The Role of Architecture in Defining The Museum's Image

The Museum Brand Footprint:
The Role of Architecture in

Defining the Museums Image
Inside:
Foreword IFC
Overview Page 3
A Global Brand Page 6
Clearly Local Page 8
Larger and Diversified Page 10
Redefined Page 14
A Newcomer Page 16
Renaissance Page 19
A Clean Slate Page 22
Convergence Page 24
Evolving the Footprint Page 27
Footnotes Page 33
THE MUSEUM BRAND FOOTPRINT

The first museum is thought to date from the 3rd century BCE when King Ptolemy I founded
the State Museum of Alexandria, Egypt. Museums have served as public repositories of
cultural artifacts, societal memory, and scholarship in all historical periods since Periclean Greek temples displayed
statues, paintings, and votive offerings. The collection that would become the Uffizi Gallery was established in Florence
during the Italian Renaissance, and, in 1683, the Ashmolean opened in Oxford, England, marking the first use of the
word museum in the English language. Finally, in 1793, the French Republic opened the Louvre with its encyclopedic
art treasures assembled by the French royalty.
The first museum in the United States was likely Harvard University's Repository of Curiosities, begun in 1750, and
the Library Society of Charleston South Carolina, founded in 1773. The last half of the 19th Century in America
witnessed an explosion of new institutions including the Wadsworth Atheneum in Hartford, Connecticut in 1842, the
Smithsonian Institution in Washington, D.C. in 1846, and the Metropolitan Museum of Art in New York City in 1870.
The one constant in the history of museums has been change. The use, function, and audience for these collections
have constantly evolved, and institutions that survive over centuries do so because they adapt to change. The first
museums were repositories for private collections of objects or curiosities and were open for only the social elite or
serious scholars. In the Middle Ages, churches and monasteries were the holders of religious relics, jewels, precious
metals, rare manuscripts, and fabrics, and The Uffizi collection was initially in a private residence. It was not until
the proliferation of universal exhibitions in the 19th century that the notion of a public institution, as we
understand it today was first introduced. In the 20th century, institutions like the Brooklyn Museum began to
shape more and more of their programs to satisfy the increasing need for public education. In light of the social
activism of the 1960s, museums were forced to reexamine the effectiveness of their public service.
In todays world of digital communication, museums have to adapt once again to attract a newer and younger
audience (as their traditional audience is aging). This report Museum Brand Footprint by DMD discusses how museums
today may take advantage of these new conditions to increase their audience and effectiveness as cultural institutions.
The paper analyzes the current state of museums and their ability to deal with change by questioning directors of
institutions globally. It does this by focusing on the role new buildings or additions play in the future of their
institutions and how these administrators communicate the new conditions created by these buildings. The report
uncovers some fascinating facts about museums before making recommendations about how they can take this new
Foreword
William Menking
Founder and Editor, The Architects Newspaper
THE MUSEUM BRAND FOOTPRINT PAGE 1

role to the public. It begins for example by pointing out that it is often assumed that museums today want -and
often spend a great deal of effort creating - architectural landmarks because wealthy individuals prefer giving
money to something that gives them naming rights. While this is undoubtedly a consideration for any museum
looking to expand this is far too simplistic a view. The report quotes Florian Idenburg, formerly a Senior Associate
at SANAA, the Japanese architecture firm that designed the Glass Pavilion in Toledo, Ohio, "The interesting thing
about the Toledo Museum is that it's their clear mission to serve the community as it is the only civic building in a
large radius." Thus while museums and their directors increasingly need to think about funding and managing donors
this report makes clear that they still see their function primarily as a public one and that all those involved in the
creation of new museums should heed this at their own risk of irrelevance.
Further, while some museums clearly intend to build dramatic and iconic new buildings to house art - New Yorks
Guggenheim is the best known of these - even this is more complicated that one might expect. DMD points
out that: architecture is a major part of what the Guggenheim Museum offers to visitors, is in line with the
institutions missionto promote appreciation and understanding of modern and contemporary art and architecture,
and that many visitors come to see the building before the art. But not all museums have the same idea about how
architecture can affect their institutional mandate or audience. Walker Art Center, known as an institution that
champions cutting-edge artists and ideas, did not want just an iconic building from its architects Herzog &
deMeuron, but one that reflects the non-traditional nature of the art center.
The insights that the paper highlights regarding museum thinking about architectural additions are important, but
the value of this report is its recommendations for how museums can communicate these changes to the public -
particularly to newer and less traditional audiences. It makes many obvious suggestions like reaching out with
stronger Web presences, and to engage with new technologies like YouTube, Second Life, and electronic commerce.
But perhaps its most powerful recommendations are those that suggest ways for museums to engage in community
outreach to a potential public, particularly to new ethnically and culturally diverse young populations. The Bilbao
Guggenheim for example realized that while tourists come in great numbers to see their Frank Gehry designed
building and impressive collection of art it was still important for them to engage local audiences to remain relevant.
The Art Gallery of Ontario and the Toledo Museum of Art both faced initial criticism from their local audiences perhaps
because of their adventurous architecture and spent time consulting with the local communities.
If museums want to grow and expand they would do well to read this report and heed the advice of the reports
writers, who, it should be pointed out, are from the very generation that museums must engage, if they are to
successfully adapt to contemporary culture.
The one constant in the history of museums has been change. The use, function, and
audience for these collections have constantly evolved, and institutions that survive over
centuries do so because they adapt to change.
Capital
Campaigns, Building
Construction,
and Renovation*
* Based on American Association of Museums 2005 survey of 800 museums nationwide.
1
23
%
3.5
B
of US museums, and 33% of
US art museums are engaged in a
capital campaign
50
%
of the museums engaged in
a capital campaign have begun
or completed building construc-
tion, renovation, or expansion
in the past 3 years
$
400
The median costs per square foot
of new building construction,
renovation, and expansion for art
museums are $400, $365, and
$163 respectively
17,000
The median size of new building
construction, renovation, and
expansion is 17,000, 15,000, and
5,000 square feet respectively
Respondents collectively
spent over $3.5B on building
construction and renovation in
the past 3 years
24
M
The median costs of new
building construction,
renovation, and expansion
for art museums are $24M,
$18M, and $2M respectively
Overview
The marketing and brand function of museums has changed from event-based marketing centered on a
calendar of exhibitions, openings, and collections to destination-based marketing. The museum as
destination is more than its holdings - it is a visitor must-see, a must-experience architectural landmark
defined as much by the celebrity of the architect as that of the artists on display. This new landscape, funded
by unprecedented capital campaigns, is forcing museums to define themselves through increasingly unique
architecture. The trend is seen around the world from small towns to big cities. We call this the
Museum Brand Footprint: the unique way museums are using architecture to define the museum as a
brand and a destination.
This paper, the second in DMDs series in studying brand footprints, looks at the challenges, best practices,
and solutions facing eight museums from around the world at various stages of their brand evolution.
DMD was interested in the new brand stewardship role of the institutions leaders, the stresses that are
placed upon marketing communications departments, and the architects brand thought process. What we
discovered, and the reader will find in the case studies, is a host of useful branding and marketing strategies
which are applicable globally to museums that are beginning or in the midst of architectural projects.
.
The median goal of capital campaigns are $10M for museums in general and $20M for
art museums. For general museums, the goal is 3 times the size of the endowment. For art
museums, the goal is 2.45 times the size of endowment, 6 times the operating expenses and
37 times the non-operating expenses.
Expansion needs for
institutions surveyed-
in order of importance
DMD
Online Survey
Results
88
%
To raise the profile
of the institution
85
%
To augment exhibition space
73
%
To improve existing facilities
54
%
To increase and diversify revenue
and audiences
65
%
To transform the institution into a
destination, increase scope of
activities offered, and attract new
groups of interest
46
%
To stay relevant in the cultural
environment
35
%
To stay competitive with other
museums
38
%
To create programming and
exhibits that appeal to the
interests of the core audience
15
%
To raise the profile of the city
4
%
Endowment
4
%
Improve accessibility for tourists
4
%
Get more of the permanent
collection on view and to create
more room for staff
4
%
To add storage space
4
%
To expand space for research and
improve laboratory space (behind-
the-scenes)
4
%
Address the facilities dated
infrastructure
Goals:
Be the leading global museum with a collection of modern
and contemporary art, reaching international audiences
through a network of museums and partnerships
Stay ahead of global trends in art by expanding into emerging
art markets, thus enhancing its audience and collection
Challenges:
Abu Dhabi currently is not considered a cultural destination.
Furthermore, it does not have an existing art establishment
to train local artists and curators
GAD will be the first non-western museum in the Guggenheim
network, and the first one located in the Asia continent
The foundation was previously retained to contribute to and/or
to manage feasibility studies for private and public institutions
interested in opening Guggenheim branches in the region
in the West Kawloon district of Hong Kong, in Singapore, and
in Taichung, Taiwan. But none of these projects progressed
beyond the exploration phase
1.
A GLOBAL BRAND
The Solomon R. Guggenheim Foundation looks into new architectural destinations
to expand its global presence
The Solomon R. Guggenheim Foundation operates five museums in the US and Europe New York
City, Las Vegas, Bilbao, Berlin, and Venice - and has partnerships with a number of institutions in
Europe. The Guggenheim is currently one of the best-known museum brands in the world. The foundation
has vowed to continue its global expansion strategy in order to reach out to new audiences and is plan-
ning to build a sixth museum, Guggenheim Abu Dhabi (GAD), which will be designed by Frank Gehry and
opened in 2012.
2
GAD will be one of the four museums on Saadiyat Island, part of the large development
project that aims to turn the island into a high-end cultural tourist destination.
Redefining The Brand with Architecture

