Three design-build teams have been shortlisted to design the $30 million Jan Shrem and Maria Manetti Shrem Museum of Art at the University of California, Davis. They are: WORKac and Westlake Reed Leskosky with Kitchell; Henning Larsen Architects and Gould Evans with Oliver and Co; and SO–IL and Bohlin Cywinski Jackson with Whiting-Turner. Each team had four months to prepare a bid for the museum. The museum will be named after Jan Shrem, operator of Clos Pegase winery in the Napa Valley, and his wife Maria Manetti Shrem.
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Daniel Libeskind’s second contribution to the Jewish Museum Berlin since 2001, the Academy of the Jewish Museum Berlin, will open this Saturday, November 17. The 25,000 square foot Academy is located just across from the original museum and now houses the museum library, a growing archive, and will also house lectures, workshops, and seminars. The design is named “In-Between Spaces,” alluding to the voids between three cubes that make up the Academy. The cubes mirror Libeskind’s original museum design with sharp angular forms combined with dramatic intersections. Entry into the Academy is gained through a large slash in the first cube, which leads to a middle space between the other two cubes. With large skylights and front and rear access the Academy is connected with its outside spaces. Libeskind is proud to celebrate Jewish history in his design with windows shaped like the Hebrew letters Alef and Bet, and with a quotation from the famous Jewish scholar Moses Maimonides printed across the façade: “Hear the truth, whoever speaks it,” written in English, German, Hebrew, Arabic, and the Judeo-Arabic of medieval Spain.
The famous clipper ship Cutty Sark was recently rehabilitated by Grimshaw Architects, who also built an exhibition hall around the vessel. The project, which opened in April, has just received the dubious distinction of winning Building Design’s 2012 Carbuncle (a.k.a. “ugliest building”) Cup award. Parked in Greenwich, England and categorized as a World Heritage site, the ship now floats on a blue glass base intended to suggest water. But the resulting effect is more bateau-en-gelée, prompting BD executive editor Ellis Woodman to write that the project had “the best of intentions and yet has tragically succeeded in defiling the very thing it set out to save.”
The University of California Davis is becoming a cultural force. The school already has three art museums (and arts alums include artist Bruce Nauman and sculptor Deborah Butterfield), and is getting ready to add another, just releasing the shortlist for its new Jan Shrem and Maria Manetti Shrem Museum of Art. The list is impressive, including the following design/build teams: wHYArchitecture and Gensler with BNBT Builders; HGA and DPR; Allied Works with Hathaway Dinwiddie; Westlake, Kitchell, WORK; Gould Evans, Henning Larsen, Oliver; Olson Kundig, Olveraa; and Bohlin Cywinski Jackson, SO-IL, Whiting Turner. The list was culled from an initial list of 19. The 40,000 square foot museum, located on a 1.6 acre site that is part of a long-range master plan for the university’s new south entrance, is slated for completion in 2015,
If you read this column, you know Eaves loves a party. You also know we self-deprecatingly speak of mediocre Midwestern cities (we’re from Louisville). Even with summer winding down, there’s no need to stick out that lower lip. A slew of—well, ok, three–high profile openings will tickle even the slightest art and architecture enthusiast as Cleveland, East Lansing, and Cincinnati compete for the title of Bilbao of the Midwest. First up, the Museum of Contemporary Art Cleveland, designed by Farshid Moussavi Architecture, opens on October 6. Will the Mistake-on-the-Lake become the Rust Belt Riviera? On MOCA’s heels comes the Eli and Edythe Broad Museum on November 9. OK, we don’t know anything about East Lansing other than a school’s there, but—hey!—now they have a Zaha Hadid. And finally, Cincinnati, home to America’s first Hadid, will welcome 21c Museum Hotel by Deborah Berke & Partners. Their website says it will open late 2012. Which project will be an urban game-changer? We could be swayed by opening night invites, but right now my money’s on Cincy.
The U.S.S. Intrepid looks visibly pregnant, and it seems as though she still hopes to give birth to an offshoot of the museum in a parking lot directly across the street. About nine months ago, New York's Intrepid Sea, Air and Space Museum revealed that it had its eye on a prime parcel owned by New York State adjacent to the museum on 12th Avenue to house its newest attraction, the Space Shuttle Enterprise. Most of the recent attention on the shuttle has focused on the herculean effort to get it onto the deck, where it rests in a temporary pavilion that sits on the bow looking like a bulbous balloon about to burst. A spokesperson for City Planning said that the city's zoning laws extend out to piers but requirements for permanently docked structures are a bit nebulous. In an interview, museum president Susan Marenoff-Zausner said that the goal remains to get the Shuttle onto dry land. She was quick to note that the renderings on display in the temporary pavilion were merely a concept for the new building, not a final design. The display is part of a fund raising effort for the new complex called “Sponsor a Star.” The master plan calls for a permanent home with all of the amenities required of a cultural institution today, including classrooms, an auditorium, retail, and a café. It would also become the entry point to process the expected one million visitors each year. The lot is already connected to the museum by a pedestrian bridge that spans 12th Avenue. Marenoff-Zausner said that Jones Lang Lasalle, a real estate services company, is conducting a feasibility study based in part on the interest generated by the new star attraction over the next year. Asked about about the project's feasibility, the museum president said, “The State has been wonderful."
