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    Met Museum Unveils Design for New Modern Wing

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    The architect Frida Escobedo has drawn on her Mexican heritage in reimagining the galleries for Modern and contemporary art.The metaphor of weaving has informed Frida Escobedo’s design for the Metropolitan Museum of Art’s long-awaited new wing for Modern and contemporary art, which was unveiled on Tuesday.It is present in the architectural screen of limestone lattice that wraps the new wing’s exterior on the museum’s southwest corner, creating a diaphanous surface that will change as the sun moves through it during the day. It is present in the placement of windows, offering glimpses of the city and the park. And it is present in the way that the new wing will connect to the adjacent galleries, emphasizing the connectivity between different regions, disciplines and civilizations.“How can we start understanding the rhythm and the cadence that the museum has?” Escobedo said in a recent joint interview with Max Hollein, the museum’s director, in his Met office.“The challenge was to weave these connections with the existing museum and adjacent wings and also to make connections with the park in a very subtle way,” she continued. The current campus “is very complex — it looks like a medieval town with plazas and towns and squares and little alleys, where you can get lost, which could be fascinating, but also very disorienting.”The architect Frida Escobedo and Max Hollein, director of the Met, looking over a model of the new Tang Wing for Modern and contemporary art that Escobedo is designing.Vincent Tullo for The New York TimesAt a time when museums all over the world are rethinking how they present art for a modern audience, Escobedo’s design marks a significant step forward for the long-delayed Met project. It also represents a do-over; a previous design by the architect David Chipperfield, who was selected for the job in 2015, was jettisoned after ballooning in cost to as much as $800 million.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Storm King to Begin 2025 With Nora Lawrence as Executive Director

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      The family-run Hudson Valley sculpture park inaugurates its 65th anniversary year with fresh leadership, a $53-million upgrade and new acquisitions.Storm King Art Center, the 500-acre outdoor museum, announced on Tuesday that Nora Lawrence, its artistic director and chief curator, will succeed its president, John P. Stern, as the institution’s leader in January. It also announced a series of commissions and acquisitions, and a solo show by the Brazilian visual artist Sonia Gomes.It is the first time that Storm King — founded in 1960 by Stern’s grandfather, Ralph E. Ogden, and father, H. Peter Stern, in New Windsor, N.Y. — will be stewarded by someone from outside their family.In choosing Storm King’s inaugural executive director, the board decided to forgo a typical search and unanimously select Lawrence, who rose through the ranks over 13 years, starting as an associate curator.From left, the artist Sarah Sze and Lawrence on the grounds of Storm King in 2021.Lila Barth for The New York Times“There is no one more qualified to take the helm than Nora Lawrence, with whom I’ve had the privilege of working closely and whose artistic vision has helped make Storm King the international destination that it is today,” Stern wrote in a statement. He took the reins from his father in 2008 and now, at age 64, will transition to a position as the board’s president and senior adviser; his two sisters also serve on the board of the nonprofit organization.The generational change — Lawrence is 45 — is part of the “transformation from Storm King being a wonderful, family-led organization to becoming increasingly a more public-facing organization in every way,” said Adam D. Weinberg, a Storm King board member, who stepped down as director of the Whitney Museum last year.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Notre-Dame Reopens in Paris After a Fire. It’s Astonishing.

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      Benoist de Sinety, former vicar general of Paris, was on his scooter that April evening in 2019, driving across the Pont Neuf toward the Left Bank when he spotted flames in his rearview mirror billowing from under the eaves of Notre-Dame. He cursed, made a U-turn and sped toward the cathedral. Mary Queen of Scots […] More

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      Rebuilding After Fire, Jacob’s Pillow Will Open a New Theater