Architecture is a major part of what the
Guggenheim museums offer to visitors. This is in
line with the institutions mission, which is to
promote appreciation and understanding of
modern and contemporary art and architecture.
Communicating the New Brand
The architecture of Guggenheim museums is a
major draw for audiences. Tourists make up 70-80% of
the visitors in the New York museum and often rank the
building higher than special exhibitions as a reason to visit.
Access to the building to host events is a factor for some corporate
memberships. The 1st Fridays parties aimed at the younger audience
in New York are successful partly because they offer a unique chance
for people to engage with the architecture after hours.
Iconic architecture is the defining part of each museums visual
identity and is used heavily in communications to engage various
audiences. Each museums website, advertisements, and membership
communications feature the buildings.
Though each museums architecture is different, there is a consistent
global institutional identity that unites all of the Guggenheims. The
Guggenheim Foundation has a contractual commitment with each
museum on brand and identity. The Guggenheim museums all use the
same font in their logo with a different color that subtly references
the architecture. For example, the New York museum color is Frank
Lloyd Wright Red.
The Guggenheim Bilbao is celebrating its tenth year in 2007 with
a major campaign to engage the local audiences in Spain. The
campaign features people pictured with the building and calls the
institution your museum. The advertisements, in Basque and
Spanish, run on radio, in print, on outdoor signage, and as guerilla
signage around town. There is an elaborate website where visitors
can write congratulatory notes to the museum, read others notes,
design and send e-cards, and set reminders for the busy schedule of
anniversary events around town.
The Results
Guggenheim Bilbao has been a major success in terms of audience
attraction and turned Bilbao effect into an industry term used to
characterize a surge of cultural visitors drawn with the help of archi-
tecture. Bilbao has become a major tourist destination
after the museum opening. In 2005, eight years after
opening, the museum still drew more than 965,000
yearly visitors, more than half of whom were from
abroad.
3
A total of 1.36B Euros were pumped into
the local economy directly and indirectly. Thomas
Krens, Director of the Solomon R. Guggenheim
Foundation who recently announced that he was
stepping down, has been approached by 130 cities
to replicate the same success.
4
Though some are skeptical of the destination potential, Abu
Dhabi is banking on four museums built by star architects to turn the
island into a major cultural destination. The $27B complex is expected to
draw 3M tourists between the 2012 opening and 2015.
5
Another UAE
city-state, Sharjah, has discovered the power of contemporary art in
creating a destination. The citys 8th biennale will take place in 2007,
with the participation of more than 80 international artists, with a
heavy representation of those from Arab and Muslim origins.
Krens explains, the issue isnt about the number of buildings or exhibi-
tions, but the number of people you directly engage with. If you add
up the visitors worldwide to Guggenheim Museums from last year
alone, thats 3 million people.
6
Krens believes that, just like any good
brand, the Guggenheim has become an article of faith consumers
trust that they will have a quality experience when they visit. Krens
said that Guggenheims international success has led to the tripling of
attendance in New York. Success is also seen in terms of enriching
and augmenting the global collection due to international expansions.
In the last 15 years, through partnerships abroad, the Guggenheim
collection has doubled.
7
New branches contribute their unique artistic points of view in order
to create global experiences at Guggenheims around the world.
Exhibitions shown in New York such as the 2005 exhibition of Basque
sculpture Jorge Oteiza originated in Bilbao. The foundation's international
alliances helped with finances as well. Exhibitions appearing in NY
were largely sponsored by international corporations, foundations and
government agencies. In 2005, the Mexico Tourism Board supported
(The Aztec Empire), and in 2006 the State Corporation for Spanish
Cultural Action Abroad supported (Spanish Painting: From El Greco to
Picasso) for example. Management fees and operating income from the
other branches are also revenue sources for the foundation.
The Bilbao
Effect
Guggenheim Museum Bilbao has
been a major success in terms of
audience attraction and turned
Bilbao effect into an
industry term.
The visitor experience in relation to art and architecture is central to our brand
(Our architecture) is an asset that we are conscious of.
- Laura Miller, Solomon R. Guggenheim Museum NY, Director of Marketing
2.
CLEARLY LOCAL
Toledo Museum of Art uses
architecture to emphasize its
commitment to community
and openness
The interesting thing about the Toledo Museum is that its their clear mission to serve the
community as it is the only civic building in a large radius
- Florian Idenburg, Former Senior Associate at SANAA, in charge of the Glass Pavilion Project
Goals:
Celebrate Toledos history, and elevate appreciation and inter-
est in the art of glass making
Showcase the museums commitment to the community and
public accessibility
Present the glass collection in a distinct way without clashing
with the larger Toledo Museum of Art institutional identity
Challenges:
The museum was searching for ways to attract new and
diverse audiences
There was early opposition to the project in the community;
the historic Old West End district homeowners were worried
about the design changing the identity of their neighborhood
Toledo Museum of Art was founded in 1900 by Edward Drummond Libbey, a glass manufacturer who
moved his business to Toledo and became responsible for turning Toledo into a major center for glass
production. Glass has been a part of the museums history since the beginning. In 2000, in preparation for
its centennial anniversary a year later, the museum decided to commission a building to house its glass
collection and glass-making programs. Designed by Kazuyo Sejima and Ryue Nishizawa of the Japanese
firm SANAA, the 76,000 square foot Glass Pavilion opened in August 2006.

With free admission since opening, the Toledo Museum of Art has
always been committed to public access. To demonstrate this commit-
ment, the SANAA design is inviting, open, and non-intimidating.
The glass faade reveals the story of glass, from production to the
finished artwork.
with Toledo being the glass capital of the Midwest, the extensive
glass collection within the larger museum, and the glass programs that
are held within the Toledo Museum of Arts School of Art and Design
The desire was to combine these within a museum and make it a part
of the larger campus. Florian Idenburg
The pavilion is situated within a museum complex that includes the
Beaux-Art style original museum and the Frank Gehry-designed Center
for Visual Arts. It sits across the street from the picturesque Old West
End district, a 25-block historic area of Victorian-era homes. The glass
faade reflects images of the surrounding buildings in a way to pay
tribute. Jordan Rundgren explains: "it has activated our campus. People
feel a little freer to travel in between the buildings and realize that the
museum is expanding, that it's much larger than they might realize.
While the Glass Pavilion is minimalist in its design, it does have a very
nice reflective quality, both literally and figuratively. It integrates itself
into the campus to enhance the entire institution."
There was early opposition to the project in the community. The his-
toric Old West End district homeowners were worried about the design
changing the identity of their neighborhood. This was overcome
through vast community outreach. Museum leaders participated in
community church meetings and local TV programs to address the
public interest in the proposed design. Ultimately, upon seeing the final
building, the locals were pleased. The Glass Pavilion is now quite
popular within the community.
For the opening of the Glass Pavilion, the museum did not launch a
new graphic identity, but all of the advertising and collateral for the
opening events included the silhouette of a glassblower and pipe,
accompanied by phrases such as "Toledo's Newest Hot Spot," "Heart of
the Glass City," and "Be Blown Away." Advertising centered on the
"Preview Week" of events leading up to the public inauguration. They
included local and regional newspapers and magazines, billboards, and
local television network spots. The museum also partnered with the
local daily newspaper to produce a special section devoted to the Glass
Pavilion (including design, architects, construction, facilities, offerings,
collection, etc.).
With the help of a local public relations firm, the museum focused a
majority of their publicity efforts on national media relations. The two-
year strategy worked in three phases: construction/trade publications,
architectural writers, and travel/fine art publications. Currently, the
museum website has a Glass Pavilion section that targets donors and
visitors, and highlights positive press mentions from major national
magazines. The website features the building with people inside inter-
acting with the art or public programs, echoing that accessibility to
the people of Toledo was the primary goal of the Glass Pavilion.
The Results
Though the attendance increase is not projected because the museum
is free, an estimated 10,000 more visitors per month (30% increase)
come through the doors.
The docent-led tours of the Glass Pavilion and the glassblowing
demonstrations have been consistently filled to capacity. The interest is
so high that the museum is adding additional glassblowing demonstra-
tions in summer 2007.
Overall positive reviews of the building turned the museum into a
destination for the national and international architectural tourists
which pleased the museum and the city officials, who saw the project
as mainly a facility for the local community.
The city is enjoying the buildings popularity, which drew tourists from
other parts of the United States and the world. Florian Idenburg
explains: I think [the building] is appreciated on two levels one on a
local level and the other on a global architectural level. I think the
community sees this as well. They never expected to have people fly in
to Toledo to see the building, but people do.
It was the decision of the museum leaders in the year 2000 to create a location not only
made of glass, but to house the glass collection and juxtapose it with the creation of glass in
a studio setting. So [during] the visitor experience, you could see the history of glass, see the
importance of glass in architecture and see the creation of glass all at once.
- Jordan Rundgren, Director of Public Relations
3.
(The goal) was a blend of looking forward to future audiences while also respecting
our tradition. Kim Mitchell, Director of Communications
Taniguchi famously said of the new design If you give me enough
money, Ill design you a beautiful building. If you give me more, Ill
make it disappear.
9
The new building was designed to make the institution more welcoming
to visitors while also blending into the city. The building has multiple
points of entry (on both 53rd and 54th streets) which remove the
stress of a single, large main entry point with long lines. The lobby,
which is open to the public, serves not only as an entry point to the
galleries, theatres, restaurant, stores, and garden, but also as a
mid-block passageway.
Inside, Stephen Rustow said the design does not only aim to create
new iconic spaces, but also to redefine the already existing iconic
spaces, such as reinforcing the centrality of the garden, referring
to the sculpture garden designed by Philip Johnson.
The building is conceived as an inside building.
10
From the outside, it
is understated, with a faade that can easily be overlooked. Inside, the
building offers unique city perspectives, especially the skylight on the
sixth floor, to remind visitors that they are in the heart of midtown
New York. I want people to know they are in New York City, Taniguchi
said of the design.
11
The new design reinforces MoMAs desire to be a dynamic institution in
the area of contemporary art. Previously, the visitors started their tour
in the galleries of the older modern works and then made their way
into the contemporary galleries last. In the new building, focus on the
contemporary works is emphasized by the placement of the large
contemporary galleries on the first floor, across from the main entry
point. The contemporary galleries are designed without columns to
address the specific needs of larger contemporary pieces, as opposed
to the more intimate scale of the galleries upstairs where the permanent
collection is shown. Also included are soundproof galleries for new
media and video. Temporary exhibition spaces on the top floor are flexible
enough to allow in-depth explorations of artists works. Overall exhibition
space has nearly doubled.
The new building also allows for a more dynamic explanation of the
history of modern art. Previously galleries were designed like beads on
a string, going from one ism to another. The new design allows for a
non-linear narrative, with possibilities to present different concurrent
perspectives within the history of modern art. For example, the post-
impressionist gallery in the new design has two exits one leading to
cubism, the other to Fauvism, which was once not considered to be
of equal significance to Cubism, but has since been reached to
higher significance.
12
LARGER AND DIVERSIFIED
The Museum of Modern Art expands with present, and future, brand goals
Goals:
Keep the museum relevant through the next century, and
maintain a presence worldwide while respecting its history
Reinforce the museums mission to be a resource and a place
for education
Make the brand more welcoming to, and inclusive of, different
types of audiences
Diversify the ways in which the museum interacts with its
audience and with the city
Challenges:
MoMA was perceived to be an elitist institution
With younger institutions on the cutting edge of the
contemporary art environment, MoMA lacked the prominent
and innovative position that it desired
New Yorks Museum of Modern Art embarked on the most ambitious building project in its history in
the early 1990s. In 1997, the board selected Yoshio Taniguchi for the design. The new MoMA, a
630,000 square foot facility, opened its doors to the public in November 2004 in what the institution calls
its most extensive redefinition since its founding.
8

