Skip to content
Harvard Magazine
Editor’s Highlights

Sign up to be notified of new issues.

View a sample newsletter

Date Smart! Join the dating network exclusively for graduates, faculty, and students of The Ivies, MIT, Stanford and a few others. www.rightstuffdating.com, 800-988-5288.

View more classifieds

Art of the Future?

 
Forward this page to a friend
Enter multiple addresses on separate lines or separate them with commas.
(Your Name) has forwarded a page to you from Harvard Magazine
(Your Name) thought you would like to see this page from the Harvard Magazine web site.
CAPTCHA
This question is for testing whether you are a human visitor and to prevent automated spam submissions.
1 + 0 =
Solve this simple math problem and enter the result. E.g. for 1+3, enter 4.

The Fogg and Busch-Reisinger Museums at 32 Quincy Street will close their doors on June 30 for five years (see “Art Museum Two-Step,” January-February, page 62). But before they do, the Harvard University Art Museums (HUAM) will preview the plans for renovation in a small exhibition hinting at the design approach unfolding in the offices of project architect Renzo Piano. All but the original 1927 Fogg building will be torn down as part of the massive project.

Although the design is still evolving as HUAM consults with the Cambridge Historical Commission, the Massachusetts Historical Commission, the Harvard Corporation, and Cambridge neighbors, the exhibition, opening May 18, is expected to include a large model as well as sketch renderings of Piano’s plan. Anchoring the first-floor space will be the distinctive central courtyard, with four separate galleries at the building’s corners. The second floor will contain more gallery space, and the third will include galleries as well an entrance to the study centers where professors can use objects from the collections for teaching. What will be most apparent from the outside, emphasizes Cabot director of the museums Thomas W. Lentz, is that there will no longer be front and back sides to the building: “We are adding [a formal] entrance to the building on Prescott Street.”

hosptial

Photograph by Michel Denace/Renzo Piano Workshop

Architect Renzo Piano is noted for “spaces that defer to art” and has a gift for combining controlled natural light with artificial light, says Thomas W. Lentz, director of the Art Museums. Lentz says the architect’s buildings “always keep works of art front and center,” whether as a result of his “sense of proportion in gallery spaces,” or his “deep interest in materials and how they ‘live’ and interact.” Above, a gallery at the Nasher Sculpture Center, Dallas.

Forward this page to a friend
Enter multiple addresses on separate lines or separate them with commas.
(Your Name) has forwarded a page to you from Harvard Magazine
(Your Name) thought you would like to see this page from the Harvard Magazine web site.
CAPTCHA
This question is for testing whether you are a human visitor and to prevent automated spam submissions.
1 + 0 =
Solve this simple math problem and enter the result. E.g. for 1+3, enter 4.

Add a new comment

Your email address is kept private and will not be shown publicly
  • Allowed HTML tags: <a> <em> <strong> <ul> <ol> <li> <blockquote> <span> <b> <i> <br>
  • Lines and paragraphs break automatically.
  • Web page addresses and e-mail addresses turn into links automatically.
  • SmartyPants will translate ASCII punctuation characters into “smart” typographic punctuation HTML entities.

More information about formatting options

Leave this field blank. This field catches automated robots

Copyright ©1996—2009
Harvard Magazine Inc.
Contact the webmaster