Parrish Art Museum by Herzog & de Meuron

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Architects Herzog & de Meuron have designed a new museum building for the Parrish Art Museum in Southampton, New York, USA.

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The building will consist of two long single-storey wings with pitched roofs, running parallel to each other and joined by a central corridor

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A porch surrounding the building will provide shade overlooking the surrounding meadow.

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All computer-generated images © Herzog & de Meuron.

Links to more Dezeen stories about Herzog & de Meuron here.

Here's some more information from the architects:

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PARRISH ART MUSEUM UNVEILS HERZOG & DE MEURON DESIGN FOR NEW BUILDING IN WATER MILL

New Museum Celebrates Creativity of the Artists of the East End
Flexible Design Doubles the Museum’s Current Exhibition Space

The Parrish Art Museum today unveiled a re-conceptualized design for its new museum, to be constructed on the 14-acre site the Parrish acquired in Water Mill. Herzog & de Meuron’s design embodies responsiveness to the indigenous landscape, an emphasis on the natural northern light and a dialogue with the local architecture of the East End, especially the many artists’ studios in the area. The proposed design, which has received the unanimous support of the Parrish’s Board of Trustees, is now under review by the Planning Board of the Town of Southampton.

“We could not be more pleased with this design, which enables us to function as a true center for community engagement, serving a broad and diverse audience, including the thousands of school children who visit us each year, by providing access to stellar works of art and ways to explore our special artistic heritage.” said Terrie Sultan, Director of the Parrish Art Museum. “The new plan will allow us to build a beautiful facility within a sensible budget and a reasonable timeframe. The design will be flexible, sustainable, and economically achievable.”

“We are proud of the hard and expeditious work done by the Parrish team in re-conceptualizing the design under a tight timetable and challenging economic environment,” said Co-Chairs Doug Polley and Carlo Bronzini Vender. “We are also pleased by the significant degree of commitment and financial support we have received from the Parrish community, which is now enabling us to move forward with this plan.”

The building will provide more than 37,300 square feet of highly efficient space, which is nearly twice the size of the existing museum. With 12,000 square feet of unencumbered flexible galleries, including the first galleries dedicated to displaying the museum’s important permanent collection, the design more than doubles the Parrish’s current exhibition space. The museum will also include educational and multi-purpose spaces, a spacious and light-filled lobby, and a café and kitchen. The design incorporates administrative offices and onsite space for storage and care of the permanent collection.

Located on the north side of Montauk Highway, the proposed new Parrish will be a horizontal structure nestled discretely in the landscape, consisting of two parallel wings joined by a central circulation spine running the length of the building. To take advantage of natural northern light the building is placed on the site in a strict north-south orientation. The poured-in-place concrete walls are deeply recessed under a long and elegant white corrugated metal roof and will incorporate large sections of glass that permit views through the museum and into the surrounding landscape.

Like the building itself, the landscape will evoke the heritage of the East End. The site will be reshaped into a meadow with grasses and native wildflowers, rising toward an oak and blueberry woodland at the northern boundary. A special feature of the new design is a shaded porch surrounding the entire building and expanding to a large covered terrace, providing public areas for rest and contemplation. Conceived as a single, integrated work, the architecture and landscape will offer the public a unified and cohesive experience year-round.

“The new project is in a way a more radical and simplified version of our original design for the Parrish,” said architect Jacques Herzog. “Its clarity in concept, in combination with straightforward construction details and building materials, can be seen as a process of purification in immediate response to the Museum's newly defined brief. Our proposal to collaborate from the beginning with local contractors on the realization of our ideas proved to be an extremely efficient and rewarding process for us as well as for the project.”

In addition to Herzog & de Meuron, the Parrish is continuing to work with other existing members of the design team, including Reed Hilderbrand Associates Inc. as landscape architect, ARUP London as lighting designer and Nelson, Pope & Voorhis for civil and environmental engineering. Douglas Moyer Architect of East Hampton has been appointed as the Executive Architect partner for Herzog & de Meuron and S. L. Maresca & Associates as structural engineer. Ben Krupinski Builder will serve as general contractor for the project.