In addition, the new eight-story Lewis B. and Dorothy Cullman
Education Center and Research Building features significantly more
room for public programs and houses a library, museum archives,
curatorial offices, classrooms and The Celeste Bartos Theater.
Museum Director Glenn Lowry said of the new MoMA: the ambition
was to ensure that we constantly surprise visitors. Regularity kills the
experience. We wanted more nuance, a less linear sense of art history,
by encouraging serendipitous discoveries and juxtapositions.
13
During Construction
During construction in Manhattan between 2002 and 2004, MoMA
closed its Manhattan facilities and relocated to Queens. This transitional
space provided an opportunity to keep MoMA top-of-mind and a plat-
form to communicate the changes that were to come. The museum
recognized that people viewed the new space as very much a preview
to its future identity. The MoMA Builds exhibition, shown at MoMA
Manhattan in Spring 2002, showcased project details for MoMA
Queens and the Manhattan building.
The Queens museum was heavily promoted. Prior to the opening, hard-
hat tours were organized for the press. The opening was marked by a
huge event, accompanied by press events in Los Angeles, London, and
Berlin. Previously an unfamiliar destination to tourists and New Yorkers
alike, MoMA went to great lengths in promoting Queens as a destina-
tion. Maps were printed and distributed at several locations in the city,
including the MoMA store and the information desk in the Manhattan
location. Maps were also printed in newspapers and magazines, giving
directions and restaurant suggestions. Bus tours were organized to
bring visitors from Manhattan to MoMA Queens and other art institutions
in the borough.
MoMA also made a considerable effort to establish relationships with
local cultural, business, and community groups, as well as libraries and
universities. Educational lectures and meetings were organized to
include residents of all ages.
A limited part of the MoMAs collection was on view in Queens.
Meanwhile, 200 of the best pieces from the painting and sculpture
collection traveled to Houston and Berlin. These exhibitions served as
a platform to increase excitement for MoMAs new building. There
were interviews with the Director in Houston. MoMA also hosted an
event in Berlin. This was significant in building relationships with local
decision makers.
The program reflected a wish to redefine the way in which the public engaged with and saw
the MoMA. They did not want it to be a rupture or something that would seem to break with
the past, but they wanted it to be an affirmation of who they were and what they were.
Steven Rustow, Sr. Associate Principal for KPF, the Executive Architect
Reopening MoMA Manhattan
Influencers and press were engaged through hard-hat
tours. These were group, or in the case of VIPs,
private one-on-one, tours of the construction
guided by the Director or the architects. MoMA
stopped the tours in summer of 2004, before the
November 2004 opening, to preserve an element
of surprise.
To mark the opening, the museum held press events
in New York, London, Los Angeles, Berlin and Tokyo.
The museum never had held press events in other
countries before, but it was significant in reaching the
editor-level local press, who would have commissioned the story,
but would not have traveled to New York themselves to cover the
event. It also gave these key local media members the opportunity to
ask the architects and the Director about the project.
Communications Now
The museums new identity is contemporary, fitting with its new
design. For the first time in its history, MoMAs sign on 53rd street
reads MoMA instead of Museum of Modern Art. This shows a desire
to brand the institution as people know it, making it more approach-
able, as well capitalizing on the international recognition of the
acronym which transcends language barriers. MoMA features the new
architecture in its communication materials, not focusing on the
design elements of the new building, but rather showing visitors inter-
acting with pieces of the collection to highlight their engagement.
MoMA holds events called Pop Rallies every other month. These events
feature musical acts, performances, film screenings, receptions, and
special viewings of exhibitions at moderate prices, targeting young
New Yorkers. Other diversity programs include events for teenagers in
public schools, grandparents day events, and high school student-
curated shows. MoMA is also active in new media, user generated
content, and social network sites. MoMA has a branded channel on
YouTube, called MoMAvideos, which features videos on selected exhibition
previews, public programs, performances, and exhibition installations.
MoMAs new building has inspired user generated content on social
networking sites. On Flickr, a group that encourages people to post
pictures of inside, outside, paintings, sculptures, prints,
objects, people, furniture, forms, lines, stairs, walls,
windows, bathroom sinks has hundreds of members
and more than 1,000 photos posted.
At the reopening, the new admission price of $20
drew a lot of criticism about MoMAs commit-
ment to public access. To prove their commitment,
MoMA introduced several reduced admission or
free admission criteria. In addition, MoMA designated
a free period on Fridays. Every Friday, visitors can go
into MoMA for free from 4-8pm as part of an event currently
sponsored by Target.
The Results
MoMA announced the economic impact of the expansion to be $2B
from mid-2004 to mid-2007.
14
Paid attendance has increased, as well
as the number of non-paying visitors. Attendance grew from 1.5M in
2000 to 2.5M in 2006. Of the current attendance of 2.5M a year,
600,000 entered the museum for free, including children and visitors
that came in during the Free Friday evening hours. Within the first year
after the re-opening, 25% of visitors were from the New York metro
area, 29% from elsewhere in the United States, and 46% from
international locations.
15
Visitors also stay at the museum longer. Post
re-opening, visitors are spending more than 2.5 hours inside versus
1 to 1.5 hours before the expansion.
16
Membership has also increased.
The summer before the opening, memberships were at 33,000. The year
after opening, the membership is on average 100,000.
Flexibility of the design gave way to a unique contemporary work in
February 2007 by Doug Aitken, called Sleepwalkers. New York Times
writer Roberta Smith called the piece videotecture or archivideo.
17
It involved projecting a video about the life of urbanites on to six
facades of the MoMA building. This helped the museum to engage
New Yorkers in a unique and new way; the piece could be enjoyed
from the street and from the top of office buildings around the
museum. Often visited during the day, the MoMa inspired more night-
time visits by drawing audiences who wanted to see the piece in the
glowing darkness of a New York City night.
The New
MoMA
For the first time in its history,
MoMAs sign on 53rd Street reads
MoMA instead of Museum of
Modern Art. This shows a desire
to brand the institution as
people know it, making it
more approachable.

Continuing Chicagos history of forward-looking architecture, the
Modern Wing will sit across from Frank Gehrys Pritzker Pavilion and
will be a testament to the museums dedication to the new and fresh.
The building will be Renzo Pianos largest museum and will draw a lot
of international attention to AIC. Renzo Pianos Modern Wing is
designed to add a contemporary identity to AIC by unifying the mod-
ern and contemporary collections under one roof, and bringing them
under the spotlight. Previously, the modern and contemporary collec-
tions were scattered over three floors in two buildings, which taxed the
visitor. The new building will bring them together and also give space
to photography, architecture and design, film, and video.
The proposed design of the Modern Wing will open a new front door
to the museum on the adjacent Millennium Park by way of a bridge
designed by Renzo Piano. Millennium Park, which opened in July 2004,
is widely popular among Chicago citizens and drew two million people
in the first six months after opening.
18
The parks diverse audience will
be invited to take the bridge onto the roof of the Modern Wing where
they will be able to enjoy park and Lake Michigan views, and access the
museum restaurant and sculpture terrace. By creating a bridge onto
the popular park, the museum will broaden its audience and create
greater engagement with the citizens of Chicago.
4.
REDEFINED
The Art Institute of Chicago refreshes its image with a new,
green wing
Goals:
Reposition the museum as a contemporary brand in order to gain a broader audience
Create greater public accessibility to the modern and contemporary collections
Challenges:
AIC has long been known as a historicist museum due to the overwhelming popularity of its collection of 19th century French art. Though
AIC had strong modern and contemporary collections, the museum had a fusty image and was not thought of as a major destination for
modern and contemporary art, especially compared to younger institutions that focused only on modern and contemporary art
With the contemporary and modern art previously in two buildings, it was not easy for visitors to navigate the collections
The original Beaux-Art style building from 1893 represented the old establishment and was perceived as intimidating, elitist, and closed
After several years of planning and fund-raising, AIC broke ground on the Renzo Piano-designed
Modern Wing in 2005. The new 264,000 square foot building due to finish in 2009 will house the
contemporary and modern collections of the AIC, as well as the architecture and photography collections.

