“ I can ’ t believe that you let me do this .”
alpine perennials . The plants were displayed in a field of 25 reflective cylinders in the Jordan Garden , visible from the windows of the new wing .
In 2014 Ken Smith , FASLA , accepted the commission to create a landscape installation for the summer of 2015 . Smith has long been a friend of the museum . He discovered the Gardner while at the Harvard Graduate School of Design studying landscape architecture . Visits to the museum and courtyard left him with compelling memories of the galleries and gardens .
Smith returned in 2012 to lecture on his practice . Smith creates provocative work that combines the worlds of art , architecture , and urbanism in parks and other public spaces . He states , “ A sensitivity to public space , environmentalism , and commitment to history are the underlying qualities of my work and this provides the basis for other aspects — the formal qualities and the commentary on contemporary culture — to come to bear on my projects , whether they are small gardens or urban spaces or complex larger sites such as rehabilitating a landfill .” He is well known for designing exterior installations at the MoMA rooftop and on the façade of the Cooper Hewitt in New York .
Fenway Deity is part of the Garden Deities series created by Smith . The large inflatable installation , with a psychedelic spiral pattern and gold chain , hangs from the historic façade of the museum facing the Boston Fens . Spiritually speaking , Fenway Deity responds to the museum ’ s 2012 relocation of its entrance to Evans Way , serving as a new conduit for the Museum ’ s creative energy to protect the Fens from bad spirits and promote environmental renewal , health , and happiness along the Fenway and beyond .
Preparing for the Fenway Deity was an adventure . While the concept for the 23-foot diameter flower medallion with a 75-foot chain seems simple , execution was complex .
Protection and preservation of the historic building was the first concern . Fenway Court , Gardner ’ s name for her museum , is a designated landmark of the City of Boston . This designation requires that the Boston Landmarks Commission review and approve the plans for the installation . Gardner included several important sculptural elements on the museum façade . Protective covers for the escutcheons on the façade ( one is her personal seal ), the formal doorway , and the marble sculptures below the Deity were created with the help
“ I can ’ t believe that you let me do this .”
of the Museum ’ s Conservation Department and Ivan Myjer , owner of Building and Monuments Conservation .
The Deity and its chain are digitally printed on vinyl with fused seams . A built-in lightweight air compressor runs constantly to keep the Deity inflated . Structurally , the installation is supported by three steel brackets that are carefully attached in the mortar joints between the bricks on the museum façade and chimneys . At the end of the installation , the bricks will be repointed with appropriate mortar .
Consider the possible wind and weather conditions that the Deity might experience during the summer months : thunderstorms , hail , heavy rain , and most importantly high winds . In the fall , there is a danger of hurricanes . Since the Deity is inflated by a blower , it is easy to unplug and temporarily deflate to protect it during adverse weather .
Boston is one of the windiest cities in the country . Winds are gusty , easily reaching speeds over 25 miles per hour in the summer . While the Deity only weighs about 150 pounds , the brackets that support it are engineered to protect the historic fabric of the Museum from high wind loads , using a truss system . The large bracket behind the Deity weighs almost 450 pounds , well over twice the weight of the artwork .
Installation took place during two days in early May following the protection of the façade sculptures . A crew
Boston Society of Landscape Architects Fieldbook
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