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.
Posts tagged with "Museums":
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.
The Benjamin Franklin Museum at Independence National Historical Park (INHP) in Philadelphia has bid adieu to the 1970s. Closed by the National Park Service (NPS) for a $23 million, two-year renovation, the historic site has re-opened as an 8,000-square-foot, state-of-the-art facility to learn about the “relevant revolutionary.” Quinn Evans Architects (QEA) was tasked with renovating the original 1976 underground museum designed by Robert Venturi and Denise Scott Brown (VSBA). The museum now involves interactive displays, personal artifacts, and a glass pavilion, also known as the ghost house, operating as the main entrance from Franklin Court. While VSBA’s "ghost house" pavilion remains largely untouched, one major change consists of the new entry building, which replaces heavy brick walls with a ground floor facade of “fritted glass,” a pattern created from photographs of the original pavilion’s brick wall. Slate floors replace burnt orange-tiled passageways. The firm has also designed a large “View Window” to engage visitors with the ghost house, a steel structure outlining Franklin’s vanished residence and print shop. While recognizing that the museum could benefit from an update and the expanded entry pavilion might be needed to accommodate roughly 250,000 annual visitors, Scott Brown was not thrilled that VSBA was not asked to carry out the project. When the project began, AN reported that Doris Fanelli, chief of INHP’s Division of Cultural Resources Management, contended that the NPS selected QEA from a pre-approved list because the venture was progressing quickly. Although confronted with reluctance from architectural scholars to alter the postmodern icon, NPS did not approach VSBA, who was not on the list. In a letter, VSBA wrote that more offensive is how the alterations rework the museum entry experience, which resembled former urban planner Edmund Bacon’s greenway plan for Society Hill.
French Pritzker Prize–winning architect Jean Nouvel's design for Louvre Abu Dhabi has begun construction after a series of delays. The building's most prominent feature is a 180-meter-diameter dome. The design of the dome is culturally relevant as well as utilitarian. The shape is prominent in traditional Arabian architecture. As the Louvre Abu Dhabi website describes, it is “an emblematic feature...evoking the mosque, the mausoleum, and the madrasa.” The dome's expanse also protects the building and its visitors from the sun. Carefully formulated geometric apertures in the all-white structure allow diffused and dappled daylight inside the museum, while mitigating heat gain. Nouvel designed the dappled pattern to emulate interlaced palm fronds, which are traditionally used in Arabic countries for thatch roofs. Nouvel described his vision for the 64,000 square meter site thus:
"A microclimate is created by drawing on sensations that have been explored countless times in great Arab architecture, which is based on the mastery of light and geometry . . . a structure made up of shadows, of movement and discovery."Nouvel was awarded the design commission for the Louvre Abu Dhabi in 2010. It was originally meant to be completed in 2012. However, in January of that year, the Financial Times reported that after a "the conclusion of a government spending review led by Sheikh Hazza bin Zayed Al-Nahyan, vice-chairman of the executive council," the Tourism Development & Investment Company in Abu Dhabi set the museum back 3 years to 2015. Set on Saadiyat Island, the Louvre Abu Dhabi is the first of three art museum branches meant to shore up the area as a cultural hub within the United Arab Emirates. However, all have faced major delays and completion dates pushed years into the future. All renderings courtesy Atelier Jean Nouvel.
