Slightly more than a year after British architect David Chipperfield was selected to redesign portions of New York’s Metropolitan Museum of Art, the project has been put on hold. Museum officials disclosed last month that they plan to temporarily suspend design work on the $600 million expansion project as part of an institution-wide effort to restructure finances and address a $10 million deficit. They said the restructuring would be a two year process and that a time frame for resuming design work on the expansion would depend on the pace of fundraising for it. The Chipperfield project will “be quiet for a while,” The New York Times quoted museum president Daniel Weiss as saying. “The pace of the project is slowing,” Weiss said, according to The Wall Street Journal. The Met’s disclosure came in the same week that Museum of Modern Art officials announced a $100 million gift from entertainment mogul David Geffen to help fund their expansion, designed by Diller Scofidio + Renfro. Three floors of the museum’s new galleries will be named The David Geffen Wing in recognition of the donation, museum officials said. In March of 2015, officials at the Met announced that the museum selected David Chipperfield Architects to design an expansion, which most likely would involve demolition of the Lila Acheson Wallace Wing in the museum’s southwest corner, to increase exhibition space for modern and contemporary art and to double the size of the Roof Garden above the Wallace Wing. At the time, Met officials indicated Chipperfield also might become involved in redesigning other areas of the museum, including “adjacent galleries devoted to the Arts of Africa, Oceania and the Americas, as well as additional operational spaces.” In effect, he was being tapped to take on the design role at the museum that Kevin Roche had for many years. Demolition of the 110,000-square-foot Wallace wing, which Roche designed and which opened in 1987, would need approval from New York’s Landmarks Preservation Commission and others. In April of 2016, museum leaders disclosed that they plan a series of budget cuts and that the timing of the Chipperfield project would be affected. They said the schematic design phase has been completed and that they will wait to proceed with any more design work until money for the project has been raised. Other aspects of the restructuring include a reduction in staff through voluntary buyouts or layoffs or both, a hiring freeze, and scaling back some exhibition programming, as well as efforts to maximize revenues. The cutbacks follow a period of expansion for the Met, including the opening of the Met Breuer satellite museum inside the former home of the Whitney Museum on Madison Avenue, and a reported $3 million campaign to develop a new branding approach for the institution. Chipperfield’s previous museum projects include the Neues Museum in Berlin, Museo Jumex in Mexico City, the Saint Louis Art Museum and The Hepworth in Wakefield, England. Last month, Chipperfield’s design for a new Nobel Center in Stockholm received approval from the city council there. The Met has been drawing more than six million visitors a year, even before the Met Breuer opened. According to a 2014 report in The Art Newspaper, it ranks as one of the three busiest museums in the world in terms of attendance, after the Louvre and the British Museum.
Posts tagged with "Metropolitan Museum of Art":
Esteemed British artist Cornelia Parker has placed an ominous looking barn on the roof of The Metropolitan Museum of Art in New York. The installation, according to Parker, was inspired by Edward Hopper's House by the Railroad painting. Under its official title, The Roof Garden Commission: Cornelia Parker, Transitional Object (PsychoBarn) is the fourth rooftop installment the Met has overseen in what is becoming a yearly occurrence. When speaking of the rooftop feature, Parker says that she was "daunted" by the skyline surrounding the site. As a result, Parker, who's from Cheshire in the North of England, says that she wanted to place an "incongruous, domestic house" on top of the Met. Initially, Parker had planned for a much bigger traditional red barn, however, she quickly realized that these were "far too big." The result is a sinister looking barn, dubbed "PsychoBarn" due to its similarities with the infamous Bates mansion used in Alfred Hitchcock’s film Psycho. In fact, that is in part from where Parker drew her inspiration. When reading into Edward Hopper's House by the Railroad she discovered that the painting inspired Alfred Hitchcock to use an eerily similar barn structure for Bates mansion in his epic, Psycho. Likewise, Parker's