Logistical Challenges in the Relocation of Monumental Modern Architectural Artworks

ABSTRACT

Many buildings of the 1940s to the 1970s are decorated with monumental façade artworks. These murals, mosaics, and integral sculptural reliefs sometimes gain in cultural value even if the buildings on which they are installed do not. When a building that supports an artwork is designated for demolition, artworks whose scale and installation never accounted for future repositioning are endangered. Frequently, owners or developers are loath to consider any option besides demolishing the artworks along with the building, due to cost, or a fear that rescuing them will hold up construction. The result is great loss of iconic artworks. This paper will demonstrate conservation methods for dismantling, removing, and relocating mid-twentieth century modern architectural artworks. Case studies will include the relocation of a monumental 1963 mosaic at Houston Methodist Hospital; dismantling a 1961 brick/concrete block mural on a Miami, Florida facade; and the removal and relocation of a Millard Sheets mural in Santa Monica, California. The authors will discuss strategic approaches used to help clients understand that these endeavours are possible, as well as specific methodologies, challenges, pitfalls, budgetary considerations, and best practices for achieving results.

KEYWORDS:

• Mosaic
• mural
• architectural conservation
• historic buildings
• tesserae
• relocation

Disclosure statement

No potential conflict of interest was reported by the author(s).

Correction Statement

This article has been republished with minor changes. These changes do not impact the academic content of the article.

Notes

1 The relocation of the painted mural Portrait of Mexico Today by David Alfaro Siqueiros, from the Pacific Palisades neighborhood of Los Angeles, CA to Santa Barbara, CA in 2001 is one of a few excellent and earlier examples of the confluence of all of the trades and stakeholders required to successfully move an artwork of such importance, potential fragility, and relatively large scale (Santa Barbara Museum of Art 2012).

2 Anchoring the panels required the addition of vertical channels with flanges that extend up from the top of each panel. The channels were leveled along the backs of each panel at a uniform height and anchored with structural epoxy mortar, threaded 316 stainless steel bolts, and structural epoxy. The flanges enabled the panels to be screwed directly into the plywood wall as well as adjusted and shimmed to be level with adjacent panels.

3 Many individuals say that the artwork represents the Bay of Pigs region of Cuba (Keane 2016).

4 Because the building remains occupied by a retail store, the stained glass mural, which must be accessed from the interior, will not be removed until the lease is up. The bronzes were removed by the conservators and an art handler.