After inviting several architecture firms to participate in a design charrette this summer, the Peabody Essex Museum (PEM) in Salem, Massachusetts has selected Ennead Architects to design the museum's ambitious 175,000-square-foot expansion. This $200 million project will include new galleries, public program and education spaces, conservation and exhibition processing areas, and a restaurant. "Ennead Architects impressed us with their creative dexterity, in-depth understanding of our institution and thoughtful design solutions for the museum's complex architectural program. We celebrate their responsive, collaborative spirit and look forward to partnering with them to achieve a design that provides a superlative museum experience," said Dan Monroe, PEM's Rose-Marie and Eijk van Otterloo Director and CEO, in a statement. PEM initially chose London-based Rick Mather Architects to undertake the entire expansion project. The firm completed the first phase, including the master planning and renovation of the Dodge wing, but when founder and principal Rick Mather passed away this past spring, the museum decided to consider other firms. According to Boston.com, PEM cited the intimate size of the firm (15 architects) and Mather's "intense involvement" in the project as factors for the switch. Ennead, which employs over 100 architects, offers substantial museum experience. The firm recently wrapped up its expansion of the Yale University Art Gallery last winter, and has also cuts its teeth working on a number of other projects, such as the Brooklyn Museum, Natural History Museum of Utah, William J. Clinton Presidential Center, and the Rose Center for Earth and Space at the American Museum of Natural History. "PEM's expansion presents an exciting design challenge and an opportunity to reimagine one of the oldest and fastest growing museums in the country," said Ennead design partner Richard Olcott in a statement. This marks the second major building project that the museum has embarked on in the last ten years. Architect Moshe Safdie designed a $100 million glass and brick building expansion and renovation in 2003. The museum plans on breaking ground in 2015, and anticipates that the new wing will be unveiled in 2019. The Mathers-designed Dodge wing will reopen this October along with the revamped Art & Nature Center.
Culver City firm wHY Architecture has been selected to design a new art museum in Los Angeles for Maurice and Paul Marciano, the founders of clothing empire Guess? Inc. The museum will be located inside a marble-clad, four story Scottish Rite Masonic Temple on Wilshire Boulevard near Lucerne Boulevard. When retrofitted in 2015, the austere building, originally designed by legendary artist Millard Sheets, will contain 90,000 square feet of exhibition space, showing off the Marciano's impressive collection, which will be open for "periodic exhibitions for the public." wHY has also designed L&M Arts and Perry Rubenstein Gallery in LA, an expansion of the Speed Art Museum in Louisville, and the Tyler Museum of Art in Texas. They're also working on a Studio Art Hall at Pomona College outside of LA.
LACMA isn’t the only museum in town planning a significant redo in Los Angeles. The Petersen Automotive Museum, just across and down Wilshire Boulevard from LACMA, has retained Kohn Pedersen Fox Associates (KPF) to imagine a radical redesign of the exterior of the museum’s home, a former department store. Museum officials have stated the time has come to finally retrofit the building to be more suitable for its program. This early design sketch, above, is just one of several that KPF has been presenting to museum directors. The museum will be selecting their preferred concept sometime in August and will be revealing the final design when it hosts a discussion outlining its goals on August 18th. KPF’s new shell treatment is just one aspect of The Petersen’s ambitious near-total overhaul, which includes updating displays and galleries and incorporating more current technology to provide what it calls “an immersive museum experience.” Judging from this initial rendering the museum’s new appearance will be a striking presence on this prominent corner and will vie for attention with Zumthor’s black blob for LACMA. Look for more details on the design at AN once the final concept is released.
Grimshaw Architects has been selected by the Vehbi Koç Foundation to design Koç Contemporary, a new art museum that supports cultural and social life in Istanbul and greater Turkey. Selected from a list of 20 globally renowned submissions, Grimshaw’s winning design calls for a stone-colored mosaic tile facade, a rooftop terrace offering sweeping views of the city, an education area, and an open layout. Located in Istanbul’s Beyoglu area, a region experiencing rapid redevelopment, Koç Contemporary blurs the boundary between inside and outside and includes a materials plan inspired by the mosaic-tiled forms of traditional Ottoman architecture. The firm’s design complements the distinct collection of paper, paintings, video, media installations, performance art and music events through a scheme that incorporates geometric volumes and exotic woods within the galleries. The Museum is expected to open in 2016.