creation is equally ominous. Formed from a deconstructed red barn, a prominent image in American architecture and indeed Hopper's work, the PyschoBarn rises 30 feet on the Met's rooftop. While it hardly makes a dent in the New York Skyline, it's a welcome variation on the typical imprint new builds have on the cityscape today. A closer look reveals that the barn is incomplete. Instead, it is two facades merely held upright by scaffolding and supports, emulating how Bates' mansion was constructed on set for Psycho. The successful deception of being a real barn is Parker's way of blurring authenticity and illusion through the process of assumption. “When you round the corner, you might think it’s the house from Psycho, or you might think it’s a red barn,” Parker said. “It’s cognitive dissonance. You oscillate in between two things—one is cozy, the other malign.” She added, “It’s not a one-liner.” On their website, the Met says: "The piece flickers between the physical reality of the barn and the cinematic fiction of the house, bringing up their respective ties to comfort and discomfort. Neither entirely real nor completely false, it vacillates unnervingly between its identities." “The title of Parker's work alludes to the psychoanalytic theory of transitional objects used by children to help negotiate their self-identity as separate from their parents.” Sheena Wagstaff, the museum's Leonard A. Lauder Chairman of modern and contemporary art, also said: “Cornelia has developed an astonishing architectural folly. It intertwines a Hitchcock-inspired iconic structure with the materiality of the rural vernacular." “Combining a deliciously subversive mix of inferences, ranging from innocent domesticity to horror, from the authenticity of landscape to the artifice of a film set, Cornelia's installation expresses perfectly her ability to transform clichés to beguile both eye and mind." https://youtu.be/sifBPSaJjfE
A three-year battle to protect the pristine Palisades cliffs from the development of a towering headquarters for LG Electronics USA in Englewood Cliffs, New Jersey, has at last been resolved, in favor of conservation groups. LG has agreed to revise its initial HOK-designed proposal and reduce the building's height by a little more than half, from 143 feet to 69 feet, thus preserving the unspoiled vistas of the historic park from both sides of the Hudson River. Maybe it was LG chairman Bon-Moo Koo's passion for bird-watching and bird safety that helped sway the South Korean company to rethink its plan, as reported by the New York Times, or perhaps it was the immense support from environmental groups, four former governors, the Metropolitan Museum of Art, and four former US ambassadors to South Korea that finally clinched the deal? Either way, it's a watershed moment for the coalition partners—including Scenic Hudson, the Natural Resources Defense Council (NRDC), the New Jersey Conservation Foundation, and the New York-New Jersey Trail Conference—who feared that if this building were erected, it would be the first of many to soar above the tree-line north of the George Washington Bridge. The New York Times pointed out that the redesigned headquarters would still be twice the height of its neighboring buildings. Even so, former critics are pleased with LG's new plans, which will likely bring the top floor or roof flush with the treetops. HOK has reworked the design, expanding the length of the building to include a 5-story north wing and a 3-story south wing. The firm is seeking LEED Platinum certification for the complex, and has also pledged to employ special lighting to safeguard migratory birds and other design features to "reduce the visual impact while retaining the scale of the complex as home for LG’s growing US business," said HOK in a statement. “The new design integrates LG’s aspirations to build a world-class, sustainable headquarters in a park-like setting below the tree line of the historic Palisades,” said Ken Drucker, design principal at HOK’s New York office. “The viewshed from the Hudson River and New York will not be impacted and the surrounding area of the 27-acre site will be reforested.” While this first battle has been won, the NRDC will now focus its efforts now on state legislation "to limit development in towns along the New Jersey portion of the Hudson River Palisades to low-rise buildings," explained Mark Izeman, director and senior attorney at NRDC, in a post on the organization's website. "If enacted, this bill would put in more permanent protection for the Palisades and help prevent the type of local zoning battle that took place in Englewood Cliff," said Izeman.
