Kengo Kuma’s Victoria & Albert Museum of Design in Dundee, Scotland, hasn’t even broken ground yet, but it has already racked up a pretty substantial bill. In fact, the museum project is expected to cost roughly $80 million, a whopping $35 million more than initially projected. Kuma won the commission back in 2012 and has supposedly already tweaked the design to cut down costs. "The V&A Museum of Design Dundee is a very complex project, we have done extensive cost checking during the design process, and we have market-tested the major building packages with various contractors," Kuma’s firm told Building magazine. "Due to several factors, including inflation and current market conditions, the tender returned surprisingly high and this was unexpected even to the main contractors due to the complex nature of the project." The project was recently reviewed by the city after the price dramatically increased, but after a meeting this month, city councillors have approved the new budget and are working on a plan to raise additional funds. If all goes well and the City of Dundee can swing the hefty costs with the help of private funding, the V&A will be open by 2018.
Posts tagged with "Museums":
[ Editor’s Note: The following reader-submitted letter was left on archpaper.com in response to our critique of Shigeru Ban’s Aspen Art Museum (AN 05_10.15.2014_SW). Opinions expressed in letters to the editor do not necessarily reflect the opinions or sentiments of the newspaper. AN welcomes reader letters, which could appear in our regional print editions. To share your opinion, please email email@example.com. ] Deja vu all over again. Your article is a thoughtful critical review. I add a few observations. It is always interesting when the architect attempts to explain away results by alluding to the client not allowing him to do something, therefore something not so good was done. A knowledgeable client is always a great aid to a project, and unenlightened clients can thwart good ideas, and unambitious clients can have different agendas, but no architect is forced to do something bad. At worst, certain good ideas are not implemented, and when that happens the project design must be rethought so that the result is at least coherent. There is a disturbing tendency these days (shades of Edward Durell Stone) to hide issues of irresolution in buildings by the application of a screen. In this case, it [Aspen Art Museum] fails at hiding the sins and robs the passerby of a sense of scale and what could be a richness of detail. As a result it reminds one of a wicker basket dropped over the top of something else. Moreover, the idea of wood being the only material which can relate to mountains boggles the minds of many, the great Swiss architects not the least of them. The design of the roof space frame is interesting but there seems absent from the result any rational justification for clear span. Museums are marvelous opportunities: a synthesis of light, systems, movement, and modulation of space. Paradise Lost, once more. Harry Wolf Harry Wolf Architect
[Editor’s Note: Opinions expressed in letters to the editor do not necessarily reflect the opinions or sentiments of the newspaper. AN welcomes reader letters, which could appear in our regional print editions. To share your opinion, please email firstname.lastname@example.org. ] Regarding the article “Frick Fracas,” (AN_14_12.4.2014), while there has been much debate about the Frick’s proposed addition to address its longstanding space needs, much of it rests on mischaracterizations about the history and original purpose of the site where it will be located. The property on which the 70th Street Garden now sits was purchased between 1940 and 1972 to construct an addition. The Frick initially planned to install an interim garden on the site as a placeholder until funds could be raised for the addition. But due to high costs, the museum decided to build a permanent architectural garden instead—not promised, as opponents claim—and a one-story pavilion. In explaining the reason for this change, former Frick Director Everett Fahy, told the Landmarks Preservation Commission on May 21, 1974 that the revised plan for the site was intended to satisfy the “forseeable minimal needs of the Collection for certain interior space.” Now the Frick’s minimal needs are no longer being met. After studying several plans that would have kept the garden and pavilion intact, the Frick has concluded the site offers the best solution. The Frick has three gardens now and will continue to have three gardens after the addition is built. The 70th Street Garden, while lovely, will be replaced by an outdoor garden atop the new addition that will offer views of Central Park and space for contemplation. Ian Wardropper, Director The Frick Collection
Preservationists watchful as New York’s American Museum of Natural History taps Jeanne Gang for addition
Last year, Chicago-based Studio Gang Architects opened a New York office, and now it is clear they made a smart decision in doing so: the firm has been selected to design a six story addition to the American Museum of Natural History (AMNH) on Manhattan's Upper West Side. The current museum complex is an eclectic jumble of architecture styles, and it's most recent addition is the Rose Center for Earth and Space by the Polshek Partnership (now Ennead). The project is likely to be controversial, as it will encroach on Theodore Roosevelt Park, a small neighborhood park immediately adjacent to Central Park. Preservationists and neighborhood advocates are watching the project closely. "Because the 'plans' announced by the American Museum of Natural History are long on laudatory sounding goals but short on details, Landmark West! (LW) is in a wait and see mode regarding the expansion plan. Once the full details of the plans are known, LW will carefully review them and formulate a response. However, the AMNH's publicly stated intention of encroaching on the surrounding park land is of serious concern to LW. We would prefer that the AMNH use the park land to further the study of natural history and redouble its commitment to conserve it," wrote Arlene Simon, the president of the board of Landmark West!, in an email to AN.
