The Peabody Essex Museum (PEM) in Salem, Massachusetts has unveiled its Ennead Architects–designed expansion that it will build as part of a $650 million "Advancement Campaign." Along with $200 million for new facilities, the campaign allocates $350 toward its endowment, and $100 million to improve existing infrastructure on the museum's campus. Ennead's plan for PEM is based on original work created by Rick Mather, the celebrated architect who passed away in 2013. The expansion includes a new 40,000-square-foot, three-story wing for galleries that is slated to break ground in 2016 and open three years later. The museum is also constructing an 80,000-square-foot off-site building for the Collection Stewardship Center that is designed by Schwartz/Silver Architects and is also scheduled to open in 2019. "A design highlight of the expansion will be the renovation of the west facade of the museum’s founding structure, East India Marine Hall," said the museum in a statement. "This National Historic Landmark will be given renewed prominence with the creation of an adjacent two-story glass atrium that will offer fresh perspectives on this iconic building." PEM says it holds the "largest historic architecture collection among US art museums" noting that four of its 22 structures are National Historic Landmarks and another six are listed on the National Register of Historic Places.
Posts tagged with "Museums":
David Adjaye’s new Studio Museum in Harlem includes an “inverted stoop” to welcome in the neighborhood
David Adjaye is bringing another significant project to Upper Manhattan. Thirty blocks south of his $80 million affordable housing project in Sugar Hill, another notable building by the architect will rise: the new, 71,000-square-foot Studio Museum in Harlem. The conceptual design for the five-story building boosts gallery space by 50 percent over the museum's current 101-year-old structure which it will replace. The museum said the new building—with its mix of exhibition and archive space, artist-in-residency programs, and public programming—is intended to be a "living room" for Harlem. The building even has an "inverted stoop"—a clever name for a community-facing, multi-use performance space. Adjaye has also created exhibition spaces within the museum that are visible from the street. “This project is about pushing the museum typology to a new place and thinking about the display and reception of art in innovative ways," Adjaye said in a statement. "It is also about a powerful urban resonance—drawing on the architectural tropes of Harlem and celebrating the history and culture of this extraordinary neighborhood with a building that will be a beacon for a growing local, national and international audience.” The total cost of the project is $122 million, which is being partially covered by $35.3 million in appropriations from New York City Mayor Bill de Blasio’s Office, the City Council, and the Office of the Manhattan Borough President. The museum intends to present Adjaye's conceptual design to the Public Design Commission on July 14, and construction is currently scheduled to start in 2017.
Boston's Institute of Contemporary Art (ICA) is apparently getting a little too big for its Diller Scofidio + Renfro–designed home along the Boston Harbor. In May, the Boston Globe reported that nine years after moving into the DSR building, the ICA is considering taking over two floors of a 17-story office tower rising across the street for gallery space. The new glass tower is designed by Brennan Beer Gorman and part of a larger mixed-use development taking shape on Fan Pier. The ICA's new space would be connected to the existing building through a skybridge and allow the ICA to increase its gallery space by 19,000 square feet. The institute's director Jill Medvedow thinks the project would cost between $10–12 million. The existing museum, and its new space, would also fit within Boston's growing Innovation District, a 1,000-acre community with tech startups, art galleries, restaurants, and the like. "Building a beautiful new museum on Boston's waterfront was a catalytic moment, and over the past nine years we have welcomed over 2 million people to our museum," the ICA SAID in a statement. "In pursuing this vision, we strive to build on this success and provide our growing audiences with more, broader, and deeper experiences with the art and artists or our time." A representative from the ICA recently told AN the plan hasn't changed since the May Globe story, but we'll let you know as soon we get any more details.
