existing footprint of the structure, creating three additional galleries for a total of six. A creativity center will be housed in a new education wing, quadrupling the museum’s previous education space. The interior renovations are the most considerable in the building’s history, involving the reconfiguration of two courtyards to accommodate a new museum store and cafe. Though the changes alter some of the existing footprint, they will also allow visitors to once again use the original entrance of the building from Collins Park.
“[The] historic building is of real significance to our community, and one of the few structures of its kind on Miami Beach,” said Debbie Tackett, preservation and design manager for the Miami Beach Planning Department, in a statement. “The fact that the museum is striving to expand its exhibition and educational spaces while maintaining the integrity of the existing architecture makes this an example of resilient preservation.”
The Bass museum is scheduled to reopen fall 2017.
The Jan Shrem and Maria Manetti Museum of Art on the University of California, Davis campus, designed by associated architects Bohlin Cywinski Jackson (BCJ) and SO-IL and built by construction company Whiting-Turner, opened in late 2016.
The project was developed through a particularly strict procurement process that required designers to include builders on their teams. Those teams were expected to hold tight to a firm budget—$30 million—and deliver a design with balanced aesthetic, functional, and budgetary requirements. Ryan Keerns, associate at BCJ and project manager on the project said, “This process of design-build competition gave the client confidence that a builder had vetted the aesthetic and functional ambitions of the project and stood behind their ability to deliver the project within the parameters provided.”
The team did that and more, creating a 30,000-square-foot building that uses a range of social spaces to divide up more buttoned-up aspects of programming. The approach results in what amounts to a fully public space that does triple duty as art museum, office, and classroom. Those functions are articulated as a series of scattered, interconnected pavilions arranged in slipshod configuration. The whole thing is capped by an undulating, 50,000-square-foot perforated and folded aluminum screen canopy developed with help from facade design consulting firm Front, Inc. and fabricated from off-the-shelf components, including 952 honed-aluminum infill beams and 4,765 linear feet of steel joists.
The veil starts off low to the ground, lifted on slight, extruded steel columns. When the roof crests, it does so out of view, toward the center of the building. It eventually laps down to the sidewalk at the building’s main entrance, where it cantilevers 12 feet above the floor. Here, visitors get to bathe in the scattered, pleasantly fluorescent light created by the canopy. Ilias Papageorgiou, principal at SO-IL described the structure as a multi-sensory experience: “It works almost like a reverse sundial, where you become aware of the moving light and transformation of the shadows.”
In plan, the canopy is made up of a series of irregular gridded textures, “inspired by the agricultural landscape around the university,” as Keerns explained, a woven quilt of metal patterns going every which way. These angular divisions in the gently sloping surface—styled in section to resemble a silhouette of the area’s rolling landscapes—create jittery bits of structural framing, with joists and beams crisscrossing about. Steel columns of different diameters—40 in all—are deployed in a calibrated arrangement and are scattered about the entry pavilion. Interspersed amid this hypostyle courtyard are a series of bright yellow poles: multifunctional nodes for lighting, electrical outlets, and wireless internet.
The canopy is punctured by a large, oblong oculus that is mirrored on the ground by a dull, grassy knoll. The gesture is made to add another layer of functionality, as the opposing wall has been detailed to allow for film projection. The space ultimately succeeds in spite of this feature, not because of it. And the wall, entirely blank instead of delicately and intricately combed like the others, feels heavy-handed in what is otherwise a feathery plaza dancing with light.
The building, like the 2002 Boora Architects–designed Mondavi Center for Performing Arts directly opposite, is in axis with the center of campus. When approached from one of the campus’s main drags instead of from the parking lot, the entry pavilion acts as a type of outdoor living room for the university. As the canopy comes close to the ground at the sidewalk—and as a dissonant column causes one to step aside—it’s possible to experience a threshold condition and so properly enter into the designers’ domain.
