New Mexico Museum of Art, Vladem Contemporary
When architect Stanford White of McKim, Mead, and White was selected to restore portions of the University of Virginia campus destroyed by fire, he was petrified. The University of Virginia's master plan and buildings were originally designed by Thomas Jefferson in a neoclassical style. Architect Stanford White was chosen for this crucial work because his firm was the preeminent architecture firm in the country specializing in neoclassical designs. They were the most suitable choice to preserve Jefferson’s legacy. In Susan Lessard's book, “The Architect of Desire,” she recalls how her great-grandfather did not breathe as he faced the task—that he, Stanford White, would be shaping this historically important environment and its destiny. Sadly, White’s restoration included adding a neoclassical building that obscured the once expansive view of the Blue Ridge Mountains from one end of the Lawn, leading to it being labeled the “mutilations of 1896.” The point here is that architecture matters and has lasting effects on people and community identity.
The recent opening of the Vladem Contemporary Museum, designed by Devenra Contractor of DNCA + StudioGP in Santa Fe, NM, is a remarkable feat seldom seen in this historic city. Here, the dominance of organic and highly stylized Santa Fe Style architecture is mandated by predictable design regulations, locally known as Chapter 14. When exploring Santa Fe’s streetscapes, encountering a work of modern architecture is more the exception than the rule, and the new Vladem Contemporary is certainly an exception. Recently, a colleague of mine remarked on how much he enjoys the museum, its collection, and architecture. He thoughtfully remarked that the building belongs to a more urban place in a much larger city. He is, of course, celebrating a personal reverence for a building that is out of context in this City Different.
This critique examines the architect’s response through the lens of four architectural challenges. The primary architectural response involves maximizing the building’s footprint and total square footage on a limited and complex site within a transportation node. The second challenge focuses on site development and establishing an enduring streetscape while fortifying connections to the bike rail trail and Rail Runner Depot. The third challenge involves deciding whether to remove or display a three-decade-old mural on the east wall of the State Archives Building, a long-time local neighborhood signifier. The fourth challenge is to create an iconic building that captures esoteric ideas about Santa Fe’s past and future. These challenges represent a blend of function and urban context, demanding that the architect sensitively interpret community ideals and carefully plan an iconic building that fits the neighborhood, serving generations of Santa Feans and visitors to this unique city and museum.
Challenge One: Spatial Configuration and Massing
Of the four challenges, spatial configuration is the most successful. An astute observation logically concludes that a one-story museum would not fit the program’s spatial requirements and would likely constrain an efficient building program. A two-story building solution reduces the footprint and creates opportunities for interior and exterior functions, such as a street-level plaza, an outdoor sound garden, and a roof terrace.
The museum's footprint is divided into two separate buildings at ground level: the main museum and an ancillary annex serving as a bookstore. Within these footprints are reception areas, educational rooms, theater galleries, and offices. The second-floor includes galleries, a collections room, amenities, an exterior sound garden, and a large roof terrace facing east towards Guadalupe Street with the backdrop of the Sangre De Christo Mountains. The main entry is oriented towards the Montezuma and Guadalupe intersection and is configured as a subtractive space, forming an "L" enclosure with facades opening onto Guadalupe and Montezuma Streets. This entry court mirrors a similar condition in the commercial retail center cattycorner to the museum, creating a spatial dialogue as a diagonally linked urban space that frames the intersection.
Built on the former site of the State of New Mexico Records Building, the museum’s main entrance is positioned at the intersection of Montezuma and Guadalupe Streets. The museum site is bordered by vehicular and pedestrian streets, with Guadalupe Street to its east and the bike trail/railroad line to its west. Directly south of the museum is a parking lot serving the Santa Fe Depot and a local restaurant. To its north lies Montezuma Street and Zia Station, a commercial shopping center.
Challenge Two: Site Development
The commission for a new museum envisioned an iconic building on a limited site that is a notable addition to the neighborhood and a significant commission. The museum is situated near Santa Fe’s Plaza within the newly established Railyard District Neighborhood, a bustling hub of art and commerce within a transportation-oriented urban node. The Santa Fe Railyard District is emerging as a new development in the city's consciousness, where the success of every new building project contributes to the district's future prominence, rivaling that of the historic Plaza. The museum rests adjacent to the newly refurbished Santa Fe Depot Rail Runner Station, designed by Barbara Felix, AIA, of BFA+D, and integrated into the city's bike and pedestrian trails. The site design orients the new building towards Guadalupe Street and the historic four-story University of New Mexico annex, now repurposed into a commercial office building. Along Montezuma Street, the building metaphorically bridges the street level with a massive concrete buttress. The design combines modern materials with the historic context, reminiscent of Peter Eisenman’s Wexner Center for the Visual Arts in Columbus, Ohio. The second floor contrasts with the preserved portions of the State Archives Building, integrating outdoor spaces and galleries, embodying the bridge concept and architectural ethos visually.
Challenge Three: The Mural
The repurposed State Archives Building, an historic artifact, is part of the museum facing Guadalupe Street. It is visually recognizable by its punctured square windows, stucco finish, and brick coping, anchoring the past. The design recalls the approach taken by Archaeo Architects and Wood, Metal, Concrete in their design of the nearby Community Bank Building. Although the Archives Building fortifies the context, its preservation represents a missed opportunity for public engagement along Guadalupe Street. The museum’s entry engages the street corner, but the absence of an event space along Guadalupe Street, aside from a bus stop and planters, could have enhanced public interaction. Additionally, the removal of the mural depicting hegemony over indigenous people, though understandable in the context of museum branding, raises questions about preserving collective memory in public spaces. The decision highlights the ephemeral nature of historical artifacts, contrasting with the State Archives Building that anchors the site in historic memory.
Challenge Four: An Iconic Building
The Vladem Contemporary Museum represents a forward-thinking architectural endeavor navigating its historical context, demanding modern innovation and amplifying community identity. By addressing architectural challenges and integrating modern design elements, the museum contributes to Santa Fe's cultural landscape with its bridge-like quality and the reuse of the State Records Building. Its aspiration to be an iconic architectural landmark is evident in the overall geometry and material palette that signify a forward-looking building in this contextual neighborhood.
The museum’s striking architectural qualities derive from the architect’s intention to span over the State Archives Building, akin to a bridge. This bold concept is enhanced by monolithic concrete buttresses bookending the south and north sides, emphasizing the museum’s bridge-like structure. Clad in simulated metal panels made of a wood composite material, these walls create a visual lightness, evoking a “floating” effect that contrasts with the solidity of Santa Fe Style architecture. This modern approach showcases architectural concepts that define the museum’s characteristics, reminiscent of a Wassily Kandinsky composition.
Summary
Stanford White intended a grand vision for the University of Virginia campus, aligning with Jefferson’s original design but interpreting neoclassical style differently. Jefferson’s style represented the civility of the common man, while White’s interpretation embodied formal power and dominance. Similarly, the Vladem Contemporary Museum, though successful in its design challenges, leans more towards architectural aesthetics than integrating seamlessly into its urban context. Its grand design overshadows the necessities of creating an attractive and welcoming public space, especially noticeable at night. While the building constructs a visually suggestive envelope, its focus on the building itself rather than its urban context reflects the nature of iconic buildings. Future iconic designs might consider a more balanced approach, incorporating both architectural aesthetics and responsive urban integration.