Faceted facade evokes regenerative prairie burns.For most projects, admits VernerJohnson's Jonathan Kharfen, architects steer clear of evoking a potentially destructive force like fire. But Museum at Prairiefire, the American Museum of Natural History (AMNH) outpost in Overland Park, Kansas, proved an exception to the rule. Because Prairiefire houses AMNH's traveling exhibits, its content is constantly changing, and thus provided little guidance in terms of an overarching design concept. Kharfen instead looked to the location. "What is the area about?" he asked. "For me the first thing that came to mind were the prairie burns. Coming from Boston, I'd never seen anything like it." Using dynamic materials including dichroic glass and iridescent stainless steel, VernorJohnson crafted a faceted high performance envelope that embodies the color, movement, and regenerative power of fire. Not long after landing on the fire metaphor, said Kharfen, "I knew of a couple of materials that would be perfect, because for me it's all about movement and light." He began researching dichroic glass, a composite glass that changes colors depending on the angle of view. The museum's sustainability goals—the project is targeting LEED Silver—dictated that the material would double as an insulating unit, the first such application in the United States. But that presented an additional challenge, as products with the dichroic properties embedded in the glass itself would break the budget. To lower costs, the architects collaborated with fabricator Goldray Industries to design an assembly incorporating dichroic film from 3M. The solution turned out to be an aesthetic boon as well as a cost-cutter, as the film itself carries a flame-like pattern. "It's subtly dimply, it's animated, it's beautiful," said Kharfen. Kharfen's team paired the dichroic glass with a second shape-shifting material, Light Interference Coated (LIC) stainless steel, ultimately applying panels in a variety of color and finish combinations. "With the stainless steel, I wanted to create [the appearance of] flame bursts and sparks," explained Kharfen. "I didn't want to apply it in a random way." Instead, the architects arranged the panels in a gradient, with blue (near the bottom) giving way to burgundies and reds and finally to golden yellow. For Kharfen, it was not enough that the materials themselves convey a sense of life and movement. "I wanted them to be dynamic shapes, dynamic in plan as well as in elevation," he said. His solution—a faceted curtain wall—upped the project's technical ante. To avoid cluttering up the lobby space with columns, Kharfen worked with structural engineers Structural Engineering Associates to design a custom support system of stainless steel tubes fronted by angled mullions, to which the curtain wall is attached as a veneer. To accommodate the 14 unique angles involved in the faceting, curtain wall manufacturer Kawneer developed a new adjustable mullion, a hinged plate with a 180-degree range of movement. Given the museum's ever-changing content, the architects treated the exhibit spaces as "black boxes," said Kharfen. "For the solid areas I wanted to evoke the overlapping, curved forms of the hills." The client, Fred Merrill of Merrill Companies, loved the stonework at VernorJohnson's Flint Hills Discovery Center in Manhattan, Kansas, which suggests striated rock formations. "He asked, 'Can't we just do that here?'" recalled Kharfen. "I said, 'No, we're going to do something different.' I wanted a gradient." To cut costs and simplify installation, the architects whittled a more complex scheme down to a mix of two different stones in each band, with the bands varying in width. Again, the referent is fire: the walls begin with a charcoal-colored architectural cast stone before moving through Kansas limestone in shades of red, brown, gold, and off-white. Together, the stone-clad exhibit halls and the lobby curtain wall complete the picture of a prairie burn. "I wanted the fire elements to engulf and connect the solid volumes," said Kharfen. "I did them as lines of fire, because, historically, that's how these fires were set." But while the burn metaphor extends to every level of detail, including the flicker-flame-inspired sloping at the tops of the doors and windows, for the project architect the museum design ends where it began: with the primary materials. Speaking again of the dichroic glass, he concluded, "I cannot think of a material that looks more like fire than this glass."
Everyone's favorite canoe museum, the Canadian Canoe Museum in Ontario, Canada, is expanding. The museum has short-listed six firms to design its new facility at the Peterborough Lift Lock National Historic Site. The canoesuem (our word, not theirs) paddled its way through 90 submissions before settling on the finalists which come from Canada, the United States, and Ireland. The Peterborough Examiner reported that Richard Tucker, the canoesuem's executive director, wants the firms to team up with local architects who can make site visits and meet with local officials. Drawings are due on August 11, and a winner will be announced in the fall. The finalists are Kohn Pedersen Fox from New York City; Heneghan Peng Architects from Dublin; 5468796 Architecture from Winnipeg; as well as three teams—Bing Thom Architects from Vancouver and Lett Architects from Peterborough; Provencher_Roy from Montreal and NORR from Toronto; and Patkau Architects from Vancouver and Brook McIlroy from Toronto.
