The Piazza Augusto Imperatore in Rome and its modern neighbor, the Ara Pacis Museum, at center, designed by Richard Meier. (Photo: Chris Warde-Jones for The New York Times)

The International Herald Tribune has a remarkable story on Rome’s new mayor who recently announced his intention to tear down a museum designed by U.S. architect Richard Meier. He was referring to the so-called Ara Pacis museum that was built to house the Ara Pacis, a 2,000-year-old Roman altar, and opened its doors in the ancient centre of the Italian capital in 2006. Consisting of a glass, marble and steel rectangular shaped structure, the museum was praised by many as a welcome addition to Rome’s more traditional architecture.

But at a news conference, as he outlined his plans for Rome, mayor Gianni Alemanno threatened that: “Meier’s building is a construction to be scrapped”. Alemanno, who last week became the first right-wing politician elected Rome mayor since Mussolini’s time, is among those critics who thought the classical Ara Pacis should never have been housed in such a modern structure.

And he’s is in good company. around the time of the opening in 2006, architecture critic Nicolai Ouroussoff of The New York Times wrote an almost hostile review of the building and its architect:

Mr. Meier’s building is a contemporary expression of what can happen when an architect fetishizes his own style out of a sense of self-aggrandizement. Absurdly overscale, it seems indifferent to the naked beauty of the dense and richly textured city around it.

And he even went as far as comparing Meier to Mussolini:

” While Mussolini’s architects can be faulted for trying to reshape the city’s history for their own propaganda aims — and to satisfy the egomaniacal drive of a despot — the museum reminds us that vanity is not unique to generals or politicians.”

Next year it will be exactly 100 years ago that Futurist leader Marinetti called for the destruction of the past as entombed in museums, and one century later his intellectual heirs in Italy might bring his words into action..

2 Columbus Circle (on the right), day view (Photo: New York Times)

The 1964 Gallery of Modern Art at 2 Columbus Circle is being transformed into a new space for the Museum of Arts and Design (MAD). Almost everything about the building has changed, but the original “lollipop” columns persist. The New York Times has put an interactive feature online, providing an animated overview of the building’s redesign. Moreover, on the MAD-website you can watch a video of the construction works.

Museum of Arts and Design (MAD) Floor plan: new vs. old situation (Photo: New York Times)

(Photo: Courtesy of Renzo Piano Building Workshop and Cooper, Robertson & Partners)

The New York Times is very positive about Renzo Piano’s computer renderings for the future downtown annex of the Whitney Museum: “The bold form expresses a level of experimental courage that he hasn’t shown in years. This is a building that could revive the Whitney, and inject welcome creative energy into the city’s cultural life.”

The architect seems to be very busy these days. After the opening of the LACMA earlier this year and the expected completion of the California Academy of Sciences this fall, the Witney Museum is only one of many large museum projects by the Italian maestro. On Tate Modern’s website you can hear and watch him talk about another highlight in his carreer, the 52-storey glass skyscraper housing the new headquarters of The New York Times.

Read more (New York Times, May 1 2008)
Go to website Whitney Museum of American Art

The spiderweb shaped Living Roof on top of California Academy of Sciences in bloom.

This fall, after eight years and almost half a billion dollars, architect Renzo Piano will complete the greenest museum ever built—the new California Academy of Sciences, in San Francisco’s Golden Gate Park—housing its aquarium, planetarium, and natural-history museum under a two-and-a-half-acre “living roof.”

Long section of the museum design © Rpbw

Piano’s museum has made extensive use of technology in the service of the institution’s green mandate and promises to set a new standard for ‘green museums’. Vanity Fair’s Matt Tyrnauer writes about its genesis.

Overview © Rpbw

The Iraqi National Museum has reclaimed 701 artefacts that were stolen during looting in the aftermath of the fall of Saddam Hussein in 2003. The news was covered by media from around the world:

Stolen treasures returned to Iraq’s museum (People’s Daily Online, 29 Apr 2008)

Treasures returned to Iraq museum (Kazinform, 28 Apr 2008)

Stolen treasures returned to Iraq’s museum (Sydney Morning Herald, 28 Apr 2008)

Iraqi museum receives 701 artifacts stolen during looting (Aljazeera.com, 27 Apr 2008)

Treasures returned to Iraq museum (BBC, 27 Apr 2008)

Iraqi National Museum receives 701 artifacts stolen in wake of Saddam Hussein’s ouster (International Herald Tribune, 27 Apr 2008)

Baghdad museum receives artifacts stolen from Iraq (Washington Post, 27 Apr 2008)

Read more Baghdad Museum news (The Baghdad Museum Project)

Tel Aviv’s new Bauhaus Museum is located in the White City, a collection of 1930s-era International Style buildings designated a UNESCO World Heritage site in 2003.

