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...gray wood 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...

Author: /time Magazine | Title: Architecture: First Thinking, Then Building | 11/26/2006 | See Source »

...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...

Author: /time Magazine | Title: Architecture: First Thinking, Then Building | 11/26/2006 | See Source »

...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...

Author: /time Magazine | Title: Architecture: First Thinking, Then Building | 11/26/2006 | See Source »

...that reason, the new ICA has glass everywhere, both clear and translucent, which is unusual for a museum, a place that has to protect artworks from direct light. The architects have got around that problem by clustering the galleries in enclosed space on the fourth floor while placing most of the public spaces on the lower, more light-filled, levels. Even the 325-seat theater space is bounded on two sides by double-height glass walls so that performances can take place against the backdrop of the harbor. (The walls can also be closed off with scrims when necessary...

Author: /time Magazine | Title: Architecture: First Thinking, Then Building | 11/26/2006 | See Source »

...understand the darker days in South Africa's not-so-distant past should visit Constitution Hill. Until 1983 this was home to the[an error occurred while processing this directive] Old Fort Prison, where thousands of political prisoners once awaited trial. Today it has been partially preserved as a museum, but the old Awaiting Trial Block has been demolished, and in its place is the new Constitutional Court, the highest court in the land. It's the end result of a competition to "create a building rooted in the South African landscape, physically and culturally," and South African architects...

Author: /time Magazine | Title: A Long Walk To Justice | 11/23/2006 | See Source »

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