The museum is constructed on the grounds of Oak Hall, home of Kansas City Star publisher William Rockhill Nelson. After his death in 1915, his estate, possessions and finances were used to fund artwork for public enjoyment. Coincidentally, an heiress who was once a teacher named Mary Atkins donated $300,000 to establish an art museum. Original plans for the museum involved constructing two art museums (one for each benefactor). However, it was later decided to combine the two and other smaller donors to create one large museum.
The Nelson-Atkins art Museum was designed by leading Kansas City architects Wight and Wight. The original museum opened on December 11, 1933.
The form of the building is modeled after classical Beaux-Arts architecture. The original museum boasted six stories (390 feet long by 175 feet wide). Thomas Wight, the main designer stated:
“We are building the museum on classic principles because they have been proved by the centuries. A distinctly American principle appropriate for such a building may be developed, but, so far, everything of that kind is experimental. One doesn’t experiment with two-and-a-half million dollars.”
Limestone was a heavily used material in the original museum. Twenty-three limestone panels are displayed on the exterior of the building. Also, displayed in the doors is grillwork reminiscent of oak leaves in memory of Oak Hall. Original wood paneling, floors, rugs, furniture, pictures and books are also used throughout the museum, which add to the concept of traditionalism.
To create a contrast from the traditional Beaux-Arts style used in the main museum, expansion plans were formed in 1993, this would increase the space by fifty five percent.
Architect Steven Holl was chosen for the addition to the Nelson-Atkins Museum. The concept was to construct five glass towers on the east side of the existing museum. Holl named these towers lenses, which cover the entirely underground addition called the Bloch building. Many people found the addition too contradictory to the original museum. It has been described as a "grotesque, a metal box." The museum contests traditional design by allowing natural light from the lenses to illuminate the art. Advances in both glass and light technology block most of the harmful ultraviolet rays and protect the art. At night, artificial light is used to give a glowing effect to the towers. The majority of the exhibits are below ground, covered by the 27 to 34-foot glass towers above. There are seven entrances to the building available for visitors. The main entrance is located in the Bloch Building. Hierarchy is important here because although they are the newest addition, the glass lenses do not subtract from the importance of the original museum. This is because they are located on the eastern side of the building, a backdrop to the Nelson-Atkin’s original.
Writer Nicolai Ouroussoff of the New York Times provides an insightful description of the addition to the museum:
“The result is a building that doesn’t challenge the past so much as suggest an alternate world view that is in constant shift. Seen from the north plaza, the addition’s main entrance gently defers to the old building, the crystalline form suggesting a ghostlike echo of the austere stone facade. From there, the eye is drawn to the distinct yet interconnected translucent blocks, which are partly buried in the landscape.”
Overall, the multiple designers of the Nelson-Atkins museum have been able to create a pleasingly cohesive whole, despite highly contrasting parts.
Original museum facade
Bloch addition
1 comment:
nice start...this is really a great building to talk about linking to the past. what do you think are the key points in the design that help us understand the WAYS that the building complex weaves the two together?
Post a Comment