Earning its
Stripes: A Museum Builds on its Many Legacies
The Cleveland
Museum of Art is one of the city's enduring assets and a legacy of its history
as an industrial powerhouse. Like other American temples for art built in the late
19th and early 20th centuries—in Detroit, St. Louis, Toledo—this Neoclassical
pavilion, completed in 1916 on a rise overlooking a verdant Olmsted Brothers
park, reflects the lavish patronage of a wealthier era.
Among the finest art
museums in the country, it has an encyclopedic collection with unsurpassed
holdings of Asian art. Even as the city's fortunes declined over the last
half-century, the Cleveland Museum continued to add to its original building.
Yet several expansions—including a 1971 education wing designed by Marcel
Breuer—resulted in a hodgepodge of interior spaces and confused circulation. In
2001, Rafael Viñoly won a design competition to expand the museum again.
The idea behind the architect's
scheme was surprisingly simple, inspired by the logic and symmetry of the
original Beaux-Arts museum, which was designed by a local firm, Hubbell and
Benes. “Whatever you say about the 1916 building, that it's a Greek temple or
whatever, in terms of space and circulation it is spectacular,” says Viñoly.
“All you had to do was clarify it.”
Over the years, the various
additions had shifted the museum's center of gravity to the west, and the main
entrance had moved to the boxy Breuer wing, beneath a massive, 115-foot-long
concrete canopy. Viñoly's scheme called for razing everything between the
original rectangular museum and the Breuer addition, which sat parallel to the
north.
The plan of the expansion is essentially a U shape, with a new bar
building on the north end that wraps the length of the Breuer addition, and
east and west wings that link it to the original museum building. That leaves
an immense rectangular “hole” in the center of the Viñoly plan, where the
architect has made his boldest move by creating a huge glass-roofed atrium. The
new construction almost doubles the museum's size, to 592,000 square feet.
The $350 million project was so
ambitious that its construction has been phased—a process that's been prolonged
by the economic downturn. In 2009 the first phase opened: the new east wing, with
three levels of galleries. Now the second phase is complete: the atrium and the
new four-level north wing, housing more gallery space, a museum store, a
learning center, and offices. A second-level balcony along its length overlooks
the atrium and wraps around the interior of both new wings, connecting to the
1916 building on either end and creating an open loop of circulation. The final
phase will be the opening next year of the west wing; it will contain a
ground-floor restaurant and galleries above.
Grappling with the Breuer
addition was difficult, says Viñoly. “A good furniture designer is usually a
bad architect—and vice versa.” An early version of his design called for
replacing the Breuer entrance canopy, but that was abandoned, and it remains the
primary museum entrance.
Viñoly has tried to bridge the
stylistic chasm between Breuer's brownish Brutalism and the dazzling white
prettiness of the original marble museum. The concrete 1971 structure is clad
in alternating light and dark horizontal bands of Minnesota granite, a homage
to such striped Italian Renaissance buildings as the cathedral in Orvieto.
Viñoly's steel-frame east wing, which is staggered in profile to follow the
curve of a road along the edge of the site, is clad in stone-faced precast-concrete
panels. In a bow to Breuer, the stone is striped, using similar dark granite
alternating with light bands made of the same white Georgia marble as the
original 1916 museum. The new west wing mirrors the east, and as each wing's
facade extends south to wrap the ends of the old museum, the dark stripes
decrease in density and the white marble dominates. Atop the striped base of
each wing is a glass-box gallery.
Inside Viñoly's skylit atrium—a
space the length of a football field—the exterior north facade of the elegant
old museum is revealed. An analysis of the wall's structure determined it could
support the glass-and-mullion atrium roof, which rises in a gentle curve to a
height of 61 feet, atop a row of slender steel columns that make it appear to
float above the old museum. To prevent condensation on the glass, the
architects employed an integrated technology widely used in Europe: Hot water
is pumped through the mullions in the cold months, and cold water during the
summer.
The atrium is poised to become
a major urban amenity in the newly invigorated University Circle neighborhood.
“The idea of the civic role of the museum is central in Cleveland,” says
Viñoly. As the museum's admission is free, this enormous sun-splashed room is a
public space that belongs to everyone.
Completion
Date: 2009
(phase one), 2012 (phase two)
Size: 592,000 square feet, gross (new
building)
Cost: $350 million
Architect:
Rafael Viñoly Architects
Rafael Viñoly Architects
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