Captain Linnaeus Tripe: Photographer of India and Burma, 1852–1860 The Metropolitan Museum of Art 1000 5th Avenue, New York City Through May 25 In the early days of the British Raj, few people at home in the UK could do anything but imagine the far-away land their nation had conquered and subjected to colonial rule. It would be another 160 or so years before Instagram arrived and the photographic chemistry of the day suffered terribly in the oppressive heat and humidity of the Indian subcontinent. Then along came Captain Linnaeus Tripe. As an officer in the British army working under the auspices of the British East India Company, he traveled with diplomatic expeditions creating a visual inventory of celebrated archaeological sites and monuments, religious and secular buildings (some of which are now gone), and landscapes with peculiar geological formations. Tripe was able to produce astoundingly consistent photographs using large-format wax paper negatives. Between 1854 and 1860, he made several trips to Burma (now Myanmar) and South India, using his training as a military surveyor to set up rigorously composed photos of local highlights that are quite distinct from the picturesque travel photography of the day. The methodical and thorough nature of his work gave contemporary British audiences an unsentimental tour of their new crown jewel, and now the Met has reprised his accomplishments for 21st century audiences.
In February of the year 2012, when the Metropolitan Museum of Art first announced the redesign of the City-owned Fifth Avenue-fronted plaza along its grand McKim, Mead & White Beaux-Arts facade, there was little opposition from preservationists. A $65 million underwriting pledge from museum trustee, David H. Koch, catalyzed the selected competitive plan from Philadelphia-based OLIN. It proceeded through the approval process with relative dispatch. Curiously when first unveiling the OLIN proposal, the Museum stated explicitly that despite Mr. Koch’s enlivening donation, the resulting plaza renovation would in fact not bear his name. Anonymity on top of benevolence spells charitable grace at its peak. Pretty much the sole impediment to this civic embellishment—so welcome against existing conditions of cracked sidewalks, failing hydraulics, deformed and dying trees, a long-neglected fountain, and meager old-fashioned exterior lighting—were the cries of what seemed at the time just another hopeless band of Luddites reflexively resistant to change of any sort. They included tree huggers acting as they did as if the jejune water-choked grove then there consisted of old growth sequoias instead of pooped out sycamores. More recent opposition came from those protesting the donor himself as they heatedly dissed his many such civic good works in the realms of culture, medicine and education as little more than candy-coated camouflage of his role as Citizen’s United election-stealing kingpin. In this way, focus shifted away from plaza’s design and impact on form and function to the symbolism of support, especially when in the end the David H. Koch name was indeed carved with gilded precision on the new fountain basins heralding all those approaching whether from north or south. More considered objection first came, however, from the testimony of the New York/Tri-State Chapter of DOCOMOMO given before the aesthetic overseers at the Landmarks Preservation Commission. They argued for the integrity of the plaza solution that was part of the original overall 1970 Kevin Roche Met master plan, which even forty years later is still generally in guiding force:
Roche’s declared design intention was to create an open urban plaza that defers to and displays the monumental Beaux-Arts façade of the museum. He wanted to distinguish the urban face …on Fifth Avenue from the park portions of the other three sides... (The Chapter) is hopeful that any modifications to the present plaza, to the extent that they are necessary, conform to the underlying principles of the Kevin Roche design-preserving an open urban plaza with unimpeded access to (his ingeniously three –sided) entrance stairway and unobstructed visibility of the stairs, adjacent facades and ground level entrances.And with the results now plain, how right they were. With the exception of a masterwork of