Design studio Diller Scofidio+Renfro (DS+R) has certainly had a very good week. As we noted yesterday, the firm’s designs for the Columbia University Medical and Graduate Education Building in Washington Heights have just been released, and now today, the Cooper-Hewitt National Design Museum has announced that DS+R will be working with museum staff on the redesign of the museum’s exhibition spaces that are currently under renovation on Manhattan's Upper East Side. The Cooper-Hewitt closed last July for an extensive, two-year face lift and is currently undergoing an extensive reprogramming that will increase the amount of exhibition space by 60 percent and rearrange the institution's functional divisions. Gluckman Mayner Architects, with executive architects Beyer Blinder Belle are responsible for the restoration and renovation of the institution's historic Andrew Carnegie Mansion and two adjoining row houses on 90th Street and Fifth Avenue. While the buildings are reprogrammed and historic features preserved, DS+R will be responsible for designing the new exhibitions contained in those spaces. Along with media designer Local Projects, DS+R is responsible for the visitor’s experience in both the permanent exhibition rooms on the first floor and the temporary exhibition spaces on the second and third floors. At this point in the process, neither the collaboration between Local Projects, DS+R, and the Cooper-Hewitt, nor the scope of the final product, has been decided. Stay tuned to AN for updates on the new exhibition spaces as they emerge.
The New York City Economic Development Corporation has announced a Request for Proposals (RFP) for the lease and operation of a cultural facility adjacent the St. George Ferry Terminal on Staten Island. Building 11, one of several buildings that housed the Coast Guard’s lighthouse operations from 1836 to 1966, was recently renovated by the city as part of a campaign to revitalize Staten Island’s North Shore waterfront. The RFP calls for a tenant who will provide “cultural programming in the form of a museum, exhibition, gallery, performance space, or community facility” in hope of attracting some of the 2 million tourists who ride the ferry each year to visit the Island’s cultural attractions (rather than jumping onto the next ferry back to Manhattan). An initial lease of one and a half years will be offered to the winning proposal with renewal options for up to four years. The EDC will offer temporary programming during the RFP process. Council Member Debi Rose wrote in a statement, “This formerly underutilized gem will now serve as a draw to bring people off the ferry and also provide an opportunity for all of our cultural groups to showcase their work.” In 2005, the NYCEDC sought to develop retail and housing in the area surrounding the Coast Guard buildings, citing the National Lighthouse Museum as a future tenant of Buildings 10 and 11. Plans for the Museum stalled due to fundraising issues. The mixed-use development, Lighthouse Point, was approved by the city early this year and will include 45,000 square feet of retail space and 172 residences. The National Lighthouse Museum plans to submit a proposal for Building 11.
The Museum of Fine Arts, Houston announced today that architect Steven Holl was selected to build a new building on a two-acre parking lot in the city's Museum District, besting Morphosis and Snøhetta. Situated among other structures by Mies van der Rohe, Raphael Moneo, and a sculpture garden by Isamu Noguchi, Holl's building dedicated to art after 1900 will help unify the campus. According to MFAH Director Gary Tinterow, "Everyone on the committee was deeply impressed by the intelligence and beauty of their museum projects, and we feel certain that they will conceive a design that will match the clarity and elegance of our existing architectural landmarks."