The entry courtyard meets the fully enclosed portion of the building opposite this column at a convex section of glass wall. When sitting or standing in the courtyard, the effect of the columns and light posts is reminiscent of standing at a busy intersection in a city with broad sidewalks: It becomes possible to have almost private moments, both when no one else is in the space and when the various groups are passing through. Inside the building, a foyer contains a sinuous purple sofa—designed by an in-house team at BCJ—that turns a portion of the room into a viewing station, the now-convex arc of glass creates a televisual view of the courtyard and its many inhabitants. During AN’s visit to the museum, the courtyard and foyer were occupied by a diverse group of people: elderly couples, groups of moms with children, and even teenagers.
The museum works as a generic (in a good way) “somewhere else” type of place, not wholly any one aspect of its program, but as a place where lots of different types of things happen all the time. Simultaneously, the entry areas give the building a quality of comfortable domesticity, something akin to a grandparents’ living room, where shoes need to stay on, but one is free to feel at ease and gawk at whatever collection of curios might be on display.
Moving counterclockwise from the door, a projection room and the main galleries branch off to one side of the foyer. A second lobe, with ancillary functions, extends in another direction. A third wing peels off to the far left and contains a pavilion with a classroom and art studio that open onto the outdoors separately.
The galleries themselves are arranged as a variety of flexible spaces, with certain rooms casually arranged as educational areas, a result of the programming exercises the university brought to the designers. A larger gallery has soaring ceilings capped by extruded aluminum panels, with ductwork and piping visible beyond. The ancillary spaces, more intimate in proportion but correspondingly fussy in detailing, feature lower ceilings where the texture of the ceiling panels changes orientation to align with the long axis of the room. Because the museum’s permanent collection contains many sensitive works on paper, the galleries had to be designed to be completely artificially lit.
Papageorgiou explained: “Although daylight was not allowed in the galleries, we found moments for bringing the exterior through indirect light.” He refers to the central and generous hallway that connects the front galleries to the loading dock at the back of the building. That pathway is capped on both ends with glazing: one looking out onto the entry courtyard, the other, with a framed view of Interstate 80, cars and trucks whizzing by.
- 3XN Architects, Copenhagen, Denmark with Henrik Jorgenson Landskab, Copenhagen, Denmark
- Aires Mateus e Associados, Lisbon, Portugal with PROAP Lda, Lisbon
- Beatriz Elena Alés + Zaera, Castelló, Spain
- Arga16, Berlin, Germany with Anne Wex Berlin, Germany
- Barkow Leibinger GmbH, Berlin, Germany with Professor Gabriele Kiefer, Berlin, Germany
- BAROZZI / VEIGA GmbH, Barcelona, Spain with antón & Ghiggi landschaftsarchitektur GmbH, Zurich, Switzerland
- Behnisch Architekten, Stuttgart, Germany
- Bruno Fioretti Marquez Architekten, Berlin, Germany with Capatti staubach Landscape Architects, Berlin, Germany
- David Chipperfield Architects, Berlin, Germany with Wirtz International NV, Schoten
- CHOE Hackh / CUTE ARCHITECTS, Frankfurt am Main, Germany with Park Design, Kejoo Park, Seoul, South Korea
- Christ & Gantenbein Architects, Basel, Switzerland with Fontana Landschaftsarchitektur GmbH, Basel
- Cukrowicz nachbaur ARCHITEKTEN ZT GMBH, Bregenz, Austria with Studio Volcano, Landschaftsarchitektur GmbH, Zurich
