Will a ‘reimagined’ Dallas Museum of Art truly embrace diversity? | marklamster
It's up to the architects and the public to ensure that the Dallas Museum of Art's expansion lives up to what it can be, writes Mark Lamster.Austere. Severe. Reserved. These are not words typically associated with this unabashedly swaggering city but they have accurately described the limestone-clad home of themuseum recently announced
“The DMA’s 1984 building by Edward Larrabee Barnes was designed for a different Dallas, a different time, and a different society,” according to the 52-page competition prospectus. That’s a lot to ask for, even with a budget the museum puts at $150 million to $175 million to be drawn from both public and private sources. That budget does not even begin to factor future costs for staffing and maintaining an expanded footprint.
The logic of its plan was compromised by the 1993 Hamon wing, a $30 million, 140,000-square-foot addition tacked onto the north end of the building, facing what was then a highway but is now Klyde Warren Park. The design, also by Barnes, was visually seamless with the original structure, but made it more challenging to navigate. Rick Brettell, who succeeded Parker as director, tried to kill the project he inherited, calling it “a stupid thing to do,” but he was too late to stop it.
Better connection to Klyde Warren Park is also an imperative, and it is called for in the museum’s prospectus. The 2016 introduction of the Eagle Family Plaza was an attempt to remedy this space, but only a marginal improvement. Instead of a half measure, it needs a wholesale transformation that opens up to the park and prioritizes pedestrians instead of cars.
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