2014년 11월 16일, 하버드 아트 뮤지엄이 렌조피아노 빌딩 워크샵에 의해 새롭게 리뉴얼, 오픈된다. 새로운 하버드 아트
뮤지엄을 위한 디자인은 스터디, 티칭, 전시, 그리고 보존을 위한 새로운 자원을 생성한다. 이 시설은 센터에는 새롭게 수복된 캘더우드 중정이 액티비티와 동선의 허브의 역활로 자리한다. 도시의 광장 또는 이탈리아 광장과 유사한 중정은 상부 3개층에 걸쳐
확장된 글래스 아케이드로 디자인되며, 이를 통해 새롭게 생성된 글래스 루프는 빌딩 중심부로 자연채광을 유도, 조도를 일정하게
유지시켜주는 역활을 수행한다. 방문객들은 뮤지엄 그라운드 레벨에 위치한 퍼블릭스페이스 및 출입구-새로운 프레스콧 스트리트 출입구
또는 기존 퀸시 스트리트 출입구를 선택 출입 가능하다.- 를 통해 유입, 총 6개층에 자리한 퍼블릭 스페이스 및 갤러리로 접근
가능하다. (아트스터디 센터는 클래스룸과 렉처홀로 구성된다. 최상층에서는 캠브릿지와 하버드 외부 정원 전망과 각 시설들의 중심부를
살펴 볼 수 있는 뷰포인트가 제공된다.) 빌딩의 첫번째층은 삽과 카페가 배치된 퍼블릭 스페이스로 갤러리 입장권을 구매한 관람객들만 이용할 수 있다.
렌조피아노 빌딩 워크샵의 디자인은 1927년 건립된 포그 뮤지엄 빌딩의 섬세한 복원을 목표로 퀸시 스트리트에 면한 역사적인 파사드 및 아이콘 인테리어 캘더우드 중정의 복원을 진행한다. 그리고 프레스콧 거리로 새롭게 추가된 구조물, 그리고 새로운 글래스 루프는 뮤지엄 내 유적보전 실험실과 아트 스터디 센터 내로 자연채광의 유입과 필터링 역활을 수행한다. 리노베이션과 확장은 이와같이 역사적인 구조물에 대한 최소한의 개입(복원 및 수복)과 새롭게 추가되는 건축물의 캐릭터 생성을 목적으로 하며, 이웃한 주거단지 및 카펜터 센터와의 호흡을 새롭게 써내려간다. (르꼬르뷔지에가 북아메리카에 디자인한 유일한 건축물, 카펜터 센터는 비쥬얼 아트센터를 위한 공간으로 사용) 또한 프로젝트의 모든 디자인은 하버드 유니버시티의 지속가능한 디자인 가이드에 따르며 LEED Gold를 충족시키는 건축환경을 구축한다.
reviewed by SJ,오사
The Harvard Art Museums – comprising the Fogg Museum, the Busch-Reisinger Museum, and the Arthur M. Sackler Museum – opened their new Renzo Piano Building Workshop-designed facility to the public on November 16, 2014.
The design for the new Harvard Art Museums creates new resources for study, teaching, exhibition, and conservation. The facility’s center, within the restored Calderwood Courtyard, is a hub of activity and circulation. Mirroring an Italian piazza, or city square, the Calderwood Courtyard has been extended upward with glass arcades on the upper three floors and a new glass roof that allows controlled natural light into the heart of the building.
32 Quincy Street, Cambridge, MA
Program: museum’s facility
Architects: Renzo Piano Building Workshop in collaboration with Payette
Design Team: M. Carroll and E. Trezzani (partners in
charge) with J. Lee, E. Baglietto (partner), S. Ishida (partner), R.
Aeck, F. Becchi, B. Cook, M. Orlandi, J. Pejkovic, A. Stern, J. Cook, M.
Fleming, M. Palacio, S. Joubert; M. Ottonello (CAD operator); F.
Cappellini, F. Terranova, I. Corsaro (models)
Consultants: Robert Silman Associates (structure); Arup (MEP
engineering, lighting design, facade engineering, code consulting, LEED
consulting); Nitsch Engineering (civil engineering); Anthony Associates
(wood scientist); Davis Langdon (cost consultant); Sandy Brown
Associates (acoustics); Carl Cathcart (arborist); Building Conservation
Associates (restoration consultant)
Area: 19,000 sqm
Completion: 2014
Visitors can pass through the museums’ ground-floor public spaces, entering from either a new Prescott Street entrance or the original Quincy Street entrance, and can easily navigate the six levels of public space including galleries, the Art Study Center, classrooms and lecture halls, and a top floor offering views both into the heart of the facility and outside to Cambridge and Harvard Yard. The first floor of the building, including a shop and cafe, is open to the public without the purchase of admission to the galleries.
Renzo Piano Building Workshop’s design sensitively preserves the original 1927 Fogg Museum building, including its historic facade on Quincy Street and the iconic interior Calderwood Courtyard. A new addition was constructed along Prescott Street, and a new glass roof allows controlled natural light to filter into the museums’ conservation labs and the Art Study Center, as well as into the central courtyard below.
The renovation and expansion was designed to minimize impact on the historic structure; to add a new, distinct architectural expression; and to create a dialogue with the residential neighborhood and the adjacent Carpenter Center for the Visual Arts, the only building in North America designed by architect Le Corbusier. The project is designed to follow Harvard University’s sustainability initiatives, with the intention of attaining LEED Gold certification.
The renovation and expansion increase the Harvard Art Museums’ gallery space by more than 40 percent. wHY has worked with curators and senior leaders of the Harvard Art Museums on the design for the inaugural installation of the permanent collections galleries, as well as on plans for how these spaces can be reconfigured or changed over time as works of art are rotated. Payette Associates is the Architect of Record and local design partner, and Skanska USA served as construction manager of the project.
“The Harvard Art Museums are university museums, a place to collect and exhibit art, a great workshop to study, in direct contact with the artworks. Show, preserve, teach. If I had to describe the new Harvard Art Museums in a synthetic image, I would say that the ground floor is urban, serving the city by providing life; the second and third floors are for the art and the people who come to know it; the fourth and fifth contain more specialized spaces for the students like the Art Study Center and the conservation lab.
It is a stratification, an overlap of spaces and services that proceeds upwards towards more specialized functions. The hidden base of the museums’ machine is the storage, where the artworks are filed and protected from the effects of time; while the rest of the space, under the big glazed lantern, is open to the city and to the light.” Renzo Piano says.
from domusweb