Monday, January 23

Lumbricus Terrestris

I don’t know who else caught last Friday’s article in the Metro on the Boston Museum Project. So far, the project has raised $4 million, a fraction of the $70 million projected total cost. For those who are unfamiliar with the Boston Museum Project (BMP), its goal is to construct a new museum showcasing Boston’s past, present, and future on parcel 12 of the soon-to-be created Rose Fitzgerald Kennedy Greenway.

I don’t mean to sound overly critical, but my first reaction to seeing the architectural rendering of the proposed structure was that its smooth, curvilinear shape reminded me of a gigantic smiling earthworm emerging from the expressway tunnel running underneath the greenway. The structure, designed by firm of Moshe Safdie and Associates, has been described as reminiscent of a ship’s helm, “symbolic of Boston's rich maritime past.” All I saw was a giant lumbricoid with a toothy grin.

I am curious to know whether I am alone in finding the design evocative of a night crawler (lumbricus terrestris). Although the design was unveiled back in May 2004 in the BMP’s response to the RFP issued by the Massachusetts Turnpike Authority for parcel 18 (in front of Rowes Wharf)—the BMP lost—I myself saw the design for the first time last Friday while perusing the Metro during my morning commute. I’m sure there were community meetings during the planning phase, but I don’t recall any. Moreover, in the whole of 2005 there was only one community forum held by the MTA, which took place on June 20, after the current design had already been formulated but before the BMP had been designated as the official developer of parcel 12.

I cannot help but think that the proposed structure, with its wormlike appearance, will symbolize less Boston’s seafaring days than the City’s more recent subterranean adventures in the Big Dig itself, as Boston, not unlike an earthworm, tunneled through the dirt and landfill beneath its streets. The problem is that earthworms are efficient creatures. I myself used to play in the dirt a lot when I was a child and spent many hours looking for worms for fishing expeditions with my Dad and sister. Sure, their progress through the soil can appear slow and rather clumsy, but the benefits they provide are numerous. Moreover, in spite of their relative lack of grace, they get the job done, and nobody would question their overall efficiency. If only one could say the same about the Big Dig. Perhaps a structure reminiscent of an earthworm isn’t an appropriate symbol after all.

2 Comments:

Anonymous Anonymous said...

Well, I see neither 'maritime' metaphors nor any zoomorphic symbolism, intended or otherwise. Unfortunately, what I see is much brash formal ineptness, a trully 'meaningless' expressionism for its own sake ('Bilbao' this aint!). Beyond all the visual noise however, the more concerning fact is the manner in which this 'design' fails to knit together, to reconnect the ruptured urban fabric by not providing the surfaces and uses promoting of pedestrian comfort and continuity between the Government Center and North End districts flanking. Instead it plunks down a bit of a wayward '60's world's fair architecture' set in an existential and inhospitable bit of 'green' (and anyone rebutting: PLEASE refrain from any ridiculous analogies to 'another emerald necklace' here). The whole is the unfortunate product of complete disregard and total absence of understanding/empathy for true urbanism -- an all too common phenomenon in the past (20th) century, the tired habits of which we are much too slowly sloghing off.

11:10 PM  
Blogger Will said...

I admit to many doubts when I saw the rendering for this new museum. We'jenufave arrived at a point in architecture's history when engineering has made almost any shape possible without regard to conventional concerns about structural integrity or management of stress. Form no longer has to have anything to do with function.

Artistically, the new engineering liberates the architect to follow any fantasy, develop any image virtually without limitation. No matter how unconventional its form, engineering will make a building stand. Whether the artistic discipline architects have traditionally valued and rigorously applied to their own work is still being practiced remains to be seen. Thirty or so years from now, Ghery's "crushed cans" may seem like so much junk, Safdie's undulating museum like a self-indulgent joke--or they may be seen as visionary pieces of public art.

Many buildings now revered were savagely criticized when they were built, particularly Lever House on Park Avenue in New York City. On the other hand, the Huntington Hartford Museum on Columbus Circle will soon be demolished, a failure on just about every level. We'll need some perspective to separate the classics from the duds.

7:24 AM  

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