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Thread: Whitney Museum of American Art expansion - by Renzo Piano

  1. #121

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    for actual clients that they have
    .

  2. #122

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    I suppose it's easy to trash another architect's work with a design that isn't confined by the reality of a budget.

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  4. #124
    NYC Aficionado from Oz Merry's Avatar
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    Groundbreaking Slated for New Whitney

    By ERICA ORDEN

    Groundbreaking on a new downtown home for the Whitney Museum of American Art—a development 25 years in the making—will take place May 24, the museum announced Monday evening.

    Speaking at a community board meeting not far from the site of the museum's planned building in the Meatpacking District, the Whitney's director, Adam D. Weinberg, also said that the museum expects to close on the city-owned site in "the early part" of next year.

    Demolition on the area is set to begin in February.

    Cramped in its Marcel Breuer-designed building at 75th Street and Madison Avenue, where space constraints mean it can display only about 10% of its permanent collection at any one time, the Whitney has long sought to expand its Upper East Side facility, or build a new one.

    In May, the museum's board voted in favor of the Meatpacking District project, after Leonard Lauder, the Whitney's chairman emeritus, gave the plan his approval. Mr. Lauder had previously donated $131 million to the museum, with the stipulation that it refrain from selling the Breuer building (he did not specify a time-frame).

    To help alleviate the financial and administrative burden of maintaining both the Breuer building and the Meatpacking District site, the Whitney is negotiating a deal with the Metropolitan Museum of Art. The Met would make use of the Breuer building as a temporary exhibition space for its modern and contemporary holdings while the Met renovates those galleries at its own home, according to Mr. Weinberg and previous reports.

    Including endowment, the downtown project is expected to cost $680 million, of which the museum has raised 70%, Mr. Weinberg said Monday.

    Though the institution's new Renzo Piano-designed home will abut the southernmost entrance to the High Line, the Whitney and the management of the elevated parkland have decided against connecting the two structures, Mr. Weinberg said. He cited security concerns, as well as an interest in directing the flow of traffic so as to discourage visitors from entering midway through the exhibition space.

    The building is expected to open in 2015.

    http://online.wsj.com/article/SB1000...LEFTTopStories

  5. #125
    Disgruntled Optimist lofter1's Avatar
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    CURBED has images of Piano's latest designs, as presented last night to the locals ...

    Whitney Museum Unveils New Designs, Divorces the High Line!

  6. #126

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    I hope that one day that dumpy Interstate food facility next to the Whitney site is razed. It's a dump, and that asphalt parking lot along West Street looks like crap.

  7. #127
    Disgruntled Optimist lofter1's Avatar
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    Flying through Renzo's new Whitney plan on video ...

    http://www.youtube.com/gvshp#p/a/u/0/PeQAleg9ELs

    Commentary by Adam Weinberg, director of the Whitney.

  8. #128
    Disgruntled Optimist lofter1's Avatar
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    Here it is ...


  9. #129
    Disgruntled Optimist lofter1's Avatar
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    Whitney to break ground May 24, become city's first LEED-certified art museum

    THE REAL DEAL
    By Yaffi Spodek
    December 21, 2010

    The Whitney Museum of American Art will break ground on its new downtown site May 24, with the project slated for completion in 2015, museum officials announced last night during a Community Board 2 meeting. With 70 percent of the funds raised for the project, demolition is scheduled to begin in February.

    Whitney's director, Adam Weinberg, was on hand at the West Village meeting to present the newest plans for the 200,000-square foot building, which will be located at the southernmost entrance of the High Line, in the Meatpacking District.

    Weinberg noted that the museum's move downtown is a "return to our roots in the Village," since the Whitney originally started out on West 8th Street in the 1930s. It is currently based in a 65,000-square-foot Marcel Breuer-designed building at Madison Avenue and 75th Street, which can only accommodate 10 percent of its permanent collection. The museum plans to eventually sell the Upper East Side location and permanently move its collection to the downtown site.

