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Trades' talents on display during DIA renovation

Date Posted: June 25 2004

The Detroit Institute of Arts wants guests like Whistler’s Mother and permanent residents created by Rembrandt, Van Gogh and other artists to have as comfortable a home as possible.

So the DIA, the contracting team of Walbridge-Jenkins and the building trades are in the process of expanding and extensively renovating the landmark art institute along Woodward Avenue in Detroit. The project will include a 35,000-square-foot addition, extensive infrastructure and mechanical upgrades as well as improved visitor circulation paths.

“Updating and expanding the building has been a challenge in part because we’ve had to find new pathways for the electrical and mechanical systems,” said DIA Executive Vice President Maurice Parrish. “And we don’t want to intrude into existing gallery space and disturb the operations of the museum.”

Construction work began in June 2001 with completion scheduled for late 2006. The DIA has set a fundraising goal of $331 million to pay for the work, which is being performed by between 100-150 construction workers. More than $117 million has been raised so far from 200 donors. During the renovation and expansion project, the normal operating hours of the museum have been maintained, but some galleries have been closed.

The renovation aspect of the project will renew the old – and not-so-old. The DIA’s original Paul Cret Building was completed in 1927, with exterior walls covered with white marble In the 1960s and early 1970s, the museum’s North and South wings were added, clad in dark granite. During this project, the dark granite panels are being removed from the North and South additions, to be replaced by white Vermont marble, which will unify the exterior of the entire complex, and allow insulation to be added on the walls.

The Detroit Institute of Arts will be improved in a number of ways by the building trades, in ways both seen and unseen:

  • The DIA will spend a lot less on heating and cooling – the North and South additions were built without insulation or vapor barriers in the walls when energy was cheap before the 1973 Arab Oil Embargo.
  • The single-pane windows found throughout the DIA aren’t very energy-efficient, either. They’re being replaced with double-glazed models during this renovation.
  • Many mechanical systems in the main building are as old as the building itself. Modern computer-controlled temperature and humidity will benefit the DIA’s art collection, as well as visitors and staff. “After 77 years, it’s time for the old mechanical systems to be retired,” Parrish said.
  • Improvements are being made with a great deal of attention to “off-gassing.” DIA officials are looking very carefully at the use of solvents and paints inside the building that could harm works of art.
  • When the museum was enlarged, the confusing set-up of the museum’s space that resulted often led visitors to wonder whether they had missed some displays. With this renovation, better circulation paths are being introduced to help visitors navigate. And new elevators are being placed where they would most be expected, at the middle of museum. Construction activity is moving along on schedule.

“Walbridge-Jenkins have been very good to work with,” Parrish said. “We have benefited from their extensive construction knowledge and their ability to bring qualified people to the task.” Surprises, Parrish said, are potentially inside every wall that is opened up during the renovation process. “We’ve been fortunate to have people who are familiar with bringing the old and the new together. This is a high-finish job and people have really risen to the challenge.”

Even before the renovation project, the DIA only had room to display about 5 percent of all the 65,000 pieces of art work in its collection. With the renovation shutting down some display areas the DIA is taking this opportunity to loan art work to other musuems.

“The DIA is 117 years old,” Parrish said. “Over the years, people have done what they could to make sure we have a museum to enjoy works of art in a safe and attractive place. I can say with no hesitation that this is one of the finest museum buildings I have ever seen. This is our opportunity to do what needs to be done for future generations.”


REMOVING GRANITE panels from the South addition of the Detroit Institute of Arts building is Glenn Anderson of Tile, Marble and Terrazzo Workers Local 32 and Boom Stone. More panels await removal around the corner, to be replaced with white marble fascia that will better match the main building constructed in 1927, below.