A folded canopy reinvents a former loading dock in the city’s historic Depot DistrictRaleigh’s Contemporary Art Museum chose its new home in the city’s Depot District carefully. Located in a former produce warehouse, the project calls attention to the city’s history of railroad transportation and red brick architecture while emphasizing its commitment to sustainability and adaptive reuse. Led by Brooks + Scarpa Architects, the project included renovation of the existing 21,000-square-foot structure and the addition of a 900-square-foot entry pavilion. The glass-enclosed lobby reinterprets the location of the original building’s loading dock with an expanded and folded canopy that announces the building’s new purpose and balances the effect of daylight on its interiors. The architects saw an opportunity to treat the new museum entrance as a modern loading dock, a front porch that would deliver visitors into the galleries within. They began to experiment with the form of the rectilinear metal roof that originally sheltered the truck bay, expanding it and imposing a series of three folds to bend the shape skyward. The team developed a perforation pattern that shades the museum’s outdoor sculpture garden and the floor-to-ceiling glass lobby enclosure, then grows more dense to hide ductwork and sprinkler pipes indoors. Derived from the shape of flower petals, the pattern consists of three half-oval shapes with radii of 2, 4, and 6 inches. Each petal was combined with one other shape with the same radii, creating a total of 18 ovals in the pattern. These were laid out to create areas of greater or lesser density depending on the desired shading effect. While the perforated petals have 35 percent transparency, gaps between the ovals create an overall effect of 50 percent transparency indoors and 65 percent outdoors. The design team delivered shop drawings and sketches based on screen shots of Rhino files to architectural metal fabricators at Chicago-based Accurate Perforating and North Carolina-based Alumiworks. (The canopy’s top surface is composed of Polygal polycarbonate panels fabricated by North Carolina-based Jacob’s Glass.) Because the canopy’s interior slope does not match the exterior slope, transferring the complex geometry of the canopy into both top steel elevations at the intersections and into the bottom of the hollow structural section (HSS) steel substructure supporting the petal panels proved challenging. The canopy is built with steel wide flange beams, some of which are tapered and supported by the unreinforced masonry building and by three structural columns. Outdoors, perforated panels are attached to the underside of the frame and protected by polycarbonate panels installed overhead. Indoors, the perforated panels are installed beneath metal decking, insulation, and PVC roofing material. An HSS substructure suspended from the steel beams supports each assembly. While the canopy has become a symbol of the historic district’s renewal, not all visitors are welcome to its modern-day front porch. One-quarter-inch mesh between each petal shape keeps birds from roosting on flanges and steel beam supports. While the mesh allows pleasant North Carolina sunlight to filter into the museum’s courtyard, the glimpses of blue sky are also a nod to another bit of Southern porch culture—natives traditionally paint porch ceilings blue to mimic the sky, deterring mud dauber wasps from settling in.
The lower level of the New York Historical Society was lively last Friday morning at the ribbon cutting for the new DiMenna Children’s History Museum and the Barbara K. Lipman Children’s History Library. Young New Yorkers were trying out a number of new, interactive activities in the vibrant 4,000 square-foot vaulted space. Pavilions divide the space into various programs including biographical information on figures such as Alexander Hamilton and James McCune Smith, viewing changing New York sites throughout history. In the library, children will also have access to rare books and maps from the Society’s collection. The Children’s History Museum has been in the works for three to four years as part of the Historical Society’s $65 million renovation. Architects from Lee H. Skolnick Architecture and Design Partnership worked closely with museum curators to design a permanent exhibit dedicated to educating children on history. Lee Skolnick, the principal architect of the firm, has extensive design experience, spanning thirty years, on children’s museums. But here, Peter Hyde, associate and senior exhibit designer, distinguished, “We have done history museums and children’s museums, but never a children’s history museum.” The overall concept of the exhibit presented various challenges for curators as well as the architects: how to convey historical events to children in an exciting and engaging way. The design of the space along with its content intends to relate New York kids to history by exploring famous as well as everyday historical figures as children.
Imagine a warm summer evening in Rome. Then imagine stretching out on a cool, grass lawn underneath giant Jurassic tulips the size of a cherry tree. Their glow softly illuminates conversations over cocktails. Add a backdrop of the serpentine jewel of Zaha Hadid’s MAXXI museum, and you have theater. Rome is all about theater. So was the scene at the opening of the Young Architects Program installation at Rome’s one year old museum of art and architecture. Five young European firms were chosen as finalists by the MAXXI in collaboration with MoMA PS1's Young Architect's Program. The winner in Rome, stARTT Architects, installed 2000 square feet of luscious grass mini-hills inclined perfectly for reclining, so you can sdraiarsi, an untranslatable Roman manner of stretching out. Topping the hills are 20 or so three-foot wide tulips, each atop a six-foot curved stem. Semi-transparent red resin tulip-like flowers--a bit in the style of Avatar--light up in the evening and offer a bit of shade during the day. Mario Mattia, the resident architect in Rome for Hadid, had suggested a green space for the 12,000 square foot plaza court, drawing inspiration from a visit to the green lawn of Bryant Park beside the grand 42nd Street New York Public Library. But cut concrete paths and organized gravel won out--until now. Given a choice, humans gravitate toward the living and the green. StARTT architects managed to incorporate both elements into this built setting. So what did the user audience say about the installation on opening night? Papavere gigante! ("giant poppies!" omnipresent in the hills of Rome) and martini rossi! (martini glass-shaped flowers missing only the maraschino cherry). The giant tulips gently tilted your view upward to the rich evening turquoise of the Mediterranean sky, as you lay grounded on the refreshing islands of grass. A temporary installation? To quote another Roman, the emperor Hadrian: “Be attentive to the temporary, as it often becomes the permanent." Magari! (We hope so.)