Starchitect Renzo Piano has vowed to soldier on with mega-sized plans for a Jurassica Resort on England's island of Portland in the English Channel, despite being denied a $24.5 million bid for Heritage Lottery Funding (HLF). “The project is now continuing into development without an HLF development grant,” a spokesman for the project told Architect’s Journal. Jurassica’s backers said they will re-apply for the grant and are not acquiescing to appeals for a downsize. The brainchild of science journalist Mike Hanion, Jurassica Resort will be the world’s largest immersive prehistoric environment. Although designed with a museum’s vital organs, the facility itself is essentially a limestone quarry 132 feet-deep beneath a translucent glass roof supported by the quarry walls. The building itself is designed to be “more or less invisible.” Beneath the glass is a Jurassic-period coastal cove, where visitors will walk beneath towering cliffs, sea-stacks and arches covered in exotic trees, past a living reef festooned with corals and patrolled by sharks and stingray. Those with the tenacity can venture into a forested ravine where the “dinosaurs” rove. Animatronic dinosaur displays, an aquarium, and swimming plesiosaurs are just a few of the promised wonders. The subterranean dinosaur museum will be located on Dorset’s Jurassic coast, a UNESCO World Heritage Site comprising a 95-mile stretch of cliff distilling 180 million years of geological history. “We will pick a specific period in prehistory and everything you see will be both realistic and an accurate representation of the plants and animals that were alive during that time,” said David Lazenby, Creative Director of Azureus Design, on board for the exhibit design. “The Jurassic Cove will not be a theme park display but a spectacular and precise snapshot in time that will bring the heritage of the Jurassic Coast to life.” Hanion believes the park could draw 800,000 visitors regularly and employ approximately 200 people. Yearly revenue of $30.3 million for the local economy has also been estimated. Project managers are intent on securing alternative funding, with the goal of opening Jurassica Resort by 2019 or 2020. “At £16 million ($24.5 million), public funds from HLF were always only part of our funding strategy for a project costing some £80 million (around $122.6 million),” said the spokesman. “We have applied to and will apply to scientific trusts and other grant-giving bodies both in the UK and overseas, and have already attracted financial support from business and HNWI based locally and nationally.”
Tokyo-based architecture firm SANAA has won an international competition to design a new modern wing for the Art Gallery of New South Wales in Sydney, Australia. The firm beat out the likes of David Chipperfield, Renzo Piano, and Herzog & de Meuron for the commission, know as the "Sydney Modern Project." https://www.youtube.com/watch?v=_sNbYB-YYak The $450 million scheme includes the creation of an entirely new building comprising three grass-topped pavilions set on existing parkland. This will double the size of the existing gallery. “We proposed making a number of plates, each containing a gallery,” SANAA's Kazuyo Sejima told ArchitectureAU. “The plates sit along the topography. So every plate has a slightly different relationship to nature.” SANAA will also be implementing strategies to increase daylight within the gallery's current 19th century home. Those involved in the selection process praised SANAA's scheme for the way it subtly adds to the gallery without dominating its existing building or the adjacent open space. SANAA's design will be refined over the next year, and is slated to be completed in 2021—just in time for the gallery's 150th birthday.
When hackers broke into Sony Pictures Entertainment’s email server in November 2014 and released stolen messages, the first stories to come out were Hollywood fodder. But buried inside the glut of toxic gossip, star salaries, and Emma Stone’s junior high school pictures are emails that tie together Sony CEO Michael Lynton, Los Angeles County Museum of Art (LACMA) director Michael Govan, LA County Supervisor Mark Ridley-Thomas, and Peter Zumthor’s proposed design for the LACMA campus. In stories by ProPublica and the Los Angeles Times reporters reviewed the hacked messages and found that Lynton, a member of LACMA’s board of trustees, directed a $25,000 Sony contribution to a state super PAC—the African American Voter Registration, Education, and Participation Project founded by Ridley-Thomas—in exchange for a key vote on LACMA’s future. According to ProPublica, records and interviews show that although the contribution was made and publicly disclosed after the election, it was promised prior to a major county supervisors vote in November 2014 that backed $125 million dollars in public funds for the museum expansion, the construction of which is estimated at well over $600 million dollars. Ridley-Thomas represents the city’s Second District, an area that covers much of South Los Angeles, including Watts and Compton. The northern edge of the district runs along the south side of Wilshire and Museum Mile. Govan considered the supervisor’s vote pivotal because a portion of the museum crossed into his district. Zumthor’s scheme bridges to the south side of Wilshire Boulevard, ostensibly to avoid disturbing the La Brea Tar Pits and to provide better Metro subway access. Plans for the south side include a high-rise tower. In a July 2014 interview, Govan touted the design of the bridge and tower as essential for increased density and the creation of a cultural corridor along Wilshire. As for an architect for the skyscraper he said, “My dream would be Frank Gehry, it’s as simple as that.” To date, no proposals for such a partnership has come to light. ProPublica and LA Times reports track internal emails between Lynton and Ridley-Thomas’s aides that lead to a luncheon meeting between the CEO and the supervisor. Learning of this meeting, Govan took the opportunity to have trustee Lynton lobby for Board of Supervisor support. A July 17 email from Sony executive Keith E. Weaver spells out the reasons for advancing the proposal in a series of bullet points. One states that the new design crosses in to Ridley-Thomas's district, another ambitiously proposes that “this will be the most significant cultural building built in the US in the coming decade,” while a third point is more strategically ominous: “[T]he buildings are really in need of repair (like the Music Center), and if we don't get going on this, LA could find itself with its museum closed in 2023 while the new subway stop opens (and there's even talk of an Olympic bid).” According to ProPublica and the LA Times, it is this luncheon that initiated the flow of money from Sony to the PAC and influenced the supervisor’s important vote on the museum. ProPublica wrote:
At the lunch, Ridley-Thomas requested the contribution from Sony, according to his chief deputy. In September, the money landed in the coffers of the political action committee he founded to promote candidates and causes such as African-American voter registration. And two months after that, Ridley-Thomas voted for the museum project. All parties involved insist there was no connection between the contribution – far and away Sony's largest in California that year – and the supervisor's vote. Such a link could be a violation of campaign finance law.On November 4, 2014, the museum director sent a post-supervisor’s vote message to Lyndon commenting on a note he received from Ridley-Thomas. “Just got an email from MRT,” he wrote. “I think we're good!” It is uncertain how these email revelations will impact the future of the museum’s redesign. The Architect’s Newspaper reached out to Govan for a comment about the relationship between the vote and Sony’s contribution to the PAC. He responded, “There isn't any tie there.”
