Page 1

CMY K

PAGE: M03PD1AE0708

_________________________________________________________________________

Arts & Entertainment

M 1

| SUNDAY | JULY 8, 2007 | ST. LOUIS POST-DISPATCH | STLTODAY.COM |

M3

___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

A work of

art

Museum addition in Kansas City wins raves, points way for St. Louis project By David Bonetti POST-DISPATCH VISUAL ARTS CRITIC

follows the southern lawn downhill, burrowing into the park, the park rises to cover the spaces between the lenses with greensward. Sculptures — by Tony Cragg, among others — are installed on the galleries’ grassy roofs. The new building highlights a simple contrast between north-south and west-east movement — down and under, north to south; up and over, west to east.

KANSAS CITY • The $94 million Bloch Building, the recently inaugurated addition to the Nelson-Atkins Museum of Art in Kansas City, sets a high standard in utility and beauty for similar projects in the future. Prominent among them: the St. Louis Art Museum’s planned expansion in Forest Park, scheduled for completion in 2011. The 165,000-square-foot Kansas City MORE THAN A CONTAINER building, by hotshot American architect Steven Holl, who grabbed attenInternally and externally, the new adtion for a contemporary art museum dition is all about perceptual and spain Helsinki and a dormitory at the tial experience. Visitors can enter at Massachusetts Institute of Technology, two points: from the plaza or from the has received extravagant praise since underground parking garage a level beopening June 9. low. Those entering above walk down New York Times architectural critic a grand, sloping terrazzo-paved ramp Nicolai Ouroussoff termed the addito the lobby. Those entering from the tion “breathtaking.” The New Yorker’s garage move upward past the museum Paul Goldberger, the dean of American shop and coat check to the same space, architectural critics, rated it “one of the the nexus where the Bloch Building’s best museums of the last generation.” galleries begin and connection to the During that time, some justly celold building is made. ebrated museums have been built, Those entry paths introduce the visamong them Frank Gehry’s itor to the addition’s architecGuggenheim Museum in Biltural expression. Nothing is bao, Spain; Richard Meier’s Where: 45th straight, orthogonal or symGetty Center in Los Angeles; and Oak streets, metrical. Planes shift subRenzo Piano’s Menil Collection Kansas City (three tly, angles jut unexpectedly. in Houston; and Herzog & de blocks east of Curved, buttresslike lightMeuron’s de Young Museum in Country Club breakers sprout overhead in San Francisco. Plaza) some galleries. But Holl’s addition in Kansas Hours: 10 a.m.Each gallery is a unique City — really a separate build- 5 p.m. Tuesday, shape and configuration. A ing attached to its parent at one Wednesday and ramplike corridor that runs point — deserves such deliri- Sunday; 10 a.m.-9 parallel to the permanent ous praise. p.m. Thursday, collection galleries meanders Its quirkiness possesses a Friday and Satlike a black-stone river, widclassic inevitability. After ex- urday ening in an open space deperiencing it, no other design How much: Free voted to sculptures by Isamu seems desirable or even pos- More info: 1-816- Noguchi. sible. 751-1278 or www. Initially, the building might Holl, who was born in 1947, nelson-atkins.org seem to be exploring a form proposed a counterintuitive Inaugural exof expressionism, but after scheme to the standard prob- hibitions in the experiencing it for a while, lem of how to add on to a Bloch Building: it seems that the irregularsymmetrical, self-contained • “Manet to Maity is a device used to bring building, winning the selection tisse: Impression- the visitor’s attention to the jury’s unanimous vote. ist Masters from architecture, which provides The original Nelson-Atkins the Marion and for the unexpected and enMuseum of Art, which opened Henry Bloch Colcourages discovery. Near the in 1933, is a fine, late-beaux-arts lection,”* through end of the sequence of galedifice, grandly situated in an Sept. 9 leries, for instance, there is urban park. Its terraced front • “Developing a space off to the side with a lawn was rightly deemed un- Greatness: The number of Sol LeWitt sculptouchable; its northern façade Origins of Ameri- tures. Coming upon it unexwas seen as the most likely site can Photograpectedly made the overfamilfor an addition. phy,”* through iar works seem fresh. Five of the six distinguished Dec. 30 The new Bloch Building finalists for the job, including • “Kiki Smith: asserts that architecture is Tadao Ando, architect of the Constellation,” as much an art as painting, Pulitzer Foundation for the through Oct. 28 sculpture or photography. Arts in St. Louis, agreed. *Ticketed exhibitions: $8 Visitors come to museums Holl, however, proposed adult nonmembers for aesthetic experiences. adding to the building’s eastThe Bloch Building is not ern flank, burrowing galleries merely a container for art, underground and punctuating but a work of art in itself. them with five large boxes he calls The building, it should be pointed lenses, which bring light into the buildout, is a respectful child. It also brings ing during the day and glow at night attention to the original Nelson-Atkins like monumental light sculptures. building as a sculptural presence. From Indeed, the Bloch Building’s most numerous places in the addition, winspectacular aspect is this sequence of dows frame views of the old building, glowing lenses, which transforms it bringing a new appreciation to it. into an artwork at night, making an arAnd the lobby-level connection to tistic experience available to the public the original museum is through a set even when the museum is closed. of doors originally used as the auditoHoll’s proposal held immediate aprium entrance. It makes visitors look peal. It saved the museum’s formal upon the details of the beaux-arts denorthern façade from obstruction, and sign with fresh eyes. the lateral addition created a plaza entrance at a 90-degree angle to the CREATING A NEW AXIS original building. A pool with a sculpture by earth artist Walter de Maria The new Bloch addition is only half and circular lights that illuminate the of the project to revitalize the Nelsonbelow-ground parking garage occupy Atkins. The other part was renovation the plaza space. With the new addiof the original building. Indeed, the tion, plaza and pool, the museum has a cost of the renovation — $102.4 million northern side as artistically command— exceeded that of the new construcing as its southern side. tion. (That figure also includes the cost The Bloch Building’s entry pavilion of the garage.) is a volume comparably proportioned Holl associate Chris McVoy was to the original building, if smaller. Clad responsible for creating a new axis in vertical panels of translucent glass through the length of the Nelson-Atrather than limestone, it sets the two kins museum building that crosses buildings apart dramatically. The goal, both the formal, black marble-colmuseum director Marc F. Wilson says, umned Kirkwood Hall and the Bloch was to create a building as stylistically lobby at a 90-degree angle. appropriate to its time as the original A new staircase had to be cut, and at building was to its era. the top of the flight of stairs, a sculpWilson, a Chinese scholar who has ture hall was created that is a tour-debeen museum director since 1982, force of the art of installation. Only also points out that, unlike the origithree works, each monumental, fill the nal building, the Holl addition has no space: a 325 B.C. Greek lion, an allefront, no back, no place from which it gorical marble sculpture by Francesco can be seen — or photographed — in Mosca from 1564 and Rodin’s iconic its entirety. The building, he writes, 1880 bronze “Adam.” “plays hide-and-seek like a chameleon The three works brilliantly and sucwith the landscape around it.” cinctly sum up the entirety of Western That now-you-see-it, now-you-don’t figurative sculpture. quality is one of the building’s strong dbonetti@post-dispatch.com | 314-340-8351 points. As the 840-foot-long structure

