Thanks in large part to public protest, Bjarke Ingels' plans for a twisted, log-cabin-like box for Park City's Kimball Art Center have been dramatically changed. Earlier this month Ingels' firm BIG unveiled a new design: a concrete wedge lifting 46 feet above the corner of Main and Heber Streets. "The building seems to rise with Main Street and the mountain landscape, while bowing down to match the scale of the existing Kimball," Ingels said in a statement. The former plan (pictured below), chosen in 2012, was 80-feet-tall. Its exposed wood facade paid homage to the area's early settlers and to the city's historic Coalition Mine Building. Besides echoing the local topography, Ingels told the Park City News that the new poured-in-place design "draws on the encounter between the modern functionalist architecture of the Kimball Garage (the museum's original home) and the regional vernacular style of the mountain architecture." Some locals had complained that the original design didn't mesh with the city's context, and that its height would impact property values. When asked how he felt about the Kimball's decision not to pursue his original design, Ingels replied: "The Kimball and BIG did the only thing possible, and now I think we have arrived at a design that can be just as striking a contribution to Part City's streetscape, if only a lot more intimate in scale than our first sketches."
Posts tagged with "Museums":
That's not a line graph, its the Pompidou Center. Graphic designer Yoni Alter has stripped down a number of iconic museum exteriors to their core ingredients. The silhouettes are then swathed in a Miami-vice color scheme for a further dose of abstraction. Despite the neon paint-job, the scales are all accurate, with the Tate Modern and Guggenheim Bilbao looming largest. Signed copies of the print are available for $50 before shipping.
Dutch firm MVRDV has won a competition to design a new public/private art depot for the Museum Boijmans van Beuningen in Rotterdam. While the design has been selected, the fate of the project remains in the balance. City council officials have until the end of the year to decide whether or not to go ahead with construction. The winning design (top) resembles a large shiny flowerpot, a cylindrical glass volume that tapers at the bottom and is capped by a sculpture-park. The curved facade's distortion of the surrounding landscape recalls the way Anish Kapoor's Cloud Gate engages its own Chicago context. The need for the project stems from problems with the museum's current depot, which is situated below sea-level and thus at risk of flooding. Beyond elevating the stored artworks to safety, the new design is also an opportunity to make some of them available for public view. A route will zig-zag through the various floors to offer glimpses of the depot for those visiting the space. The path culminates in the rooftop park which also would feature a restaurant. MVRDV beat out other finalists MAD/Nio, Neutelings Riedijk, Koen van Velzen and Harry Gugger with Barcode Architects, though not without controversy. At one point the firm was disqualified due to what was deemed a breach of the tender procedure. They were later reinstated after winning their case in the court of justice of Rotterdam.
Plans have recently been unveiled for a new institution dedicated to Mayan culture to be constructed in Guatemala City. Designed by Swiss firm Harry Gugger Studio in collaboration with Boston company over,under, the building is part of an attempt to establish a new cultural hub within the city. Construction is set to begin in 2015. Re-situating the ancient American architectural vocabulary within a contemporary syntax, the mass of rectilinear masonry almost resembles a Mayan structure crafted through the lens of Minecraft. Much of the over 640,000 square feet of floor space is given over to large open expanses. Staggered blocks of stone border a central courtyard and act as the foundation for staircases that provide access to elevated galleries. The bulk of the building rests atop smaller rectangular bases, thus enabling circulation beneath its structure. Its exterior is punctured by a pattern of screens and several irregular, more extensive openings that invite Guatemala's warm climate into the museum's interior spaces. The rooftop functions as an outdoor exhibition venue and also contains a restaurant and viewing terraces. It will collect and filter the rain that frequents the tropical region, a process that mirrors one pioneered by the people to whom the museum is dedicated. The new building will be located at the northern corner of a public park within view of the Guatemalan capital's airport. Set to be completed in 2017, the Museo Maya de América will join a children’s museum and a museum of contemporary art as institutions already found on the site. Already, $60 million has been budgeted for the construction effort.
