Beaux Meets New
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By Sara Carpenter / Published by Dwell
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The St. Louis Art Museum has announced the June 29th opening of its recently completed expansion, the East Building. The walls are up, the lights are on, and all that remains to be done is the lengthy process of hanging artwork. The David Chipperfield-designed building will bring together new and old as it connects to the Cass Gilbert-designed Beaux Arts building that has housed a top tier collection of art since 1904.

In 2005, Sir David Chipperfield was unanimously chosen by the museum’s commissioners to design the extension. It’d be safe to say the St. Louis Art Museum made a good investment. Since then, Mr. Chipperfield has been knighted by the Queen of England and directed the 13th International Architecture Exhibition for the Venice Biennale in 2012. The city of St. Louis was clearly behind the expansion as a capital campaign to raise funds exceeded its goal by $15 million. Local firm HOK was tapped as the architect-of-record.

The new East Building seen from Fine Arts Drive (North façade). Image courtesy of the Saint Louis Art Museum and Architectural Wall Systems. Photo by: Jacob Sharp.

The new East Building seen from Fine Arts Drive (North façade). Image courtesy of the Saint Louis Art Museum and Architectural Wall Systems. Photo by: Jacob Sharp.

A significant feature of the new building will be natural sunlight—with numerous floor-to-ceiling windows and a coffered ceiling of 698 skylights, each visit to the museum will vary depending on time of day and weather conditions. The scrim-covered skylights were designed in collaboration with Arup and ensure ample, but controlled lighting to protect the artwork. From Forest Park, the grounds surrounding the museum, the expansive windows serve as frames for views into the museum. Conversely, when inside, visitors will look out to exteriors currently being updated by landscape designer Michel Desvigne. The first phase of his master plan includes installation of outdoor sculptures, restoration of grass and planting of trees and shrubs.

The new East Building as seen from the east. Image courtesy of the Saint Louis Art Museum and Architectural Wall Systems. Photo by: Jacob Sharp.

The new East Building as seen from the east. Image courtesy of the Saint Louis Art Museum and Architectural Wall Systems. Photo by: Jacob Sharp.

In addition to a plethora of glass, the building is faced with polished concrete. Sir David Chipperfield added depth to the façade by incorporating Missouri river aggregates into the material. Inside, 21 galleries will grow the museum’s exhibition space by nearly 30 percent. Appropriately, the East Building will be used to display modern and contemporary art while former temporary exhibition galleries in the Main Building will make room for pieces from the permanent collection—478 of which have not been seen in public for at least 20 years. Reinstalled works in the 50 renovated galleries will debut at a show titled A New View (of which there are many!).

The 1904 Beaux Arts Main Building with the new East Building in the foreground. Image courtesy of the Saint Louis Art Museum and Architectural Wall Systems. Photo by: Jacob Sharp.

The 1904 Beaux Arts Main Building with the new East Building in the foreground. Image courtesy of the Saint Louis Art Museum and Architectural Wall Systems. Photo by: Jacob Sharp.

Underneath the East Building, a three-level garage will accommodate 300 cars and plug-ins for electric vehicles. Moving a large quantity of parking underground will enhance the landscape and reduce the somewhat distracting presence of cars when entering the museum grounds.

Looking north through the East Building Hall. Image courtesy of the Saint Louis Art Museum. © Simon Menges

Looking north through the East Building Hall. Image courtesy of the Saint Louis Art Museum. © Simon Menges

A view of the interior’s coffered ceiling stretching outside. Image courtesy of the Saint Louis Art Museum.

A view of the interior’s coffered ceiling stretching outside. Image courtesy of the Saint Louis Art Museum.

Complementing a British architect is British sculptor Andy Goldsworthy. A site-specific installation, Stone Sea consists of 25 10-foot arches comprised of stone from the Earthworks Quarry in nearby Perryville, Missouri. Coming in at a whopping 13 tons each, the arrangement of the arches mimics waves of the seas that once covered St. Louis and will occupy space bridging the Main Building with the East. Installation in progress. Image courtesy of the Saint Louis Art Museum.

