Little more than four years after its opening, a 500 foot long strip of Millennium Park is again under construction, for a period projected to be almost two years. On September 20th, a groundbreaking took place for the Nichols Bridgeway (is that anything like a Westfield Shoppingtown?), named after John Nichols, former chairman of Marmon Group, and his wife Alexandra, who've contributed a total $19,000,000 to both the Bridgeway and to the Art Institute of Chicago's Modern Wing, for which the fund-raising is at $300 million and counting.
Both the 264,000 square-foot Modern Wing and the Bridgeway, hereafter known as "the bridge", were designed by architect Renzo Piano, and are scheduled to be completed in tandem in mid-2009. "The bridge," designed to suck Millennium Park visitors into the museum like a giant anteater, is Miesian minimalist, a 15-foot-wide platform rising in a straight line across its 615-foot length to the height of the Modern Wing's third floor, on the south side of Monroe Street.
The Nichols is the yang to the ying of the Millennium Park's BP Bridge, designed by Frank Gehry. The BP snakes and meanders; the Nichols is straight as an arrow. The BP is stout like a robust peasant, the Nichols is a bare-bones supermodel and the runway she walks down, all in one. The BP is earth, hugging the ground atop a continuous berm, the Nichols is sky, an aerie perched upon toothpick pilotti's. The impact on the park of those pilotti supports remains to be seen; renderings have a habit of placing them behind trees and shrubbery functioning as fig leaves.
The Nichols is a very expensive solution to what could have been accomplished at a tiny fraction of the cost with some graceful landscaping and a precisely coordinated stoplight, but we are promised that we will all be inextricably drawn to the Nichols and enthralled by the views it affords of the surrounding park, lake, and cityscape. The Art Institute is banking that as many as 300,000 of us will supplement the museum's current annual attendence, as well.
Right now, a rather unlovely chain link fence marks off the construction site along Monroe, and high walls separate it from the rest of the park. The museum is doing their part to make the intrusion slightly more palatable by decorating those walls with a series of reproductions comparing works destined to grace the walls of the Modern Wing, by artists from Gauguin, to Sullivan, to Lichtenstein and Twombly, to flowers you're likely to find in the Lurie Garden and the park.
On a related note, the museum has added a "check here first" page on its website giving a month-by-month breakdown on which collections and galleries will be closed or partially available as they are renovated and/or reinstalled as part of the run-up to the 2009 opening of the new addition.
Nothing Renzo Piano does should ever, EVER be described as Miesian--I for one am deeply offended. Magic f'ing carpet--Mies must be rolling in his grave. I have to say I hate when architects decentralize a museum's entrance. I still remeber with great dissapointment a field trip when I was little and going into the musuem through the back door and not being allowed to go out and see the lions.
I have had little success in finding more information regarding this bridge... I would love to see plans and more illistrations of it. Do you have any suggestions?
To build in Chicago is to be compared to Mies. [or, at least it is inevitable that someone will contrive the comparison] Not that I agree, but true nonetheless.
FYI: The new Monroe Street door will be mainly for school groups. The lions still guard what will be the main door.
I hope the press remembers the prediction about the extra 300K visitors. The explanation in 2010 for why it was only 3,000 will be interesting.
I would go even further and say that an architect with a major project in Chicago is tantamount to the notoriety a fashion designer gets showing a collection in Madrid or Milan. It may not be as showy as New York or Paris, but very close. Chicago is still a relatively broad canvas of contemporary architecture. When flashes of brilliance stand out, people take note.
And anonymous, I think 3000 is about right, although it'll be a fabulous place to stop and take pictures from. There’s a picture of it in the Art Institute of Chicago’s current Members’ newsletter.
I've said it a few times: that whole Piano addition is nothing more than space redistribution of moving current departments from one area to another. The leftover space will be turned into storage and not left as exhibition space. A third of the square footage of the addition of the addition is nothing but classrooms and support space. If it turns out that the addition is just pretty new space with the same art already on view, I want credit for stating it here first.
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