Tel Aviv’s “White City,” an unparalleled collection of 4,000 International Style buildings, now has a Bauhaus Museum to display Bauhaus-designed furnishings and related objects. The museum is appropriately located, in an International Style building. The first exhibition, which opened April 25, includes original furniture, graphics, lamps, and glass and ceramic ware, by Mies van der Rohe, Marcel Breuer, Christian Bell, Wilhelm Wagenfeld, and others.

It was because of the “White City” that Tel Aviv was added to the list of 56 historical cities in the world in 2003, and became one of the few modern cities to be declared a world heritage site by UNESCO. The maverick architects and designers of the city could not have imagined that their application of the revolutionary Bauhaus style of architecture would eventually make Tel Aviv the largest open-air Bauhaus museum in the world.

It appears that the Bauhaus Museum in Tel Aviv has no website of its own, but the City of Tel Aviv-Jaffa maintains a website with a lot of good information and photos. Moreover, there is currently an exhibition on view about the White City, at the Architekturzentrum Wien (Austria). Read more about the museum on the website of Architectural Record.

The Rijksmuseum Amsterdam has just released its collection widget 3.0. Web Man Peter Gorgels alerted me of their new application, and we are more than happy to show you the fully functional Rijkswidget 3.0.

It is an interesting and clever feature that shows a daily piece of the vast collection of the Rijksmuseum. The widget can be embedded in blogs, Hyves, Facebook and MySpace. It is elegantly designed, and can be blown up; however it would have been nice if you could flip endlessly through the collections, instead of having to wait for tomorrow. Maybe an idea for 4.0?

Update:
This is actually the small version, to be placed in sidebars. This is what we will do for a month, to see how it works. Let us know what you think of this initiative of our friends at the Rijksmuseum.

Here is a blatant quote from Mike Ellis‘ electronicmuseum.org.uk, but since he has such a simple and straightforward conclusion of MW2008 I wanted to copy it entirely.

Ellis just spent 7 years working as Head of Web for the National Museum of Science and Industry, UK, which comprises the Science Museum in London, Media Museum in Bradford and Railway Museum in York. He now calls himself a «Solutions Architect», working for the Professional Services Group at Eduserv.

Please visit his site, he is an authority on many things, and might even come from the future.

This is Mike’s «direction of travel gut feel for what actually went on during the week:

• We’re doing some very cool stuff using some great new approaches and technologies.
• We’re starting to see the benefits of open access to our content, both in terms of Creative Commons and programmatic access via API’s or syndication.
• We’re - at last - worrying less and doing more.
• We’re beginning to see the benefits of community, not just the coolness.
• Finally: we’re up for collaborating and sharing in more open and positive ways than ever before.»

The keynote speaker of last week’s Museums and the Web in Montreal Michael Geist is looking back at the conference with a critical article in the Toronto Star. In short, Geist summons Canada’s museums to remove fees and contractual barriers to Canadian heritage.

«The dozens of presentations at the conference highlighted the remarkable transformation in how museums display their collections and interact with the public.»

He goes on to say that «(m)any museums are using online video, social networks and interactive multimedia to pull content from diverse places to create «virtual museums.» So, the museum community has emerged as a leading voice for the development of legal frameworks to facilitate digitization and avoid restrictions that could hamper cultural innovation.»

Yet, according to Geist, who holds the Canada research chair in Internet and e-commerce law at the University of Ottawa faculty of law, «some fear the advocacy and actions of museums in embracing the Internet are not consistent, particularly in their policies on works for which copyright has expired.»

According to documents obtained by Geist under the Access to Information Act, the National Gallery of Canada appears to be treating public-domain works as a profit centre.

«(T)he gallery often added hundreds of dollars to the total cost of fulfilling a request, despite the fact that the images were in the public domain. In fact, the permission costs for such works were actually higher than those for works still subject to copyright. The gallery reasoned that the copyright holder would apply additional charges.»

Read his full article (Toronto Star, April 15, 2008)
Visit Michael Geist’s homepage

The Art Institute of Chicago’s new Modern Wing will include museum gardens and plantings that will increase green space on the city block by 21,075 square feet.

Forget Corinthian columns: Today’s museums have features like green roofs – such as on the new wing at the Institute of Fine Arts in Chicago – or goats as part of the maintenance team, as at the Getty Center in Los Angeles, the first facility in the US to qualify for LEED certification on an existing building.

“I cannot count the number of institutions that are doing serious green stuff. That’s how huge it is,” says Sarah Brophy, coauthor of “The Green Museum,” to be published later this spring. “[Green measures] are going to become as natural and automatic as full accessibility and inclusivity,” Brophy says. “Within a year, the public is going to be asking all museums about their environmentally sustainable behavior. They’re going to want to see evidence. That will push all museums. There’s a pretty substantial learning curve, but the entire population is going to be going through it, and museums will be part of that group.”

Read article (the Christian Science Monitor. April 9, 2008)
Read about museums that are ‘going green’
Read an extensive case study of the Grand Rapids Art Museum, dubbed “The Temple of Green” (GreenSource).