Posts tagged with "Museums":
To coincide with the 230th anniversary of the U.S. Marshals Service, the United States Marshals Museum’s opening date is set for September 24, 2019. Designed by Cambridge Seven Associates along with Polk Stanley Wilcox Architects, the institution’s foundation has also launched a $60 million fundraising campaign for construction.
The new 50,000-square-foot museum will be located in Fort Smith, Arkansas, and will feature a collection of artifacts spread across three galleries exploring the 230-year history of the nation’s oldest law enforcement agency, a Hall of Honor for those killed in the line of duty, and a National Learning Center that will promote an understanding of constitutional democracy.
Peter Kuttner, president of Cambridge Seven Associates and principal architect for the museum, consciously blended history with modern sustainability in the design. The museum looks out over the Arkansas River, which used to serve as a border between the former colonies and what was known as the frontier at the time of the Marshals’ establishment in 1789. The scheme also incorporates photovoltaic panels and vegetative roofing along the building’s star-shaped design, which,along with its use of bronze, is reflective of the badges worn by marshals in earlier years.
From his research, Kuttner found that “there was no official badge manufacturer in Washington,” that “some were stamped on tin, some were cast, some [stars] had five points, some had six points,” and “when you buy souvenirs, they’re all different sizes and looks.”
For his inspiration for the star-shaped aesthetic, Kuttner looked to one of the last scenes in the movie High Noon, in which U.S. Marshal Will Kane tosses his badge to the ground. “It hits at an angle, with some of the points jutting out of the ground,” he said, explaining his approach to the museum as “low on the front, and high on the back.” The infamous High Noon drawing by former President Bill Clinton, who serves as honorary chair of the museum’s executive committee, still hangs in the Clinton Presidential Center in Little Rock, Arkansas, and served as “a great little connection” that got the committee on board, Kuttner said.
The facility is projected to cost $35.9 million, with $12.3 million in total exhibits, a $4 million endowment, nearly $3 million in contingencies, and $3.5 million for one-year operating expenses. Just over $29 million is listed in committed fundraising so far.
With almost half of the campaign target already secured, the museum still faces fundraising challenges. In a conversation with Talk Business & Politics, Jim Dunn, president of the U.S. Marshals Museum Foundation, cited the agency’s low profile, as well as the location of its future home in Fort Smith as specific points of tension. “Convincing donors to export large chunks of money to a distant and unknown community is difficult,” he said.
At present, the museum’s eight-member staff is working out of offices in Fort Smith, maintaining some 500 items that will eventually be used in the museum’s exhibitions. The museum staff is set to expand to 18–20 people upon opening.
With regard to the museum’s funding and the array of design elements, specifically the sustainable features, Kuttner expressed anxiety about its execution: “I’m crossing my fingers that those elements survive value-engineering,” he said.
In late October, the Dallas Holocaust and Human Rights Museum announced a series of steps to push a proposed new museum building into reality. With over two-thirds of funding secured, the museum launched a “Building a Foundation of Hope” capital campaign to raise the final portion of the $61 million budget needed to start construction.
The 50,000-square-foot structure will be built in Dallas’s West End neighborhood near Houston Street and the DART Rail corridor along Pacific Avenue. The property, which currently serves as a parking lot, will be transformed into a public building that will accommodate more than 200,000 visitors per year and nearly quadruple the amount of exhibition space that the museum currently boasts within its existing facility. “We are limited in the number of visitors we can see at one time, and many schools and thousands of students are not able to visit as their class sizes are too large for our current museum,” said Frank Risch who serves as the campaign co-chair for the new museum. “We have been forced to move many of our events to other venues.” The museum, awarded an Unbuilt Design Award by AIA Dallas in 2015, will take two years to complete from the start of construction.
The building, designed by Omniplan Architects, will serve as a vessel for remembering the Holocaust and its victims and will also extend the dialogue to human rights in modern America. “We need a place that allows us to have a discussion about what human rights, diversity, and respect for others mean for our city today,” said Dallas Mayor Mike Rawlings during the announcement of the capital campaign. Permanent exhibitions, under the direction of Michael Berenbaum, who served as the project director of the U.S. Holocaust Memorial Museum in Washington, D.C., will feature engaging galleries and content as well as expanded resources and archives. The designers seek to engage the public in a manner that creates individual experiences, allowing one to connect with the museum in a very personal way.
