For the architects hired this fall to guide renovation of the 1974 wing of the Walters Art Gallery, one of the toughest challenges will be deciding how much to retain the look and character of a building that many people dislike.
Unlike structures that are 100 years old or more and held in high esteem, the building at the northeast corner of Cathedral and Centre streets is an example of the so-called Brutalist style of design, which was popular among certain architects 20 years ago but is no longer in vogue.
Many visitors, and even some museum employees, have negative feelings about the 20-year-old building, with its concrete exterior, slate floors and unforgiving stucco walls.
Yet it also has been praised for being one of the few museum buildings that enables passers-by to glimpse works of art from the street. And while it is more abstract than the 1904 building to which it is attached, its architects clearly were sensitive about the way they joined the new building to the old -- as shown by the repetition of masses, continuation of cornice lines, and selection of complementary materials and colors.
Deciding how much of the addition to retain, and how much to alter, is the responsibility of Hyman Myers, senior vice president and director of historic preservation for the Vitetta Group, a Philadelphia-based firm selected to oversee the renovation.
A nationally prominent preservation and museum design expert, Mr. Myers said he has no solutions yet. But he insists he is not about to change the building's appearance, inside or out, just for the sake of change.
Although many people "react negatively to Brutalist buildings today," he said, the 1974 wing was "built at a time when Brutalism was considered stylish" and designed by a leader in the museum field.
"This was not just a hack architect looking at it. . . . There is something very thoughtful about the way it was added to the old building. If somebody was that careful then, we ought to be that careful now."
Vitetta is charged with developing a strategy for renovating the 1974 wing, which has been beset by mechanical defects, leaks and other problems that threaten the valuable art inside.
The Walters plans to spend $6 million starting next year to repair problems such as a climate control system that does not maintain the steady temperature and humidity levels needed to preserve works of art. It also plans to upgrade the building's fire and security systems, remove barriers to people in wheelchairs, and weatherproof the Centre Street entrance.
Two-thirds of the $6 million will go to correct flaws, while one-third will go to reinstall art in the galleries after they are repaired.
Funds for the project will come from a mixture of public and private sources, including grants and donations. On Election Day next week, voters in Baltimore will be asked to approve a $750,000 loan to help pay for the repairs.
Educated at the University of Pennsylvania, Mr. Myers has an unusual architectural practice in that he restricts his work to restoration, rehabilitation and reuse of existing buildings, as well as planning and design of museum facilities.
Vitetta's past restorations include the Reading Terminal Train Shed, now part of the Pennsylvania Convention Center; the Pennsylvania Academy of the Fine Arts; the Academy of Music; and the Bellevue Hotel, all in Philadelphia.
Designed by Shepley, Bulfinch, Richardson and Abbott of Boston, the 1974 wing houses collections that are among the Walters' greatest strengths, including its Egyptian, Greek and Roman works and its medieval and Islamic art.
Mr. Myers said his goal is to capitalize on the strengths of the existing building and eliminate its weaknesses, without necessarily putting his own stamp on it.
"I'm not coming at it with the notion that we have to wipe it all away," he said of the Brutalist design. "I think the museum hired us because we were able to consider not doing that. We're not coming with any preconceived ideas.
"Our position is: Let's not make rash judgments about how much we hate Brutalist architecture," he continued. "It's: 'Let's see how we can make it work.' We hope that when the project is done, you won't say, 'Vitetta did a great job renovating the building.' You'll say, 'Shepley Bulfinch built a great building, and we never noticed it before.'"
Downtown workshop
The American Institute of Architects and the Urban Land Institute will sponsor a public workshop on downtown development in Baltimore on Saturdayfrom 8:30 a.m. to 1:30 p.m. It will be held at the Maryland Institute, College of Art, 1300 Mount Royal Ave. Organizers say their goal is to produce a plan of "realistic and specific projects which should be undertaken to continue Baltimore's downtown renaissance."