The institution is making headlines with the green design of the new
building. AIC is seeking a silver certification for Renzo Pianos environ-
mental design, which will integrate environmental features. The most
memorable feature of the building is the flying carpet sun screen on
the top which will filter and welcome natural light to the 3rd floor
galleries. The Flying Carpet will save electricity consumption, reducing
it by 20% when compared to a building with conventional systems.
19
The new, light, and transparent design will be more inviting and less
intimidating to the visitors than the original building. The glass curtain
wall on the northern faade will be a contrast to the closed architec-
ture of the current building. The new building will also offer ways to
enjoy views from the inside, bringing nature and natural light into
the museum.
The new wing will provide more space to reevaluate the way art is
showcased and will allow more room for education, family, and
student programs, further creating opportunities for AIC to diversify
its audience. The new education center will enable a 30% increase in
educational activities and serve more than 1,500 children and students
a day. The education center, which will also include a teacher resource
room and a family center, will be located on the first floor of the new
building, easily accessible by the front door and near a special school
bus drop-off.
20
With the opening of the Modern Wing, the museum as a whole will
create a new identity with a contemporary look and feel and a focus
on AIC as an encyclopedic museum with ten premier collections in
varying areas.
AIC has used the project to engage the museum audience. Starting
May 2006, and for six months, AIC showed an exhibition called Zero
Gravity: The Art Institute, Renzo Piano, and Building for a New Century.
The exhibit presented the AIC buildings development and the archi-
tects process. The current project section of the website mostly targets
potential donors to support it. Communications aims at providing info
consistently across the wide range of stakeholders at the right times.
With the reopening, the communications department will look to
leverage publicity of the new building to attract visitors. About the
LEED certification for the new building, Art Institute of Chicagos Anne
Henry says: We realize that respectful and reasonable green policies
are increasingly important, and we would certainly do our best to
incorporate any green components that we can [in communications],
enhancing and complimenting the many green elements in the actual
architecture and function of the Modern Wing."
The Results
In 2004, due to the opening of Millennium Park, AICs attendance
increased by 13% to 1.6M.
21
When the Modern Wing opens, the museum
attendance is expected to be at 1.8M annually.
22
The expectation is
that, of the 3M Millennium Park visitors a year, if 20% cross the bridge,
it will bring in 600,000 people. If half of those visitors then attend the
museum, 300,000 people will have come through the doors from
Millennium Park.
23
Though the exact projections are not available for press yet, the museum
expects activity on all levels to increase, from membership and attendance
to programming and education. The museum hopes to attract a variety
of new audiences to the museum in the next few years.
The museum has also seen an increase in publicity and positive
response from the City of Chicago since the announcement.
We have been seen as a very traditional, encyclopedic fine arts museum. With the opening
of the Modern Wing, we hope the museum as a whole will draw a larger and a more diverse
audience. Anne Henry, Associate Director of Communications
I built MoCA to help fuse ideas and broaden the minds of local, regional, and interna-
tional arts enthusiasts. I wanted to showcase the talents of international artists, as well
as Chinese modern design under one roof
24
Samuel Kung, Director
5.
A NEWCOMER
A new brand is born in Shanghai
MoCA Shanghais glass faade makes the building reflect light on a
sunny day and allows the activity inside to be on full view when its
dark. In Yuyangs opinion, the design of MoCA Shanghai isn't trying to
create a manifesto for art or architecture, but rather just to tell a sim-
ple story of how an abandoned glass building was transformed into a
new public space, a story akin to Cinderella for architectureturning
an average-looking building into the "crown jewel" in the heart
of Shanghai.
Visitors are required to meander through Peoples Park to enter the
building. Mr. Yuyang mentions that the front plaza was redesigned as
an extension of the museum and the result was an integrated space
between museum and the park. From the inside, floor-to-ceiling glass
walls make one feel surrounded by the nature in the park in the middle
of busy Shanghai. The experience inside the museum is intimate
enough so that one can focus solely on the art.
Although the glass walls would let in far too much light for sensitive
artworks or video projections, it was important to keep the museum
design open for the visitor experience. The museum also has 6,000
square feet of enclosed gallery space. The interior design is flexible and
the museum builds temporary walls for each exhibition as necessary.
Furthermore a steel and glass ramp connects two principal exhibition
floors, allowing for a circumscribed and ascending viewing of large-
scale installations in the center of the exhibition space, explains Yuyang.
The museum offers attractive amenities and public spaces to draw in
and engage visitors. The glass pavilion and the roof deck on the third
floor offer panoramic views of the park and Shanghai skyline, while
the rooftop restaurant attracts a hip Shanghai crowd. The museum
uses these spaces for educational lectures and events aimed at
audience development. The building also has a lecture room where
public programs are conducted.
MoCA Shanghai does not advertise, relying instead on public relations
for publicity. For wider awareness and engagement, the museum uses
its facilities in a number of ways to attract the broader public. The bar
and restaurant in the building attract people who would not necessarily
be interested in contemporary art. Another way of building interest is
to focus on education programs for children who will be tomorrows
visitors, donors, and artists. Youth programs are available for university
students and children programs are affiliated with schools, including
the school for under-privileged children of migrant workers. The venue
is also used for corporate events that generate press and awareness.
Goals:
Make contemporary art accessible and approachable
on local level
Become the most notable institution for Chinese contemporary
art not only in Shanghai, but also in all of Asia and beyond
Establish itself internationally through partnerships and
exchange, as well as locally by increasing Shanghai residents
engagement through increased membership and public
programs
Challenges:
Launching and establishing a new brand in China, where there
exist powerful state institutions and very few private ones
Attracting the attention of famous Chinese contemporary
artists to a small private start-up museum, despite competition
from more established museums
Attracting a large audience of Shanghai residents to the
museum to ensure long-term health of the institution
MoCA Shanghai opened in 2005 as the citys first independent, non-profit art institution. Endorsed by the
municipal government, the museum is funded by Shanghai-born, Hong Kong-based jade dealer, Samuel
Kung, who is also the museums chairman and acting director.
25
Located in the Peoples Park, the 19,400 square
foot building was previously built as a greenhouse and has since been redesigned by architect Liu Yuyang.

Public programs like film screenings and artist lectures are relatively
well attended for such a young organization. Membership is encouraged
through special events at the bar area. The museum recently organized
jazz evenings for members.
The Results
The government officials of the Huangpu District, who initially had
an alternative use of the greenhouse space in mind, decided to grant
permission to Kung to operate MoCA for 20 years. The museum,
considered young and fresh, fills a void in the contemporary art scene for
local audiences, and international museums and artists looking to partner
with Chinese institutions. With 85% of art sold in China today being
modern or contemporary, the museum occupies an important niche.
26
The Guggenheim selected MoCA Shanghai as one of the two venues in
China to show its traveling exhibition Art in America: 300 Years of
Innovation for May June 2007. The show previously was in Beijings
National Art Museum of China from February to April 2007. In refer-
ence to these partnerships, Liu Yuyang says, We think the design must
have played a role to give the partner institutions a certain level of
confidence. The museum hopes to also form strong ties with major
Chinese contemporary artists in order to create exhibitions that can be
exported abroad.
There are currently 500 museum members, a group made up of mostly
university students. Current daily attendance is about 75-350, depending
on events in the museum. Approximately 300-500 people attend open-
ings. Admission and involvement has been increasing, but Samuel Kung
cautions: We are still young and new to the public, and that there is
a lot of work to be done to have the museum support itself. Admission
fees, space rentals for corporate events, and the restaurant are bringing
in revenue. But the museum would like to build its audience (member-
ships are key) in order to attract corporate and private donations, a
foreign practice in China. The museum is also considering merchandising.
When the building has become a part of the city, how art enters ones life is not limited to
the physical exhibition space. Rather, its how the museum as an institution brings a certain
culture to the city. Architecture has certainly played a crucial role to the success of MoCA
Shanghais position as an institution. What the architecture provided, besides being a shelter
for the art, is the possibility of new events and new culture being created.
- Liu Yuyang, Executive Architect
The project is part of a bigger effort by the city of Toronto to reposi-
tion the city as a cultural destination, sometimes referred to as the
cultural renaissance of Toronto. Royal Conservatory of Music, Royal
Ontario Museum, The Canadian Opera Company, National Ballet School,
Gardiner Museum of Ceramic Art, and Ontario College of Art and
Design have all commissioned expansion projects to renowned archi-
tects in an effort to redo the citys entire cultural infrastructure.
The museum wished to preserve its existing footprint, but also to expand
exhibition space and reinvigorate the institution with a fresh image.
To do the job, AGO selected Frank Gehry. This will be Frank Gehrys first
project in Canada, it also happens to be in his native city, down the
street from where he grew up. Gehry said that he took his cues from
the museums surroundings and that he is very interested in making a
building that fits into the neighborhood.
28
Frank Gehrys selection is
sure to boost civic pride and help reposition the museum in the hearts
and minds of the Toronto residents. The new design will enable more
Canadian art to be on view, with total exhibition space increasing by 47%.
6.
RENAISSANCE
Art Gallery of Ontario is turning Toronto into a new cultural destination
Goals:
Place AGO which has one of the largest collections in North
America on the cultural map
Attract cultural tourists to Toronto
Make the museum more relevant and welcoming to the
people of Toronto
Challenges:
Toronto has been historically behind Montreal and Vancouver
as a major tourist destination. After the 2003 SARS outbreak,
tourism diminished so much so that, in 2006, the number of
tourists lagged below September 11, 2001 levels
27
Despite its popularity in the greater Toronto area, some in the
neighborhood did not find the museum a neighborhood
resource and had the stereotype of it being distant and elitist
Art Gallery of Ontario launched an institutional rebranding campaign in 2002 called Transformation
AGO, promising to bring a new building, new art, new ideas, and a new future to AGO. At the heart
of this campaign lay the redesign and expansion of their current building by Canadian-born architect Frank
Gehry. Construction began in 2005 and AGO will be fully closed to the public for the last year of the
construction, leading up to the new facilities re-opening late Fall 2008.

