The Whitney Museum is close to its original location resurrected as new Renzo Piano.
Renzo Piano sits between walls of glass, the view outside to the elevated train tracks of the High Line, and speaks of the roller coaster rides in history. Whether it may be known that some of the bright pine floorboards in the house came from an old cigarette factory, Philip Morris in North Carolina. Scrapped with the crisis of the tobacco industry, today reused for art, something fascinates him. Or the migration, have the museum behind. Only Downtown, Uptown then, now back to downtown. “The circle is complete,” says the 77-year-old designer with a voice that is so thin that you have to zoom back very close to understand him.
piano has the Whitney Museum of American Art, a new building erected in the Meatpacking District, close to the Hudson River, in one of the trendiest neighborhood of Manhattan. A mish-mash of a building, his critics complain. When approaching from the north, it leaves at a hospital or a pharmaceutical factory thinking, monotonous and sterile with its softly gleaming metal skin. From the water side to the west, it interacts with a little imagination like a ship that has run on the bank due. From the east, where the brick facades of Gansevoort Street exude English flair, you see a jumble of terraces and stairs, gray industrial steel, a braid that recalls famous fire escapes on New York.
As always, if in this city a prominent building is opened, there is no shortage of ridicule. In the magazine “New York” blasphemes one, “the thing may have been delivered in Ikea boxes, only that you have the items assembled amazingly wrong.” “Well, journalists,” says Piano, smiling softly and explains his philosophy. The important thing was for him to connect museum and city. To bring the city to the museum, rather than turning their backs on her.
From two sides floods light into the rooms. From an expansive glass balconies on the fifth floor, the largest of eight floors, the view over the Hudson behind the Suburbia World New Jersey goes to the Statue of Liberty. On the other hand he goes over rooftops full air conditioning boxes, over yellow taxis and the vibrant maze of streets in the West on Manhattan’s Empire State Building. Links a hotel named Standard, which rises above the raised beds of Highline as the open book of a giant. Prior to the loading dock of “Vistula Beef”, a solitary proof that here once cattle were disassembled in a big way.
Directly on Whitney completed the High Line, a railway line, on the wrong 1934-1980 freight trains , Rudy Giuliani, a mayor, who found the ruins rusty eyesore than wanted, let them tear. Joshua David and Robert Hammond, of a journalist, the other programmers, who saved them, by setting up a citizens’ initiative and gained prominent advocates and wealthy donors over time.
About the Park on stilts, to which the developed railway track, stroll every year five million visitors. The creative people have moved on, while high-end boutiques and gourmet restaurants dominate the streets. It acts as if piano a bit come late to the party, even though the return of Bohème is at its starting point a central motif of the new Whitney.
A few streets to the east, in Greenwich Village, then unadjusted Downtown , Gertrude Vanderbilt Whitney in 1907 founded a studio. Heiress of one of the wealthiest families in America, married to businessman Harry Payne Whitney, they rubbed against the “great stagnation of wealth”. Freedom she was looking for in a studio where she tried herself as a sculptor, which was also Artist Salon and that emerged from the 1931 named after her museum.
In the 50s, the galleries of the upper-class rebel attracted the posh Upper East Side, where they served a resolutely modern design Bauhaus veterans Marcel Breuer as property from 1966. A kind of inverted stepped pyramid. Pianos Whitney has his exhibition space opposite the old almost doubled, a luxury in Manhattan with his chronic lack of space. Inside bothers no column. “Artists need flexibility they need freedom,” said the master knit it into a guiding principle, while his assistant frantically urging to leave because a television crew from France is waiting too long. As Europeans, says Renzo Piano, was he proud of the great culture, the rich tradition of the Old Continent. But the spirit of freedom symbolized happens to America with its endless expanses, and he was trying to capture
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