exterior nighttime illumination by Hervé Descottes and his L’Observatoire International that subtly responds to the architecture’s classical hierarchies and the replenishment of the subsoil, it is only now that the relative dignity of this earlier renovation is fully evident. Restoration of the restoration was a worthy option after all. Apologies are due them. Despite some working drawings from McKim, Mead, & White in which the option of flower and shrub beds appeared alongside the façade elevation, their final intent was clear with the dignified built encounter of limestone and pavers accentuated further by the pedestrian-scaled Roman grills that inform urban places of majesty and safe-keeping. OLIN’s decision to place such beds there seems a pallid suburbanization vying to extend the park setting instead of contrasting it. Imagine flowers alongside the Pantheon or its Renaissance-descended Palazzo Farnese? Meanwhile, the new fountains, while retaining a classical symmetry, end up compromising the pomp and circumstance of the Roche-thrusting and much expanded grand stairs with a tight perplexing proximity. The visitor today cannot help but wonder if it is some disguised stab at crowd control. And while their new placement was meant in part to make more legible the secondary street-grade entrance at 81st Street, the trade-off is untested and dubious; who can resist mounting those stairs? This is a classical threshold at its iconic best. The waterworks vary in height and rhythm in a mannered echo of WET Design’s signature creations yet at low height the sprouts seem more than a tinkle. The previous fountains recalled the classical rigor that informed so much of high Modernism. This was never meant as a playful place. Instead it was always meant for unencumbered dignity; all who enter should arrive as big shots knowing that they each held a key to this great repository of beauty and truth. Likewise the addition of dozens of trees even as now young and leafless obscures the architecture. What about in 20 years? It is hard to object to more trees in this warned up day and age but here is one place where the sum is less than the design parts. Finally and through no fault of either client or landscape architect there is a the all too frequent New York curse of visual pollution as arises in public places, where governing statures collide and, in turn, destroy the clarity of the guiding design blueprint. Here at the Met plaza, it is the curbside licensed food vendors. Ironically the spot-on instinct on the Museum’s part to include in its initial plan outdoor kiosks for such inevitable trade was denied by the oversight Landmarks and Public Design Commissions in convenient disregard for the ultimate reality of the streets. With the present redesign, Mr. Koch might well wish that for now at least his name not be its site label after all. He seems shortchanged as much as those he generously aims to benefit.
Congratulations to Nervous System, whose Kinematics Dress was just acquired by the Museum of Modern Art (a prescient, pre-emptive move that might keep the curators of the Metropolitan Museum's Costume Institute awake for nights to come). While the physical product is certainly a head-turner, it's the underlying technology that's the true wonder—and maybe of greater interest and implication to architects. In order to fit into a 3D printer, the nascent dress design had to be reduced in size. Factoring in idealized, actual, and intuitive aspects of material and performance, a computational folding program optimally shrunk the garment by 85 percent by folding it in half only twice. Comprising 2,279 unique triangular panels linked by 3,316 hinges, the nylon dress was printed as a single piece over the course of 48 hours at the Shapeways facility in New York City. It looks fabulous, but how does it feel? Nervous Systems' creative director, Jessica Rosenkranz, answers, "I would not compare the dress to any other fabrics. It's really quite different. Perhaps I would describe it as a kind of mechanical lace. While each part is rigid and has a textured feel, together they flow and fold. Fabrics often make a rustling sound, but our garment sounds more like thousands of tiny plastic wind chimes." A video documenting the fabrication of the dress was filmed at Shapeways.
