The museum is not a singular or path-breaking work of architecture; its design goals have more to do with manipulating light and shadow and with physical substance [...]
Yet taken as a whole the museum offers a range of encouraging signs about the priorities of architecture’s up-and-coming generation. These include a genuine interest in shifting definitions of public space in a digital age and — most important of all — a preference for measured and layered effects over operatic ones. — Christopher Hawthorne - latimes.com
Beirut is to get a new modern art museum with a design inspired by Italian campaniles and Arabic minarets.
BeMA, the Beirut Museum of Art, will feature a slender tower rising 124 metres into the sky, according to designs by the winner of an architectural competition revealed on Thursday. — the Guardian
For all of the dubious attention attracted by the “Bilbao Effect” theory [...] a more prosaic, and arguably more important aspect of museum location has received little attention: not which city a museum is built in, but where in that city. Locations that would once have seemed inevitable, such as Chicago parkland, are hugely contentious in the 2000s, while locations previously unthinkable in that year – an abandoned lumbermill in Bilbao [...] – are now commonplace. — theguardian.com
From the outside, not much has changed. After a three-year, $69m renovation, the East Building of the National Gallery of Art (NGA) in Washington, DC, looks about the same as it did when it first opened in June 1978. [...]
Step inside and the differences become clear. The gallery, which reopens to the public on 30 September, has managed to carve out more than 12,250 sq. ft of additional exhibition space without expanding its physical footprint. — theartnewspaper.com
What makes a museum building successful? Until the arrival of Frank Gehry’s Guggenheim in Bilbao in 1997, this question might have been almost exclusively focused on the best environments in which to view art. But the Guggenheim’s phenomenal success, which allowed the Basque government to recoup the construction costs within three years, moved the debate on to issues of branding and statement architecture.
Now the discussion has moved on again. — theartnewspaper.com
The Office for Metropolitan Architecture...has been chosen to design the Albright-Knox Art Gallery’s first major expansion in more than 50 years...The comparatively delicate and more budget-conscious Albright-Knox expansion project, which is expected to cost about $60 million, will unfold on a small but famous plot of public parkland and will be attempt to fuse the architectural styles of three centuries. — The Buffalo News
To those concerned about the renovation of the Hood Museum of Art, the situation is charged with paradox: The architects Billie Tsien and Tod Williams, who protested the Museum of Modern Art’s dismantling of the Folk Art Museum they designed in Manhattan, are now transforming the Hood, an award-winning museum designed by Charles Moore [...].
“It’s almost as if they were getting revenge for what MoMA did to their Folk Art Museum [...] It’s totally insensitive to the Moore building.” — nytimes.com
Deborah Berke’s appointment last year as the first female dean of the Yale School of Architecture might have brought her into the limelight, but the architect and interior designer had already been getting attention for her work on 21c Museum Hotels, a small chain of boutique properties doubling as art galleries. [...]
In old buildings, you’re taking what you find and complementing that with the architecture and design of today. — nytimes.com
But overall the Broad is a disappointment, and the ways in which it fails are more than a little concerning. Its incoherence, its poor urbanism and its unoriginality suggest that the transition from critics to makers may have DS + R stumped...The Broad’s failures of urban design are its biggest and most disappointing surprise. — Art in America
The Milwaukee Art Museum is due to reopen on 24 November after a 14-month, $34m renovation that brings the institution back from the brink. When the museum made the unorthodox decision to begin planning an expansion at the height of the recession in 2009, mould flourished, floors buckled and ceilings leaked in the two buildings that housed the permanent collection. [...]
Roberts says: “People who know our museum will not believe that this is the same museum.” — theartnewspaper.com
Related news on Archinect:Private money attracts big-name architects to design new museums in BeirutLeading up to its September-20 opening, Christopher Hawthorne reviews the new Broad museumA black museum for "The White City of the North": Moreau Kusunoki Architectes selected to design Guggenheim...
A raft of museums, most backed by private money, are springing up in what is, for many, an unlikely cultural hub: Beirut, the capital of Lebanon [...]
The design competition launched on 1 October; the architect Zaha Hadid is on the jury along with Hans Ulrich Obrist and Julia Peyton-Jones of London's Serpentine Galleries.
Salamé, who founded the Aïshti fashion chain, invested $100m in funding a contemporary art museum, designed by the British architect David Adjaye, in Jal El Dib [...]. — theartnewspaper.com
The elements of the Broad that have been most closely scrutinized or most often reworked, in fact, are the most uneven. It is only in the relative shadows — in the peripheral or easily overlooked spaces, or in the rooms added or enlarged late in the design process — that the architecture of the museum really comes to life. — latimes.com
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