Depending on how you measure, Renzo Piano new building for the Whitney museum of American Art in new York City (designed in collaboration with the practice of new York Cooper Robertson) might be the most anticipated museum of the 21st century. At just a fraction of less than seven years since the first drawings of the building were released, the incubation period was long enough on its own - but in fact, the project has its roots in a design scrapped 1981 Michael Graves, when Whitney was instead planning an extension to their previous home in 1966 masterpiece by Marcel Breuer on Madison Avenue. With such highly anticipated building, Whitney could hardly be a better man for the job; Piano is one of the most extraordinary museums builders of our time. Yet despite this, since construction began in 2011, the design has been plagued by criticism for its unsightly appearance.
Before the opening of the Whitney, May 1, last Sunday saw many opinions and many art deemed critical of New York architecture, who tried to make sense long-awaited move of the institution of their former home idiosyncratic, but endearing. We've rounded up some of the best of them, after the break.
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"There is a generosity architecture, a sense of connecting art with the city and vice versa" -. Michael Kimmelman, New York Times
in a visually stunning multimedia review for the New York Times, Kimmelman describes the outer form of the building as "a pragmatic servant and some zoning anomalies" explaining
"Yes, it is a hodgepodge. But the buildings take the time to reveal their true selves. Mr. Piano Galleries borrow the old loft aesthetic center, with windows on both ends. They are not prescriptive spaces with artfully meshed ceilings for hanging movable walls in multiple configurations. They give more elbow space museum and may prove to be the ticket: agile and airy ... Or they may end up a headache. Monotonous with too much light spin through the immense glass walls "
like many other writers, much of its journal is devoted to excuse that" méli- podge "of forms, as it describes the function of the building in relation to its environment:
" without columns, large rectangular galleries spill onto a large, stepped terraces connected by an outside staircase, imitating the clutter district bituminous black roofs low- and mid-height and aging fire escapes. The museum becomes an implicit extension of the High Line :. An outdoor perch to see and be seen "
Kimmelman also draws comparisons between the Whitney and the Museum with whom Piano began his career:
"I remember the Pompidou Centre in Paris, Mr. Piano designed four decades ago with Richard Rogers. The breakthrough there was not only the aesthetics inside-out factory, but the development of a populist den, with a place in the front, as opposed to a temple for art. Mr. Piano and Rogers were labeled heretics.
"A generation or two later, the new Whitney says the temple and meeting place are not mutually exclusive."
For all these positive traits, however, remains Kimmelman measured in its overall assessment of the building :.
"the new museum is a masterpiece
" But it is a serious clever embodiment, a signal contribution in the downtown city and the changing cultural landscape of the city. Unlike so many great architecture names, it is not a trophy oddly shaped building in which all the practical stuff of a working museum must be equipped. "
How Whitney could not solve the problem of contemporary art, by @JerrySaltz: http://t.co/XxhsyqRhbC pic.twitter .com / aiHZJkzcdH
- New York Magazine (@NYMag) April 20, 2015
"Everything seems like it was built for . art and artists " - Jerry Saltz, new York Magazine
As to encapsulate the media frenzy around the opening of the new museum New York Magazine offers readers not one, but two reviews of Whitney the first of these -. and magazine front page story - just critic Jerry Saltz art, who wrote an extraordinary four test parts on the history and the future of museums, posing as his collection to his curation and of course, its new building, the Whitney may just be a turning point in the history of art. Much of the actual examination focuses on the first exhibition of Whitney in the building, but where it brings the piano design into the equation, it is naturally not focus on appearance, but its usefulness for display of art:
"Whitney had the brilliant instinct for the setting, not the building, the show, which is the next reason for optimism . on my first visit, I walked in and out of the building, roof decks and terraces, up and down outdoor steel stairs, through galleries ... My heart began to beat soon as it came to me that these external and internal spaces could be effectively integrated. "
like Michael Kimmelman, evaluation highlights the idea that the development Whitney - unlike many other high-profile museum buildings - is also a place to host art exhibitions, more than it is about flashy architecture:
"I do not care how it looks. It is "quite friendly," but my only concern as an art lover is inside museums. Judging the new exterior Whitney, I'd say it looks like a hospital or a pharmaceutical company ... But for me, the building genericism suggests that what matters to the Whitney is not vanity, size, showboating, celebrity, or destination architecture -.! it is what happens under its auspices "
"The new Whitney is a wonderful place for people who are easily bored by the art " . - Justin Davidson, New York Magazine
Unlike his colleague Jerry Saltz, in his own comments for new York Magazine Justin Davidson is quick to address the external appearance of Whitney:
new Whitney"I look at Renzo Piano Museum of American art take shape for two years, pending its jumble of forms and facets to make sense. The fences are gone and the steel skin was waxy, but it remains a complex machine, unsightly on all sides. "
In a final word about the appearance of the building, offers a biting critique:
"the thing could have happened in a flat pack Ikea was then prodigiously MISASSEMBLED."
