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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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      Notre-Dame Holds First Public Mass in Years: ‘Fire Has Not Conquered Stone’

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      Sunday was the first opportunity for worshipers to return to the cathedral, beloved by the faithful and secular alike, since the 2019 fire that devastated it.Many Parisians can tell you exactly what they were doing when they heard that Notre-Dame was burning five years ago.Many of them instinctively rushed toward the building, and lined the Seine River to watch in horror as flames devoured the ancient lead roof, sending the 19th-century wooden spire tumbling down, punching holes through the vaults and burning the pews below.Some dropped to their knees and prayed, but the cathedral is not just a sanctuary for the faithful. Nor — its millions of visitors a year notwithstanding — is it just a tourist attraction. Notre-Dame, as the crowds of stricken Parisians testified to on that April 2019 day, is the heart of their city, part of the essential fabric of its identity, and a part of them.Notre-Dame is, however, first and foremost a church, and on Sunday evening, worshipers returned there as its first regular Mass was celebrated below the soaring stone arches — the old ones indistinguishable from the new.Seats for the Mass were in great demand.Dmitry Kostyukov for The New York Times“Five years after its destruction, here it stands again, ready to welcome the prayers of the faithful, to welcome the heart, the cry of the heart of all those who come here from all over the world,” Msgr.Olivier Ribadeau Dumas, rector of the cathedral, declared in his opening remarks. “Fire has not conquered stone, despair has not conquered life.”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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      Paris, Uncharacteristically Giddy, Bids Au Revoir to the Olympics

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      A joyous Games, a cleaned-up Seine and improvements to the region brought cheer to Parisians as they handed off the Summer Olympics to Los Angeles.There were French firemen flipping like acrobats, a musician playing a piano that hung vertically in the air, and Olympic athletes overwhelming the stage and forming a mosh pit around the French electro-pop band Phoenix.The Paris Olympics ended much as they began, with a raucous spectacle before a joyous crowd, a generous supply of strobe lights, smoke and fireworks. And then the actor Tom Cruise rappelled off the stadium roof to collect the Olympic flag from the gymnast Simone Biles and carry it off on his motorcycle, à la “Top Gun” and “Mission: Impossible” to Los Angeles, where the next summer Olympics is set to take place in 2028.“Together, we have experienced the Games like nothing we have ever lived before,” said Tony Estanguet, the president of the Paris Olympics organizing committee, adding that of all the records broken, among them was one for marriage proposals. “From one day to the next, time stood still and a whole country got goose bumps.”As Paris bids au revoir to the Olympic Games, many are reluctant to let go of its magic: of the adrenaline-fueled excitement, of the party free of political debate, of the sense of time deliciously suspended, like the glowing Olympic cauldron that has hovered wistfully over the city every night.The beach volleyball venue became one of the most popular, and most photographed, at the Games.Daniel Berehulak/The New York TimesThe Olympic cauldron hovering over the city.Dmitry Kostyukov for The New York TimesWe 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

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      Before ‘S-Town’ Made Him Famous, Clock Lovers Knew Him Well

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      John B. McLemore, the brilliant and quirky star of the hit podcast “S-Town,” is the center of a show highlighting his work in the art of clock restoration.John B. McLemore, a profanely outspoken, brilliant and troubled restorer of antique clocks, emerged a national figure in 2017 with the podcast “S-Town.” As a horologist — a repairer of devices that measure time — he restored intricate and rare pieces in a workshop at his family homestead in rural western Alabama.But that was just part of the story.In short order, “S-Town” hit 40 million downloads, and has since surpassed 100 million, making it among the most downloaded podcasts.For those who missed this unusual tale, there will be no major spoilers here. It’s enough to say that McLemore, and many in his orbit, were vaulted from obscurity to sometimes painful visibility.(Tyler Goodson, a prominent character in the podcast, was killed in a police shootout in December. Jeff Dodson, the mayor of Woodstock, the hamlet where “S-Town” takes place, said he hasn’t received an update on the police investigation of the shooting.)Before “S-Town,” McLemore was known to collectors of rare clocks, earning fame as an unlikely genius who could diagnose mechanical trouble and revive one-of-a-kind antique timepieces.One of those collectors, William R. Tatum, was close to “John B.,” as friends called him. Tatum — referred to only as Bill in the podcast — entrusted McLemore with many of his prized clocks. An exhibition of 34 of those pieces, all restored by McLemore, runs through April 30 at the National Watch & Clock Museum in Columbia, Pa. 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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      What’s Hidden in Woodlawn’s Mausoleums? Extraordinary Stained Glass.

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      On a sunny Bronx morning late last year, an all-star team of stained-glass experts prepared to enter a dank 1894 tomb at Woodlawn Cemetery that had been opened just once in the past century.The mausoleum at hand held the remains of José Maria Muñoz, a Panamanian-born New York merchant and son of a Spanish general. The scholarly tomb raiders were five energetic stained-glass conservators and art historians conducting an unprecedented survey of some 1,200 stained-glass windows that were installed in free-standing Woodlawn mausoleums from 1878 to the present.The 1894 mausoleum of José Maria Muñoz, a Panamanian-born New York merchant and son of a Spanish general.Jeenah Moon for The New York TimesWoodlawn sits on 400 rolling acres ornamented with 1,300 such private family mausoleums, including extravagant Gilded Age temples erected for captains of industry, robber barons and the merely very wealthy. These titans of affluence and their spouses often spent lavishly on the adornment of their final resting places — even if the interiors of these grand structures weren’t destined to be seen by more than friends and family.As soon as the team entered the mausoleum, shrieks could be heard bouncing off the interior stone walls. The experts had discovered a variety of stained glass none of them had ever encountered before.On the back wall of the sepulcher, behind the stone sarcophagus that filled most of the clammy chamber, a jeweled blue-glass orb protruded from the flat plane of a stained-glass window — breaking through into the third dimension. 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