Zaha Hadid designed the Eli and Edythe
Broad Art Museum with a pleated facade of
stainless steel and glass that contrasts with the surrounding red brickwork of
the university’s Collegiate Gothic north campus. The building is named
after philanthropists Eli and Edythe Broad, who have spent four decades
amassing two prominent collections of contemporary and postwar artworks. Exhibitions
will be dedicated to modern art, photography, new media and works on
paper.
Double-height galleries are included within the museum’s
1600 square metres of exhibition space, which is split between three
storeys that include two floors above ground and one basement level. The plan
of the building was generated by the directions of surrounding
pathways and sight-lines, and the architects hope this will help the
building to integrate with its surroundings. ”Cultural engagement is
paramount,” said Zaha Hadid.
“The design of the Broad invites dialogue with the
university, the community of East Lansing and beyond.” Hadid won a competition in 2008 to design the museum, which also contains an exhibition space, an education wing,
study centre, cafe, shop and outdoor sculpture garden. The
museum’s inaugural exhibitions include Global Groove 1973/2012, an
exploration of current trends in video art, and In Search of Time, which
investigates the relationship of time and memory in art.
Here’s a project description from Zaha Hadid Architects:
The Eli and Edythe Broad Art Museum, located at the northern
edge of the Michigan State University campus, is influenced by a set of
movement paths that traverse and border the site.
The vitality of street life on the
northern side of Grand River Avenue and the historic heart of the university
campus at the south side generate a network of paths and visual connections;
some are part of the existing footpath layout, others create shortcuts between
the city and the campus side of Grand River Avenue.
The circulation travelling
in an east-west-direction on Grand River Avenue, along the main road of East
Lansing and also on the main approach street to the campus produce an
additional layer of connections that are applied to this highly frequented
interface between city and campus. Generating two dimensional planes from these
lines of circulation and visual connections, the formal composition of the
museum is achieved by folding these planes in three-dimensional space to define
an interior landscape which brings together and negotiates the different
pathways on which people move through and around the site.
This dialogue of
interconnecting geometries describes a series of spaces that offer a variety of
adjacencies; allowing many different interpretations when designing
exhibitions. Through this complexity, curators can
interpret different leads and connections, different perspectives and
relationships.
These detailed investigations and research into the landscape,
topography and circulation of the site, enable us to ascertain and understand
these critical lines of connection.
By using these lines to inform the design, the
museum is truly embedded within its unique context of Michigan State
University, maintaining the strongest relationship with its surroundings. The
Broad Art Museum presents as a sharp, directed body, comprising directional
pleats which reflect the topographic and circulatory characteristics of its
surrounding landscape.
Its outer skin echoes these different
directions and orientations – giving the building an ever-changing appearance
that arouses curiosity yet never quite reveals its content. This open
character underlines the museum’s function as a cultural hub for the community.
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