Page 71 - Studio International - May June 1975

The building is not isolated. It shares
a two-level entrance lobby with
Guthrie Theatre, a lobby that joins the
two institutions and provides passage
from the front entrance to the parking in
the rear. This space, with adjoining
bookstore and box office, is a public
concourse, a meeting place. It is not a
pristine foyer open only at certain hours.
Attendance figures show the gains.
The massing of the building is not
formal or classic. A low roof line forms a
continuous street facade with The
Guthrie Theatre, facing the park. The
high tower (with restaurant, conference
room, and penthouse work space) lines
up with the North American Life and
Casualty Company building beyond and
conceals what might have been an
overbearing neighbour. The bold,
stepped roof terraces turn the corner
facing the expressway. Thus the building
reflects the site conditions, and relates
to the surrounding neighbourhood.
Edward Larrabee Barnes
. it is quite possibly the finest
American museum for modern art in
operation today.'
Peter Blake

`The recent Ellsworth Kelly was
superbly installed at the New York
Museum of Modern Art. It was
subsequently shown at the Walker and
to my amazement it looked even better
there.'
Leo Castelli

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