Posts tagged with "SFMOMA":
The first solo exhibition in the United States of Japanese photographer Sohei Nishino’s work is currently on view at San Francisco Museum of Modern Art (SFMOMA) in New Work: Sohei Nishino. The exhibition presents a new collection of work in the photographer’s Diorama Maps photograph series. Each of the works depicts a different city explosively photographed by Nishino to be seen from above as a type of meticulously collaged and abstracted aerial view. To arrive at this final image, the artist spends months walking a city and snapping photographs that are printed and assembled by hand into a giant collage. That collage is then digitized and finally printed as a large-scale digital photograph. The high-resolution images in New Work: Sohei Nishino feature scenes from Rio de Janeiro, Brazil; London; Havana; and a view of San Francisco made specifically for the exhibition.
New Work: Sohei Nishino San Francisco Museum of Modern Art 151 Third Street, San Francisco Through February 26, 2017
San Francisco–based Aidlin Darling Design (ADD) and three-starred Michelin chef Corey Lee have teamed up for In Situ, a new 150-seat restaurant located within the original Mario Botta–designed portion of the San Francisco Museum of Modern Art that was recently expanded by Snøhetta.
The restaurant is designed as an alternate-dimension art museum, where “borrowed” dishes on loan from the kitchens of the world’s most renowned chefs make up the menu, meticulously recreated by Lee’s team. And so, ADD has rendered an intentionally spare interior made of mostly-found surfaces, with many of the existing, roughed-out textures of the extant space remaining—some polished, some raw. Other interior elements, inserted neatly into that rough, gray box, act as bespoke elements: a sculptural timber ceiling, custom-made tables hewn from raw logs, and delicate bar stools and lounge chairs. Site-specific artworks are also scattered around the restaurant, which is lit from one side by a large storefront window opening onto Third Street.
The space is divided into two dining areas. The first, a large, informal dining room, is populated by bar-top and communal tables, is capped by the sculptural timber ceiling. Its surface is made up of delicately jagged and parallel wooden boards and extends across both dining rooms, alternating between various degrees of geometric relief. Further into the space, the second, more formal dining room is made up of intimate seating areas.
[In Situ also won our 2016 Best of Design Award for Interior > Retail/Hospitality. Click here to learn more!]
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In 1995, as Mario Botta’s brand new San Francisco Museum of Art debuted, critic Pilar Viladas wrote an article for the Los Angeles Times, “San Francisco’s MOMA Moment: Mario Botta designed an interior that is sublime. But what happened to the rest of the new museum?” A similar question has been on architecture critics’ minds since Snøhetta’s $305 million expansion to Botta’s original opened to the press on April 28.
The original building was designed as an outpost for culture in a downtrodden area, a muscle man for the artistically curious. Now, billions are pouring into the area with a regional transit center, 5.4-acre elevated park, and new highrise neighborhood planned adjacent to the museum. And so, SFMOMA is evolving to reflect downtown San Francisco’s new inflection point. Interestingly, SFMOMA’s board of directors has done what those of other major national museums like New York City’s Whitney, the Museum of Modern Art, and Los Angeles’s LACMA have not: Drastically expand and reorganize gallery space without demolishing their existing museum or having to relocate to an entirely new building. Snøhetta was tasked with constructing a real building, whereas OMA and Michael Graves Architecture merely proposed similar ideas in their respective Whitney proposals decades ago. But if Viladas’s assertion that Botta’s original was ugly on the outside was proven ultimately false—San Franciscans seem to love the original SFMOMA through and through—Snøhetta’s expansion begs a new, complicated question: What happened to the rest of the old museum?
Snøhetta’s point of view in that regard is a standard one: Emphasize the existing through opposition. The 235,000-square-foot expansion grows out of the original structure’s backside and then rises ten stories above. By filling the narrow site to capacity and adding a new entrance along Howard Street, the architects greatly expanded the program’s public areas. Like in the original museum, the first three floors will be free to the public, a group that now includes all San Franciscans aged 18 and under.