The new Whitney Museum of American Art is opening on Friday, May 1. (Get your sneak peek inside the museum over here!) But a whopping 28,000 ton museum isn't the only thing Renzo Piano has up his sleeve—he's also designed the must-have fashion accessory with which to be seen browsing art at Manhattan's newest Meatpacking District hotspot. Behold, the "Whitney Bag." The handbag was officially unveiled last week at a star-studded event atop the Standard hotel, which features sweeping views of the new Whitney. The limited edition bag is being launched in conjunction with the opening of the museum, and Renzo Piano collaborated on the bag's design with MaxMara creative director Ian Griffiths. Staying true to his design ethos, Piano's first handbag features clean lines and distinct detailing. In an interview with MaxMara, Piano said the purse design is directly linked to the building. "The initial idea was very clear right from the start: our aim was to apply one of the most characteristic elements of the museum project – the facade—to the bag: hence the idea of the modular strips enveloping the exterior," Piano said. Griffiths told NY Mag's The Cut blog at the launch, "I just hope that in 20 years' time, the bag is as much of an icon as this building." Piano added that the Whitney Bag would likely remain his only handbag design. "This is our first such experience, and I believe it will remain the only one," he said. "We decided to take up the proposal by Max Mara because it was closely connected to the Whitney Museum of American Art and its upcoming opening to the public, and also with the intention of dedicating the profits to the Renzo Piano Foundation to finance its cultural and educational projects." The Whitney Bag will be available in two sizes and four colors, but only 250 of the signature grey-blue bag inspired by the color of the museum are being made (and are reportedly sold out).
On May 1, the southern terminus of the High Line will have a true anchor tenant. Renzo Piano's towering new Whitney Museum for American Art will throw open its glass doors—or at least unlock the revolving ones—as tourists and eager New Yorkers alike throng in for a look around the highly anticipated gallery spaces. Until then, here's a peek at the the museum, inside and out, from a press junket on Thursday. Inside, a lobby space clad on three sides in a crystal-clear glass curtain wall fills the museum with natural light. The museum's restaurant, Untitled, and its gift store flow seamlessly through the space. Elevators whisk visitors to the galleries above. At the top, a series of skylights diffuse light into gallery spaces and a large outdoor terrace extends from another cafe. A series of highly detailed catwalks provides views of the High Line, New York's skyline, and the museum itself. The overlapping outdoor spaces connected by stairways will surely be a highlight of many high-design soirees in years to come. Moving through the galleries, the museum's white walls and grey metal grids are contrasted with a light natural wood floor. An internal stairway featuring a waterfall of cascading light bulbs guides visitors down through the museum. Take a look at the gallery below for a look of AN's tour through the Whitney on Thursday. Watch for your next print issue of The Architect's Newspaper, where we'll publish our full critique of the museum and delve into its history. [All images by Branden Klayko / AN.]
Near the end of last year, the Guggenheim Foundation announced the six finalists in its global competition to design its new campus in Helsinki. That open call for ideas attracted more than 1,700 submissions that, when compiled together, created a dizzying array of architectural eye-candy. The basic idea behind the foundation’s unprecedented competition was to find an iconic, tourist-attracting design like Frank Gehry’s metallic creation in Bilbao. While the short-listed proposals are still only known by a number, the six firms vying for the career-changing commission have been made public; they are AGPS Architecture (Zurich, Los Angeles), Asif Khan (London), Fake Industries Architectural Agonism (New York, Barcelona, Sydney), Haas Cook Zemmrich STUDIO2050 (Stuttgart), Moreau Kusunoki Architect (Paris), and SMAR Architecture Studio (Madrid, Western Australia). In the months since that announcement, these teams have been finalizing their schemes - and now the Guggenheim has unveiled new details and renderings for each one. The competition jury has also announced its 15 honorable mentions, along with the firms behind them. Members of the public will be able to interact with all of the designs at a Guggenheim-sponsored exhibit that opens this Saturday in Helsinki. Following the exhibit, the jury will select a winner, to be announced on June 23 – one year after the competition was launched. If you can’t make it to Helsinki for the exhibit, we’ve got the finalists, and the honorable mentions, right here.