It’s good to see some good old-fashioned roasting, and that’s what the Westside Urban Forum’s WUFFIES awards are all about. This year’s event, held earlier this month at the Los Angeles Times of all places, was full of the usual snipes on botched RFPs and difficult County Supervisors. But it also got in some good jibes at architecture’s expense. Our favorite: the Darth Vader Award, which went both to Peter Zumthor’s foreboding, jet black LACMA expansion and to Renzo Piano’s Academy of Motion Picture Arts and Sciences Museum with its helmet-looking theater bulging out of the old May Company Building.
Up-and-coming architect Frank Gehry recently sat down with the New York Times to discuss his Guggenheim museum under construction on Saadiyat Island near Abu Dhabi. The eccentric or idiosyncratic or whimsical structure totals 450,000 square feet, making it 12 times larger than the Guggenheim in New York. The Guggenheim Abu Dhabi is defined by multiple cones that Gehry says were influenced by teepees because of how they remove hot air. The design is also supposed to evoke the domes of mosques around the Middle East. Although that's a bit harder to discern. On Saadiyat Island, Gehry's museum will be joined by other lavish projects from Zaha Hadid, Rafael Viñoly, Tadao Ando, and Jean Nouvel. These architects, and their clients, have faced scrutiny for the notoriously bad labor conditions in the region. But back in September, Gehry addressed these concerns in an interview with Architectural Record. In a statement, the architect's firm said, “Gehry Partners has been engaged in a substantial and on-going dialogue over many years now that has involved government, the construction industry, architects, project, sponsors and NGOs." Record added, "Gehry may be the first prominent architect to take steps towards labor reform on Saadiyat Island." If you like, give the video a look, but be warned there's a lot of self congratulations and opining on world affairs.
Steven Holl Architects have been selected to design a new addition to Mumbai’s City Museum, besting finalists including OMA, Zaha Hadid Architects, Amanda Levete, wHY, and Pei Cobb Freed, among others. The 125,000 square foot white concrete addition will include 65,000 square feet of galleries, each with carefully calibrated natural light filtering down from overhead. Light is used as a device to draw visitors through the spaces. In addition to providing natural light, cuts in the roof form channels that feed a large monsoon pool adjacent to the museum. Inspired by India’s monumental well architecture, the pool serves a contemporary function: Lined with photovoltaic cells, the pool will generate 60 percent of the museum’s energy. Guy Nordenson & Associates is engineering the project, and Transsolar is serving as sustainability consultants. The international competition was the first ever held for a public building in India. Construction is expected to begin in 2015.
With Art Basel underway, not-quite-yet-starchitect Fernando Romero has unveiled new plans for what could become Miami's next architectural icon: the Latin American Art Museum (LAAM). That's right, this 90,000 square foot, cantilevering structure could overshadow the nearby works of his higher-profile peers like Frank Gehry, Zaha Hadid, and Lord Norman Foster. And Jeanne Gang and Herzog & de Meuron. And also Bjarke Ingels and Enrique Norten, because Romero's—sorry, and Richard Meier and Rem Koolhaas. Okay, that has to be everyone. All starchitects have been accounted for. Where were we? Right, the Latin American Art Museum. Romero's firm, Fernando Romero EnterprisE (FR-EE) has created an arresting structure defined by generous, crisscrossing terraces that provide circulation and open-air gallery space called "sculptural gardens." Together, the rotated squares evoke a deck of cards being shuffled or an uneven stack of plates. “The different levels of the building define LAAM’S program,” FR-EE said in a statement. “The first floor will be reserved to young and emergent artists; the second one will be for temporal exhibitions; the third floor will house a selection of 600 pieces belonging to the permanent collection; finally, a restaurant will crown the top of the building.” In October, the Miami Herald reported that the museum is being funded by local art collector Gary Nader, and that it will heavily draw from his own collection. Right, kind of like George Lucas and his contested museum of narrative art in Chicago. Nader will reportedly build a residential tower on the same piece of property in Downtown Miami to help pay for the museum, which is expected to open in 2016.