This new entry features a maze of interlocking double height spaces, including a wood-clad amphitheater overlooking a pair of Richard Serra’s Sequence sculptures. The new amphitheater and Botta’s existing monumental rotunda meet at the second floor, creating “a living room for San Francisco,” as Craig Dykers, principal of Snøhetta, relayed during a guided tour. The proportions of this new “living room” are more intimate in nature than Botta’s proud entry. Snøhetta has retooled that existing entry by replacing the original oversize white switchback stairway with a low-slung wood one. Drawing comparisons to the firm’s prior Oslo Operahuset where the plane of the roof is sloped to allow pedestrian access from surrounding streets, Dykers said, “You feel ownership over a space when you can walk on the roof.” That’s a funny way to describe being on the second floor of a ten-story building, but what Snøhetta really did is bring the street indoors by luring up pedestrians from a variety of approaches.
The third floor contains dedicated photography galleries as well as a buzzing coffee shop. A large grow wall and outdoor Calder plaza flank this floor’s entry landing, creating a cool and shaded space teeming with growing things and art objects that grants museumgoers their first real glance at the museum’s icy east facade. From there up, gallery spaces stack neatly and predictably, joined for two floors by existing galleries in the Botta building.
The remaining floors above are accessed by a maze of single-run and increasingly narrow blonde wood staircases Dykers likens to those in a private home. The simultaneously jagged and swoopy perimeters of the staircases are offset by minimalist detailing. Treads, framed by Alvar Aalto-inspired hand rails, are embedded in the wall at the curved side only to pull away from it again in a reveal along the angular boundary. At your feet, singular lengths of stained planks mark the beginning and end of each stair run. “Everything your body touches is made of wood,” Lara Kaufman, project architect for the expansion, explained of the “floating,” ergonomic design of the galleries’ wood floors.
The galleries themselves are obsessive in their minimalist articulation. Dykers said outlets, return air grilles, and lighting subconsciously distract the art viewer and that the firm’s goal was to disappear these components in the gallery spaces. The team was also careful to position overhead lighting in specially calibrated vaulting that complements the galleries’ eastward-facing glazing.
The “contemporary” gallery on the seventh floor showcases recent work in a space with exposed ductwork and framing above the exhibition walls. The three floors above it are dedicated to staff offices.
Ultimately, Snøhetta’s team has made an unambiguous and honest effort to address the complicated calculus involved in adding onto a beloved art institution in a dense urban environment. As with the original structure, only time will tell how San Francisco takes to its new modern art museum.
San Franciscans have already marked their calendars for the May 14 opening of in downtown San Francisco. The 1995 striated-brick building is being greatly expanded and reorganized in a scheme that triples the museum’s exhibition space while adding a new main entry along Howard Street. The project was developed as a public-private partnership with the Doris and Donald Fisher Collection, which agreed to display works from its private collection at SFMOMA for the next 100 years.
The 10-story, 235,000-square-foot expansion by the Norwegian firm is set back from the Botta structure, adding a funny hat to an already funnily hatted building. Craig Dykers, co-founding partner of Snøhetta, said in a statement that he wanted the new addition to “rise like a continuation of the [original building’s] terraces, even while offering a new image that reflects the Bay Area’s natural setting.” New and old meet at a two-foot-wide seismic joint separating the two structures so that in the event of California’s next “Big One,” each building will be able to jostle independently, minimizing damage.
The new, rectangular structure meets the narrower Botta building along an entire facade, running across the block’s full width, from Minna Street to Howard. The latter entrance is flanked by a two-story grow wall containing 16,000 plants that runs along an interior courtyard resulting from the main building’s stepped facade. Maple-surface amphitheater seating and Richard Serra’s monumental Sequence sculpture are located on the ground floor and adjacent to this courtyard. These features help pull the public into the museum’s first two floors, which will be free to all.
The addition’s facade is clad in 700 custom fiberglass reinforced polymer (FRP) panels that project from the curtain wall. These panels are rumpled horizontally, creating an articulated facade that folds in and out of the ascending mass. Panels incorporate silicate crystals taken from nearby Monterey Bay in order to dapple light along this east-facing exposure.
The remaining entrance along Third Street leads to the original building’s giant, oculus-topped atrium. Here, Botta’s grand staircase, no longer up to code, has been completely removed, allowing the oculus to fill the massive hall with light. This begs the question: with the impending opening of what will be the country’s biggest modern art museum, is it morning in San Francisco?