Robyn Horn and Jack R. Slentz, "Flintstone Mudder,” 1997, box elder burl, 18 by 18 by 7¼ inches, gift of Jane and Arthur Mason, 2000. —Ed Watkins photo
:The Museum of Arts and Design (MAD) swung the doors open to its newly designed and constructed domicile at Columbus Circle in late September, revealing a state-of-the-art facility that effectively tripled the size of the museum and allowed its permanent collection to be displayed for the first time. Ribbons of glass weave across the building's expressive exterior and continue throughout its multilevel interior, allowing ambient sunlight from the outside to filter into the galleries, while creating cohesive visual conduits throughout the various multilevel galleries occupying the interior.
Seemingly utilizing its newly crafted textured façade of terra cotta tile and fritted and clear glass as a billboard, the Chazen Building beckons to those on the busy midtown sidewalks below to enter and experience the exquisite collections housed inside.
Designed by Brad Cloepfil of Allied Works Architecture, the building was transformed into a 54,000-square-foot, 12-story dynamic cultural center that furthers MAD's institutional mission. Located at 2 Columbus Circle, the design maintains the scale, height and form of the original 1964 structure — one of the few freestanding edifices in Manhattan — while dramatically opening up the once nearly windowless building to animate MAD's permanent collections, which thrive in natural light, says Cloepfil.
While the afforded views of Columbus Circle and Central Park are certainly spectacular, even more breathtaking are the more than 2,000 pieces housed in MAD's permanent collection. The permanent installations include a site-specific stained-glass commission by Judith Schaechter, an abstract ceramic wall relief by Ruth Duckworth and a ceramic mural by Robert Arneson, titled "Alice House Wall," on display for the first time in 20 years.
Willie Cole, "Loveseat,” 2007, shoes, wood, PVC pipes, screws, staples, 39 by 65 by 43 inches. Courtesy of the artist; Aleby Ander and Bonin, New York. —Thomas DuBrock photo
The Museum of Arts & Design, essentially founded in 1956, has long been regarded as the premier institution in the country dedicated to collecting and exhibiting contemporary objects. Conceived more than 60 years ago, the vision that would ultimately morph into MAD belonged to Aileen Osborn Webb and the American Craftsmen's Council that she helped establish in 1942. Oft regarded as the nation's leading craft patron and benefactor, Webb's original goal was to raise public awareness by recognizing and promoting the work of American craftspeople. The council followed Webb's lead by instituting a series of educational programs and competitions that promoted technical excellence among craftspeople, and, more importantly, celebrated the beauty of the handmade object.
In 1956, with Webb's continued support, the Museum of Contemporary Craft was founded and housed in a midtown Manhattan Victorian brownstone at 29 West 53rd Street with a perceived mission to collect and promote Twentieth Century crafts. In addition to the programs previously conducted, the move allowed collections to be formed, adding a new facet to the museum, one that would sparkle over the next 30 years.
In 1986, the museum moved to larger quarters across the street and was renamed the American Craft Museum. The new location for the museum essentially doubled the space of the original quarters and allowed for the presentation of landmark exhibitions, such as "Craft Today: Poetry of the Physical." The direction that the museum would follow over the next 20 years was spurred by its exhibitions, many of which placed a higher value on visual expression and conceptual content.