Over 1,700 proposals were submitted in the Guggenheim Foundation’s open-call competition to design a new museum in Helsinki—and now, just six teams remain. In a statement, the competition’s 11-member jury said it shortlisted these schemes because they would each “expand the idea of what a museum can be.” The teams that made the cut are AGPS Architecture (Zurich, Los Angeles), Asif Khan (London), Fake Industries Architectural Agonism (New York, Barcelona, Sydney), Haas Cook Zemmrich STUDIO2050 (Stuttgart), Moreau Kusunoki Architect (Paris), SMAR Architecture Studio (Madrid, Western Australia). While the names of the teams have been unveiled, the six proposals are only known by individual registration numbers. Physical models of these plans will be produced in March and a single winner will be selected in June. But as AN reported earlier this fall, what happens next in Helsinki remains to be seen. This news comes as the Guggenheim makes a renewed push into the world of architecture. In November, the Foundation named Troy Conrad Therrien as its first-ever curator of Architecture & Digital Initiatives. He will likely play a significant role in the further rollout of this competition. You can read about the six finalists below, with descriptions courtesy of each team. For more on these proposals and what happens next, visit the competition's website. From the design team:
GH-76091181 comprises a ring of slender, sculptural towers faced with timber shingles, reminiscent of vernacular architecture, gathered around a cathedral-like central space. The towers, with their play of light and shadow, create an architectural beacon, visible by land or sea, while the central space, sheltered from extremes of weather yet part of the quayside, provides an exceptional new site for public events on the waterfront. Exhibition galleries are housed in timber cabinets stacked within the towers. Bridges connecting the towers offer respite space for visitors between experiencing art and offer new viewing points over the city and harbor.From the design team:
GH-5631681770 reconfigures circulation and use of the East and West Harbors to establish an area of industrial activity and an area of cultural activity, with the museum as the link between the city and the waterfront. In a critical shift from the idea of a building as static object to a building that accommodates the flux of daily life, a city street runs through the interior of the museum, opening it to appropriation by the citizens and creating a combination of programs: a museum program and an unpredictable street program, in which visitors may become productive and creative users of the space.From the design team:
GH-04380895 links the museum to the rest of the city through a pedestrian footbridge to Tähtitorninvuori Park and a promenade along the port, including a food hall and a market during the warm months. The museum programs are housed in pavilion-scale buildings treated as independent, fragmentary volumes within this landscape, allowing for a strong integration of outdoor display and event spaces with interior exhibition galleries. The ensemble is made to stand out from afar by being composed around a landmark tower. The use of charred timber in the facade evokes the process of regeneration that occurs when forests burn and then grow back stronger than before.From the design team:
GH-121371443 drapes a skin of textured glass panels over a bar-like, two-story interior structure, creating an environmentally sustainable public space between the facade and the gallery volumes, with natural light diffused throughout. In an unusual innovation, the element that makes the building sustainable—the intelligent glass wrapper, which uses technology such as Nanogel glazing and rollable thermal shutters—is also the element that distinguishes the project visually, giving the building an ethereal presence. Within the building, an annex for the work of younger Nordic artists is paired with a market hall, and a service pavilion encloses a sculpture garden.From the design team:
GH-1128435973 creates two facilities in dialogue with each other. The ground floor is an adaptive reuse of the existing Makasiini Terminal, conceived as a public space that extends the pedestrian boardwalk into the building. This is a place for education, civic activity, and incubating ideas. The second floor is an exhibition hall on stilts, which hovers above the terminal building, partly removed from everyday life. The long rectangular volume offers a flexible space for all types of exhibitions and adheres to the notion of a museum as a space apart. Through this dual scheme, the proposed museum could engage its public to co- create value and meaning.From the design team:
GH-5059206475 reuses the laminated wood structure of the Makasiini Terminal to rebuild a wooden volume that exactly follows the geometry of the original, and preserves the current views from the park and the adjacent buildings. Within this structure—essentially an undisturbed network of existing conditions—the project creates 31 rooms: eight of them measuring 20 x 20 m, 18 of them 6.5 x 6.5 m, four of them 10 x 10 m, and one 40 x 100 m. This rigid set of spatial conditions is combined with a deliberate distribution of climates based on the program and principles of sustainability, with each room acclimatized independently so that the galleries together form a 'thermal onion.'
