On a snowy morning a couple of weeks ago, the powers-that-be at the Colorado Springs Fine Arts Center announced that Denver's David Owen Tryba Architects will build an addition on an adjacent spot immediately to the east of the beloved landmark. This will be no mean feat: The elegant modernist Fine Arts Center, which was built in 1936, is one of the finest structures of its date and type anywhere in the country.
The masterful building, perched on a battered stone podium overlooking Monument Valley Park, is made of cast-in-place concrete that's been trimmed out in black aggregate and aluminum. A series of cubic volumes, the largest of which is the stage house for the center's theater, step up and away from the park side, recalling the formal presence of an Indian pueblo. Designed by New Mexico's John Gaw Meem, the structure successfully reconciles the Southwestern aesthetic with modernism and is a prime example of the regional quality of early modern architecture. Not only that, but it abounds in custom details, such as magnificent aluminum-and-glass chandeliers and specially created murals and bas-reliefs. The place is a literal treasure trove -- and that's not even accounting for its fine permanent collection, which is rich in Native American, Hispanic and regional art.
CSFAC president Michael De Marsche waited until the last minute to reveal the plans and to announce the formal start to the capital campaign to raise funds for the new facility. This was so last-minute, in fact, that construction is to begin on March 1 -- just a month away -- and the capital campaign has already raised more than $20 million of the estimated $28 million that the addition will cost.
Many people, including myself, already knew that plans were being hatched, but only insiders, such as potential and actual donors, had any exact idea of what was going to happen. Technically, the project had already gotten under way with the rehab of the gorgeous SaGaJi Theater that was completed this past summer. Tryba's office did the design, and Tim Hoiles paid for it, which earned him the right to name it in honor of his three daughters.
So why was the plan revealed only when it was already so far along? I think it's because De Marsche and the board of trustees knew the potential hot potato they had on their hands, and they didn't want to get burned the way former director David Turner and company did when they proposed adding to the iconic Meem back in the spring of 2001. Turner, along with Diane Sykes, a member of the board, had spearheaded an effort to put a 50,000-square-foot addition onto the front of the building, which, if done, would have annihilated its character entirely ("Nightmare on Dale Street," March 15, 2001).
At the time, the addition hadn't been designed, but facility-planning firm Hammel, Green & Abrahamson had identified the middle of Dale Street, at the conjunction of the south and west elevations, as the place to put it. In other words, smack dab in the middle of the principal views of the building -- the glamour shot that's shown in historic, modern and contemporary photos of the place.
Luckily, there was a huge public outcry that helped put a stop to the inept idea. And while we're on the subject of ineptitude, there was that Keystone Cops-like moment when, far along in the process, it was discovered that the Fine Arts Center didn't even own all the land it was proposing to use! And, as if that weren't enough, the land was unattainable: A trust established by town founder and donor of the land, General William Jackson Palmer, forbids any sale. Within months of the unveiling of the proposed vandalism, it was unceremoniously dropped ("The Joys of Summer," June 14, 2001).
All these years later, I still have one nagging question: Why did Turner think that it was a good idea to present a sure-to-be-hated idea as the first step toward raising tons of money?
Soon after, a new plan was undertaken for a freestanding wing in the parking lot south of the center, and I liked this idea a lot. The Fine Arts Center tossed out HGA's worthless materials and held a competition for an architect to come up with some fresh ideas. The renowned New York firm of Gwathmey Siegel Associates (with Gensler) ultimately won the opportunity to design it, but the proposed building was estimated to cost more than $60 million, which was deemed too expensive. With the departure of Turner, who resigned as director in 2003, that plan was dropped, too.
Clearly, De Marsche and a mostly new board knew better than their predecessors; the design for the Tryba wing takes the original Meem building into account and is going to be half as expensive as the Gwathmey Siegel. And even though I'd love to see nothing at all done to the Fine Arts Center, I have to say that the new plan does a pretty good job of being subsidiary to the Meem while still having its own presence.
