<Museum>Contemporary Art Museum</Museum>
This project is chronologically connected to the Pulitzer Foundation, authored by Tadao Ando. The second building, directly adjacent to the Pulitzer Foundation, is the Contemporary Arts Museum, designed by American architect Brad Cloepfil.
"First Street Forum," which was the original name of the organization, was at the beginning of discussions about the project's creator, deciding between three figures of European origin: Herzog & de Meuron, Enrique Norten, Rem Koolhaas, and Peter Zumthor. The museum ultimately decided otherwise, opting for the rising star of the architectural scene at home. The architectural firm Allied Works, led by its founder Brad Cloepfil, had already completed several works of a similar nature at that time: the expansion of the museum by Robert Venturi in Seattle, the Museum of Arts and Design in Manhattan, and the expansion and renovation of the art museum on the university campus in Michigan.
The corner plot west of the Pulitzer Foundation has a facade that smoothly curves according to the street line. Regarding the concept, the author says: “This building is really just a shell, a kind of construction site for artists.” Unlike the neighboring project with a permanent exhibition, this museum is intended for temporary exhibitions of various creators and styles. “I believe it will be a space where artists and curators can come and create. We tried to create ‘resonant volumes.’”
This is a different approach than the adjacent building; however, the creators use similar scales and materials. The basic material here is also exposed concrete. The masses seem even more generous than those of Ando. The use of stainless steel mesh as a facade cladding adds refinement to the scale, as do the generous glass surfaces—openings with glimpses inside, as if you were opening drawers.
The highlight is the shared internal courtyard with a sculpture by Richard Serra. The Contemporary Art Museum has a cafe with tables facing the courtyard. There is silence and tranquility. One can even forget for a moment where they are and why they are there. They look at the rusty iron, gray walls, and stairs. It almost feels like the privacy of an atrium in a family home. Both buildings are not significantly larger in scale either.
For more details, see the article on both visited buildings by Jim Lutz, published in No.50, from which I also drew for some of the quotes.
"First Street Forum," which was the original name of the organization, was at the beginning of discussions about the project's creator, deciding between three figures of European origin: Herzog & de Meuron, Enrique Norten, Rem Koolhaas, and Peter Zumthor. The museum ultimately decided otherwise, opting for the rising star of the architectural scene at home. The architectural firm Allied Works, led by its founder Brad Cloepfil, had already completed several works of a similar nature at that time: the expansion of the museum by Robert Venturi in Seattle, the Museum of Arts and Design in Manhattan, and the expansion and renovation of the art museum on the university campus in Michigan.
The corner plot west of the Pulitzer Foundation has a facade that smoothly curves according to the street line. Regarding the concept, the author says: “This building is really just a shell, a kind of construction site for artists.” Unlike the neighboring project with a permanent exhibition, this museum is intended for temporary exhibitions of various creators and styles. “I believe it will be a space where artists and curators can come and create. We tried to create ‘resonant volumes.’”
This is a different approach than the adjacent building; however, the creators use similar scales and materials. The basic material here is also exposed concrete. The masses seem even more generous than those of Ando. The use of stainless steel mesh as a facade cladding adds refinement to the scale, as do the generous glass surfaces—openings with glimpses inside, as if you were opening drawers.
The highlight is the shared internal courtyard with a sculpture by Richard Serra. The Contemporary Art Museum has a cafe with tables facing the courtyard. There is silence and tranquility. One can even forget for a moment where they are and why they are there. They look at the rusty iron, gray walls, and stairs. It almost feels like the privacy of an atrium in a family home. Both buildings are not significantly larger in scale either.
For more details, see the article on both visited buildings by Jim Lutz, published in No.50, from which I also drew for some of the quotes.
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