Displaying items by tag: construction

The Institute of Contemporary Art set its groundbreaking date for Nov. 16, putting the project behind its previously estimated completion, which coincided with Art Basel 2016.

The 37,000-square-foot, three-story building, including a 15,000-square-foot sculpture garden, will sit on 41st street in the Design District on land donated by Miami Design District Associates.

The Blanton Museum of Art at the University of Texas at Austin has announced that it will begin construction of Ellsworth Kelly’s Austin in October. A groundbreaking ceremony is scheduled for October 31, and the building is projected to open to the public in late 2016 or early 2017. In celebration, the Blanton will host, on October 31, a symposium on Kelly with leading scholars and curators from across the country.

The project was announced in February, and the Blanton has received formal approval from the university’s Board of Regents, clearing the way for construction to begin this fall.

A team led by Page & Park Architects has been approved for the restoration of the Glasgow School of Art's Mackintosh Building which was destroyed by fire last spring. The appointment was announced March 31, 2015. The design team will lead the project, following presentations by a shortlist of five leading practices earlier this month.

Page \ Park undertook a detailed analysis of the construction of a bay from the Mackintosh Library, including the creation of an accurate scale model, to answer the question “what do we know about the library that will enable us to do a successful reconstruction?”

The Museum of Contemporary Art in Denver has raised $8.5 million in a fundraising effort to eliminate the debt it incurred during construction.

The Prosperity Campaign was launched it 2012. This recent fundraising reduces the museum's total bank liability from $11.8 million when the building was completed in 2007 to a current level of $2.7 million.

Settled by the Dutch and claimed by the English, New York, from the start, was “a Babel of peoples—Norwegians, Germans, Italians, Jews, Africans . . . Walloons, Bohemians, Munsees, Montauks, Mohawks, and many others,” as writer Russell Shorto has observed. In the landscapes they shaped, buildings and furniture they made, New Yorkers created a place “unlike any other, either in the North American colonies or anywhere else.” This unique legacy is reflected in New York furniture featuring elaborate Dutch-inspired turnings, solid English construction methods, French sculptural carving, and Germanic painted decoration. In assembling the collection at Winterthur, Henry Francis du Pont created a world-class destination for viewing New York furniture in all of its splendid variety.

The restoration of the Neue Nationalgalerie in Berlin will cost an estimated €101m, Hermann Parzinger, the director of the Prussian Cultrural Heritage Foundation, announced yesterday, January 21. This masterpiece by the architect Ludwig Mies van der Rohe, which opened in 1968, was closed in early January. Access to displays in the basement of the temple-like structure has already been closed since December 21. Construction of the exterior will not be visible initially, as the five-year makeover will start inside the building.

David Chipperfield Architects has been entrusted with the refurbishment project, having found international acclaim for its work on rebuilding the Neues Museum on Museum Island in Berlin.

President of the Prussian Cultural Heritage Foundation, Hermann Parzinger, has announced that Berlin's Museum of Modern Art will open no later than 2021. Speaking to the DPA, he said, "It is an ambitious goal, but I am optimistic that we can make it." Most important in reaching that goal, he suggested, was a higher level of unity among the political and cultural partners behind the project who have, at times, found themselves at odds.

In November, the project's biggest hurdle was cleared when the federal government approved a €200 million appropriation to fund the construction of the new museum (see €200 Million Appropriation Clears Way for Berlin MoMA).

For nearly half a century, the Whitney Museum of American Art’s Marcel Breuer building has dominated Madison Avenue and 75th Street.

But with the Metropolitan Museum of Art preparing to take over the space, a flurry of construction — including what may be an Apple store — could be construed as the Met effect.

In October, the Whitney closed its doors in anticipation of its move to a space designed by Renzo Piano that is scheduled to open in the meatpacking district in May.

Norman Braman, the auto dealership magnate, has just uttered the words every contractor dreams of hearing: “Whatever the cost is, we will be building it, period.”

Sitting with his wife, Irma, on the patio of their Indian Creek Island home, off Miami Beach, he has been outlining their plans to single-handedly fund the design and construction of South Florida’s newest major museum, the Institute of Contemporary Art, Miami. It could be a cultural game changer in a city crowded with four significant private museums, two more on the way and three public ones all focused on contemporary art.

In 1964, Cincinnati’s Swedenborgian Church of the New Jerusalem was razed for the construction of a highway. The spiritual home to followers of the 18th-century Swedish scientist and theologian Emanuel Swedenborg, the church was built in 1902, at which time it received the gift of seven stained-glass windows produced by Tiffany Studios, the pre-eminent American producer of stained and art glass, under the direction of the firm’s founder and head, Louis Comfort Tiffany (1848-1933). Unlike many Tiffany windows that perished when their buildings faced the wrecking ball, these were preserved. For decades they sat in crates, hidden away in basements and garages of parishioners, and eventually a barn in Pennsylvania. Only when the barn began to leak in 2001 did a newly appointed minister open the crates. To her astonishment, that which was lost was found again—and even covered with decades of grime, the unique Tiffany beauty of all seven windows, each emblazoned with a life-size stained-glass angel, made a powerful impression.