"(The strategic plan) is forming the way we think into the future, it's forming the way we
collect in our collecting areas, it's forming the way we will plan our interpretation and
how we engage with the public and how we create a visitor welcome to embrace both
international audiences and our domestic audiences It's beyond the building walls"
- Antonietta Mirabelli, Manager of Communications
Most importantly, the design will make the muse-
um more transparent, therefore less intimidating
and more welcoming. The exterior glass canopy,
and the redesigned entrance that aligns with the
Walker Court (the historic heart of the museum),
will bring in more light and make the building feel
more open.
AGO aims to become a multi-purpose destination, and
to diversify its audience in the process. The building will
offer a place to enjoy city views and will house the shop, restaurant,
caf, and a free contemporary art space, all open until late. This new
addition will bring life into the museum after dark, creating greater
opportunities for engagement with a hip young audience in Toronto.
The new AGO will improve the experience of enjoying art inside the
museum. The design will allow more art to be on view and appeal to
different interests: Galleries for Canadian art, contemporary art,
European art, photography, prints, and drawings will be expanded.
The interior is designed so that visitors can circulate with more ease.
Furthermore, the museum is investigating making more of its
operations - art storage displays, conservation, education, and
research areas - visible to visitors.
Transformation AGO and the Art Matters Campaign
AGO launched a transition brand called Transformation AGO to
announce changes at the organization and build interest in the opening.
As a part of Transformation AGO, Art Gallery of Ontario started a cam-
paign called Art Matters to talk about the role of art in peoples lives.
The Importance of Online Marketing
Ian Rubenzahl, Manager of New Media Design at AGO, explains: Our
objective is to support, via new media, a more transparent institution
that is relevant to a diverse community of stakeholders. The target
groups range from current and prospective AGO
Members and visitors to volunteers and campaign
supporters. The Web is also used as a major
platform to keep up communication with AGOs
audience during the yearlong closure.
The AGO microsite dedicated to the expansion proj-
ect is dense with information separated into sections
on each tenet of the expansion (new art, new building,
new ideas, new future). The site speaks to a wide audience of
stakeholders and offers a lot of content, creating a hub for project-
related information. It also provides visitors with information about
Frank Gehry, construction updates, webcam and construction photos, a
detailed section on finances, timeline, economic benefits, and an option
to contribute online.
The new media extensions of the AGO site works to engage the muse-
ums diverse stakeholders. The blog (www.artmatters.ca) exists to speak
to various audiences and learn more about how the collections reverber-
ate with them. Visitors can express their views, read others statements,
click through the Art Matters blog, or listen to Art Matters podcasts. The
podcast feed has been used to experiment with different kinds of audio
content, from public lectures, panels, and interviews to podcast tours of
exhibitions. The museum is also experimenting with placing the blog on
the gallery floor with a kiosk and URL bookmarks that invite feedback
and participation.
Then there is Collectionx.museum, an attempt to redefine virtual collec-
tions and exhibitions. Not only can users create their own exhibitions
from AGOs collections, but they can upload their own collections and
invite others to participate. The site employs RSS and podcasting to
extend participation beyond the website itself.
In addition, AGO has employed social networks such as Flickr to extend
public participation around exhibitions such as In Your Face: The Peoples
Portrait Project (http://www.flickr.com/groups/artmatters/). This group
has more than 800 members who have posted close to 8,000 photos.
Art Gallery
of Ontario
Our objective is to support, via
new media, a more transparent
institution that is relevant to a
diverse community of
stakeholders - Ian Rubenzahl,
Manager of New Media Design
Engage The Community

Soon after the project launched, AGO realized that, while the museum
received positive response about the project from the greater Toronto
area and tourism audiences, a mechanism for feedback from the imme-
diate community around the museum had not been fully engaged. The
museum quickly formed a community consultation team to build a rela-
tionship with the 10,000 neighbors living around the museum. Beverley
Carret, Manager of Government and Community Relations, explains that
her goal with the community outreach is to: "reinforce that AGO is a
community destination, something that neighbors should consider to be a
place that they would like to drop by, like a library or a community center."
AGOs Frank Gehry exhibition, shown February to May 2006, aimed to
present the AGO project as an important part of the architects career.
After Frank Gehry unveiled the schematic design of the new AGO, the
museum engaged in the consultation process with a working group of
neighbors to help refine the design. Initially, periodic community meetings
attracted up to 100 attendees. Now that the design is under way and
the community is well informed, these meetings are held three times
a year, and attract a few dozen people.
AGO created a neighbors bulletin that is emailed to a list of 300 monthly.
The bulletin includes a brief construction update, as well as a list of upcom-
ing events that include walking tours, art exhibitions of works by area
school children, and neighborhood meetings. The team also set up a hotline
for locals to call with community issues or questions about the project.
The museum installed programs to attract some of the community
groups that were previously underrepresented. Through the community
membership program, tenant representatives were selected for each
housing group and given up to five family memberships to distribute
within their communities. These representatives in turn became an
important bridge, communicating the AGO goals to the tenants and
bringing any of their concerns back to AGO.
AGO also started a pilot program to reach out to the newest Toronto
residents. Each week for 4 months, AGO representatives attended a
new Canadian Citizenship ceremony and offered free one-year family
memberships to new citizens.
As a part of the Art Matters effort, the public could submit their Art
Matters statements in the lobby when the museum was partially closed.
Teams made up of 45 volunteers called AGO is a GO attend local
festivals and engage people in the project and give out Art Matters pins.
Also during the time that AGO will stay closed -until late 2008- the
museum will keep its education program active, offering classes to
adults and children.
Internal Communications
AGO set up an intranet site that is a one-stop source for all project-
related questions. The site is updated daily and is the first thing the
staff sees when they log on every day. Staff can submit questions
anonymously, as well as read the strategic plan, get information on
the pension plan, and catch up on the activities of other departments.
In addition, there are quarterly staff meetings for project updates.
AGO ran ads in major print media that featured AGO supporters -
donors, docents, volunteers, and artists and their statements on why
they thought art mattered. There was also Art Matters themed signage
outside the museum.
The Results
The community efforts have so far paid off most community members
are supporters of the project. Membership increased by 4,000 during
the construction phase due to built-up excitement. Total membership
is now at 54,000. The museum expects the yearly attendance to
increase to 800,000 visits in the first 12 months of operation after the
launch, settling to 650,000 visits annually by 2010/11.
Toronto is being promised major economic benefits as a result of the
project due to increased tourism, new jobs, and attracted investment.
The expansion alone is estimated to have pumped $100M into the local
economy, $96M in local labor income, $54M in tax revenues, 245 new
jobs, and $12.7M in new tourism revenues. The project has solidified
the cultural renaissance in Toronto and garnered many articles
promoting it as a destination. AGO has also inspired an effort in
Montreal to reclaim the cultural status.
Collection-x just launched a couple of months ago and has hundreds
of registered users so far. The artmatters.ca podcasts are downloaded
2,000-4,000 times a month and the blog receives about 30,000 visits
a month.
The renaissance in Toronto with all the new cultural buildings, has raised the awareness of
culture, and its going to help us, it already started to, in broadening our audience.
- Arlene Madell, Director of Marketing and Visitor Services
7.
A CLEAN SLATE
Miami Art Museum spearheads change in downtown Miami
Goals:
Reinvent current identity to become the central art institution
in Miami, one that is notable nationally and internationally
Get visitors to associate MAM with centrality both
physically at the heart of the city and artistically at the
epicenter of art in Miami
Challenges:
MAMs collection is relatively small and needs to be expanded
before the new museum opens
Downtown Miami is not a cultural destination
In 2001, with the support of the citizens of Miami, Miami Art Museum (MAM) embarked on a new building
project that will be a part of Museum Park a 29-acre area on Biscayne Bay that will include MAM and
Miami Museum of Science and Planetarium. $100M of the $220M project cost is being paid by the county
bond that was issued for the project. In September 2006, the museum announced its selection of Swiss
architects Herzog & de Meuron to design the 120,000 square foot new building, due to open in 2012.
We have got to pull our strengths together to create a destination and a brand that conveys
the substance of a destination to our audience
- Richard Townsend, Deputy Director for External Affairs
What Miami really needs is a museum that can do more in one place and be more of
a home for the city.
- Terence Riley, Director
Prior to the expansion, Miami Art Museum occupied about 24,000
square feet of space. The new facility will increase its size five times, to
about 125,000 square feet - a size more suitable for the kind of focal
civic art establishment that MAM wants to become. The larger museum
will enable the curators to tell the history of modern and contemporary
art in a more complete way. It will also house temporary exhibitions,
an education complex with a library, an auditorium, classrooms, and
workshops. In addition, the museum will feature amenities, like restaurants
and cafes, to turn it into a destination and an engine for social and
economic change in downtown Miami.
The museums other main goal is to gather under one roof the disparate
strands of artistic endeavor in Miami including art produced by local
artists, art collected by local collectors, and the local art market. MAM
wants a larger footprint to provide a more centralized artistic experience
in Miami, accommodate the large amounts of visitors coming to
Miami for art, and serve Miami as it becomes a more populous and
cosmopolitan city.
The most ambitious task for the new Miami Art Museum is to build a
cohesive collection almost from scratch, attracting donations from pri-
vate collections to the public domain. The museum hopes that the new
building will convince private collectors to donate, presenting a unique
opportunity to build the architecture and the collection together.
Miami Art Museum communications will be tasked with creating the
kind of art institution that does not currently exist in Miami. A new
identity will signify the difference between this institution and others,
one that is strong, contemporary, fresh, and international to better
communicate the expanded scope to different constituents Miami
citizens, the art scene, and cultural visitors. Centrality will be a main
point to get across and will help turn the building into a destination.
The redesign will be rolled out in stages. The communication depart-
ment decided that it is too soon to launch the new identity, as the
institution is currently in the process of becoming while building its
collection. With four years until the final product, the museum will
start the rebranding process with a capital campaign and a transitional
identity. They will then adapt the transitional identity to finally arrive
at the new identity when the museum opens in 2012.
MAM is bringing the Miami community into this exciting process.
There was a meeting in October of 2007 to present conceptual
drawings and solicit public support and feedback. Architectural plans
for the building were unveiled at a show prior to Art Basel 2007, which
showed the evolution and development of the design, while involving
the community.
The Results
Richard Townsend, Deputy Director for External Affairs at the Miami
Art Museum said that the museum offers powerful potential to
become an engine for social and economic change for the city. The
expected economic impact of Museum Park is $2B, with 1,700 jobs created
annually.
29
The opening of MAM, together with Miami Science Museum
and Carnival Center for the Performing Arts, is expected to cement
downtown Miami as a cultural hub - a major goal for the downtown
revitalization. The expected attendance following the opening is between
200,000 and 250,000 a year.
The community consultation process has begun as well. Though there
were some doubts raised in the Miami art community about the possi-
bility of MAM filling its future size, the city approved a grant to buy
the land for the new museum space, and plans are moving forward.
An earlier bond oversight board meeting can be seen on YouTube.
In December 2006, MAM announced a new partnership with Miami
Art Central (MAC) - a local private art collection specializing in Latin
American contemporary art owned by Ella Fontanals-Cisneros. The
partnership enables MAM to present at the museum more cutting edge
contemporary art programs and has led to MAC being folded into MAM.
In addition, by the spring of 2007, Miami Art Museum added almost 200
works into its collection valued at $10M. These included a monumental
sculpture by Leger, a 100-piece contemporary photography collection,
the first edition of six video works by Doug Aitken called Sleepwalkers,
which is being tailored to go on the new buildings walls. In late 2006,
there were some other significant donations from private collectors
including Jeffrey Loria, Dennis Scholl, Mimi Floback, and Craig Robbins.
MAM also received a gift of $500,000 for education programs aimed at
underserved teenagers. The programs will use the building to inspire
others and create a community.
Much like how the Walkers multi-disciplinary
mission challenges traditional art institutions, the
new building challenges the traditional white box
gallery concept with the off-balanced setting of
its tower and asymmetrical windows on the
facade. The new Walker is uniquely designed to
present diverse forms of contemporary art simul-
taneously (eleven galleries, a new 385-seat the-
ater, and a refurbished cinema). It encourages
artistic experimentation, dialogue, and social interaction in lounges
throughout the building where visitors can rest and talk about their
experience.
One of the goals of the expansion was to respect the original 1971
building designed by Edward Larrabee Barnes, while improving on the
visitor experience. Herzog & de Meurons new building highlights the
Barnes building by removing late additions and focusing on the verti-
cality of the original building by mirroring it in the new aluminum
tower. Before the expansion, the main entry was a small entrance
tucked away on a side street, giving a reclusive or almost elitist air
to the institution. The two structures also now linked by a series of
galleries on the ground floor.
A new entrance was oriented to the broad and
busy Hannepin Avenue in a way to almost
celebrate traffic.
30
The buildings glass curtain wall and large win-
dows reveal the vitality inside to those that drive
by. Inside, the windows reveal the dynamism of
the city, offering views of the garden and down-
town Minneapolis. There are two lobby and
lounge areas where one can look through the
entire building to see the park and city views.
The idea is to use the building to engage and encourage arts-related
or social dialogue. Phillip Bahar, Director of Marketing and Public
Relations at the Walker, explains that a major goal for the Walker is to
be civically engaged and serve almost as a town square, to become a
meeting place where people might bump into other people, arts or
ideas. Herzog & de Meurons new space achieves this goal with the
creation of spaces where groups of varying sizes can interact. Groups
can stroll through the galleries together and individuals can enjoy art
in quiet, contemplative corners.
31
There are lounges and interactive
areas throughout the building, placed between galleries, where people
can pause, reflect, discuss, and learn together.
8.
CONVERGENCE
Walker Art Center creates a bridge to the community with a new addition
Goals:
Communicate the multi-disciplinary nature of the Walker as
more than a museum, as a dynamic and welcoming center for
people with different arts interests
Reinforce the Walkers commitment to artistic creation
and dialogue
Diversify the audience and engage new groups
Challenges:
On a national level, staying top-of-mind and differentiating
itself from other contemporary art institutions
The Walkers multidisciplinary missionvisual arts, performing
arts, and film/videowas not well understood within its broader
community
Walker Art Center, which is known as one of the most cutting-edge contemporary art museums in the
US, opened an addition designed by Herzog & de Meuron in April 2005. This was the Swiss architects
first museum building in the US, coming right after their successful design of Londons Tate Modern.

