“The design is informed by acoustical space," said Daniel Libeskind. "The idea was to treat each space as a distinct atmosphere and mood as you move throughout the museum. Every volume references the surrounding landscape—dune, mountain, desert, ocean.”The new museum will sit between two roadways leading into Iquique’s urban center, and on a serious grade. The topmost road is approximately 26 feet higher than the lower street. That means an elevated ramp was needed to unite both halves, creating a pass-through to the beach between the two streets for the first time. A sloped garden will rise from the lower side as well. Construction of the new museum is expected to begin in early 2020, though no completion date has been given yet.
Posts tagged with "Museums":
Adjaye Associates, SO-IL, BIG, and Woods Bagot are among the 13 firms the Government of South Australia has selected to produce concept designs for a new contemporary art museum in Adelaide, South Australia's capital.
The Adelaide Contemporary International Design Competition, as it is officially known, asked firms to design both a museum and public space for events around the future Adelaide Contemporary, which will be part of the Art Gallery of South Australia (AGSA) network.The six chosen teams, a mix of Australian and international firms, are now at work on concept designs that will be revealed to the public in April 2018, right before the competition jury convenes. London's Adjaye Associates was matched with Sydney's BVN, while SO-IL and Melbourne's HASSELL are working together on a concept. BIG – Bjarke Ingels Group (Copenhagen) and JPE Design Studio (Adelaide) are paired up, as is Diller Scofidio + Renfro (New York) and Woods Bagot (also from Adelaide). London's David Chipperfield Architects and Sydney's SJB Architects working together on the design, and a team of three firms—Khai Liew (Adelaide), Office of Ryue Nishizawa (Tokyo) and Durbach Block Jaggers (Sydney)—makes up the final grouping. The firms were selected in the competition's first stage from over 100 teams (525 firms) representing five continents. To create the final teams, organizers paired international winners with shortlisted Australian firms. "This is an extraordinarily rich list of diverse creative partnerships of architects looking to complement their talents by working with both peers and smaller talented practices. There is a strong thread of Australian professional expertise running through the entire list with Australians taking both equal and collaborative positions," said Nick Mitzevich, director of AGSA, in prepared remarks. "The six teams all showed a strong connection with Adelaide—and understood that our aim is not to create an off-the-peg architectural icon but a piece of Adelaide, an entity that will be sustainable and polymathic in the way it enhances the social, cultural and architectural fabric of the city." The final jury will be announced in early 2018.
Rather than donating artworks to large, existing institutions, it is becoming more and more common for wealthy art collectors to create their own museums for displaying their extensive collections.
In Los Angeles, we have the Getty Museum; the Broad Museum; the Hammer Museum; and the Norton Simon Museum, for example. This arrangement allows the collector to assure that the works he or she acquired will be displayed in a manner that they control and won’t get lost within a much larger institution.
In New York, Ronald S. Lauder opened the Neue Galerie, and of course, in 1959 further up Fifth Avenue, the Guggenheim family opened their museum, designed by Frank Lloyd Wright. Sometimes these museums are very successful and draw visitors for years after their initial opening.
Adding to the trend, the Maurice & Paul Marciano Art Foundation (MAF) recently opened in Los Angeles to display some of the 1,500 art objects that the brothers have collected. The Marciano brothers made their fortune by creating and marketing Guess Jeans. For the last seven years, they’ve been working closely with MAF Deputy Director Jamie G. Manné to acquire a very diverse and often innovative collection. It was always their intent to create their own museum and four years ago the artist Alex Israel noticed that the large Scottish Rite Masonic Temple on Wilshire Boulevard was for sale. He told his friend—Manné—who also thought it had great potential. Manné told Maurice and he decided to buy it for $8 million.
The Masonic Temple was designed by artist and architect Millard Sheets. It opened in 1961 to serve the growing population of the Masons of California, a fraternal order whose mission was to “foster personal growth and improve the lives of others.” The Masons had noble goals but maintained a very private organization, which is reflected in the Millard Sheets design. It is a large and imposing 110,000-square-foot travertine structure on Wilshire Boulevard with essentially no windows; in other words, a big white box.
Three years ago the Marciano’s retained architect Kulapat Yantrasast and his New York and Los Angeles–based firm wHY to convert this white elephant into a museum that would engage the community, welcome the public, and display a wide range of art objects in a variety of media. wHY was an informed choice—they have extensive experience designing museums both new and old, including the Grand Rapids Museum in Michigan; the Speed Museum in Louisville, Kentucky; the Pomona College Studio Art Hall in California; and the interiors for the Art Institute of Chicago and Harvard Art Museums.
The design approach within their practice is based on collaboration, both externally and internally. Externally they work with the owner and engage the community to develop their design approach. Internally they integrate the firm’s four studios, each of which is named for its focus: “buildings,” “objects,” “grounds,” and “ideas.” Yantrasast said, “We intentionally work together from the beginning; architects, landscape architects, planners, and interior designers. We create a group of thought leaders, with the ideas workshop as the glue.” Yantrasast sees himself as the conductor of a group of “the best musicians.”
With MAF the goal was to respect the architecture of Millard Sheets while transforming his very private, enclosed box into a welcoming and engaging environment to experience contemporary art within. For the most part, they have achieved their goals with a few shortcomings.
wHY created a sculpture garden courtyard to welcome visitors who may approach by car from the rear or as pedestrians. This works well. The entry foyer is flanked by a bookstore and lounge, leading to the lobby, where they have saved and restored two beautiful light fixtures and three elegant elevator cabs.
The galleries comprise essentially two levels and a mezzanine to display the very diverse Marciano art collection. On the ground floor wHY converted the former 2,000-seat auditorium into a spacious 13,600-square-foot exhibition hall, with all interior lighting; essentially a vast black box that includes 65 pieces by the L.A.-based artist Jim Shaw. The former stage has been transformed into a dramatic sunken sculpture court, with Adrian Villar Rojas's reinterpretation of Michelangelo’s David lying in repose.
While the mezzanine is also dark and filled with video art, the top floor holds the most dramatic spaces. Yantrasast removed the hung ceiling from this floor to reveal the bold structure that supports the roof, creating a large 12,000-square-foot gallery to display major pieces of the Marciano collection. By stripping away a portion of its rear travertine elevation and replacing it with glass, the gallery is filled with waves of natural north light. This move also offers a pleasant promenade overlooking the city and the famous Hollywood sign. One unfortunate detail is that a beautiful Millard Sheets mosaic mural has been preserved, but a full height wall has been erected only six feet in front of it, making it virtually impossible to truly appreciate Sheets’ artwork.Yantrasast believes that architects who design art museums are a “matchmaker between the art and the people,” and that the building “must support the art,” he said. It’s a delicate balance creating inviting spaces to exhibit art and making buildings that enhance their environment. In essence, wHY’s architecture becomes a subtle, quiet partner and does not dominate the art. At the MAF, generally wHY has succeeded as a “matchmaker.” They have created flexible, spacious galleries to display the extensive and diverse art. The inaugural exhibition, labeled Unpacking: The Marciano Collection and curated by Philipp Kaiser, formerly with L.A.’s Museum of Contemporary Art, works well in the newly re-imagined building and includes the work of 44 artists. Maurice Marciano seemed quite pleased with the result. He said, “We’ve been really blessed to give back to the artists’ community, and to share our passion with everybody.” In an ironic turn of events, the MAF has given new life to the Masonic Temple and extended the Masons’ goal to “improve the life of others.”