From the architects: "The design of the Guggenheim Helsinki and its woven landscape are based upon a sensitive and sympathetic approach to the context and nature of Helsinki. The fragmental design encourages people to flow within a new cultural core that is linked to the rest of the city, through the port promenade and the pedestrian footbridge to Tahtitorninvuori Park. This flexible access welcomes not only the visitors but also serves as a key cultural destination for the community."GH-1128435973
From the architects: "The project proposes two facilities that establish a dialog with each other – a museum made of two museums. The first museum is on the ground or tarmac level of the port facility. The existing terminal is re-used and re-appropriated for multiple activities. It is conceived as a public space, extending the pedestrian boardwalk into the building – a place for education and outreach within the city. The second museum is the museum as such, in so far as it houses exhibitions. The structure is in the air and hovers above the first. As a hall on stilts, partly removed from the everyday life below, the building offers a place of refuge, adhering to the notion of the museum as an 'other space.'"SUBMISSION GH-5059206475
From the architects: "31 Rooms reuses the laminated wood structure of the existing Makasiini terminal to rebuild a wooden volume that follows the exact geometry of the original building. The rest of the massing respects the maximum height of the old terminal and reproduce its profile ensuring that the current views from the park and the adjacent buildings are preserved."GH-5631681770
From the architects: "We propose a Strategy that could offer back to the City of Helsinki an Extra Space at no additional cost. An added value for the City that transcends traditional Exhibition Spaces. We propose an Interior Street, an additional un-programmed space, which is not included in the original brief, that open the building up to citizen’s appropriation, and allow it to remain structurally relevant through the present and well into the future. The Interior Street, an Extra City Space, proposes a set of Unique Spaces that contains an almost unlimited number of conditions and situations that Public Space could offer to present, to study, (re) contextualize, or even provoke the people that enters it, whatever form it takes."
From the architects: "Adorning the waters edge. A cluster of slender timber towers provides a stunning addition to the city skyline. The sculptural form lends the Guggenheim a „Beacon-like“ appearance, attracting visitors arriving by land or sea. A majestic public place in the city. The towers are gathered around a soaring catheral-like central space, providing a unique home for public events on the waterfront."GH-121371443
From the architects: "Our proposal takes the form of a Helsinki city block rotated to the harbour front. Helsinki city blocks in the 1800s were named after wild animals. The proposed new block will have the tactile familiarity of a pet’s fur. Six timber-clad galleries are stacked over two levels and flanked by a seventh for administration and retail. Public spaces are formed between these and an intelligent textured glass skin wrapping the entirety to precisely diffuse light, translucent below, and transparent above."The Honorable Mentions
Should you be looking for yet another reason to add Milan to your architectural travel itinerary, the Prada Foundation is scheduled to open its many doors to the public on May 9. Designed by Rem Koolhaas/OMA, the campus—part new construction, part rehabbed structures—will include 120,000 square feet of exhibition space, a theater, a children's area, a restaurant, and library. "It is surprising that despite the enormous expansion of art media, the number of typologies for the display of art remains limited," commented Koolhaas on his website. "It seems that art's apotheosis is unfolding in an increasingly limited repertoire of spatial conditions: The gallery (white, abstract, and neutral), the industrial space (attractive because of its predictable conditions which are meant to remain neutral when juxtaposed with any artwork), the contemporary art museum (a barely disguised version of the department store), and the purgatory of the art fair." The Prada Foundation is located in a former distillery at Largo Isarco, an industrial complex dating from 1910 that comprises seven existing buildings, including a warehouse, laboratories, and brewing silos surrounded by a large courtyard. OMA inserted three new structures into the site: a museum for temporary exhibitions, a transformable cinema building, and a ten-story gallery tower. Opening exhibits will draw on the holdings of the Prada Collection (which is heavy on 20th century and contemporary art) and works on loan from museums around the world. Projects commissioned for the occasion are also on the program; Robert Gober and Thomas Demand have created site-specific installations that engage the old and new architectures, and Roman Polanski has produced a documentary film that explores his cinematographic inspirations. [via NY Times.]