The building also has a number of amenities to bring people in for
social gatherings: two new restaurants operated by Wolfgang Puck,
coffee and wine service in the garden lobby, a new shop, an event
space called the Skyline Room which can accommodate up to 400
people - and new terraces. The building also enhanced the museums
public programming and learning spaces.
The new design added space for the Walkers diverse program areas:
11,000 square feet of additional gallery space (33%), a 385-seat theater,
a remodeled cinema, audio and video bays, and an information lounge.
The Walker embarked on a strategic PR and marketing plan in stages
leading up to the introduction of the new institution, addressing the
communication goals of presenting the new institution as a welcom-
ing, multi-faceted and happening contemporary art center.
Walker without Walls 2004
When Walker Art Center closed for the construction of the new build-
ing for one and a half years, the museum launched a campaign called
Walker without Walls to stay culturally visible and increase excitement
for the upcoming re-opening. Walker without Walls primarily targeted
people who already engaged with the Walker, but it also aimed to
develop new community relationships. The campaign was kicked off by
an all night party at the Walker in February 2004, the night before the
museum closed for construction.
The campaign was a coordinated yearlong series of art events held in
various venues throughout the region. The events were well attended
more than 25,000 attended the artist-designed mini-golf tournament,
and 3,000 attended the opening night of the Music & Movies series in
Loring Park.
A uniform Walker without Walls identity played on the subway map
theme to represent the different stops to the reopening, while also
representing the multi-disciplinary nature of Walker Art Center. The
identity was superimposed on pre-existing Walker communications
(calendar, letterhead, web site, and tourist postcards), the physical
environment (sidewalks and walls), and on advertising copy. Signage
around town (train stops, billboards, sidewalk stencils, mobile signage,
and walls), as well as print and online, encouraged participation in
the events. An ice cream truck distributed frozen treats along with
information on the Walker without Walls programs.
Internal Communications
Walker Art Center had periodic staff meetings where the management
provided as much information as possible to the staff in order to
encourage word-of-mouth. The museum helped with the elevator
speech and answers to potential questions for when friends and
family asked staff members about the construction and changes that
would follow.
Walker Launch Campaign: Where (blank) Meets (blank), 2005
For the reopening, the Walker ran an integrated marketing campaign
that announced the new building and with that the redefined institu-
tional identity emphasizing on the institution's multidisciplinary
nature. "Where __ meets __" essentially became the template for
introducing the key messages like artistic depth (where Yoko meets
John), multiple disciplines in contemporary art represented inside the
Walker (where paint meets pixels), the town hall concept for social
interaction (where art meets life) and the physical locale (where
Hannepin meets Lyndale)."
"The campaign was predominantly regional with some national presence,
and appeared in a range of media executions including magazine ads,
billboards, bus shelters, and wildpostings.
Walker Expanded The New Graphic Identity, 2005
For the opening, Walker designed a new identity to signal the changes
at the institution. Treated like a roll of tape, the new identity visually
conveys different touchpoints (Walker Art Center, walkerart.org,
Minneapolis Sculpture Garden) disciplines (performing arts, film/ video,
visual arts) and artistic programs offered (exhibitions, lectures, screenings,
tours, workshops, theater, music, film) at the Walker, in an on-going
scroll. It is visually catchy and easily adoptable to different disciplines.
The strip visual is applied on all printed and electronic communications,
as well in and around the building. Business cards, letterhead and visitor
guides feature the scroll on top. A projection listing the upcoming
events scrolls on the faade of the building. The scroll is also displayed
inside on the walls of the lobby, the parking ramp and the shop.
Ongoing Communications
Walker uses "group ads" on an ongoing basis to promote a full-range
of Walker offerings. Exhibitions, performances, films, and lectures are
all announced in single advertisements. As a result Walker not only
highlights its multidisciplinary mission, but also stretches its budget
on advertising.
Since 1997, Walker Art Center has organized parties called Walker After
Hours that target young, trendy professionals in the Minneapolis area.
The events feature a first look at exhibitions, music, and cocktails.
Attendees can visit a section of the party sponsored by Target and
take photographs that are posted on the Flickr Walker After Hours
photo group.
Walker Art Center provides wi-fi access in the lobby, and Art on Call,
the Walkers free cell phone audio tour.
32
Also at Walker, visitors can
use the social interaction technology called Dialogue to learn about
the collection in a way that sparks curiosity and encourages exploring.
Walker Art Center already offers rich artistic content on the Web.
Especially successful is their blog section. The Walker blogs constitute
the most popular part of the site with a monthly average of 115,000
user sessions. The Walker blogs readership is mostly concentrated
locally, but also extends nationally and internationally, especially
to Europe.
Leveraging Web 2.0
New media tactics help the museum reach new audiences. Walker Art
Center New Media Initiatives group looks into innovative ways of
connecting with audiences through podcasts, videocasts, IPTV, RSS
feeds, Flickr, YouTube, and social networks like Facebook and MySpace.
The group, in partnership with the McKnight Foundation, developed
mnartists.org, an online gathering place for Minnesota artists and art
organizations from diverse disciplines. The site provides a platform for
artists to present themselves, for the public to get to know them
and interact with them, as well as a schedule for Minnesota-based
arts events.
In order to engage teenagers and help them connect with contempo-
rary art and artists, Walker Art Center set up Walker Art Center Teen
Arts Council. WACTAC is made up of 12 young people who meet weekly
to design, organize, and market events and programs for other
teenagers and young adults. The Walker just launched a dedicated
WACTAC site to engage the teens online.
Social networks such as MySpace and Facebook help reach a younger
online audience, as well as those interested in getting a behind the
scenes look at the Walker and staff viewpoints on various topics.
Walker Art Center has 3,909 friends on MySpace. Its MySpace page
includes information on the museum, an events calendar, and an
option to buy tickets. There are also links to the Walker blog. The blog
entries are written in a short and approachable way to better connect
with the audience, and not in the traditional institutional language.
The postings focus on topics that would be of interest to the younger
audience, such as bands on the run and the after hours parties. Walker
also recently started a profile on Facebook.
There are several Walker Art Center-affiliated groups on the photo
sharing site Flickr. There is an extensive folder of pictures of the new
building, but also Walker After Hours photos, and photos from Walker
Art Center Teen Arts Council events and happenings.
The Results
The selection of the intriguing architectural duo, Herzog & de Meuron,
and the fact that the Walker was their first museum project in the US,
ensured that the reopening received national and international press
coverage, even though it was soon after the broadly covered reopening
of MoMA in New York. Though not the main goal for the expansion,
the placement of Minneapolis back on the cultural tourism map was a
welcome result. In the January 2006 issue, Travel & Leisure named
Minneapolis one of the five up-and-coming destinations.
33
The Walker Art Center expansion did not attract the kind of criticism
expanding museums sometimes face. Largely due to the architecture
and the museums mission being so integrated, there have been no
suggestions of growing corporate influence or aiming to attract
crowds at the expense of a cutting-edge artistic point of view.
Walker considers the campaign a big success in increasing awareness
of the museum and its programs. It has helped to maintain and
increase event audiences throughout the year.
34
The purpose of the Walkers expansion was to provide each of its primary program areas
visual arts, performing arts, film, and educationwith its own space under the larger
institutional umbrella. Making the institutions programmatic priorities physically visible and
encouraging the cross-pollination of the Walkers various audiences was one of its major
goals. - Philip Bahar, Director of Marketing and Public Relations
How to maximize the
impact of an expansion
and extend the image of
a museum through
communication
Evolving
the Footprint
Through
Communications

