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Herzog & de Meuron Miami Art Museum design/financing finalized

http://www.miamiartmuseum.org/museum_park.asp



Miami, October 22, 2009—Miami Art Museum today announced the completion of
design development for its new 120,000-square-foot home in downtown Miami,
scheduled to open in 2013. Designed by Herzog & de Meuron, MAM’s new home will
work in concert with its natural surroundings to enhance the museum experience, and
has been designed to achieve silver LEED [Leadership in Energy] certification. The new
building will allow MAM to better serve its diverse, rapidly growing community,
reinforcing the Museum’s role as a bridge between continents and cultures.

The new MAM will be a cultural resource commensurate with Miami’s position as a
hemispheric hub and creative capital, with an impact extending internationally. Miami-
Dade is the only major metropolitan area in the United States without an art museum
serving the full spectrum of the community. MAM’s current building, originally designed
to serve solely as an exhibition hall, lacks educational space and the facilities to maintain
a collection. Since the current building opened in 1984, Miami-Dade’s population has
grown to 2.4 million and Miami has been transformed from vacation destination to a
world capital with a vibrant arts scene. The completed design was unveiled in Miami on October 21, at a lecture titled Work in
Progress: A Talk with Herzog & de Meuron. Pierre de Meuron, founding partner and
Christine Binswanger, partner-in-charge of the project, discussed the design in a public
forum with Terence Riley, director of Miami Art Museum.

“Jacques Herzog and Pierre de Meuron understand MAM’s educational and civic role,
and have designed a building that is extraordinarily accessible and welcoming. The
design works with—not against—Miami’s climate to ensure that the building is
environmentally responsible,” said Riley. “Miami’ s thriving community of artists,
designers and collectors, as well as its avid and growing art-viewing public, have built a
strong creative economy and driven the demand for a public museum of global stature.”

MAM will continue to work with the architects to further refine the design, with an
anticipated completion date of 2012 and opening in 2013. The people of Miami-Dade
have approved $100 million in bonds towards the $220 million projected budget and the
Museum is in the midst of a capital campaign to raise the balance.

A New MAM
The new MAM will be more than three times the size of its current facility, with 32,000
square feet of galleries, providing space for larger and more varied displays of the
Museum’s rapidly growing permanent collection and special exhibitions. The museum
will be an anchor of the new, 29-acre Museum Park overlooking Biscayne Bay, which
will include public gardens and sculpture installations. The building will also feature an
educational complex with a library, auditorium, classrooms, and workshop space, and a
cafe and store. The new design will stimulate and support collection growth and enable
MAM to better fulfill its role as an educational resource for the city and beyond.

Herzog & de Meuron’s design responds to Miami’s climate and the needs of a young,
rising art museum. The three-story building will sit upon an elevated platform and below
a canopy, both of which will extend far beyond the Museum’s walls, creating a shaded
veranda and plazas. Working with local horticulturists and landscape designers, the
architects will use this space to “bring the park into the museum” in new and innovative
ways.

The interior of the Museum will feature a series of distinct galleries and other public
rooms connected by spaces displaying the permanent collection, creating a fluid visitor
experience. A flexible system of galleries will allow the visitor to step in and out of very
different encounters with art. Transparency on the first and third levels of the galleries
will reveal the activities within: the entry halls, auditorium, shop and café on the first level
and the education center and staff offices on the third. An open-air parking garage will
be located beneath the Museum on grade and surrounded by landscaping and terraces.

The permanent collection galleries will be located on the first and second level, which
will also house extensive temporary exhibition galleries. While mainly oriented inward
toward the exhibition space, the second floor galleries will also feature carefully placed
windows to allow for natural light and views of the surrounding park and bay. The main
gallery level of the new museum will appear to hover between more transparent levels,
all of which will be shaded by the canopy above. A unique feature of the design, the
building will include several “anchor” galleries, approximately 20 feet by 20 feet, for
which the Museum will commission long-term site-specific installations.
The canopy’s overhang will create a series of outdoor spaces that bridge the museum,
park, and city. The canopy will be strategically perforated to allow in light at appropriate
areas, and lush vegetation cascading from the openings will transform the veranda into a
garden. The microclimate under this canopy will be regulated through geothermal
cooling of the exterior surfaces and by the canopy itself, one of the many “green”
strategies being undertaken for the new museum. The design allows for multiple
transitions, as visitors gradually move from the outside to the inside, hot to cool, humid
to dry, and from the street or park to the art. A set of stairs the width of the Museum will
link the building to the bay walk in Museum Park.