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      The Doris Duke Theater, more than twice as large as the original and designed for modern technology, will open in July.When the Doris Duke Theater at Jacob’s Pillow, the bucolic dance festival in Becket, Mass., was destroyed by a fire four years ago, the festival’s director, Pamela Tatge, promised that it would be rebuilt.“The theater,” she said at the time, “is an essential component of the ecology of Jacob’s Pillow.”On Wednesday, Jacob’s Pillow announced that its new Doris Duke Theater would reopen on July 9, as part of its coming season. And the initial wave of programming there has been conceived specifically with the space in mind.“We all struggled when we lost the Doris Duke,” Tatge said in an interview. “But we had this moment to think of what we will build and why, and what sort of building we need in the future.”The campus of Jacob’s Pillow has other performances spaces: the large Ted Shawn Theater, and the outdoor Henry J. Leir Stage. The old Doris Duke opened in 1990, with 230 seats and the look of a sleek barn.A $10 million gift from the Doris Duke Charitable Foundation, insurance claims and other gifts paid for the costs of the new theater. Jacob’s Pillow, Tatge said, wanted its new building to be a flexible space with “the ability to support the future of where this field is going.” The organization hired the Dutch architecture firm Mecanoo, and brought on the Choctaw and Cherokee artist Jeffrey Gibson as a consultant, to design a theater, Tatge added, “that was in dialogue with nature.”The result is a building nearly twice the size of the original theater, with a range of 220-400 seats and the ability to also house residencies and other events, perhaps at the same time. It will be equipped with a spatial audio system and specialized cameras for livestreaming and interactive video performances.Tatge said that next summer’s lineup of artists at the Doris Duke Theater was based on “works that could magnify and amplify the flexibility of the space, as well as works that demonstrate the intersection of dance and technology.”The programming includes the world premiere of Andrew Schneider’s “Here,” Shamel Pitts’s “Touch of Red” and Eun-Me Ahn’s “Dragons.” The Taiwanese choreographer and roboticist Huang Yi will make her Pillow debut, as will the Indigenous Sámi choreographer Elle Sofe. Faye Driscoll will return to the festival with her work “Weathering,” from last year, and Schneider and Pitts will create digital-first pieces.In the future, Tatge said, Jacob’s Pillow hopes to commission works that incorporate augmented reality, technology similar to video conferencing and other forms of mixed reality. And they can be developed year-round in the new building.“It will be a maker space,” Tatge said of the Doris Duke Theater. “At a time where there is a crisis of ambition in our country because a lack of resources, the fact that we’re going to be able to support artists — that is something.” More

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      Studio Museum in Harlem to Open New Building in Fall 2025

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      The 82,000-square-foot structure on 125th Street will open with a show featuring the artist Tom Lloyd.The Studio Museum in Harlem on Tuesday announced that it will open its new home on 125th Street in the fall of 2025. Its first show there will bring the museum full circle by focusing on the work of Tom Lloyd, the artist, educator and activist who was featured in the 1968 opening exhibition of the institution — which was then just a second-floor rented loft on upper Fifth Avenue.“This building represents the collective aspirations of all who have been involved in thinking about what it would mean to make a museum on 125th Street devoted to the work of Black artists,” said Thelma Golden, the museum’s director, in a recent walk through the new structure. “This space allows us to fully execute on all of the work that we have been known to do, but gives us so much more capacity and so much more possibility.”Featuring stacked volumes of differing sizes over five stories, the new building provides 82,000 square feet, increasing the exhibition space by more than 50 percent and the public areas by about 60 percent.The museum’s news release makes no mention of the building’s architect, David Adjaye, nor those currently credited for the design — Adjaye Associates in collaboration with Cooper Robertson. (The museum parted ways with Adjaye in the wake of allegations of sexual harassment and misconduct. Adjaye has denied the accusations.)Golden declined to discuss Adjaye, but said, “We are thrilled with and proud of this design and look forward to working in it.” A rendering of the lobby, facing north. The museum said it has raised more than $285 million of a $300 million capital campaign for future sustainability. via Adjaye AssociatesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      How Air-Conditioning Made Us Expect Arizona to Feel the Same as Maine

