Case Study the Museum of Modern Art New York Moma
AD Classics: The Museum of Modern Art
The entrance to the Museum of Mod Art is tucked below a demure facade of granite and glass in Midtown Manhattan. Its clean, regular planes marker Yoshio Taniguchi's 2004 addition to the MoMA'south sequence of facades, which he preserved as a tape of its class. Taniguchi's contribution sits beside the 1984 residential tower past Cesar Pelli and Associates, followed by Philip Goodwin and Edward Durell Stone's original 1939 building, then Philip Johnson'south 1964 addition. Taniguchi was hired in 1997 to expand the Museum's infinite and synthesize its disparate elements. His elegant, minimal solution presents a contemporary face for the MoMA while adhering to its Modernist roots.
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In unifying the Museum's built grade, Taniguchi refined select edges of the building'south history while dissolving others. The original 1939 International Mode building was restored, including its white marble facade and pianoforte canopy. Philip Johnson'south 1953 Sculpture Garden was also renovated and enlarged. Taniguchi envisioned the garden as the museum's core, providing views from each of the surrounding buildings. Two volumes of equal height frame the east and west ends of the garden, housing the Education and Research Building and master gallery complex, respectively. To the s, a similar palette of thin columns and opaque white glass replaced the kickoff vii stories of Pelli'southward residential belfry. From within the Sculpture Garden, this consistent language allows visitors to understand the complex equally a whole. Forth 54th Street, the symmetrical volumes are clad in black granite, dark gray glass, and aluminum, linking the site across its full length.
Taniguchi achieved the refined, minimal aesthetic by exacting precision in each detail. The panels on the outside facades were installed with the least possible tolerance, diminishing the seams to create an apparently continuous surface. Vast panes of glass hang below the deep porticoes bounding the Sculpture Garden. To ensure the glass would not deflect every bit the museum filled with visitors, the curtain walls were freed from the floor structure. Steel mullions were chosen over the standard aluminum to allow a thinner profile of sufficient strength.
Taniguchi's solution mediates between the anarchy of the city and an environment for viewing art. The Museum represents a microcosm of Manhattan, with buildings of various graphic symbol surrounding a central garden. The principal lobby extends from the 53rd Street entrance to the Sculpture Garden along 54th, creating a porous transition between the interior and its urban context. While moving through the galleries, visitors come across unexpected views of New York'southward streets and skyline. Though the classic, white box galleries are typical of many contemporary museums, Taniguchi incorporated this arrangement of vistas to reveal the MoMA's unique context.
The original museum prescribed a linear reading of the history of modern art, with each gallery limited to a unmarried entrance. The MoMA's administrators and architects agreed the expansion should encourage simultaneous and interrelated discoveries, rejecting the idea of a single viewing itinerary. The new galleries can exist accessed at any level via a spine of escalators and ancillary stairs, with contemporary art nearest footing level and progressively older works on higher stories. Large, heaven-lit space for temporary exhibitions is provided on the pinnacle floor. The galleries lack distinct borders, each offer multiple entrance points to neighboring galleries. The 21 ft. loftier contemporary galleries span 200 ft. to accommodate contemporary art of unanticipated format. The space is free of columns, accomplished by constructing an armature to a higher place the eighth story which supports the lower levels.
As visitors motility through the lobby toward the Sculpture Garden, they pass beneath the 110 ft. high atrium. Perforations in the galleries and stairways allow visitors to peer into its soaring space, where they appear framed in the white, rectangular apertures. These strategically placed windows lend the atrium a subtle gravity as occupants move through the galleries around it. The infinite is crossed at each level by bridges leading to the escalator spine and orients visitors inside the gallery complex.
The MoMA recently appear plans for another expansion to the w of the current building, directly adjacent to the American Folk Art Museum. It is set to include a 1050 ft. tower designed past Ateliers Jean Nouvel, which volition house additional gallery infinite for the Museum. The MoMA received strong opposition from the compages and design world afterward stating it would supervene upon the American Folk Art Museum with a connecting wing to the planned expansion site. The MoMA has since hired Diller Scofidio + Renfro to design the connector and granted the architects time to consider the possibility of integrating the existing American Folk Art Museum. For more on the Museum, bank check out our interview with Pedro Gadanho, the Curator for Gimmicky Architecture at the MoMA.
- Area : 630000 ft²
- Year : 2004
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Address:11 West 53rd Street, New York, NY 10019, U.s.a.
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Cite: Rennie Jones. "AD Classics: The Museum of Modern Art" 24 Sep 2013. ArchDaily. Accessed . <https://world wide web.archdaily.com/430903/ad-classics-the-museum-of-modernistic-art> ISSN 0719-8884
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