In recognition of MAM’s ongoing growth, the architects have designed a building which
can expand organically from within without major disruptions. As MAM’s collection
continues to grow, additional walls and rooms can be added. In addition, future gallery
expansions can be made without interruption of the Museum’s daily activities.

Programming and Collections at MAM
MAM will remain in full operation in its current location on Flagler Street until the new
building is complete. The museum will continue its focused initiative to build the
collection in coordination with the expansion. Among the artists represented in MAM’s
growing collection are Doug Aitken, Carlos Alfonzo, José Bedia, Christo, Chuck Close,
Joseph Cornell, Marcel Duchamp, Guillermo Kuitca, Wifredo Lam, Sol LeWitt, Robert
Rauschenberg, Tomas Saraceno, Lorna Simpson and Rachel Whiteread. In 2008, MAM
was chosen as the museum in Florida to receive 50 works from the Herbert and Dorothy
Vogel Collection, including several works by Richard Tuttle.

MAM's far-ranging vision is expressed in the breadth and depth of its exhibition program,
from major solo exhibitions of artists such as Guillermo Kuitca, Sol LeWitt, Ana
Mendieta, Vik Muniz, Shirin Neshat, Yinka Shonibare and Lorna Simpson, to Miami in
Transition, in which Miami-based artists responded to the city’s development, and
NeoHooDoo: Art for a Forgotten Faith, exploring spirituality in artistic practices. MAM's
broad curatorial mandate accommodates wide-ranging artistic approaches. A highlight of
this vibrant program, Guillermo Kuitca: Everything, Paintings and Works on Paper, 1980-
2008 and a satellite exhibition Guillermo Kuitca: Everything (else), Large Scale Works at
Freedom Tower, will be on view during Art Basel Miami Beach and will remain in the
galleries through January 17, 2010
 

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...and the next day:

http://www.miamiherald.com/news/southflorida/story/1300907.html

Miami Art Museum chief steps down, leaves unfinished business

With designs for a new Miami Art Museum in place, its director has decided to step down and return to architecture.

BY DANIEL CHANG
[email protected]

As Terrence Riley steps down as director of Miami Art Museum, there are a few things he will not miss.

The endless commission meetings.

The begging for money.

The penny pinching to make ends meet.

Riley delivered the news to museum staff Monday morning that he is leaving the top post at MAM to return to his first love, architecture.

His announcement caught Miami's arts community by surprise, but Riley said he is keeping some of the best parts of the job by remaining as a consultant for MAM's new $220 million home, to be built in Bicentennial Park.

``You're either on the horse or off the horse,'' said Riley, who submitted his resignation letter to MAM trustees last week. ``At this point, it was either to stay another four years or to leave at a juncture that worked very well for me and very well for the project.''

Riley steps down as director at a critical moment: The museum's leaders are preparing to turn architectural ideas and drawings into a building on one of the last pieces of publicly owned waterfront in downtown Miami.

Aaron Podhurst, MAM's board chairman, said he will form a search committee for a new director but emphasized that Riley will remain in Miami to help shepherd the project.

MAM's new building has completed the design stage, Podhurst said, and is scheduled to break ground in late spring or early summer 2010. He projects the 120,000-square-foot building will open in 2013.

``Now we start actually doing contractual work with the contractors, subcontractors and all that kind of stuff,'' Podhurst said.

Podhurst said Riley will help MAM ``on the city and county relations, and the science museum and all the things you have to put together in Museum Park to do this.''

He declined to provide details of the consulting contract, such as Riley's pay. But, Podhurst said of the agreement, ``It's fair to Terry. It's fair to the museum.''

An architect by training, Riley joined MAM in March 2006. Though he'll remain in Miami, he longed to return to practicing architecture with his firm, Keenan/Riley Architects, based in New York.

MAM's board of trustees recruited Riley from the Museum of Modern Art in New York, where he had served as chief curator for architecture and design, and played a key role in MOMA's $858 million renovation and expansion.

Riley was hired with a mandate: convince collectors that MAM will have a new building, and grow the museum's collection to merit the higher profile; that the museum staff would be enhanced; and that MAM would become a partner with collectors.