Diller, Scofidio + Renfro announced today that their reorganization of the Museum of Modern Art will include the replacement of Tod Williams and Billie Tsien's former American Folk Art Museum at 45 West 53rd street. Liz Diller said in her briefing that DS+R hoped to save the Folk Art building and repurpose it into a usable exhibit space or a connecting bridge between the new Jean Nouvel tower (which will have three floors of MoMA galleries) and the older parts of MoMA. However, "saving" the structure with its misaligned floors (to MOMA existing galleries) would mean compromising the integrity of the Williams Tsien structure. One can imagine the logic of DS+R's decision, but Williams and Tsien are, like any architects, sad to see the demise of their 2001 building that Herbert Muschamp said "transcend(s) cultural categories even as it helps define them." Here is Williams and Tsien's statement:
In response to the American Folk Art Museum building decision by MoMA January 8, 2014 We have learned of MoMA’s final decision to raze the former American Folk Art Museum building and replace it with a new structure. This action represents a missed opportunity to find new life and purpose for a building that is meaningful to so many. The Folk Art building was designed to respond to the fabric of the neighborhood and create a building that felt both appropriate and yet also extraordinary. Demolishing this human‐scaled, uniquely crafted building is a loss to the city of New York in terms of respecting the size, diversity and texture of buildings in a midtown neighborhood that is at risk of becoming increasingly homogenized. This is a building that we and others teach from and about. It has served as an invaluable learning resource for students, colleagues and scholars, and a source of inspiration for many more. It has a powerful architectural legacy. The inability to experience the building firsthand and to appreciate its meaning from an historical perspective will be profoundly felt. As architects, we must be optimists. So we look to the future and we move on.
Aaron Betsky, director of the Cincinnati Art Museum for seven years, announced Thursday he’ll step down. Cincinnati’s WVXU reported that the museum's board will set up a search committee, and that Betsky will help pick his successor. Betsky, an architect, oversaw the first phase of a renovation for which he helped raise more $13 million, and increased the art museum’s endowment by 18 percent. His leadership was at times controversial, as when he oversaw an exhibit by artist Todd Pavlisko that included firing a .30-caliber rifle in the 132-year-old museum’s Schmidlapp Gallery. Before moving to Cincinnati he was the Director of the Netherlands Architecture Institute in Rotterdam, and previously designed for Frank Gehry. According to the Cincinnati Enquirer, Board chair Dave Dougherty said Betsky’s successor will need a variery of skills:
* "Someone great at exhibitions, first and foremost." * "Someone who continues to have financial discipline." * "People skills." Dougherty said the art museum is a large organization, with many tentacles, and a chance to influence the broader community. And, of course, there’s a director’s all-important fund-raising role.Betsky was a finalist for dean of the College of Architecture, Design, and the Arts at the University of Illinois, Chicago last year. That position ultimately went to Steve Everett, an Emory University professor of music. “The museum now has the programming and staff in place, and the financial stability that will allow me to openly pursue my next position,” Betsky said in a press release. “I feel that I have accomplished the goals that I and the Board had envisioned when I first arrived and would like to explore opportunities that may include or combine my academic interests and institutional experiences.”
Hell Yeah! We hear from a little birdie that our friend Tom Wiscombe (pictured) may be designing a new museum in downtown Los Angeles dedicated to Los Angeles art. The details are still left to resolve, but we’ve been told he likens the place to a “zombie hive.” You had us at zombie, Tom. (Photo: Courtesy Tom Wiscombe Design)
The Norton Museum of Art in Palm Beach, Florida has unveiled a new master plan including galleries and public spaces designed by architecture firm Foster + Partners, under the direction of Pritzker Prize-winning architect Lord Norman Foster. The new Foster design will upgrade the museums 6.3-acre, art deco–inspired campus and gardens first designed in 1941 by Marion Sims Wyeth. The new plan relocates the main entrance on South Dixie Highway to the west, allowing visitors to once again see through the entire building, capturing views of the Intracoastal Waterway beyond the Norton via a new, transparent grand hall and refurbished glass and iron courtyard doors. The new entrance will be defined by three double-height pavilions, unified with the reworked existing wing by a shared palette of white stone. These pavilions will house a new state-of-the-art auditorium, event space, and a "grand hall"—the social hub of the Museum. Foster's design includes a new museum shop and restaurant with al fresco garden seating which, like the new pavilion spaces, can operate independently of the Museum for events on the Norton’s campus throughout the day and at night. A metal roof canopy will float above the pavilions, shading the entrance plaza. The canopy structure will be gently tapered to visually reduce its profile—a technique he previously employed in Marseilles, France—while providing stability to withstand hurricane-strength winds. The canopy’s gentle luster will cast diffuse patterns of light in an abstracted reflection of the people and flowing water below. A linear series of pools with fountains and a row of hedges between the pools and Dixie Highway will mask the sound of traffic and create a tranquil setting at the entrance plaza. A curved opening in the roof will accommodate the branches of a mature ficus tree and a light well above the lobby will illuminate and define the new entrance. The master plan will be implemented in several phases, beginning with the reconfiguration and extension of the existing museum and the new public amenities within a lush garden setting. Two new wings for galleries can be added to the east in later phases of the long-term master plan.
