The restoration component of the recent work will be obvious to
anyone who passes the museum.
by Philip Nobel
Bouncing back from the public drubbing it suffered after more ambitious
plans tanked 10 years ago, New York's Whitney Museum of American
Art has quietly expanded. In the process, it has also restored
one of the finest works in its permanent collection--the inscrutable
box that Marcel Breuer designed in 1966.
The public's rejection of the previous expansion scheme (remember
Michael Graves's sly, Classical pile?) forced the museum to pursue
less invasive strategies. In a clever do-si-do orchestrated by
Richard Gluckman Architects, the administrative offices and library
were moved from the fifth floor of the museum to a pair of neighboring
town houses (linked to the museum and the formerly orphaned Store
Next Door through an inconspicuous elevator and stair structure).
The reclaimed fifth floor was then transformed into new galleries
for the permanent collection--the first in the history of the museum--which
will be open to the public by early April. A fourth-floor mezzanine,
which was also cleared for gallery use, will feature an operating
installation of Alexander Calder's Circus (brought to life in
an exhibition design by Ralph Appelbaum Associates) beneath one
of the building's signature cockeyed windows.
The restoration component of the recent work will be obvious to
anyone who passes the museum. Each of the more than 1,400 quarter-ton
granite slabs that clad the building has been removed, trucked
to a cleaning yard in Queens, New York, and replaced using new
anchors. The fine white veins revealed in the cleaned stone tame
some of the Whitney's heralded Brutalism. (Even those who still
wish the building had Gravesian columns and cornices may find
themselves charmed by its newfound grace.)
Whitney officials assert that, in its current form, the building
will meet their needs for at least 10 years. After that? Look
forward to another neighborhood dogfight--or more quiet ingenuity--circa
2008.
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