In light of recent reporting by @hyperallergic & protests by @decolonize_this & others, our invitation to the 2019 #WhitneyBiennial has become a challenge which unites the political & cultural dimensions of our practice. We will respond through our contribution. https://t.co/1nNG9t4QaR— Forensic Architecture (@ForensicArchi) February 27, 2019
Posts tagged with "Whitney Museum":
Complicating the sculpture’s installation has been the Hudson River Park Act, which established the Hudson River Park Trust’s stewardship of the waterfront and environmental protections for the river. Now, after the passage of legislation by New York State Senator Brad Hoylman yesterday (S8044A), the Hudson River Park Act has been amended to allow Day’s End to rise after all. While the Whitney will construct the stainless-steel sculpture offsite over a period of eight to 10 months and maintain the piece, the museum will be required to donate the sculpture to the Hudson River Park Trust under S8044A. While there are still regulatory hurdles to get over, Day’s End recently cleared a vote in the State Assembly and is likely to breeze to fabrication.
I'm excited to have passed legislation (S8044A) in the NY Senate today to permit a great public artwork by David Hammons to be constructed at Pier 52 off @HudsonRiverPark in collaboration with @whitneymuseum! @artsy @ARTnewsmag @DeborahJGlick https://t.co/UGpV08edYH— Senator Brad Hoylman🌊 (@bradhoylman) June 6, 2018
When the new Whitney Museum of American Art opened on Manhattan’s West Side a little over a year ago, critical reactions were mixed. Like the majority of contemporary commentary, much of the critique was aimed at the outside of the building. There was also praise for an interior that defers to the art and a bit of positivity about the views. Some gushed about how daring it was for a building to physically engage with its surroundings at ground level.
However, a year after the initial “wait and see,” it is time to call the Renzo Piano–designed Whitney building what it really is: An architectural tourist trap. It is the conceptual built equivalent of Guy’s American Kitchen and Bar (GAKB) in Times Square.
What does a tourist trap do? Like any good tourist trap, the Whitney relies too much on its surroundings. The site at the apex of the High Line along the Hudson River is one of the best in the city. An architect would have to try hard to not have great views. Putting a few couches along floor-to-ceiling windows is not a world-class experience—most locals can get sixth-floor views from a friend’s roof or balcony. Like GAKB in Times Square, the Whitney has such a good location for its purpose that it doesn’t actually need to do anything to attract visitors. It is just there, housing an awkward collection of early modern art—good Hoppers and mediocre Ruschas.
Because it is a tourist trap, it also doesn’t need to inspire anyone to come back. What about this museum makes us want to visit again? We come for Piano, much like diners come for Guy. At GAKB, there is not decadent, diner-inspired food, only limp lettuce and uninspiring Caesar dressing. At the Whitney, where are Piano’s poetic details? Where is the tectonic novelty? What happened to the inventive, integrated systems and materials? The Whitney is all of the bad things about Piano’s work: It is washed-out and soulless, without any of the Piano magic. How can we connect to it?
The outdoor spaces seem arbitrarily proportioned and like afterthoughts. We might find the under-designed railings at an institutional building or a second-rate theme park. The oft-heard excuse is that this is part of the industrial heritage of the site, and is meant to evoke being on a fire escape. Yes, beloved industrial buildings and fire escapes have fine characteristics—materiality, the patina and layers of time, spatial experiences with compression, release, and difficult corners, and odd juxtapositions of railings and stairs—the Whitney has none of these. Instead, it is all out of scale, sterile, and unengaging.
The tourist trap analogy is not one of immediate political context. Yes, many of the visitors to the Whitney are tourists. But the point is that the building has nothing to offer beyond its celebrity status.
Deferring to the art is not an excuse. What if the Four Seasons had “deferred” to the food? What if the Ford Foundation had “deferred” to people working? An off-the-shelf metal shed can do a fine job protecting farm equipment, but isn’t the landscape better off with some actual design? The condos on the Williamsburg waterfront are amazing places to hang out, cook, and enjoy the views. It doesn’t mean they are great architecture.
Connecting with the city and functioning properly should be baseline requirements of a building, not something to hold up as great architecture. We should demand more exciting design and value it as part of the gesamtkunstwerk of a museum: art, architecture, and city in harmony to create a place, as well as an experience. Manhattan already has a problem with stale homogeneity; we need to demand that architects and clients not contribute to it. After all, no one ever said it was form or function.