Word: diller
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...then flows into the museum, forming the floor and ceiling of the theater space before flowing back outside to coat the underside of the cantilever. It all has to do with obscuring the distinction between inside and outside--there's that blur again--and is another example of how Diller and Scofidio have managed to work their ideas about space into an actual space. Not only that, but into a museum that, though it functions as a platform for first-rate, intellectually ambitious shows, must also struggle for revenue in less pristine ways. So like any other museum these days...
...dedicated to the newest works of art, so if there is any institution likely to seek out unconventional architects, it's that one. All the same, who expected that Diller and Scofidio, well known as skeptics about the whole idea of museums, would end up designing one? When New York City's Whitney Museum of American Art gave them a big retrospective three years ago, they underlined their ambivalence about becoming insiders by having a little robot programmed to roll around for the duration of the show drilling holes in the gallery walls...
...time of the Whitney retrospective, Diller and Scofidio had already been at work for two years on the ICA project. So for all their ambivalence, they were plainly well on their way to making peace with the idea of museums--or at least the ones they could have a hand in shaping. Plus, they say, there had been a generational shift in the people who run the art world. "People were coming into institutions," explains Diller, "who were rethinking the contemporary museum." One of the people she's talking about would have to be Jill Medvedow, the cheerful locomotive...
...million risk, but one that paid off beautifully. The new ICA is a fascinating combination of public and private spaces, as well as a building that comments ingeniously on its own chief purpose, which is to foster the art of looking. It can only have helped that Diller and Scofidio came to the job with experience as artists. When architects think of themselves that way, it's usually because they see themselves, like Frank Gehry, creating sculptural form. But Diller and Scofidio have been conceptual artists, more concerned with ideas than the objects they shape them into. Now they have...
...important to Medvedow and her architects to make the building a place where people could gather even when they weren't there for the art. It sits on a gray wood esplanade that, if all goes as planned, will become part of 47 miles of new harborside walkways. Diller and Scofidio have used the same wood to create a wide outdoor staircase that doubles as a bleachers-style seating area. It's located just under the ICA's major exterior flourish, a fourth floor that cantilevers 80 ft. into space like a giant diving board. The hope is that...