As you might expect, no conscientious-objector architects rose to my challenge to state that they had refused, on principle, to participate in the Barnes Foundation’s search. That’s probably because no one did.
But I did get this bemused comment from Steven Miller, executive director of the Morris Museum:
Your question about architects refusing a project out of principal (e.g. Barnes) was amusing—not because the question made me laugh (though I did chortle a little), but I can’t imagine an architectural firm (and that’s what we’re dealing with these days, it is rarely one, singular architect who actually does a job) turning down such business. If that were the case, No. 2 Columbus Circle (a landmark in everything but name) would not have been destroyed. I’ll have to think about other museum examples that, in my opinion, show architects simply earning a living rather than worrying about the consequences of their actions.
However, in the case of the Barnes, I am one of those in favor of the current plan to move it. I know this doesn’t align with your thoughts but I think the final results will be beneficial to all (except perhaps Mr. Barnes—though, short of a good séance, we won’t really know what he thinks). And, as far as architects are concerned, while your question remains valid, they would be building something new not tearing down something old.
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Jay Raymond, former member of the faculty at the Barnes Foundation, says:
I did not chortle upon reading Steven Miller’s contribution to the dialogue on the fate of the Barnes Foundation. If he does not know what Dr. Barnes would think of this wasteful scheme to remove the art from its setting and re-install it five miles (and about 10 minutes) from where it is, he cannot have read (as most critics have not) any of what Barnes wrote, in which he clearly explained the purpose of his school and its intended benefit to society.
The Barnes Foundation stands alone in the world as a place where the art is for profound educational purposes, unlike the common and identical programs at art museums. That creation cannot be dissected and survive. The “new Barnes” will not be Barnes at all.
The architect who turns a blind eye to the stain of defacing a cultural masterpiece in order to design another setting for the Barnes Foundation’s art is merely admiring his or her own image.