“Herzog & de Meuron’s design reflects a profound understanding of the Parrish’s mission, of the creative spirit of the East End community and of the spectacular natural beauty and distinctive light that have attracted so many artists to the Hamptons,” said Sultan. “We are ready to give the East End, and the art world, a museum that is truly worthy of showcasing our permanent collection, mounting ambitious special exhibitions and presenting a full array of educational programs for children and adults.”

ABOUT HERZOG & DE MEURON
Among the most highly praised architecture offices in the world, the Swiss firm of Herzog & de Meuron is known for such major recent projects as the National Stadium for the 2008 Olympic Games in Beijing; the Walker Art Center Expansion in Minneapolis, (2005); the de Young Museum in San Francisco,(2005); and Tate Modern in London (2000). The firm’s wide range of projects has also included a railway engine depot, private houses, the 1998 Dominus winery in Napa Valley, hospitals, factories, and office buildings. Other cultural projects have been the Schaulager Laurenz Foundation, Basel (2003); the Laban Dance Centre, in London (2003); the CaixaForum-Madrid, Spain (2008); TEA, Tenerife Espacio de las Artes in Santa Cruz de Tenerife, Canary Islands, Spain (2008); and the new Miami Art Museum, Florida (projected completion 2012), among others.

Jacques Herzog and Pierre de Meuron established their office in Basel in 1978.In addition to Herzog and de Meuron, the firm includes eight partners: Harry Gugger, Christine Binswanger, Robert Hösl, Ascan Mergenthaler, Stefan Marbach, Wolfgang Hardt, David Koch and Markus Widmer. Currently the practice employs 21 associates and 320 collaborators working on over 30 projects across Europe, North America and Asia. The firm’s head office is in Basel with branch offices in Hamburg, Madrid and New York.

Together with Jacques Herzog and Pierre de Meuron, Ascan Mergenthaler is partner-in-charge of the new Parrish Art Museum. A partner in the firm of Herzog & de Meuron since 2004, he led the team for the new de Young Museum in San Francisco (2005) and is in charge of the new Elbe Philharmonic Hall in Hamburg, Germany (projected completion in 2011), among other projects.

Herzog & de Meuron have been awarded numerous prizes including The Pritzker Architecture Prize in 2001; the RIBA Royal Gold Medal and the Praemium Imperiale, both in 2007.

ABOUT THE PARRISH ART MUSEUM
Established in 1898 by Samuel Parrish, The Parrish Art Museum is dedicated to collecting, preserving and interpreting American art, with a focus on the art and artists of Long Island’s East End – one of America’s most enduring art colonies. Over the years, the Museum has evolved into one of the region’s most significant cultural institutions, where diverse audiences can explore and experience American art.

Since its founding, the Museum’s holdings have grown to encompass a distinguished collection of American art from the nineteenth century to the present. Particular strengths are the work of famed American Impressionist William Merritt Chase, who founded and taught at the Shinnecock Hills Summer School of Art in the 1890s, and works by the important figurative painter and critic Fairfield Porter, who lived in Southampton from 1949 until his death in 1968. Other major artists represented in the collection include Jackson Pollock, Lee Krasner, Willem de Kooning, Larry Rivers, Dan Flavin, Chuck Close, Eric Fischl, April Gornik, Roy Lichtenstein and Elizabeth Peyton, among many others.

  • gab xiao

    it’s a nice barn with no particular museum quality.

    the filthy rich Hamptons fauna would spend more on fashion shows and golf club memberships rather than an art museum of their own…

  • Theo

    For H&D, this is not very exciting. I like it, but it’s a bit out of character.

  • http://tarjanurmi-arkkivahti.blogspot.com tarja nurmi

    it does look just like an elongated barn

  • John B

    It’s a chicken house like at my grandparents’ farm in VA.

  • http://www.unruly.ca Katy McDevitt

    I dunno. I like the barnness of it and the sensitivity the architects show towards the landscape.