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      It’s a quiet force that contributes to a sameness across the country and to climate change.One force has quietly shaped much of the world around us — our homes, our offices, the look of our cities, the migration patterns of Americans and the economic fortunes of different parts of the country.That is: air-conditioning.It’s become so widespread as to be unremarkable, an assumed feature of every interior environment. Nearly 90 percent of Americans use some kind of air-conditioning at home. It is humming in the background just about everywhere else you go: in your car, at the mall, on an airplane.But, as we discuss in an episode of “The Daily” podcast today, our dependence on it increasingly poses a knotty problem, as the energy needed to power all this air-conditioning produces emissions that contribute to the warming world. The more we use the thing that helps us cope with heat, the hotter it will get.“This cycle where air-conditioning is both the solution and the problem is really where we’re collectively kind of stuck,” said Daniel Barber, head of the school of architecture at the University of Technology Sydney.Or, as he has written more bluntly: The comfort air-conditioning gives us inside is predicated on the worsening instability of the climate outside.My colleagues Ronda Kaysen and Aatish Bhatia wrote about an illustration of this relationship on Monday. In some of the fastest-growing major metro areas in the U.S., like Las Vegas, the nights are rapidly getting hotter. That drives demand for even more air-conditioning. And in fact, without air-conditioning, it’s unlikely so many people would have moved to Las Vegas in the first place.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Roberto Gerosa Converted a Milan Woodshop into a Maximalist Home

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      The Italian architect and designer Roberto Gerosa has converted a disused wood shop into a live-work space where his imagination can run wild.With a hand-rolled cigarette pinched between his fingers, the architect and designer Roberto Gerosa, 71, is rushing around his house, a cavernous former lumber workshop in Milan’s residential Villapizzone district, pointing out his favorite objects. In the corner that serves as his office, he presents a 13-foot-tall gilded column that was once part of a 19th-century theater set. Against a nearby wall is a wooden bookcase heaving with bolts of vivid fabrics: glossy heirloom brocades, pinstriped cottons and his most recent acquisition, from a tour of markets in Provence, a 19th-century paisley cashmere shawl that he plans to repurpose for a client’s upholstered headboard. In the guest bathroom is a birdcage-shaped metal shower stall of his own design painted Yves Klein blue and crowned with a bouquet of ostrich feathers.An antique Chinese bed sits in the center of the living, dining and kitchen areas.Francesco DolfoIn the sitting area, a suede sofa of Gerosa’s design with revolving seat cushions. Behind, a wooden shelf is stacked with books and passementerie.Francesco DolfoGerosa moved into the 2,100-square-foot space, which has a basement studio of the same size, in 2020, in search of a place where he could both live and work. “But I didn’t want to make a typical architect’s loft,” he says. “That’s not my style.” Instead, he’s created a warm, irreverent home and atelier that speaks to a lifetime of collecting and curating forgotten objects. The layout of the single-story building — which is open save for the guest suite at the back and the primary bedroom at the front — allows Gerosa to keep his various passions at his fingertips. In the span of a few moments, he might arrange flowers in the kitchen, pull reference books off the shelves in the office, then disappear into the workshop, where he resuscitates vintage furniture.Gerosa made the kitchen island from a wooden door he found when he moved into the building. Above it hangs a brass pendant lamp of his own design.Francesco DolfoOver the past several decades, Gerosa has earned a reputation reimagining homes for members of Milan’s bohemian aristocracy. He is often called in once a drafty Venetian palazzo or opulent city pied-à-terre has been tidily renovated and needs an injection of elegance and patina. “When I enter a room, I can see it transform,” says Gerosa. The finished spaces are dramatic and whimsical, filled with custom furniture, abundant greenery and patterned vintage textiles from his vast collection. In a stately apartment in Milan, he hung lace curtains along the walls, topping them with antique framed etchings and festooning the windows with gold-colored taffeta. He left a villa in Sicily mostly spare and whitewashed but accented the foyer with an antique pommel horse and sculptures of donkeys made from woven jute. “I have nothing against modernity,” he says. “It just doesn’t belong to me or my taste.”In the guest bedroom, an antique Indian copper bed.Francesco DolfoGerosa designed a birdcage-like shower stall for the guest bathroom, which he finished with a spray of ostrich feathers.Francesco DolfoWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Philip Johnson’s Brick House Reopens After 15 Years