- Pedro Domingos arquitectos unip. Ida + Pedro Matos Gameiro arquitecto Ida Lisbon, Portugal with Baldios arquitectos paisagistas, Ida Lisbon, Portugal
- Dost architecture Schaffhausen, Switzerland with Boesch landscape architecture Schaffhausen, Switzerland
- Max Dudler architect, Berlin, Germany with Planorama Landscape Architecture, Berlin
- Sou Fujimoto Architects, Tokyo, Japan with Latz + Partner, Kranzberg, Germany
- Gmp International GmbH, Berlin, Germany
- Grüntuch Ernst planning GmbH, Berlin, Germany with Sinai Society of Landscape Architects mbH, Berlin, Germany
- Zaha Hadid Limited (Zaha Hadid Architects), London, United Kingdom with GREAT.MAX. Ltd., Edinburgh, United Kingdom
- HASCHER JEHLE architecture, design and consulting Hascher Jehle GmbH, Berlin, Germany with Weidinger Landschaftsarchitekten, Berlin, Germany
- Heinle, Wischer und Partner, Freie Architekten Berlin, Germany with Prof. Heinz W. Hallmann Landscape Architect Aachen, Germany
- Herzog & De Meuron, Basel, Switzerland with Vogt Landscape architects, Zurich / Berlin
- Florian Hoogen Architect BDA Mönchengladbach, Germany with hermanns landscape architecture / environmental planning Schwalmtal, Germany
- Lacaton & VASSAL ARCHITECTS, Paris, France with CYRILLE MARLIN, Pau, France
- Lundgaard & Tranberg Arkitekter A / S, Copenhagen, Denmark with SCHØNHERR A / S, Copenhagen
- Mangado Y ASOCIADOS SL, Pamplona, Spain with TOWNSHEND LANDSCAPE ARCHITECTS LIMITED, London, United Kingdom
- Josep Lluis Mateo - MAP Arquitectos, Barcelona, Spain with D'ici là paysages & territoires, Paris, France
- Office for Metropolitan Architecture (OMA); Rotterdam, Netherlands with Inside Outside, Amsterdam
- Dominique Perrault Architecture, Paris, France with Agence Louis Benech, Paris, France
- REX Architecture PC, New York, USA with Marti-Baron + Miething, Paris, France
- Sauerbruch Hutton Architects, Berlin, Germany with Gustafson Porter, London
- Schulz and Schulz Architekten GmbH, Leipzig, Petra and Paul Kahlfeldt Architekten, Berlin with POLA Landscape Architects, Berlin, Germany
- Kazuyo Sejima + Ryue Nishizawa / SANAA, Tokyo, Japan with Bureau Bas Smets, Brussels, Belgium
- Shenzhen Huahui Design Co., Ltd. Nanshan (Shenzhen), China with Beijing Chuangyi Best Landscape Design Co. Ltd. Beijing, China
- Snøhetta architects, Oslo, Norway
- SO - IL Ltd, New York, USA with Stoss Landscape Urbanism, Boston, USA
- Staab Architekten GmbH, Berlin, Germany with Levin Monsigny, Berlin
- TOPOTEK 1, Berlin, Germany and Pordenone, Italy with TOPOTEK 1 Berlin, Germany
- Emilio Tuñón Arquitectos, Madrid, Spain, Tunon & Ruckstuhl GmbH Architects SIA, Rüschlikon, Switzerland with Benavides Laperche, Madrid, Spain
- UNStudio, Amsterdam, Netherlands, Wenzel + Wenzel Freie Architekten, Berlin, Germany with Ramboll Studio Dreiseitl GmbH, Ueberlingen, Germany
- ARGE Weyell Zipse architect / architect horns Basel, Switzerland with James Melsom landscape architect BSLA, Basel, Switzerland
- Riken Yamamoto & Field Shop Co., Ltd., Yokohama, Japan, Holzer Kobler Architects Berlin GmbH, Berlin, Germany, Holzer Kobler Architects GmbH, Zurich,
- Switzerland with vetschpartner Landschaftsarchitekten AG, Zurich, Switzerland
Five years after closing its Downtown L.A. location, the Museum of Neon Art (MONA) has reopened in a new space between the Americana at Brand and a public library branch in Downtown Glendale. The country’s only museum dedicated to neon, MONA will feature works by contemporary artists in rotating exhibitions as well as a permanent collection of the kinds of signifier-icons that distinguish Los Angeles’s vernacular architecture. Included, for instance, is the famous Brown Derby sign that was once a Hollywood beacon.