  • nomad

    this is the low budget version of the museum. read the article in the nytimes about this building. it was first imagined to be a group of almost iconic houses linked together

  • http://www.winifredwikkeling.com/blog royal creme

    This new design is a bit of a disappoint as compared with the original plans, though both were quite demure for H & M..

  • Michael

    I actually kinda like this simple solution. I would LOVE to see the view down the hall where the two roofs join. Otherwise, who needs something over the top in the country.

  • booh

    I totally agree with Michael. I don’t think that the starketects need to make foolish proposals just to keep with their “style” of architecture. I think that this is a great design that meets the needs of the client and responds well to the environment. I mean Zaha Hadid’s proposal for the Price Tower visitor’s center is amazingly stylized and beautiful, but why the hell would anyone build that in the middle of no where Oklahoma… Thank you Hurzog de Muren, I love you even more.

  • http://ny10536.blogspot.com ro

    Beautiful, restrained, elegant and sensitive.
    Sits well in the landscape and is what a good museum should be: all about the art.

  • Indi

    A recycled Glenn Murcutt plan, but a good solution for the location . For all the surface excitement of some projects, H+dM are modernists plan-meisters.

  • TT

    I like the Simplicity of roof and sense of belonging to surrounding.

  • _______

    its great, no more starchitecture, back to basics

  • zetre

    I loved the original proposal.
    This one’s ok, a return too the simpler geometries of 80s & 90s H&deM, I guess..

  • I Can Has Cheeseburger

    luv the unpretentious simplicity! i really wanna work for these guys!

  • http://www.flickr.com/photos/artifice james webb

    that is quite some “re-conceptualized” scheme compared to the earlier version. looks more like cost cutting.

    for original scheme see
    http://www.metropolismag.com/pov/wp-content/uploads/2008/07/exterior-rendering-parrish-art-5×9.jpg

  • N

    I think this is much more successful than the original design. it’s simple and discreet, and I think to decide to just draw a white line and make that a building is a much harder gesture to make (and make successfully) than a complex and buzy design in architecture. it doesnt need any more than that and i think the elevational view with the tops of the wheat field is really fantastic. Rural Studio might appreciate that one.

  • LOW

    Herzog! Arkansas wants its barn back

  • charles

    its nice. its just nothing special.

    Although we should reconsider how we criticize architecture in our contemporary time. a) we always look for something SPECIAL, and b) we have to actually REALLY consider the economy and realizable projects.

    yea the design isn’t anything super modern and cool, but Hey! it’s still nice and I would like to be there. Moreover, they’ve cut the construction fee a lot. Enough for them to build it. If I’d be paying them architects, that’s clearly a yes for me.

  • fai

    If the client wanna cut budget and have a museum like this, why they find H&D?

  • farzad

    Consider this fact,we build for people not for the critics,so don’t expect a modern surprising design for anywhere,see the architecture beside the people, economy ,environment and many other things…

  • gc

    i like this alot.
    h&d is never at their best when they are “exciting” or “flashy” as some of the previous comments complained the museum is not. it’s this kind of subtlety and sensitivity to materials, proportions, site, etc. that set them apart in the first place. somehow a typology reminiscent of a rural barn automatically turns off a lot of people, and I absolutely don’t understand where this preconceived notion comes from. I applaud the architects for looking past this narrow mindset that seems to limiting those who can’t appreciate the design.

    it’s quite beautiful

  • Velma

    It’s beauty is in its simplicity achieved using the classic archetype of a barn which is ubiquitous enough that it does not need to be published.

  • travis

    value engineering really got a hold of this one…

  • http://www.akvpc.com Sachem

    I love the simplicity of the iconic barn in the field. It lacks all pretense—refreshing! More should be said about the landscape and site design which is the true strength and beauty of the composition.

  • condit

    Will the Parrish be rippped off like Guild Hall was ????? New Story in the new york times about how guild hall was used as a personal bank for certain , shall we say, construction entities

  • endersen

    You guys are reacting weird,
    It’s powerful, in my opinion, how it stands in the landscape, and reminds me of the “roof project” by Kengo Kuma