Access from the Bloch Building to the Kansas City Sculpture Park is a feature of the building’s design. Timothy Hursley | The Nelson-Atkins Museum of Art

NELSON-ATKINS BY THE NUMBERS

St. Louis museum design will ‘be bold’ By David Bonetti POST-DISPATCH VISUAL ARTS CRITIC

MONEY RAISED FOR EXPANSION

$366 MILLION Total money raised

$94 MILLION Bloch Building

$102 MILLION Renovation, garage, etc.

$170 MILLION Endowment

ATTENDANCE

300,000

Be bold. That’s the admonition St. Louis Art Museum director Brent Benjamin says he is hearing from everyone about the museum’s longplanned addition. The museum began planning in 2000, and the completion target for the building, which will feature 72,000 square feet of public space plus an underground garage, is 2011. Benjamin says the design process is on schedule. The architect is the British firm David Chipperfield Associates. In the past two years, there have been four “community conversations” about the design process. A fifth was scheduled for spring but was canceled, Benjamin says, because the public said it had had enough of process and wanted to see a design. A preliminary design will be presented to the public by the end of the year, he says. The process is going through

“amoebic” changes, Benjamin says. “Bit by bit, everything is falling into place,” he says. “It’s getting to the stage where it’s beginning to look obvious.” He acknowledges that an addition like this will not please everyone. “There’s a funny dance. The building has to have a character of its own but also be in sympathy with the (original) Cass Gilbert” structure, Benjamin says. “That’s why we hired David Chipperfield. He is a modernist, but he will be respectful of the order, the proportions of the classic beaux-arts building.” Benjamin says it is too soon to announce a final budget — the campaign has not gone public yet, and fundraising is still going on. But “we’re doing very well,” he says. “We have received donations ranging from $100 to $10 million and every point in between.” He says the budget will be announced by the end of the year, when the design is unveiled.

pre-expansion

650,000

projected for 2007

SPACE

397,000 total square feet

BLOCH BUILDING

165,000 square feet

NELSON-ATKINS BUILDING

232,000 square feet

SCULPTURE PARK

22 ACRES

WORKS IN THE COLLECTION

33,500 REGIONAL

POPULATION

1.9 MILLION

Adelaide Cobb Ward Sculpture Hall.

Museum is built on foundation of two trusts By David Bonetti POST-DISPATCH VISUAL ARTS CRITIC

KANSAS CITY • The Nelson-Atkins Museum of Art was founded by two donors who were not themselves art collectors. William Rockhill Nelson, publisher of the Kansas City Star, thought that an art museum was an essential component of a modern city. Upon the death of his only daughter in 1926, his estate went to the Nelson Trust, which built the museum and funded its acquisitions. About the same time, the estate of teacher Mary McAfee Atkins, which she left to found a museum of art, was added to the Nelson Trust. The museum opened to the public in December 1933. The estates became available at a perfect time — 1930, when the Great Depression made it possible to purchase masterpieces at bargain-basement prices. And the Nelson-Atkins did just that. It assembled, in just a couple of years, a collection acknowledged to be the best in the Midwest: • The museum’s great strength is Asian art. Its Chinese collection

might very well be the best outside China. • The museum also owns one of the finest collections of 17th- and 18thcentury European painting in the nation. There is a room off the new Sculpture Hall that museum director Marc Wilson terms “the power gallery.” Anchored by one of the few Caravaggio’s in the United States, “St. John the Baptist in the Wilderness,” it also includes fine canvases by Rubens and van Dyck, Zurburan and de Ribera, Procaccini and Strozzi, van Baburen and Terbruggen. No other museum in the United States, even the Met or the National Gallery, can upstage it. • The museum owns 33,500 objects. Most recently it received a gift of 6,500 choice photographs, most American, from the Hallmark Photographic Collection. The St. Louis Art Museum has about the same number of objects in its collection, but its strengths are where the Nelson-Atkins is weak: modern and contemporary art. One could fantasize that if the two museums were merged, the resulting institution would have one of the greatest collections in the country.

Untitled-2  

Museum addition in Kansas City wins raves, points way for St. Louis project Access from the Bloch Building to the Kansas City Sculpture Par...

Read more
Read more
Similar to
Popular now
Just for you