    "The new space will be a huge improvement," Weinberg said. "We want to create a sense of home and intimacy, where people can go through and feel comfortable, but not feel like they're getting lost."

    Designed by Renzo Piano, the Whitney plans to be the city's first LEED-certified art museum, "at minimum silver, but we hope gold," Weinberg said. The museum will also be home to the largest column-free gallery in the city, at 18,400 square feet.

    The all-glass transparent building will include a "free zone" on the ground level with art displays from the museum's permanent collection, as well as havethree outdoor galleries. "I know of no other art museum [in the city] with outdoor galleries," Weinberg noted.

    Attendees said they were excited for the addition to the area.

    "We are rolling out the red carpet here for the Whitney," David Gruber, chairperson of CB2's arts and institutions committee, told The Real Deal after the meeting. "It could be a real neighborhood game changer. We are so pleased and excited and we are trying to facilitate in any way we can."

    Though some locals may be concerned about the noise from construction, "there is nobody who says the museum doesn't belong here," Gruber said. "It will be a strong building to anchor the High Line."

    © 2010 The Real Deal is a registered Trademark of Korangy Publishing Inc.

  10. #130
    Disgruntled Optimist lofter1's Avatar
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    Quote Originally Posted by lofter1 View Post

    ... The all-glass transparent building will include a "free zone" on the ground level with art displays from the museum's permanent collection, as well as havethree outdoor galleries. "I know of no other art museum [in the city] with outdoor galleries," Weinberg noted.


    Well, let's see ... the MET does have an OUTDOOR exhibition space on the roof. And then there's that little old OUTDOOR sculpture garden at MoMA (not to mention the OUTDOOR courtyard at PS1 in LIC).

  11. #131

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    ^
    Lofter talking to himself.

    Happy Holidays!

  12. #132
    Disgruntled Optimist lofter1's Avatar
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    LOL

    Holidays be swell!!

  13. #133
    NYC Aficionado from Oz Merry's Avatar
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    An Architectural Plan

    What to do with the Whitney’s building after its art moves downtown.

    By Justin Davidson

    Big museums tend to get bigger, usually by expanding in place. The Whitney, though, plans to shuck off its home like a crab discarding its shell and go scuttling downtown in search of art-world cachet. That abandonment leaves Marcel Breuer’s perpetually startling building on Madison Avenue in need of a fresh purpose. I hope the boards of the Whitney and the Metropolitan Museum of Art, which have been confabulating in private about some sort of handover or joint venture, consider an idea that the architect Robert A.M. Stern casually shook out of his cuff-linked sleeve in the course of a recent conversation: “They should turn it into an architecture museum,” he said. And so they should.

    Architecture is the aesthetic side of New York’s abiding obsession—real estate—yet the city lacks a comprehensive museum to tell that story. The Museum of Modern Art has an illustrious architecture and design department, and the Guggenheim mounts the occasional blockbuster, but the Met has a tradition of replicating rooms and ignoring buildings. A few tiny but valiant organizations —the Skyscraper Museum, the Center for Architecture, the Architectural League, and the Storefront for Art and Architecture—ply a trickle of visitors with focused, topical exhibits. This spotty landscape misleadingly suggests that buildings have a small constituency of zealots. Art and music have “lovers”; architecture and railroads have “buffs.”

    Yet architecture is the one art that insinuates itself into virtually everybody’s life, independent of taste or desire. Anyone can shun novels, let the television screen go dark, or indulge an allergy for hip-hop or opera, but avoiding all contact with architecture would mean choosing the lifestyle of a hermit or a hunter-gatherer. We are all consumers of architecture, and if we treat it like garbage collection, gratefully relegating it to the margins of our attention unless it goes wrong, we wind up with the surroundings we deserve. Cities and suburbs can only be as dull and oppressive as we allow them to be.

    An architecture museum done right would help cultivate a public that, in the past decade, has been shocked into caring about building. For a while after the destruction of the World Trade Center, the prospect of a glittering crystal city coexisted with the reality of a gritty pit. Sidewalks, cabs, and dinner tables buzzed with talk of master plans and transit hubs. The media forged fresh celebrities. Renderings were scrutinized for their relationship to plausible reality. But even after the urgency of rebuilding on that site subsided into a morass of confusion, architecture continued to hold the public’s attention.

