If you like French decorative arts you should make your way this summer to the Louvre's newly restored and reinstalled 18th century Decorative Arts Galleries. The collection is housed in 35 galleries spanning 23,000 square feet. Over 2,000 design pieces "in object-focused galleries and period-room settings" are on display. The architect for the restoration was Michel Goutal, the Louvre’s senior historical monument architect (with technical assistance provided by the Louvre’s Department of Project Planning and Management). In addition, there is an American connection to the restoration of the galleries. The American Friends of the Louvre (AFL)—who famously helped restore a "secret" Versailles water garden several years ago—played a vital role in the renovation by raising $4 million in support of the project and one of its key period rooms, the restoration of l’Hôtel Dangé-Villemaré drawing room. This space has not been exhibited in its entirety since its 19th-century acquisition by the Louvre. The AFL also raised funds for the restoration and first ever public presentation of a magnificent cupola painted by Antoine François Callet which will be installed in the galleries and for the English-language edition of the book of the Louvre’s decorative arts collection whose publication will celebrate the opening.
Posts tagged with "Museums":
Flint, Michigan kicked off a series of events celebrating education and the arts Friday, unveiling interactive installations cooked up over a year-long after school program local students have dubbed Museum of Public Schools. Produced by the Flint Public Art Project, the ongoing exhibition will culminate in a series of proposals by students to change their school system. Mott Middle College plays host to the ongoing event. “Usually students just experience their own educational opportunity and journeys,” Mott Principal Cheryl Wagonlander said in a press release. “It's rare for them to step out of the role of experiencing and become the seekers of information about how varied educational access and opportunities are in their own community and beyond their own community.” On the corner of South 2nd Street and Saginaw, students installed chalkboards that asked the public, “What is the purpose of education?” Answers varied widely in tone, from sarcastic to self-reflective. The Museum of Public Schools program is just one of several summer events planned as part of the growing Flint Public Art Project’s programming. Upcoming events include a “porch light initiative” to illuminate the city on June 19 to celebrate the day in 1865 when Union soldiers announced the end of the Civil War. More information is at www.flintpublicartproject.com.
The Bjarke Ingels Group (BIG) has won a design competition held by Audemars Piguet, a Swiss watchmaker, and are now tasked with creating the Maison des Fondateurs museum in Le Brassus, Switzerland. The 25,800 foot Maison des Fondateurs will be located in the midst of numerous workshops and factories embedded in the history of the Swiss watchmaking company. The Copenhagen- and New York–based BIG is no stranger to large-scale projects such as this, and has already begun work on the construction of the museum. The group is partnering with HG Merz, Luchinger & Meyer, and Muller Illien to see the completion of this project. The spiraling building form will feature a contemporary design that follows the theme of a watchmaking facility closely, while still carrying a modern look. At its core is a tightly wound spiral that winds the linear exhibition sequence around a central point, juxtaposing the museum exhibitions with various other workshops. The entrance will connect directly to the existing museum as well as to the company's hospitality program. Renderings of the museum show the complex actually brings the area's landscape onto the building itself with regional greenery incorporated on the exterior. The twisting spiral form also provides ample pathways for sunlight to enter the museum. To the side of the structure there will also be a sunken guesthouse, exposed by two cuts in the landscape. The ceiling will be comprised of a single, continuous metal sheet: a steel roof coated in brass. The rest of the building will mix traditional materials such as timber and stone with modern materials such as concrete and brass. This combination and collaboration of the new and the old is heavily stressed by Ingels in the design of the building.
In a recent interview, Diller Scofidio + Renfro Senior Associate Kevin Rice told AN that the "veil" at Los Angeles' Broad Museum—a facade made of hundreds of molded Glass Fiber Reinforced Concrete (GFRC) panels, had been delayed by over a year. "Some of the things took longer to make than they thought, but there aren’t really problems with it," Rice said. But now it looks like the issues with the museum's facade are more severe than initially thought. The LA Times has reported that the Broad Collection and contractor Matt Construction are suing Seele, the engineer of that facade, seeking $19.8 million in damages relating to the delay. Other damages, according to the complaint (PDF), include breach of contract, fraud in the inducement, and fraud and deceit. The lawsuit, filed in Los Angeles Superior Court, alleges that Seele "violated the important 'aesthetic aspect' of the architect's design," and its mockups were "unsightly and wholly unacceptable for use on the project." As a result the firm was not able to meet its October, 2013 deadline to design, fabricate, and install the facade, setting the project's timeline way back. The Broad's lawsuit also names Zurich American Insurance Company and Fidelity and Deposit Company—backers of a bond guaranteeing Seele's work—as defendants. "Seele did not possess the necessary skill, experience, resources, commitment or ability to perform the work at The Broad museum," the complaint stated. Broad Foundation spokesperson Karen Denne told AN, "we're not commenting—the lawsuit speaks for itself." As of now the museum is still set to open in 2015, but the exact date remains up in the air.
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.