with proper appearance rejected Davidson moves on other aspects of construction, but it seems to find some other encouraging things. Like others, it locks on Whitney's connection to its environment, but where others find it interesting, exciting even the Davidson assessment takes sarcastic twist:
"Piano seems to question whether intense communion with art is still enough to keep the audience engaged. Maybe a perpetually distracted public requires even more distractions. majestic windows and large terraces invite visitors out for a view of the native grass Museum ... The new Whitney is a wonderful place for people who are easily bored by art. "
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ultimately, Davidson's assessment is colored by the building that survived the Whitney While designing Breuer is friendly despite the many drawbacks it presents, the new Whitney is quite the opposite:
"new Whitney Piano is so sensitive to its location and mission of good, so generous in his views offer the light and the convenience that it the virtue of personality mistakes. "
"compared to other piano buildings, it seems a bit jumbled, but it certainly looks like New York" - Philip Kennicott, Washington post
as Davidson, reviewing Philip Kennicott to the Washington post points out that the Piano museum is as much a place to live in New York as it is a place to enjoy art, but this seems less problematic Kennicott:
"Diviners the popular temperament pretend nobody wants to leave the city behind when looking at art . Instead, new public want the ever present city. So contemporary museums, including Whitney Piano, erase the walls of concrete and granite monastery and replace them with gaping glass portals ... Even in the long galleries, rectangular Whitney, a centrifugal force prevails, attracting visitors at the edges, in the windows to light. "
in his clever conclusion, he summarized what he is like the experience of building and connecting it to the city in a way that could lead us to question assessments Kimmelman and Saltz the new Whitney is primarily a place to see art, it seems to Kennicott, the Piano design is as much a lookout post than anything else:
"down through the galleries, you will eventually find yourself on a capacious outdoor terrace that seems to hover above the end of the High Line. Maybe you look down, someone will look at you, and hence engage the strange loop of voyeurism, desire, imagination and so fundamental desire in this city. The building is you framing and framing of the city for you, and you can feel for a moment that you became a part of the image. ?
"Oh yes, and that is all behind you It's called art, and it was beautifully presented with the inaugural exhibition - if you can forget the city long enough to see really "
"What defines the new Whitney are remarkable outdoor spaces to enjoy the art" - A Clifford Pearson, architectural Record
in his review for architectural Record, Clifford Pearson said a positive aspect of the design of piano that few other critics picked up on
"was Whitney Piano strength is its clear organization :. galleries on the south side, conservation areas and support on the north, and a prefabricated core exposed concrete running through the middle that contains the vertical circulation and mechanical ducting "
However, after Michael Kimmelman Pearson judges in much of the building next to other great designs Piano museum:
"Piano magic has worked in places like the Menil Collection in Houston and the Fondation Beyeler in Basel, who have galleries mainly top-lit, is absent from most art spaces inside the Whitney. In the galleries east and west that does daylight and great views of the river and the city, spaces and art are fantastic. "
And of course, this side -by side evaluation of the work Piano would not be complete without a return to the beginning:
"with external stairs animating the city side, the Whitney nods for Piano first major commission Pompidou Centre, which takes visitors up a facade on the stairs clear closed tube. Whitney does not shock the way the Pompidou did when it opened in Paris in 1977 and does not represent a bold new direction in architecture. But it combines the maturity of an architect who has been honed his art for five decades with an energy shock of a big city. "
"I'll say it again, go to the interior and much will be forgiven " - Paul Goldberger, Vanity Fair
Finally, the assesment of Paul Goldberger for Vanity Fair offers perhaps evaluation the more measured several of these themes It begins by discussing the building's appearance :.
"The building process air, but more awkward than romantic. Even in an age that is ready and willing to attribute beauty to industrial buildings ... outside the new Whitney is a challenge. it is many things, but traditionally it is not good. I do not know that it is so unconventionally beautiful, either. "
But he believes the building is best known from the inside. Like many others, he comments on the subject, he in New York, may provide the first assessment of what it means for art itself clear:
"galleries offer the best balance I've ever seen between the first mission to enable you to focus on the art and the secondary objective to indulge in the city."
Similar to Davidson, Goldberger seem to see. the new building through the prism of their old house Marcel Breuer designed in many ways, it seems, he thinks Piano wanted to intentionally draw this comparison:
"Piano brilliantly comment old Whitney, never copy a single item from the Breuer building, but still evoke subtly inventive, and powerfully. When you go into the new Whitney, you see all sorts of allusions to Breuer iconic building in elevators, stairs, and the ceiling grid in the galleries. But you do feel Piano tried to imitate the old building, or even to make you consciously aware of. It feels like a private tribute of an architect to another. "
If these comparisons are to be made, then, is comparable Piano construction it replaces the home Whitney?
"I'm not sure that the time will never make us admire big whale Piano much as we have learned to love to ziggurat concrete Breuer."
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