Riley said new leadership may pave the way for future partnerships.

``A new director who could devote as much energy to building the collection as I have to building the building,'' he said, ``not only will make this a great structure, but will make it a great museum.''

In leading the new museum project, Riley helped commission the Pritzker Prize-winning architectural firmof Herzog & de Meuronto design the new MAM,negotiated with city and county officials for funding and raised money from private donors.

But he also butted heads with critics of public funding for the museum, such as Miami art collector Martin Z. Margulies.

Margulies said MAM will have a difficult time raising money, particularly in the wake of the recession.

``The biggest museums, and the best museums that have great collections, they're cutting staff,''


MAM has handled its finances in much the same manner as other museums this past year. In April, Riley cut MAM's budget 10 percent, or $650,000, by laying off three employees, imposing one-week furloughs on full-time staff and reducing executive salaries and the number of temporary exhibitions.

Then, in September, Riley learned that due to budget cuts, MAM would receive about half of an estimated $1 million annual subsidy from Miami-Dade, which owns the museum's current home in downtown Miami's Government Center.

Riley said he leaves the job with very few regrets. One is that he didn't do enough to muster the support of Miami's art heavyweights.

Of the three Miami collectors included in the 2009 ARTnews 200 Top Collectors (a sort of Fortune 500 for the art world), none is officially associated with MAM.

Margulies, who is listed in the Top 200 along with Irma and Norman Braman, and Rosa and Carlos de la Cruz, said he guessed that there is not enough private support locally for the new MAM.

``He comes from a New York institution, and he's used to seeing big money,'' Margulies said of Riley, ``and there's no such thing in this community. And that's why the big collectors are not involved with that institution.''

Riley said Monday that fundraising for the new MAM is ``going very well,'' adding that the museum has raised more than $45 million in pledges toward a $120 million goal. The remaining $100 million will come from public funds.

Riley would not say how many MAM trustees have given to the new building, but he has pledged more than one-third of his 2006 salary of $286,000. He said he would pay his pledge over five years.

Also, the museum is about to adopt a new policy requiring a financial contributionfrom each board member, he said.

The Museum Park Plan, which includes new homes for MAM, the Miami Science Museum and the Historical Museum of Southern Florida, relies on more than $280 million in public money, including $275 million approved by Miami-Dade voters in 2004, $5 million endorsed by Miami voters in 2001, and about $1 million in federal and state grants.
 

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Discussion Starter #3
Mr. Riley said in a telephone interview on Monday that his resignation was not connected to problems with the building project. “If this project was in some sort of trouble or in some sort of holding pattern I would be here till the thing got righted and got done,” he said. “This is a project with verifiable legs.”

The museum said financing was in place for construction.

http://www.nytimes.com/2009/10/27/arts/design/27arts-TERENCERILEY_BRF.html
 

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Discussion Starter #5
For any number of anonymous winters, the Swiss architect Jacques Herzog vacationed in Miami Beach -- walking around, looking around, taking in everything. To me this is one of the more interesting and salient points to be made in looking ahead to the two Herzog & de Meuron buildings we are getting. One might otherwise wonder how a firm from Switzerland (cold country) headed by two distinguished architects (reserved Europeans) could have come up with two buildings that so brilliantly express this particularly hot and ebullient place.
http://www.miamiherald.com/entertainment/arts/visual-arts/v-fullstory/story/1331836.html
 

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In my humble opinion, that is one ugly building design...can Miami come up with something worth looking at and actually going to?
I really like how open and light the space looks. It may not rise to the level of the Bilbao Guggenheim or the new performing arts center in Dallas (anyone seen that? it's pretty remarkable) but I think MAM is a graceful design that would sit well at that site.

To each his own, though. Arguing design is like arguing weather. There's really no right or wrong opinion. :cheers:
 

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That's odd how the messages got reversed in order.

Anyway, I think the Dallas project is pretty cool...especially the Symphony Hall:



I'm a fan of the MAM design for the bayfront. Curious what those who don't like it object to (not in an argumentative way, just wondering)
 

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I went past the current Miami Art Museum and it struck me; why is it being replaced?
I think it's a nice building and if Flager Street is ever converted into a pedestrian street, it would be nice to have a art museum in the middle of all.
 

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