The Los Angeles Board of Supervisors yesterday approved the contribution of $125 million in bond funds to LACMA's $600 million makeover, which, under the guidance of Peter Zumthor, would tear down most of the campus and snake over Wilshire Boulevard. The new 410,000 square foot building would open in 2023, with the remaining funding coming from private donations. According to the LA Times, LACMA director Michael Govan told the Board of Supervisors that the museum's older buildings “are really ailing. They are not worth saving. The new building will be much more energy efficient and accessible to a broad public.” According to LACMA the campus' existing buildings would need $246 million to $320 million for upgrades. And so in a city of teardowns, the biggest museum in town seems to be clearing the way for one of its own. Meeting their demise would be William Pereira's Ahmanson, Hammer, and Bing buildings, as well as Hardy Holzman Pfeiffer's 1986 addition. Buildings remaining would include Renzo Piano's new BCAM and Resnick buildings and Bruce Goff's Japanese Pavilion. The project is still far from moving ahead. LACMA spokesperson Miranda Carroll recently told AN that there is close to a year remaining before the project's feasibility concludes, and the museum's board still must vote to proceed. The agreement (PDF) with the supervisors also provided about $7.5 million for feasibility and planning studies.
Archtober Building of the Day #31 Starlight at the Museum of the City of New York 1220 Fifth Avenue Cooper Joseph Studio Starlight, the aptly named chandelier in the neo-Georgian rotunda of the Museum of the City of New York, was a marvelous termination to our fourth Archtober. Wendy Evans Joseph, principal at Cooper Joseph Studio, described the light fixture with meticulousness equal to the design itself. Fifteen feet in diameter, the display is a three dimensional grid of paired LED lenses fixed within three wires and suspended from the ceiling. The visual effects are stunning, ranging from infinite reflected vistas of tiny lights, to starbursts, and pixelated moire patterns. Executive Director Susan Henshaw Jones joined the tour and called the piece “the most successful thing ever!” and “everybody’s favorite thing!” Demonstrating the extraordinary craft of Studio 1 Thousand and RUSHdesign, Starlight provides a dynamic experience enhancing the trip up the swell old marble stair. It received a 2014 AIA New York Chapter Design Award in the catch-all “Projects” category. So Archtober 4 comes to a close, and the ghosts and ghouls have mustered down here in Greenwich Village for the after the annual Halloween parade. See you next year!
Cynthia Phifer Kracauer, AIA, is the Managing Director of the Center for Architecture and the festival director for Archtober: Architecture and Design Month NYC. She was previously a partner at Butler Rogers Baskett, and from 1989-2005 at Swanke Hayden Connell. After graduating from Princeton (AB 1975, M.Arch 1979) she worked for Philip Johnson, held faculty appointments at the University of Virginia, NJIT, and her alma mater. email@example.com
As AN recently reported, the Guggenheim Foundation has unveiled more than 1700 proposals for its planned campus in Helsinki. All of these submissions have been kept anonymous and made available to the public through an online gallery which displays two renderings and a brief description for each plan. Given the amount of proposals the Guggenheim received, the gallery can be a little—let's say—hard on the eyes. If you're not up for scrolling through all of it, we picked out some interesting renderings that stood out to us. Yes, we undoubtedly missed some good ones in the process—there are 1,700 after all. If you're looking for Guggenheim's comprehensive list, head on over to the full gallery.