Whether its the entire museum
being rebuilt or the addition of a
new wing, the museums surveyed
have adopted or plan to adopt new
identities to fit their vision and image.
When the Modern Wing opens, AIC will
launch an identity that will reflect the contemporary feeling of the
building for the entire institution. Similarly, MoMA updated its identity
when the Taniguchi building reopened. Miami Art Museum foresees
that the new identity will fit the new Herzog & De Meuron building
with its fresh, clean, contemporary, and international look. Walker Art
Center adopted a new identity at the reopening that was both visually
catchy and adoptable to different disciplines.
The degree to which the building is prominent in the new graphic
identity ties back to the institutions mission and brand goals. The
buildings sculptural quality determines its place in the logo.
Milwaukee Art Museum, wishing that the Calatrava building would
become an international tourist destination, featured the building in
the logo that launched at the reopening in 2001. The Guggenheim
Museums identity also ties back to the architecture, as the foundation
considers architecture a major brand asset.
AGO conducted a kitchen table-style brand study among key constituents
and determined 13 brand value attributes, one of which was All of the
brand attributes were later boiled down to three major brand tenets
that formed the new identity for the 2008 reopening: extraordinary
visitor experience, excellence in collections, and leaders in interpretation.
Communications departments can measure the PR potential of the
selected architect to measure the impact on attendance locally, nationally,
or internationally. This can be done by conducting surveys on the recall
of the architect among the different audiences, as well as research
about PR generated from past projects by the same architect. Similarly,
architecture can help with communicating a new vision. Any novelty
factor about the building (architects first building in the US) or an
institutional responsibility angle (green design) can be used to increase
excitement about the project.
The Power of
Architecture in
Rebranding
YEARS SURVEYED (IN %)
4 or less 29%
5-6
7-9 17%
10+ 21%
How many years in planning for expansion:
DMD Online Survey Results
33%
ANSWER SURVEYED (IN %)
Yes 44%
No
Institutions that held architecture competition:
56%
Yes
No 46%
Outside consultants hired for communications?
54%
Yes 48%
No
Research conducted or being planned for before
or after the opening about brand awareness past/
future visits, recall of architect?
52%
CONSULTANT TYPE SURVEYED (IN %)
Branding 38%
Communication / PR
Advertising 31%
Marketing 15%
Web Design 8%
Those institutions who answered yes hired the
following types of consultants:
85%
The future identity should be
planned for a time period that is
far enough in advance, so that the
brand goals will not be outdated in
the near future and will ensure a con-
tinuous path for the organization. But this
time period should not be too far off, so the planners in the museums
can base their assumptions on available forecasts of the trends in art,
society, and the economy. Vittorio Falletti, in his paper, Closed to Meet
You, remarks that the new identity should be designed with at least
the next ten years in mind. In the book Imagining the Future of the
Museum of Modern Art, Glenn Lowry explains that the key stage in
planning the MoMA expansion was to review the goals and aspirations
of the museum for the next 25-30 years.
35
Museums need to identify strengths in setting brand goals for the
future identity. What distinguishes a museum from others should be
identified. This list can include parts of the collection, the artistic
vision, the building, social responsibility (green building for example),
public programs, diverse artistic programs (film and performance), or
research opportunities.
The New Audience
A lot of museums are seeing their core audience age. As museums look
to attract new audiences, they need to look into demographic and
societal trends and identify the best groups to target. What will be the
ethnic make-up of the visitors, donors, and members? What languages
The New
Identity
Yes
No 44%
New brand identity for the reopening?
56%
will they speak? What age groups will they belong to? How will these
groups interact with institutions?
Most museums, facing an aging membership and donor base, are turning
to younger audiences with the hope that they will become the donors
of tomorrow. Others are looking into immigrant populations or the
increasingly mobile global groups to find their future audience.
Whoever the major target group may be, most museums, like AGO
and MoMA, have a common goal of audience diversification.
Guggenheim Bilbao communicates with audiences in four languages
Basque, Spanish, English, and French. MoMA offers printed materials
in seven languages. Smaller museums also chose bilingualism to adapt
to changing demographic patterns in their surrounding region and to
diversify their audience. From education programs and labels to website
and at-works, Southern California museums such as Museum of
Contemporary Art in San Diego incorporate Spanish into the institution
to include more of the Hispanic audience that makes up 35% of the
local population.
36
Buzz and excitement from a new
facility usually guarantees a high
level of attendance during the first
year. Arlene Madell, Director of
Marketing and Visitor Services at AGO,
calls the first nine months after the opening
the honeymoon. The biggest challenge for the expanded museums is
to keep the attendance at a consistent level after the honeymoon.
This requires constant dialogue with the stakeholders.
As peoples interests are more fragmented, museums dont want to
connect with visitors in a one-dimensional way. They must offer tailored
communications to people of different backgrounds and interests.
As museums increasingly find themselves competing for peoples time,
they are looking into ways of improving engagement and setting goals
for the place they want to occupy in peoples lives.
The New
Ways to
Interact
The Web, New Media, and Technology
Looking to future generations, the museums should determine their
Web strategies and start speaking to Web-only audiences in order to
become an integral part of the global online community and build an
online brand.
Websites should be built to be more inclusive, welcoming, and engaging
with features such as artist podcasts or videocasts, access to pieces
from the audio and video libraries, event calendars with reminder or
outlook options, virtual collections, library access, and RSS feeds.
Wikipedia is one of the most popular online research sources.
Museums should have their profile updated with the most up-to-date
information. They should also make sure that the museum is listed
under culture in the city profiles.
YouTube is another avenue for museums to reach different audiences.
MoMA has a branded channel on YouTube, called MoMAvideos, which
includes videos of selected exhibition previews, public programs,
performances, and exhibition installations. There are a number of
videos posted by YouTube users including construction clips for AIC
and AGO, and performance recordings from MoCA Shanghai and
Walker Art Center.
A lot of museums have online collections. More and more people are
going on user-generated content sites to find richer online collection
experiences. An unaffiliated, alternative virtual MoMA collection, called
iMoMA, encourages the public to help photograph every single piece
in MoMAs collection in order to create a new version of the virtual
museum that will reflect peoples individual perspectives. On
Photomoma.org or on the TheMoMAProject group on Flickr, viewers are
encouraged to add to the online collection. There were over 16,000
photos posted for the group by late June 2007, and the group had
2,709 members. Museums can look into this type of engagement for
richer opportunities for publicity and loyalty.
With the greater growing popularity of alternative environments like
Second Life, museums can consider exploring ways of creating virtual
environments to interact with online audiences. Currently, there are
museum environments in Second Life that can pose as examples. A
museum called the Second Louvre is a replica of the Louvre building in
the Second Life environment.
37
Though the collection doesnt compare
with the Louvre, the Second Louvre showcases art pieces that stretch
from the floor to ceiling of tall walls so that the avatars can literally
fly through the museum (as flying is one of the most popular modes
of transportation in Second Life).
Museums are increasingly looking into ways of incorporating mobile
technology to make the art viewing experience simpler and more
entertaining via alternative tour guides. Almost all of the surveyed
museums have alternatives guides available to download on iTunes.
Some museums are also aiming to have docks in their lobbies where
people can download audio guides directly onto their mobile audio
device. There are also technologies being developed so that people can
use their cell phones in lieu of tour guides, and wireless systems like
GPS devices to help them navigate through bigger, more complex
museums.
38
AUDIENCE SURVEYED (IN %)
Neighborhood/ Community 80%
Donors
Members 76%
Press 72%
Tourists 52%
Art World 44%
The Board 40%
Staff 36%
City Government 36%
One-time Visitors 36%
Civic Groups 8%
State & Federal Government 4%
Repeat Visitors 4%
Museum Professionals 4%
Educators 4%
Potential Donors 4%
Grant Funds 4%
Target Audiences
80%
CHANNEL SURVEYED (IN %)
Print Media
Web 84%
Special Events 80%
Direct Mail 72%
Grassroots Outreach Activities 56%
Tourist Media airports, travel
magazines 56%
Radio 32%
TV 28%
Outdoor 20%
Cultivation 8%
E-newsletters 4%
Channels Used
92%
VEHICLES SURVEYED (IN %)
PR
Internal PR 76%
Advertising 64%
Vehicles used during a relaunch campaign
88%
Once architectural plans are set,
and construction is near underway,
new challenges arise: local commu-
nities may have various opinions,
questions, and serious complaints on
the project; key patrons may be equally
impressed or disenchanted, regular visitors may be put-out during
construction; local governments require significant amounts of
coordination and the media will also start reporting on cost overruns,
criticizing the architecture itself and pointing out every delay.
A solution can be getting the word out to various constituents, or
often controlling the surge of interest after a long period of construction.
Managing advertising, patron communications, guest services, public
relations, signage, and the website all become important channels for
marketing communications in effectively defining this new brand that
has been presented.
Challenge: Connecting with the Community
AGO and Toledo both faced initial concerns about the expansion from
their neighbors. Both museums dealt with this with an outreach
initiative. Toledo Museum leaders held church meetings with community
leaders, as well as appeared on local TV talk shows to address the public
interest in SANAA's design.
AGO noticed that some in the neighborhood did not find the museum
a neighborhood resource and had the stereotype of it being distant