Hedge Two-Way Mirror Walkabout Metropolitan Museum of Art 1000 5th Avenue, New York Through November 2. 2014 One of the great gifts bestowed on New York in the summer is the Metropolitan Museum of Art’s roof garden. You are thrust into Olmsted’s Central Park from a promontory surrounded by the perimeter skyline on all sides. The trick with the rooftop art commissions is to play with the space, the views, and the interrelationships between the two. The goal is to make the viewer see them differently—you want to feel like the rooftop is your personal terrace in the sky while sharing it with others in a magnificent secret shared space. Dan Graham’s Hedge Two-Way Mirror Walkabout plays with what he calls this “leftover space” of rooftop by framing the viewer's “elliptical experience” with various man-made and natural elements: glass, steel, stone, hedgerows, chairs, and ForeverLawn (definitely not AstroTurf). Stepping from the fake grass that covers the rooftop—green mixed with yellow and brown in different blade thicknesses—one climbs almost imperceptibly onto a slightly-raised platform of granite slabs that forms a square. These pavers support a sinuous bisecting slab of steel-trimmed, S-shaped, mirrored glass, a staple of modern skyscrapers, that is supported on the east and west sides by hedges, that, as Graham noted, demarcate property lines. If you enter from the north side, you can gaze through the glass barrier to those on other side and to Central Park South beyond. When you approach from the south side, you are struck by the reflections of the skyline behind. It’s a concave/convex funhouse, where one is constantly catching glimpses oneself. Graham has been working with “pavilions” for a long time, and Hedge Two-Way Mirror Walkabout feels like a more rural version of his much-missed Rooftop Urban Park Project (1991) atop the Dia Center for the Arts on West 22nd Street. You want to sit on the lawn and have a picnic. At the Met, Graham worked with Swiss landscape architect Günther Vogt, who also designed the stainless steel moveable chairs with recycled rubber coating manufactured by Burri. On the museum’s second floor are related projects by Graham which attest to his long-standing interest in architecture and public space. A 20-minute video called Two-Way Mirror Cylinder inside Cube and a Video Salon (1992), commissioned by Dia, investigates atria, shopping arcades, and winter gardens, both historical and contemporary ranging from the Crystal Palace, Galleria Vittorio Emanuele, the Ford Foundation, Citicorp Park Avenue Atrium, Charles deGaul airport, Parc de La Villette, World Financial Center’s Winter Garden, and the IBM Building. Graham narrates, as he does in Two-Way Mirror Hedge Labyrinth (1991), a short video centered on a pavilion installed at a private home in La Jolla, CA, where he muses on the city—how landscape architecture redefines it, how the labyrinth is a metaphor for it, and how two-way mirrored glass’ transparency and reflectivity mimics it. Graham’s concerns with movement and time, human interplay and asymmetrical procession, all take place on a mirrored stage.
The Metropolitan Museum of Art has announced the appointment of Beatrice Galilee, 31, as associate curator of architecture and design. She will work within the department of Modern and Contemporary Art. According to a job posting in The Art Newspaper, the curator will develop collection and research strategies for the department as well as organize collection and special exhibitions, among other duties. Galilee is a writer and curator, most recently of the Lisbon Design Triennial in 2013, called Close, Closer. She was co-curator of the Gwangju design biennale in 2011 and 2009 Shenzhen Hong Kong Bi-City Biennale of Architecture and Urbanism. She was previously the architecture editor of Icon magazine, and holds a MSc in the History of Architecture from the Bartlett School of Architecture at University College London. Galilee will have a wonderful piece of architecture to work in. The Met is taking over the Marcel Breuer–designed Whitney Museum building uptown to show works from the Modern and Contemporary Art department. “Beatrice Galilee will join the staff of our Department of Modern and Contemporary Art as it expands to embrace a more global program and mandate,” stated Thomas P. Campbell, the Met's director, in a statement. “She brings to the position her strong international experience in the presentation and study of architecture and design-related work. Hers is one of two positions in the department that were endowed recently by Dan and Estrellita Brodsky. Their commitment to modern and contemporary art at the Met has been visionary, anticipating the new opportunities for programming in the Marcel Breuer-designed building on Madison Avenue that will be vacated by the Whitney Museum in 2015 and then occupied by the Met.”