The illustrious 19th century Qing dynasty politician, Zhang Zhidong, is primarily remembered for modernizing the Chinese army and for establishing the steel industry in Wuhan. It seems appropriate then that the new Shang Shidong Industrial Museum, designed by Daniel Libeskind, should be built in the city of Wuhan. Even more fitting is that the museum, which will celebrate the city’s iron and steel culture, will be built on the manufacturing site of the Hanyang-made rifle and will preserve the famous Hanyang ironworks and Hanyang arsenal. The architect’s plans for the industrial museum divide the structure into three levels, each highlighting a different aspect of the steel industry: the Modern Industrial section, focusing on ironworks history, the Heavy Industry section, focusing on military machinery and transportation, and the Light Industrial section, dedicated to advances in water, power, textiles and food processing. Other smaller buildings pertaining to the museum will honor prominent figures involved in the history of the Chinese industrial work force. The bold design of the building accurately reflects the force with which Wuhan was able to establish itself as a primary manufacturer of steel and iron in China while simultaneously accentuating the city’s promising future. The museum, located in a suburban site surrounded by greenery, is dominated by a thick arching curve that forcefully reaches for the sky. This domineering structure rests on two geometrically shaped structures and is supported by a complex steel frame. The highest peak of the museum offers occupants views of the city while the museum floors overlook the gardens. The museum is currently under construction and is expected to be completed by the Chinese New Year (January 31st, 2014). [ Via Designboom.]
The Hirshhorn Museum and Sculpture Garden in Wahington D.C., designed by SOM in 1974, is undeniably striking in its design—the distinctively cylinder shaped structure is unlike anything else in the city. In 2009 Richard Koshalek, director of the modern and contemporary art museum, in a bold effort to place the museum at the forefront of our nation’s cultural institutions, came up with a radical new plan that would make the building stand out even more among the countries’ leading museums and significantly augment the city's arts culture. Koshalek proposed his new vision for a 15-story inflatable balloon, designed by Diller Scofidio & Renfro, that would bubble out of the donut-shaped museum’s central courtyard twice a year. The project, dubbed the “Seasonal Inflatable Structure,” would serve as a unique space for installations and performances. The idea was never realized, and as of this June the project was abandoned. Richard Kurin, the Smithsonian's undersecretary for history, art, and culture, attributes the desertion of the project to financial challenges. The construction of the bubble relied solely on private funds, but donors prefer contributing money to a permanent structure rather than a temporary project, and after four years of fundraising, more than half of the necessary $15 million funds were lacking. The Smithsonian’s decision to terminate the project was not supported by all, however, and resulted in a sort of domino effect of negative outcomes. Immediately following the decision to terminate Koshalek resigned as director and Constance R. Caplan stepped down as board chairwoman, but not before delivering a harsh critique of the museum and the Smithsonian Institute’s power over the board. As reported by the New York Times, Ms. Caplan said, “When you ask people to raise money you have to give them more of a say in what happens at the institution.” Since members must donate $50,000 upon joining the board and are also expected to actively raise funds, she holds that they should have more power when making decisions about the museum. Mr. Koshalek advocates that the future success of the museum relies on the use of novel technologies and creative programming, but others, such as 13-year board veteran and former chairman J. Tomilson Hill feel strongly that projects like the bubble will take away from the museum’s impressive collections and exhibitions, which should remain the institution's focus. The Hirshhorn is home to modern and contemporary works by renowned leaders of 20th century art and sculpture including including Pablo Picasso, Henri Matisse, Jackson Pollock, Ellsworht Kelly, Edward Hopper, to name only a few. On June 29th Koshalek officially stepped down as director, but it seems like his forward thinking may prevail after all. Kerry Brougher, chief curator, has temporarily taken Mr. Koshalek’s place. At the moment Brougher’s primary concerns are the collections and exhibitions, but he shares Mr. Koshalek’s opinion that digital technologies, public programming, and thematic exhibitions will be instrumental to The Hirshhorn's future.