Nasher takes shape

Have you ever stopped to wonder why our new parking garage is more aesthetically pleasing and functional than our current art museum? The garage boasts better lighting, design, wall space and accessibility than the DUMA could ever fathom. All things considered, the parking garage would actually provide a better space to exhibit modern art and sculpture than the converted dorm on East we refer to as the museum. And that is not saying much. The parking structure even receives more funding due to high, some would say exorbitant, admission prices, while a ticket to the museum remains free to students. It was highly unlikely that any revenue would be generated to begin plans for a new space until Roy Nasher, Duke '43, entered the dismal scene with a hefty $7.5 million gift in 1998. This gift was completed with another installment of $2.5 million in 2002.

In October of 2005, Duke will open the doors of the Nasher Museum of Art--the first time a building devoted to the arts has been constructed on this campus in over thirty years. The striking architecture immediately catches the attention of any observer. "This will be a place of destination, a symbol for the importance of the visual arts at Duke. The current building does not reflect this role," said Anne Schroeder, Associate Curator and Interim Education Director.

The Nasher Museum will be a total of 65,767 square feet, requiring a total budget of $23 million. A stunning 13,610 square foot glass roof will join the five separate pavilions that partition each space. Three pavilions are designated for the display of art, along with one for administrative offices and education and one that will house a lecture/performance hall. Display cases will be available for both student and community artists to show their work. The museum will be completed with a café and bookstore.

Rafael Viñoly, a Uruguayan architect who relocated to the U.S. in 1978, is the mastermind behind this project. Several of his most well known works are the Kimmel Center in Philadelphia, the Princeton University Stadium, and the Oslo Opera House. He will also be designing a new addition to the Kennedy Center in D.C. "We went through a very rigorous process to get the best for Duke, and we feel that we accomplished that," commented Schroeder. The architect selection process began in the late 1990s and, after more than a year of evaluation, Viñoly was selected in March of 2000. As Kelly Dail, Interim Public Affairs Coordinator, described, "He was able to build the caliber of building [we] wanted within the proposed budget. In addition, he was beginning to distinguish himself as a world renowned architect and eagerly accepted the commission."

The architecture of the museum displays many of the prominent features of Viñoly's work, including extensive use of glass panels and strong lines. The exterior is white, emerging from its environment with an almost neo-classical dominance. Yet Viñoly also chose to create a pastoral setting by leaving as many trees as possible on the site. This distances the museum from surrounding structures and Campus Drive.

Central to the role of university museums is a commitment to education. The design of the Nasher Museum will reflect this by incorporating the lecture hall and education wings. Though the museum collection surpasses 13,000 pieces, less than 5% of these can be shown at a time. This is typical of most museums, but what distinguishes Nasher is the accessibility of these pieces. The education wing will have seminar tables where students and professors can meet for class. "We plan to use the buildings for greater opportunities for curricular use," explained Schroeder. "We will consult with faculty as to which works they use for teaching, and they can hold classes in these areas where students can handle and study the objects." The museum has also committed to continue their current education outreach programs to local schools.