There's only one thing that troubles me about it: The wing done by Carlisle Guy in the 1970s -- which blends in seamlessly with the Meem original and sets the standard for a well-conceived addition -- will be demolished. True, there are worn-out mechanical systems and space constraints in that building, but I still wish there had been some way to incorporate it into the future plans. At least one Guy-designed wall will remain, facing the courtyard.
The two-story Tryba addition, with associate principal David Daniel serving as design architect, will be about 48,000 square feet. To put this in perspective, the original building is more than 80,000 square feet. The addition will run behind the original one-story Meem-designed east wing, which faces Dale Street, and will wrap around the interior of the existing open-air courtyard.
In style, the new addition will be neo-modern in a minimalist vein. The principal element is a glass atrium that runs along one side of the courtyard from which it's been carved out. The atrium, which will be visible from both Dale and Cascade, connects Meem's entrance pavilion to the new galleries that will be built along the east and north sides of the courtyard. Both in its street presence and in its relationship to the front of the Meem, it is one of the most important components of the proposed plan.
The atrium, which will be called the El Pomar Corridor, will be enclosed in glass and aluminum, linking it to the aluminum details on the Meem. However, the two will be clearly distinct in color, with the older material having a cool bluish sheen and the new featuring a dull champagne finish with a warm, golden glow.
Inside, the new wing is entered off the main lobby. It is up a short but broad flight of steps located just to the right of the Garden Gallery. I hope extra care is taken with the gorgeous windows in that existing gallery, which is part of the project. On one side of the corridor is a wall that was formerly on the exterior -- it's the back side of the east wing -- and on the other side is a two-story glass-and-aluminum wall that faces the courtyard. In the current rendering, a row of vertical beams that reads like a colonnade runs along the courtyard side of the El Pomar Corridor. The floors will be done to complement the original terrazzo in the lobby. They will be in the same colors, and the pattern will be what Tryba refers to as a "sister" to the original one.
The El Pomar Corridor provides access to the new space on the east side of the courtyard. On the first floor, a series of galleries will extend into the new space on the north side; these will be devoted to the center's permanent collection, which is mostly put away in storage. This area will be named for the Loo Family, since Kathy Loo played a big part in getting the project going. Along with her late husband, Dusty, Loo assembled an important collection of American landscapes, and many of those are to be given to the Fine Arts Center when the new wing is completed. The institution has also just announced that it will spend $1 million to purchase fifty works by Dale Chihuly (see Artbeat).
On the second floor, which will be up a grand, if minimally detailed, staircase located at the northeast end of the El Pomar Corridor, a group of large galleries will be devoted to special exhibitions, including traveling shows. These exhibits are an increasingly important part of the Fine Arts Center's programming, as they bring in the crowds. The Chihuly show last year attracted 80,000 visitors, while the Andy Warhol exhibit brought in 20,000, making them, respectively, the largest and second-largest attended shows in the institution's seventy-year history.
The last offering in the current facility will be a Peter Max retrospective, opening in February. After it closes, at the end of April, demolition of the Guy wing will begin. The Fine Arts Center is not going to close during construction, and the SaGaJi Theater will remain open, as will the lounge, though the restaurant will be closed while a new kitchen is installed. There will be almost no exhibition space, however, so already planned features -- most notably, the upcoming James McNeil Whistler show -- will be presented in leased space. Though no official announcement has been made and the deal has not yet been finalized, De Marsche did confirm a rumor that the Whistler exhibit would most likely be held in a building across from the Pioneer's Museum, which is located in the old El Paso County Courthouse in downtown Colorado Springs.
When the addition is finished, in the fall of 2007, the Fine Arts Center will be a very different place than it is now. I love it so much exactly the way it is that I'm somewhat saddened to see the updating. But I'm not horrified, the way I was with the first plan conjured up by Turner with HGA. Tryba and his team have really tried to be sympathetic to the original building. And like so many other things built in the early twentieth century, the Fine Arts Center was conceived for a smaller community than the one in which it now finds itself.
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