After inviting several architecture firms to participate in a design charrette this summer, the Peabody Essex Museum (PEM) in Salem, Massachusetts has selected Ennead Architects to design the museum's ambitious 175,000-square-foot expansion. This $200 million project will include new galleries, public program and education spaces, conservation and exhibition processing areas, and a restaurant. "Ennead Architects impressed us with their creative dexterity, in-depth understanding of our institution and thoughtful design solutions for the museum's complex architectural program. We celebrate their responsive, collaborative spirit and look forward to partnering with them to achieve a design that provides a superlative museum experience," said Dan Monroe, PEM's Rose-Marie and Eijk van Otterloo Director and CEO, in a statement. PEM initially chose London-based Rick Mather Architects to undertake the entire expansion project. The firm completed the first phase, including the master planning and renovation of the Dodge wing, but when founder and principal Rick Mather passed away this past spring, the museum decided to consider other firms. According to Boston.com, PEM cited the intimate size of the firm (15 architects) and Mather's "intense involvement" in the project as factors for the switch. Ennead, which employs over 100 architects, offers substantial museum experience. The firm recently wrapped up its expansion of the Yale University Art Gallery last winter, and has also cuts its teeth working on a number of other projects, such as the Brooklyn Museum, Natural History Museum of Utah, William J. Clinton Presidential Center, and the Rose Center for Earth and Space at the American Museum of Natural History. "PEM's expansion presents an exciting design challenge and an opportunity to reimagine one of the oldest and fastest growing museums in the country," said Ennead design partner Richard Olcott in a statement. This marks the second major building project that the museum has embarked on in the last ten years. Architect Moshe Safdie designed a $100 million glass and brick building expansion and renovation in 2003. The museum plans on breaking ground in 2015, and anticipates that the new wing will be unveiled in 2019. The Mathers-designed Dodge wing will reopen this October along with the revamped Art & Nature Center.
Posts tagged with "Yale University Art Gallery":
Few university art museums have holdings that span from 3000-year old Chinese bronze vessels to bronze coins of the Roman emperor Marcus Aurelius, and from the blue-tiled gates of ancient Babylon to Blam, a red, white, and blue oil painting by Roy Lichtenstein. The collections of the Yale University Art Gallery, both deep and wide-ranging, offer up an impressive art-fueled time machine, and thanks to the Gallery's current expansion project by Ennead, visitors will be able to travel more easily than ever across history and cultures. The updated Gallery, three buildings that Ennead has carefully stitched together as one, is itself a kind of timeline that reflects Yale's architectural history: Street Hall from 1866, described by its architect Peter B. Wight (channeling John Ruskin) as "Veronese Gothic," was most recently home to the art history department; over 50 years later Egerton Swartwout created an enclosed bridge that linked Street Hall to his 1928 neo-Gothic museum (the "Old" Yale Art Gallery), built just across the road; and next door in 1953 Louis Kahn completed one of his first major commissions, a five-story museum building with striking ceilings of concrete tetrahedron coffers, whose first floor now serves as the expanded museum's main entrance. Though the youngest of the three, Kahn's building was the first up for renovation, a job Ennead (then Polshek) took on in 2006. At a recent press preview of the Gallery, Ennead partner Duncan Hazard diplomatically commented that "Kahn was figuring it out as he went along." (Over time sweating steel walls necessitated interior gutters, which, needless to say, didn't help achieve a constant 70 degree/50 percent humidity standard museum climate.) In the recent renovations of Swartwout and Street, Ennead took care to use storm windows to help with climate control, but these panes are recessed in the thick stone walls, which aids in maintaining the original look of the windows from the exterior. Inside, warrens of makeshift offices were removed to restore the buildings' generous rooms, and a surprisingly spectacular glass elevator was installed to connect the floors above with an extensive new education center at the basement level. At the top of Swartwout, Ennead added a floor and a half, which will provide space for temporary exhibitions and a dedicated study gallery, where every semester professors can request art to be displayed for use in their courses. The new addition is pulled back from the original facade to create a terrace with panoramic views of New Haven and is the new home of several large-scale sculptures, including a Henry Moore. The expanded Gallery, which will open in December and tally almost 65,000 square feet, is free and open to the public, but its primary audience is students, and with the new space Yale hopes to instill an appreciation for art that will last a lifetime. If Yale generates even more art aficionados, a further expansion may be on the distant horizon: donors, many of them alumni, have given the museum 15,000 new works of art just since the renovation project began.