An 8,400 square foot renovation is joined by a new public space and, fittingly, neon-adorned signage that draws from the museum’s collection. Sited on one of Glendale’s broad and highly trafficked boulevards, South Brand, MONA’s new facade embeds the museum in its cultural-commercial context, which includes landmarks such as the Alex Theatre’s famous marquee and more quotidian neighbors like BevMo.
A partnership between the Glendale Redevelopment Agency, the Department of City Planning, and Shimoda Design Group (SDG) generated the programmatic focus on public space and public programs. Using the powerful draw of the Americana complex, the designers and museum board hope to pull visitors from the mixed-use mall to the west, and, using the covered passage that bisects MONA and the generous open space around it, knit the Americana, the Glendale Central Library and Park, and the Museum together into one symbiotic, activated Downtown whole.
Shimoda’s adaptation of two existing buildings—a Rite Aid and a video arcade—reflects a thoughtful opportunism. The project was treated as “a surgical incision.” Since the structure and shell are largely preserved, the exuberance of the museum’s collection is allowed to play off of the patina of the buildings’ history. “It was important to use an existing building because the signs really thrive in a space that looks older,” Joey Shimoda, Principal of SDG, explained. Exposed ductwork and a restrained palette—brick, honed concrete, and white and black paint—further draw the art into focus. The project’s major architectural moves create or interact with public space: a double height lobby and broad, glazed entry face the street. Along with the neon inside, this creates “a lantern for the community.” The public paseo, created through strategic demolition, bisects the site and draws visitors across a landscaped deck to the park and library behind.
The museum, originally founded in 1981 by Lili Lakich and Richard Jenkins, has been guided by a celebration of Southern California’s built heritage—including the signs that have adorned its drugstore, diner, and gas station facades—and a respect for the craft of “neon bending.” Workshops will be held in MONA’s street-fronting neon bending studio and visitors will be encouraged to experience Los Angeles’ neon in its proper context: nightly bus tours will highlight the newly renovated Clifton’s Cafeteria and other historic Downtown L.A. landmarks.
The New Museum will double in size in time for its 40th birthday next year, as it expands into next-door 231 Bowery, which is currently offices, a gallery, and artists' live/work space owned by the museum.
The museum announced yesterday that it had raised $43 million of the $80 million needed to pay for the expansion and to triple the endowment. Although the funds seem modest in comparison to the MoMA (annual operating budget: $147 million) or the Whitney, the capital campaign is the largest in the New Museum's history. The $80 million will also pay for the institution's business incubator, New INC, and programs like IdeasCity, which bring artists, activists, planners, and policymakers together to discuss issues facing cities like Detroit and Athens, Greece.
Lisa Phillips, the museum's director, told The New York Times that “we’ve known for a long time that we wanted an expansion, but we’ve been thinking about what an expansion means for a museum like this. We own the building next door, and it just makes sense to use it. But it was also about thinking about ways to create a parallel structure there, to make something that’s different and a counterpoint to this building.”
Since the museum's move to Soho in 2007, annual attendance has increased from 60,000 to over 400,000. The museum intends to renovate 231 Bowery and connect it to their main Sanaa–designed space, increasing the total footprint from 58,000 square feet to over 100,000. As of now, there are no plans to demolish 231 Bowery. The expansion will allow for improved circulation, and keep exhibitions on view during turnaround periods: The New Museum has a tiny permanent collection, choosing instead to focus on women artists and art that's not usually exhibited in New York.
“I don’t have [the expansion] completely laid out,” Phillips told the Times, “but it’s about trying to do things that museums haven’t done yet or maybe even imagined.”