VSB’s design, unlike that of the proposed expansion, arises from careful study and understanding of La Jolla’s urban form. Its street frontage, museum store, and cafe extend the rhythm of Prospect Street’s lively storefronts, celebrating the museum’s location in the village commercial center and drawing visitors toward the building. At the entrance, visitors then encounter an urbane courtyard that fronts the museum’s Irving Gill-designed Scripps House: it invites them to rest for a moment, enjoy Gill’s architecture, have a coffee, and then enter the museum. This well-loved urban space is now threatened by the museum’s expansion plan. The plan, drawn up by New York-based Selldorf Architects, would tear down much of VSB’s facade as well as their dramatic colonnade—interrupting the urbane rhythm of the street and destroying the courtyard. And it would move the museum’s entry to a formulaic glass lobby that thumbs its nose at Gill’s architecture. Demolishing the colonnade is billed as a way of making the house more visible—but actually, it would prevent visitors from experiencing it in the way Gill intended: from the intimate, pedestrian-scaled space in front of it. And it would destroy the sense of enclosure that VSB created for the adjacent town green formed by a group of surrounding Gill-designed buildings. The new plan is a slap in the face to Gill: to the composition of the group as a whole and in particular to the Scripps House, which without the colonnade would be left looking small and insubstantial, overshadowed by the museum’s later additions.The petition implores the museum to “come up with a plan for expansion that is sensitive and respectful to the village of La Jolla” as well as the VSBA designs and references the recent landmarking of VSBA’s Sainsbury Wing at the National Gallery in London as an appropriate way of acknowledging VSBA’s work in San Diego. For now, MCA’s plans are moving full-steam ahead. The museum has been closed since last year and groundbreaking is scheduled for this fall. The project is fully-entitled and construction documents are currently in development. Worse yet to Scott Brown’s efforts, removal of existing sections has already begun. One of the VSBA-designed pergolas was removed a few weeks ago and was transferred to a new privately-held parklet being planned by the La Jolla Historical Society. Explaining the rationale behind moving the pergola structure, Heath Fox, executive director of the La Jolla Historical Society told AN, “I happen to be a person who appreciates postmodern architecture and envisioned an opportunity to save the VSBA pergolas as a piece of new garden.” Fox added, “The park will add an important piece of history to the neighborhood and will keep the pergola in the Scripps community.”
Posts tagged with "Venturi Scott Brown":
Unpacking Selldorf Architects’ controversial addition to Venturi Scott Brown’s Museum of Contemporary Art
A compromise does seem possible. Earlier this year, value engineering eliminated one of the best features of Selldorf’s proposal: translucent skylights above the new galleries and converted auditorium. Why not bring them back by saving money on the new atrium and entry sequence? The worrisome proposed circulation would be improved, as would Selldorf’s own galleries. The Axline Court would retain its function as the hub around which the various other parts of the museum are clustered, and the Gill house would remain at the museum’s visual and circulatory heart.
Such a renovation would recognize a key thing: that effective renovations must be a labor of love. They cannot arise from a dislike of what was there before. If the new addition struggles against the Gill and Venturi Scott Brown buildings, if it chooses not to understand or engage with them, then no one will win—not Selldorf, not the museum, and certainly not the village of La Jolla. The rare vitality achieved in the current building will not be easily recovered.A shortened version of this story appeared in AN’s June print issue. This story has been updated to reflect new information.
We think it is architecturally tragic: it is a very significant house. We enjoyed making it a Modernist box with views toward the sea via windows and a roof terrace, and with a big sign: "9". We loved that by accident the round window works as a halo to the neighbor's religious statue, and we loved working with wonderful, understanding clients.Early on the morning after the discussion, the public is invited to Pier 17 between 7 am and 9 am, to watch the house cruise down the river toward its future habitat. Thirteen cameras, including a heli-cam, will be filming the move as part of a documentary on the house being produced by Jim Venturi.