Ken Price’s colorful, sensual ceramic sculptures have always posed the question as to whether they are art or craft. But the blur may also include the architectonic. His signature forms—cups and eggs—set up a tension between exterior and interior. New York Times art critic Roberta Smith has written: "Their forms oscillated between the biomorphic and the geometric, the geological and the architectural." Price’s friend, Frank Gehry, designed the installation of the exhibition, Ken Price Sculpture: A Retrospective, currently on view at the Metropolitan Museum of Art through September 22. He lives with Price’s ceramics, his first purchase being a cup festooned with snails. Gehry wrote of Price’s work, "They were like buildings." He cited a cup with a twisted piece at the top, and sees the similarity to his California Aerospace Museum, 1982-84, featuring an airplane jutting out of the structure. "I think the similarity of form was totally unconscious. Now I think a lot of architects must have been looking at those cups…the relationships are amazing." The relationship was probably both ways. The catalogue makes compelling visual analogies between Price’s Untitled (Slate Cup) from 1972-77 with Frank Lloyd Wright’s Fallingwater; the blocky orange flats perched on yellow sides of Hawaiian from 1980, are compared with cliffside pueblo dwelling (both have small dark cutout “windows” set into rectangles) as well as OMA’s Seattle Public Library. Think of the openings into his sculptural forms, whether small or large, as the mysterious entrance to a darkened, monumental temple. With Price, scale is relative—Price quoted artist Joseph Cornell, whose boxes he admired: “Tiny is the last refuge of the enormous.” Ken Price Sculpture: A Retrospective on view at the Metropolitan Museum of Art, 1000 Fifth Ave., through September 22.
Four residents of New Jersey and two public interest groups have pledged to appeal the court ruling upholding the grant of a variance to allow LG Electronics USA to build an 8-story headquarters in Englewood, NJ. If built, the HOK-designed office complex (pictured) will rise above the tree-line and forever change the view of the Palisades from the Cloisters, the Metropolitan Museum of Art's outpost in northern Manhattan, that sits along the Hudson River facing New Jersey. “We have reviewed the decision and believe that it is erroneous. We plan to appeal,” said Angelo Morresi, attorney for the public interests groups, in a statement. (Rendering: Courtesy HOK)
Conciliatory efforts have failed in the fight over LG Electronic's plans to build 143-foot-high, HOK-designed office complex atop New Jersey's Palisades across the Hudson River from Manhattan. The new headquarters, to be located in Englewood, has been the subject of much debate as several advocacy groups, individuals, and officials from the Metropolitan Museum say that the 8-story building would disrupt the idyllic view of the wooded Palisades from the Cloisters, the MET's outpost in northern Manhattan. Earlier this year, a coalition of groups and individuals—including Scenic Hudson, the New York-New Jersey Trail Conference, and the New Jersey State Federation of Women’s Clubs—filed a lawsuit against a variance and zoning in hopes of encouraging a redesign of the building. The two opposing parties agreed to meet with a court-supervised mediator this spring, but according to LG Electronics, these negotiations were unsuccessful. LG claims that the parties had agreed "not to discuss the matter in the media while the process was underway, yet at several points during the sensitive negotiations, groups aligned with the intervenors undertook activities that broke the spirit of the court’s instructions and repeated many inaccurate statements about the project." John Taylor, Vice President of LG Electronics, said that "the players themselves might not have been directly involved," but there was "a stepped up campaign by the opposition during very sensitive negotiations of the mediation and it was not helpful to the process." Now that the parties have failed to come to a resolution, the case will go through court proceedings. "As we said we are confident that we’ll prevail in the courts," said Taylor. "We hope the judge will make a decision later this summer."
Cambodian Rattan The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY Through July 7 Sopheap Pich is a contemporary Cambodian painter and sculptor known particularly for his unique rattan and bamboo sculptures. He uses these two culturally meaningful materials to create organically flowing, three-dimensional, open-weave forms. Most of his works emulate the naturally fluid forms of human anatomy and plant life. For example, “Morning Glory,” a mesh sculpture inspired by the blooming vine that served as an important source of nourishment for the Cambodian population during the 1970s, gently slinks across the floor before gracefully opening into a delicate flower. This exhibition features ten of the Cambodian artist’s most important works, which appear to be weightless, but deliver deep and complex statements about culture, faith, nature, the rich, and the sometimes-tragic history of Cambodia.