Complementing a British architect is British sculptor Andy Goldsworthy. A site-specific installation, Stone Sea consists of 25 10-foot arches comprised of stone from the Earthworks Quarry in nearby Perryville, Missouri. Coming in at a whopping 13 tons each, the arrangement of the arches mimics waves of the seas that once covered St. Louis and will occupy space bridging the Main Building with the East. Installation in progress. Image courtesy of the Saint Louis Art Museum.

A piece from the museum’s permanent collection. Louise Nevelson, American (born Russia), 1899–1988; New Continent, 1962; painted wood; 77 3/4 x 121 3/4 x 10 1/8 inches; Saint Louis Art Museum, Museum Purchase, by exchange and funds given by Martha I. Love, Mr. and Mrs. George S. Roseborough Jr., the Weil Charitable Foundation, Henry B. Pflager, Jane and Warren Shapleigh, The Lea-Thi-Ta Study Group, and Nancy W. Gilmartin 14:1967 © 2013 Louise Nevelson / Artists Rights Society (ARS), New York.

A piece from the museum’s permanent collection. Louise Nevelson, American (born Russia), 1899–1988; New Continent, 1962; painted wood; 77 3/4 x 121 3/4 x 10 1/8 inches; Saint Louis Art Museum, Museum Purchase, by exchange and funds given by Martha I. Love, Mr. and Mrs. George S. Roseborough Jr., the Weil Charitable Foundation, Henry B. Pflager, Jane and Warren Shapleigh, The Lea-Thi-Ta Study Group, and Nancy W. Gilmartin 14:1967 © 2013 Louise Nevelson / Artists Rights Society (ARS), New York.

A piece from the museum’s permanent collection. Ellsworth Kelly, American, born 1923; Spectrum II, 1966–1967; oil on canvas; 80 inches x 22 feet 9 inches; Saint Louis Art Museum, Funds given by the Shoenberg Foundation, Inc. 4:1967a-m © Ellsworth Kelly.

A piece from the museum’s permanent collection. Ellsworth Kelly, American, born 1923; Spectrum II, 1966–1967; oil on canvas; 80 inches x 22 feet 9 inches; Saint Louis Art Museum, Funds given by the Shoenberg Foundation, Inc. 4:1967a-m © Ellsworth Kelly.

A piece from the museum’s significant collection of Post-War German art. Gerhard Richter, German, born 1932; Betty, 1988; oil on canvas; 40 1/4 x 28 1/2 inches; Saint Louis Art Museum, Funds given by Mr. and Mrs. R. Crosby Kemper Jr. through the Crosby Kemper Foundations, The Arthur and Helen Baer Charitable Foundation, Mr. and Mrs. Van-Lear Black III, Anabeth Calkins and John Weil, Mr. and Mrs. Gary Wolff, the Honorable and Mrs. Thomas F. Eagleton; Museum Purchase, Dr. and Mrs. Harold J. Joseph, and Mrs. Edward Mallinckrodt, be exchange 23:1992 © Gerhard Richter 2013.

A piece from the museum’s significant collection of Post-War German art. Gerhard Richter, German, born 1932; Betty, 1988; oil on canvas; 40 1/4 x 28 1/2 inches; Saint Louis Art Museum, Funds given by Mr. and Mrs. R. Crosby Kemper Jr. through the Crosby Kemper Foundations, The Arthur and Helen Baer Charitable Foundation, Mr. and Mrs. Van-Lear Black III, Anabeth Calkins and John Weil, Mr. and Mrs. Gary Wolff, the Honorable and Mrs. Thomas F. Eagleton; Museum Purchase, Dr. and Mrs. Harold J. Joseph, and Mrs. Edward Mallinckrodt, be exchange 23:1992 © Gerhard Richter 2013.

Sara Carpenter

@saracarpenter

Sara is a design, bikes, baking, traveling, and pizza enthusiast. She recently left the world of television for greener pastures in modern design.

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