and elitist. To rectify this, the museum embarked on a large community
initiative. The community design consultation program included locals
in the decision-making process. The museum holds neighborhood
meetings, organizes special events, and keeps the neighbors informed
through email newsletters. In addition, the museum recruited community
representatives to distribute family memberships, and established
relationships with community organizations.
Challenge: Handling Entrance Fee Increases
The new building cost and MoMAs $20 admission fee drew an enormous
amount of criticism. The cost of building the museum was quoted in
the press at varying levels and without the context of New York real
estate costs or what the budget actually supported. To those critics,
the $20 admission price reinforced the elitist perception of the institution
and caused them to question its commitment to public access. The
museum implemented programs to allow a large number of people free
or at reduced admission. 600,000 of such visitors now visit the museum
yearly. Also, a free admission day was designated every Friday from
4-8pm. Free Friday Nights is sponsored by Target.
Potential
Challenges in the
Brand Evolution
ISSUES SURVEYED (IN %)
Community issues (ex: community
preservation, construction related)
Recognition problems (ex: problems attracting
new audiences) 44%
Design and architecture criticism 36%
Management (ex: internal disagreements,
lavish expansion budgets) 24%
Relevance to different communities 24%
Institution identity (ex: too commercial,
no longer creative, only for tourists) 20%
Public service (ex: increased admission,
insufficient education programs) 20%
Binding of personal, financial, and
special resources 4%
Exhibits relevance to local audiences 4%
Differentiation among the clutter of
museum expansions 4%
Location/ access problems with newly
relocated area 4%
Collection doesnt merit a building
of the anticipated size 4%
56%
What are the most prevalent communication issues
for the expansion project?
RESPONSES
Blogs and web site for more engagement online
Audience diversity
Relations with government, community, and staff
Location challenges
Upper management need to listen to the staff and get them
on board with the project
Museums positioning and the relationship between two
museum venues and business units
Internal communications currently top-down
External communications not in focus due to management
and structural change
Communications with the board, art donors, and foreign
visitors (non-English speaking)
Our role in the art world
More board, member, donor communication, not just with
those who historically supported us, but also new blood
Internal communications
Strategic and long-term plans
Increased communications across departments, to the board
and our constituents, targeting new audiences
Programming input from marketing/ PR
What areas still need improvement?
Challenge: How to Address Design Criticism
The opposition to I.M. Peis pyramid for the Louvre was probably the
biggest public opposition any museum has faced. The museum battled
the opposition with communications efforts targeting the cultural
influencers and public. Hard-hat tours granted access to the influencers
and public, and gave a chance for the museum to show the new vision
in the making. The museum also set up platforms for the public to be
able to walk up to the restorers and ask questions. Furthermore, the
construction company set up a communications office and distributed
a newsletter.
Challenge: Garnering Recognition
MoCA Shanghai faces the challenge of recognition within Shanghai, in
China, and internationally, and is relying on publicity to deal with this.
Being a new museum devoted to contemporary art, it needs to spark
the interest of the Shanghai general public. The museum is focusing on
younger generations through school programs while looking to attract
a hip group of Shanghai residents with its restaurant and bar.
Nationally, the museum wants to attract popular Chinese contempo-
rary artists who live and work in Beijing. On an international level, the
museum would like to establish itself as an ideal member of future
artistic partnerships. Launched as the first non-profit art museum, the
museum has sparked interest abroad; Western institutions eager to get
close to the Chinese contemporary art market were open to work with
this new private local institution. An important partnership was created
when the Guggenheim chose the institution to show its traveling
exhibition America 300. This brought much publicity that is sure to
raise the profile of the institution.
Challenge: Management/ Internal/ Financial
Joey Tanenbaum, one of AGOs board members and leading donors,
publicly resigned from the board in 2004 over a disagreement over the
design involving a museum space which was named after him. The
museum mended the relationship and Tanenbaum was brought back to
the board. Both museum management and Tanenbaum were quoted in
the press as saying how he was later happy with the expansion plans.
1
American Association of Museums, Museum Financial Information, 2006
2
Guggenheim to Build Museum in Abu Dhabi by Jim Krane, The Associated
Press, July 8, 2006
3
Despite Criticisms, Thomas Krens Plans Still Other Guggenheims by Carol
Vogel, The New York Times, April 27, 2005
4
Guggenheim Foundation builds its largest museum in booming Abu Dhabi
by Jim Krane, The Associated Press, July 8, 2006
5
Guggenheim Foundation builds its largest museum in booming Abu Dhabi
6
An American in Venice by Mark Irving, Time, June 22, 2003
7
CMO Strategy: The Innovators Thomas Krens by Sarah Mahoney,
Advertising Age, October 2, 2006
8
http://moma.org/about_moma/newmoma.html
9
A Very Modern Art, Indeed by Hugh Eakin, The New York Times, November 7, 2004
10
Taniguchis MOMA: An Architectural Close Up by Franz Schulze, Art in
America, March 1, 2005
11
Invisible Cathedral by John Updike, The New Yorker, November 15, 2004
12
MoMA reborn back to front by Mark Irving, The Art Newspaper,
November 2004
13
MoMA reborn back to front
14
MoMA Announces Two Billion Dollar Impact on NYC Economy MoMA Press
Release, July 25, 2006
15
MoMA Announces Two Billion Dollar Impact on NYC Economy
16
Museums by the Foot by Kim Campbell, Christian Science Monitor, July 1, 2005
17
Art Review: The Museum as Outdoor Movie Screen, Featuring Five Lives
Lived After Dark by Roberta Smith, The New York Times, January 18, 2007
18
Art Institute Reaches Out Toward Millennium Park by Andrew Herrmann,
Chicago Sun-Times, June 1, 2005
19
http://www.artic.edu/aic/modern_wing/building/engineering.html
20
http://www.artic.edu/aic/modern_wing/campaign/facts.html
21
Art Institute Reaches Out Toward Millennium Park
22
Art Institute to Add New Wing by Blair Kamin, Chicago Tribune, May 31, 2005
23
Art Institute to Add New Wing
24
Shanghai MOCA brews up an arts treat Shanghai Daily, September 24, 2005
25
Shanghai Gets Contemporary by Lisa Movius, Art in America, November 2005
26
Travel: Private Spaces by Karen Mazurkewich, Wall Street Journal Asia,
December 2, 2005
27
Under Construction: Toronto as an Architectural Tourist Site by David
DArcy, The Well Street Journal, September 6, 2006
28
Gehry Thomson set AGO on a Path of Renewal by Aaron Wherry, National
Post, November 20, 2002
29
http://www.miamiartmuseum.org/home-park-fact.asp
30
Walker Art Center Doubles Size by Janet Koplos, Art In America, April 2005
31
An Expansion Gives Life to an Old Box by Nicolai Ouroussoff, The New York
Times, April 15, 2005
32
Museum Expansions and the Utility of Web-based Public Information by
James Ockuly, The Minneapolis Institute of Arts, 2006
33
The New Walker is a Magnet for Attention and Frustration by Linda Mack,
Star Tribune, December 24, 2005
34
http://design.walkerart.org/detail.wac?id=2104&title=Projects
35
Studies in Modern Art 7: Imagining the Future of the Museum of Modern
Art The Museum of Modern Art, New York
36
English or Spanish, Two Voices on Labels by Jori Finkel, The New York Times,
March 28, 2007
37
Urban, R. et al., A Second Life for Your Museum: 3D Multi-User Virtual
Environments and Museums. In J. Trant and D. Bearman (eds). Museums and
the Web 2007: Proceedings. Toronto: Archives & Museum Informatics, pub-
lished March 31, 2007 at
http://www.archimuse.com/mw2007/papers/urban/urban.html
38
iPods and Cellphones Join the Audio Tour by Michel Marriott, The New York
Times, March 28, 2007
Footnotes
Research, Interviews and Writing:
NY: Defne Chaffin
Shanghai: Defne Ayas
Interviews:
Art Institute of Chicago
Anne Henry, Associate Director of Communications,
Art Institute of Chicago
Art Gallery of Ontario
Beverley Carret, Manager of Government and
Community Relations, Art Gallery of Ontario
Arlene Madell, Director of Marketing and Visitor
Services, Art Gallery of Ontario
Antonietta Mirabelli, Manager of Communications,
Art Gallery of Ontario
Ian Rubenzahl, Manager of New Media Design, Art
Gallery of Ontario
Guggenheim Museum New York
Laura Miller, Director of Marketing,
Guggenheim Museum New York
Miami Art Museum
Terence Riley, Director, Miami Art Museum
Richard P. Townsend, Deputy Director for External
Affairs, Miami Art Museum
MoCA Shanghai
Diana Freundl, Shanghai MOCA
Samuel Kung, Founder & Director, Shanghai MOCA
Liu Yuyang, Principal and Executive Architect,
Atelier Liu Yuyang Architects
MoMA
Kim Mitchell, Director of Communications, MoMA
Stephen Rustow, Senior Associate principal for KPF,
The Executive Architect
Toledo Museum of Art
Florian Idenburg, Former Senior Associate, SANAA,
in charge of the Glass Pavilion Project
Jordan Rundgren, Director of Public Relations,
Toledo Museum of Art
Walker Art Center
Phillip Bahar, Director of Communications,
Walker Art Center
Photo Credits:
Walker:
Photo courtesy Walker Art Center.
Guggenheim:
FMGB Guggenheim Bilbao Museoa, 2005.
Photograph by Erika Barahona-Ede. All rights
reserved. Total or partial reproduction is prohibited.
MOCA Shanghai:
The Museum of Contemporary Art, Shanghai
AGO:
2007 Gehry International, Architects, Inc.
AIC: The Art Institute of Chicago,
Department of Graphic Design and Photographic and
Communication Services
Toledo:
Photograph by Floto + Warner
Miami:
courtesy City of Miami.
MoMA:
Photo 2007 Timothy Hursley
Acknowledgements
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DMD is an integrated marketing
company. We build awareness,
change perceptions, motivate action,
and effect change by creating
experiences and narratives that are
both inspiring and compelling.
DMD partners with clients to realize
and deliver ideas through advertising,
branding, design, grassroots
campaigns, interactive, and public
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all of our efforts, producing
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The Museum Brand Footprint:

The Role of Architecture in

THE MUSEUM BRAND FOOTPRINT

THE MUSEUM BRAND FOOTPRINT PAGE 1

Redefining The Brand with Architecture

THE MUSEUM BRAND FOOTPRINT PAGE 9

THE MUSEUM BRAND FOOTPRINT PAGE 12

THE MUSEUM BRAND FOOTPRINT PAGE 14

THE MUSEUM BRAND FOOTPRINT PAGE 15

THE MUSEUM BRAND FOOTPRINT PAGE 18

THE MUSEUM BRAND FOOTPRINT PAGE 20

Engage The Community

THE MUSEUM BRAND FOOTPRINT PAGE 25

THE MUSEUM BRAND FOOTPRINT PAGE 28

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