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      The architect Philip Johnson’s Glass House, a rectangular glass-and-steel residence set on a grassy shelf above a wooded bluff in New Canaan, Conn., has epitomized a certain East Coast ideal of midcentury elegance since its completion in 1949. Before becoming an architect at age 37, Johnson ran the architecture department at MoMA, and the spare, luminous building, which he inhabited for over half a century, embodies the Modernist International Style that he helped define in a landmark exhibition at the museum in 1932. The home also established Johnson himself as the paragon of a specific type of New York architect: erudite, absolutist in his refinement and formidable in his influence wielding, shaping careers, institutions and public opinion like few others in his field.But since the National Trust of Historic Preservation opened the Glass House to the public as a museum in 2007, visitors have discovered there’s more to the place than its namesake centerpiece. By the time Johnson died in 2005, the five acres he’d bought in 1946 had grown tenfold to encompass 14 structures, including experimental follies, a subterranean painting gallery and three wooden homes from earlier periods, including a shingled 18th-century dwelling that Johnson and his partner, the curator David Whitney, would use as a refuge in hot weather. For the past 15 years, however, a pivotal part of the estate has remained semi-concealed: Johnson’s guesthouse, known as the Brick House and situated just 80 feet from the site’s main attraction, has been closed to the public because of water damage. Now, after an extensive restoration and in time for the Glass House’s 75th anniversary, the building has finally been unveiled.The hallway has a granite floor and doubles as a gallery, displaying Brice Marden’s “Etchings to Rexroth” (1986), from the collection of Johnson and his partner, the curator David Whitney.Dean KaufmanJohnson considered the 1,728-square-foot Glass House and its 860-square-foot brick companion, which was built at the same time, two parts of a single home — one alluringly crystalline, the other introverted and opaque. He wrapped the smaller building entirely in iron-spotted red brick and positioned it facing the main house at a slight angle, with a gravel pathway crossing the courtyard between them. The structures are also linked below ground: Along with a bedroom, study, storage room and bathroom, the Brick House contains the unsightly mechanical equipment that supplies the Glass House with electricity and heat, enabling the larger building to maintain its aesthetic purity. Tellingly, Johnson placed the Brick House’s only windows — three big mahogany-framed portholes — on the building’s back side, facing away from his glass retreat. “I didn’t see why the guests should have a window looking out toward my house,” he said in an unpublished 1991 interview for the National Trust. “They can look their own way out to the hill.” But he and Whitney also often slept in the building when they didn’t have visitors.Ibram Lassaw’s welded bronze-and-steel work “Clouds of Magellan,” commissioned for the bedroom in 1953, hangs above the bed.Dean KaufmanThe Brick House is stern, squat and solid, its front interrupted only by a tall, centered black pinewood door. Even Johnson admitted it wasn’t much to look at, calling it “perfectly plain.” But if the exterior is unassuming, Johnson created an unexpected landscape of color, texture and fantastical detail inside. At one end of the bright entrance hall, which runs parallel to the front of the house, a door gives way to the building’s showpiece: a dim, sand-hued bedroom that is at once monastic, womblike and glamorous. Johnson — who never shied away from, as he put it in the 1991 interview, “deliberately copying whatever I felt like” — modeled it after a domed parlor in the early 19th-century London home of the English architect John Soane. Soane described the layered design of that room as “a succession of fanciful effects,’’ and Johnson deployed his own series of clever tricks. First, he built an off-white plaster pavilion inside the 10-by-26-foot room. A row of vaults seem to be supported by 14 superslim columns but are, in fact, suspended from the ceiling and give the room the sheltered quality of a cloister.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More