    Saplings of sophistication need to be nurtured, and a new museum could build on that eagerness to see the future in an architect’s plan.

    Unfortunately, even to many avid museumgoers, the phrase “architecture exhibit” calls to mind dimly lit galleries full of cryptic sketches and mystifying plans. People who travel thousands of miles to visit works of architectural splendor find it disappointing to learn in detail how they were constructed or conceived. Museums rely on artifacts, and in the case of architecture, these are often pale, fragile, and difficult to decode. Drawings don’t always catch the eye. Balsa-wood models can resemble school projects.

    “Architecture shows are problematic because they’re always mediated displays,” Stern acknowledges. An exhibit can only present a facsimile or a by-product of a work of art, not the art itself.

    Yet these are eminently superable hurdles. Through January 2, Yale’s Center for British Art is exhibiting “Notes From the Archive” of James Frazer Stirling, an architect of quirky talent and unclassifiable passions who, in works like Cornell’s 1989 Schwartz Center for the Performing Arts, forced clean-slate modernism to accommodate a backward-looking lexicon of octagons, silos, campaniles, vaults, and Roman basilicas. This ardent retrospective, curated by Anthony Vidler, places a forgotten name back at the center of the twentieth-century saga and provides my imaginary Whitney Museum of Architecture with a model for a rigorous and provocative exhibit of scholarly bent.

    Other shows could be sexier. Computer animations, digital renderings, video tours, film and television clips, and newly constructed scale models can lend vividness even to architecture that doesn’t exist. Photography can document the way a building’s users adapt, corrupt, or refine it long after the ribbon cutting. Berenice Abbott’s pictures endow even derelict buildings with strong personalities. Filmmakers, too, understand the seductive hold that architecture retains in two dimensions. Manhattan and Wall Street: Money Never Sleeps, made three decades apart, both boost their own allure by caressing a glamorous skyline. Too much paraphernalia can wind up dazzling or distracting, but somewhere between an abstruse collection of diagrams and multimedia overload is the kind of smart installation that can excite specialists while building a broad audience.

    This is not conjecture. The Guggenheim’s 2001 Frank Gehry retrospective (the museum’s second most-visited show ever), MoMA’s 2004 “Tall Buildings,” the Whitney’s 2008 Buckminster Fuller show, the Eero Saarinen traveling exhibit that passed through Yale and the Museum of the City of New York in 2010—each dispensed choice revelations and brought in crowds beyond the usual corps. But that is not enough. What an architecture museum can do that occasional exhibits can’t is to tell an overarching story or put a career in its widest context—to describe, for instance, how Hadrian’s Villa, the second-century estate outside Rome, exercised a powerful influence on a long roster of designers, right down to Louis Kahn and Philip Johnson.

    Could there be a better place to ensconce such an institution than Breuer’s elegant bunker? The tough, sharp-edged block of concrete balances on a pediment of glass. It simultaneously reaches toward the city and hangs back from it, extending its upper floors but retreating behind a dry moat spanned by a narrow footbridge. Despite its combination of ambivalence and brawn, it has proved an amiable place to show art. As an architecture museum, it would not only do honor to its holdings but also embody the aspirations on display inside.

    http://nymag.com/arts/architecture/features/70253/

  14. #134
    Disgruntled Optimist lofter1's Avatar
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    In recent years I've gone to terrific architectural exhibitions in NYC; in two cases I was the only visitor at the time.

    The first was over a year ago at the Queen Sofia Spanish Institute on Park near 70th Street to see the Calatrava WTC exhibition.

    The second was recently at Cooper Union to see the Paul Rudolph Lower Manhattan Expressway exhibit.

  15. #135

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    NB permit filed. Quite tall actually. 170 feet.

    http://a810-bisweb.nyc.gov/bisweb/Jo...ssdocnumber=01

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