Beyond the physical and metric constraints that drove the concept, the Holocaust Museum will fulfill a message that has been understated in the community, especially in the context of recent attacks. “At a time when Texas leads the nation in the number of active hate groups, and the Dallas community is still healing from the July 7 attack on local law enforcement officers, the most violent and hateful act against law enforcement officers since 9/11, we believe the mission of the new Dallas Holocaust and Human Rights Museum is more important than ever,” said museum president and CEO Mary Pat Higgins.
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On September 30, LMN Architects revealed renderings for a planned $49 million expansion and renovation to the Seattle Art Museum’s (SAM) Asian Art Museum, the first time in the 83-year-old institution’s history that its flagship art moderne structure will be renovated.
The building, located in the city’s verdant Volunteer Park, was designed by Carl F. Gould of the architectural firm Bebb and Gould to house SAM’s original art collection. After SAM’s principal collection was relocated in 1991 to a downtown Seattle flagship designed by Venturi, Scott Brown and Associates, the 1933 building was rechristened as the Asian Art Museum. That move left the original Bebb and Gould building languishing, a product of a bygone era when buildings relied heavily on natural ventilation as a means of climate control and the needs of only a small portion of potential building occupants were considered. As a result, the structure lacks the sophisticated temperature and climate control systems typical for a world-class art institution and is out of compliance with Americans with Disability Act (ADA) legislation.
LMN’s renovations aim to fix those discrepancies and more by rebooting the structure through the addition of a new wing along the existing eastern side containing a 2,650-square-foot gallery for Southeast Asian art, a community meeting room, and a set of new office spaces. The renovation will also add teaching spaces and possibly an Asian art conservation studio. Importantly, the extension will be clad in expanses of glass and aims to increase the connections between the museum’s interior and its park setting.
Regarding the complicated renovation plans for the structure, Sam Miller, lead architect for the project at LMN, said, “On the renovation side, our goal is to be true to the original intent of the building and to transform the [Bebb and Gould structure] into a fully functioning, 21st-century museum while also being entirely respectful of the historic fabric and the design quality the building represents.” He added, “In another way, our work is to make sure you would never know we were there.”
New York–based art-world veterans Selldorf Architects will helm The Frick Collection’s enhancement of its existing Upper East Side Manhattan home, the Henry Clay Frick House. Selldorf was selected from 20 candidates after an 18-month review period.
The Frick’s road to expansion has been rocky. In June 2015, in the face of strong criticism from architects and preservationists, the museum abandoned plans to replace a gated garden with an historicist six-story tower by Davis Brody Bond. That added to a string of failed expansions (in 2001, 2005, and 2008) but the museum vowed to increase its exhibition space.
According to the Frick representatives, this latest round will work within the building’s existing footprint. The upgrades include converting a set of second-floor rooms to galleries, creating a new special gallery on the main floor, improving circulation and accessibility for those with physical disabilities, and installing new facilities dedicated to educational programming and conservation.
For now, the expansion is in its earliest stages. The configuration of the second-floor galleries and the placement of the new facilities haven’t been decided but more details will be revealed during winter 2017–2018.
Miami’s Villa Vizcaya, an Italian villa on Biscayne Bay built by industrialist and farm machinery magnate James Deering in 1914, has told the story of its creation since opening to the public in 1953. Although not fully completed until 1922, the museum-house recently celebrated its centennial.
A new master plan in the works for Vizcaya encompasses a substantial expansion and the reincorporation of various lost or forgotten elements of the estate, including a model farm, adjoining Italian farm village, and portions of the gardens that have been neglected and closed to the public for decades. For the first time since the heirs of Deering donated it to the public, Vizcaya will be able to tell substantial parts of its story almost lost to history.
In the estate’s formal gardens, a “marine garden,” unseen by the public since being damaged by Hurricane Andrew in 1992, has reopened, and a destroyed water garden, as well as a wide set of stairs that once led to a private beach, have been recently rediscovered. An exhibition of contemporary art on view at Vizcaya through October 2017 is also drawing attention to many more of these spaces, including the estate’s moat (now a dry chasm through a forested section of the grounds), and parts of the original gardens.
But perhaps the largest “missing” element of that story is the farm, which Vizcaya is reclaiming as its current occupant—the Patricia and Phillip Frost Museum of Science—moves downtown, and the Italian farm village. Vizcaya’s administrators are hoping to use the village, which still exists quite close to its original form, for a mixture of public programming, collections storage (including open storage), and offices. The master plan then proposes the demolition of the former science museum to restore the farm site as open green space.
The original farm will be partially reconstructed and a reforested area will act as a buffer zone between the estate and the neighboring homes. “One of the most important things is the arrival of visitors and how they move through the village,” said Remko Jansonius, Vizcaya’s deputy director of collections and curatorial affairs.