[beforeafter] [/beforeafter] The Milwaukee Art Museum revamp's previous design and current iteration. (Courtesy HGA Architects & Engineers) The Milwaukee Art Museum’s long-planned expansion and renovation has become somewhat of a saga. Plans for a new addition with an entrance along Lake Michigan were announced in 2012, but hit a snag when HGA Architects and Engineers’ Jim Shields walked off the job in February. In April Urban Milwaukee first broke news that Shields, somewhat of a local design celebrity, had left the project amid quibbling over the design. That spurred conversation around town, with Journal-Sentinel critic Mary Louise Schumacher suggesting the museum consider not building an addition at all. In a surprise twist, Shields returned to the project, having apparently reconciled a dispute over the design direction. The project’s future, however, is still uncertain. As Schumacher pointed out in a column Friday, the new design replaces the 1975 Kahler addition’s eastern face with a glassy atrium. That building originally featured elegantly recessed windows that were later pushed flush with the façade, contributing to the eastern entrance’s deactivation. The museum would eventually close it completely after opening the Santiago Calatrava addition in 2001. The dark zinc or copper patina HGA is considering for the addition’s exterior would recall some of the original design’s drama, while engaging the lakefront with a glassy atrium in a way that Kahler’s building could not. But Schumacher wonders if the museum might be able to accomplish its goals without adding to the mishmash of architectural styles that sparked this continuing saga. Repairs to Eero Saarinen’s adjacent War Memorial building are also part of the plan. The total project will cost at least $25 million. The County of Milwaukee will contribute $10 million toward repairs, and the museum has already raised $14 million. While the architectural legacies of Shields, Kahler, Calatrava and Saarinen are all at stake to varying degrees, not to mention the city’s lakefront urban context, Milwaukeeans have plenty to consider.
With Eli Broad hyping his DSR-designed Broad Museum in Downtown Los Angeles, we thought it would be appropriate to share The Broad that never was: OMA's runner up proposal. As featured in this author's book, Never Built Los Angeles, Rem Koolhaas's firm proposed a "floating" box covered in a lacy-patterned metal screen and cantilevered via steel brace frames above Grand Avenue. Lifting the structure would have created much needed civic space in the area, offering a public zone under the museum and complementing two new plazas to the south and the west of the building. Escalators would have travelled diagonally up from street level to the ethereal upper gallery floors, which would have been lit by multiple skylights. There's a lot to like here, and still some questions about the lack of public commentary before the winning scheme was chosen. Check out many more renderings of the scheme below.
Herzog & de Meuron will be designing the new Vancouver Art Gallery. The plan will double the size of the 300,000 square foot existing institution.The new Vancouver Art Gallery will be the Swiss firm's first Canadian project. HdM was selected out of the shortlist that consisted of Diller Scofidio + Renfro (New York), Tod Williams Billie Tsien Architects (New York), KPMB Architects (Toronto), and SANAA (Tokyo). The finalists, announced in January, were chosen out of 75 firms from 16 countries who submitted to an open Request for Qualifications process issued by the gallery. Conceptual designs are expected to be revealed in early 2015.
The Chicago Design Museum, our resident pop-up pantheon of graphic aesthetics, is looking for your help to mount the first exhibition in its new permanent home. They’re planning a centennial show for the American Institute of Graphic Arts (hey, AIGA’s as old as Wrigley!), and they’ve launched a Kickstarter campaign to get it funded (and time is really running out!). Eavesdrop’s been known to drop in on ChiDM’s shows since its inception, so we could be persuaded to part with some cash.
A short time from now in a neighborhood not far, far away… filmmaker extraordinaire George Lucas may land his art and film museum in Chicago. The move comes after the filmmaker's bid to build the museum in San Francisco fell through last year. Mayor Rahm Emanuel formed a task force last week, directing a dozen civic leaders to scout out, as the Sun-Times summarized, “a site ‘accessible’ to all Chicago neighborhoods that’s large enough to host a museum ‘comparable to other major cultural institutions,’ but does not ‘require taxpayer dollars.’” The task force is co-chaired by businessmen Gillian Darlow and Kurt Summers. Emanuel gave the group until mid-May to find a homebase for the Star Wars creator, who last year married Mellody Hobson, president of the Chicago investment firm Ariel. Lucas now lives in Chicago part-time, but Lucasfilm Ltd. and special effects company Industrial Light & Magic are still based in the San Francisco Bay Area. Lucas had originally scoped out a spot in the Presidio, but was rejected by the Presidio trust—the nonprofit that oversees the federally owned land at the southern end of the Golden Gate Bridge. Lucas' was one of three proposals for The Presidio's 8-acre mid-Crissy Field site, all of which The Presidio Trust rejected earlier this year, saying in a statement "We simply do not believe any of the projects were right for this location." Spokesman David Perry has described the 95,000-square-foot museum as the “history of storytelling” and the “world’s foremost museum dedicated to the power of the visual image.” Chicago is home to many museums, both well-known like the Art Institute and the Field Museum, and a bit more odd—say, the International Museum of Surgical Science. But the Lucas museum, which will include film memorabilia as well as works of art from the likes of Norman Rockwell and Maxfield Parrish, would be a big get. San Francisco is still vying for the return of its film Jedi, but we’ll see in one month how Rahm’s empire might strike back.
Weeks after the Philly Art Commission slammed Robert Stern’s proposal for the Museum for the American Revolution, he’s back with a new design. And good news for the starchitect—the commission likes it. They really, really like it. The Philadelphia Inquirer reported that the new plan was unanimously approved and building permits should be issued in the next few months. Unsurprisingly, Stern's altered design does not include the features, which the Commission called “Disneyesque.” “Architects replaced a cupola with a less-glaring, square-edged element lower on the building; reworked the front entrance on Third; and added to the facade on Chestnut a large lobby window and full-size bas-relief replica along the sidewalk of John Trumbull's famous painting hanging in the Capitol Rotunda, The Signing of the Declaration of Independence,” reported the paper.
The Guggenheim will launch a competition in early June to design their new branch in Helsinki. Working alongside the Finnish Association of Architects, the Foundation is seeking proposals for a currently vacant site alongside the city’s South Harbor. The competition comes three years after the city expressed interest in a Guggenheim outpost. But, according to the Art Newspaper, despite the competition, a new branch is not certain. The paper reported, “The Guggenheim announced that a decision to go ahead with the project would be taken after the architectural competition is completed." The competition comes as the Guggenheim faces heated backlash for their planned museum in Abu Dhabi, which has a dismal record on workers’ rights.