A team led by Bjarke Ingels Group (BIG) has won an international design completion for the new Museum of the Human Body in Montpellier, France. Recalling the forms of some of BIG’s other recent projects, most notably Blaavard Bunker Museum in Varde, Denmark (which has just received funding to move forward) and the 200-acre EuropaCity mega-development outside Paris, the 84,000 square foot museum will rise from the surrounding landscape with grass-capped roofs, and a seemingly continuous, curving glass façade. Set to open to the public in 2018, the museum will draw on Montpellier’s history of medicine and humanism as it explores the human body through artistic, scientific, and social perspectives with interactive exhibits, cultural programming, workshops, and performances. Located along the edge of Parc Georges Charpak in the city’s newly developed Parc Marianne area, the museum stitches the landscapes of park and city through eight, rounded, interconnected pavilions that, in the words of the architect, “weave together to for a unified institution–like individual fingers united together in mutual grip”. “Like the mixture of two incompatible substances–oil and vinegar–the urban pavement and the parks turf flow together in mutual embrace forming terraced pockets overlooking the park and elating islands above the city,” explained Ingels in a statement. Above ground, alternating roof gardens of pavement and grass provide spaces for visitors to, in the increasingly strange words of the architect, “explore and express their bodies in various ways.” Meanwhile, a continuous, linear space below grade joins together the eight volumes, maximizing internal connections. To extend Ingels’ finger metaphor and provide appropriate day-lighting for the interior, the building’s glass facade is covered in GFRC-fabricated louvers of varying orientations that somewhat resemble the pattern of human fingerprints. Construction is slated to begin in 2016.
Digital artist Jennifer Steinkamp’s first installation in a series at St. Louis’ Contemporary Art Museum is up and running, transforming the museum’s facade into a projection screen for large-scale video art. Steinkamp’s installation, Orbit, features trees, vines, and other plants whipped up by turbulent wind. AN brought you images from the work back in October, but take a look at the newest video of the project below.
With strong architectural ties in Maine and an interest in cultural building design throughout her career, New York City–based architect Toshiko Mori has been chosen to redesign the Center for Maine Contemporary Art (CMCA). Currently in the same historic Rockport firehouse since 1967, the Mori-designed CMCA will move the arts center to a larger site in the city of Rockland and update it with a building contemporaneous to the art it houses. Work on the project is set to begin as soon as environmental and engineering tests are completed at the museum’s current site. The new center in Rockland plans an opening in time for the 2015 museum season. Of the commission, Mori stated: “I have been associated with mid-coast Maine in the last thirty years, and I am especially excited to make a contribution to promote contemporary arts in Maine."
Look for Beauty: Philip Johnson and Art Museum Design Sheldon Museum of Art 12th and R streets, University of Nebraska, Lincoln, NE Through October 13, 2013 The Sheldon Museum of Art in Lincoln, Nebraska, is currently celebrating the works of Philip Johnson, the influential American architect who promoted the International Style and, later, defined postmodernist architecture. One of his most iconic projects was the design of the Seagram building in Manhattan, a project undertaken in partnership with Mies Van Der Rohe. This particular project marked a decisive shift in Johnson’s career. Look for Beauty examines the design journey of Philip Johnson through the examination of three of his earlier museum buildings: Munson-Williams-Proctor Arts Institute, the Amon Carter Museum of American Art, and the Sheldon Memorial Art Gallery (now the Sheldon Museum of Art). These three projects form a coherent study of Johnson’s developing personal style in the early years of his career. The exhibition includes models, plans, furniture, photographic murals, and archival materials such as correspondence, exhibition photographs, and catalogs.