Nantucket’s New Whaling Museum
Wednesday, June 1st, 2005By Marie Claire Rochat
Photography by Claudia Kronenberg & Brea McDonald
For a time, the Pompidou in Paris stood out as an extreme and bold example of museum architecture living up to and attracting as much attention as the collection inside. An international competition for the most spectacular museum design has continued since.
Take, for example, the newly renovated Museum of Modern Art in Manhattan or Frank Gehry’s masterpiece Guggenheim Museum outpost in Bilbao, Spain. Clearly museum Boards of Directors around the globe strive for a “wow” factor response even before visitors enter the first exhibit room.
Although the Nantucket Historical Association’s redesigned Whaling Museum keeps a traditional Nantucket look on its exterior, inside it should elicit plenty of “wows” for its modern technologies and for its eye-opening surprises about local history.
By late last month—amid crews readying exhibit spaces, artists touching up signage and museum staff hurrying from meeting to meeting in a down-to-the-wire flurry of preparation—a magnificent new space was emerging to showcase the NHA’s extensive collection of art and artifacts.
We thought it was so important for the building to not just be a shell, but to be combined seamlessly with the exhibits and the artifacts,
” said Niles Parker, the NHA’s Robyn and John Davis curator.
Uncovering historic gems
In the new museum, a portion of the shell houses a previously-cloaked antique pearl: the Hadwen-Barney Candle Factory with the only known intact whale-oil press in the world. Formerly the main exhibit hall of the old museum, the factory has been completely restored and refurbished. The well-preserved beam press, which was used to extract spermaceti oil from the whale blubber, has been exposed along with the massive brick hearth used to support the tryworks in which whale oil was boiled. Now integrated into the museum as more than just an exhibit gallery, the factory helps to complete the story of Nantucket’s whaling era, a huge accomplishment according to Parker and NHA Executive Director Frank Milligan.
“Getting the candle factory right was so important,” said Milligan, speaking from his office on Broad Street next door to the massive construction project that has taken just under two years. “We wanted to tell the story of it as a candle factory to show the sequence of getting the whale from the ocean to Nantucket and into the factory.”
The idea of telling Nantucket’s story comes up repeatedly when talking with NHA staff. And it is not just the island’s illustrious whaling history that will be told. Beginning with the history of Nantucket’s indigenous people and their demise, the Whaling Museum records Nantucket’s Great Fire of 1846, chronicles the island’s role in the abolitionist movement and outlines its emergence as a resort destination.
Gosnell Hall lies at the heart of the revamped Whaling Museum. This contemporary space—with its modern lighting, sound and visual systems—houses the museum’s new centerpiece exhibit, the 46’ skeleton of a sperm whale that washed ashore in ‘Sconset in 1998. Diving dramatically from the ceiling, with a fully rigged whaleboat alongside, the exposed life-sized diorama dominates the hall, which was precisely the intention of NHA curators and the display’s designers.
“We wanted to have the whale in a dynamic position, so that the visitor could really interact with it,” said Parker.
Gosnell Hall’s high, contoured ceiling gracefully echoes the arched shape of the whale’s backbone, while the painted floor below resembles a choppy sea. On a facing wall, oil paintings portray the faces of Nantucket’s notable whaling ship captains. Combining the old and the new, the hall exemplifies the interface between historic architecture and exhibit design that the NHA and project architects strived to achieve throughout the museum.
To help facilitate the link between Nantucket’s past and present, the NHA plans to make Gosnell Hall available for public meetings, lectures, films and social events.
Touching and feeling history
Visitors to the museum will enter on Broad Street through double mahogany doors, where two life-sized figures of the youthful Obadiah and Sarah, dressed in period clothing, will hold baskets full of workbooks for children. The books contain information about the various exhibits and will be changed periodically. The figures illustrate the extensive and ongoing children’s programming that the NHA has set as a high priority.
The lobby also houses the 1849 Fresnel lens that was used for more than 100 years in Sankaty Lighthouse and the restored works of the old town clock, rescued from the tower of the Unitarian Church and painstakingly restored. Mounted three stories up in a rooftop gallery, the clock’s dial operates through cables and weights suspended inside a curved open stairway.
Leaving the lobby, museum-goers pass bronze casts of the various NHA properties on Nantucket before coming face-to-face with a timeline of the island’s history. The chart begins with Wampanoag Indian and early colonial settlements; the other end will change as pivotal developments reshape the course of Nantucket’s history.
“We want to make the museum a vibrant and important part of Nantucket today,” said Parker. “We hope it can be a place where people come to address current issues, while being able to reflect on the past.”
Through a first-floor hallway lies the candle factory, with exhibits ranging from informative panels and tools used in candle making to interactive ones for kids. Exhibits in an adjoining new children’s discovery room will change frequently and offer plenty of interactive activities.
Little is known about the exact process of making candles back then, according to Parker, because it was a closely guarded industry during its heyday on Nantucket in the first half of the 1800s. Each manufacturer had its own proprietary formula of ingredients and temperatures to which the oil was boiled. Little is left to document the Hadwen-Barney factory secrets, explained Parker.
On the second floor of the museum, small exhibition galleries show off the NHA’s extensive collection of Nantucket decorative arts including scrimshaw, whirligigs and lightship baskets. Artifacts on display include objects brought back to the island by far-reaching whaling ship voyages to China, the South Seas and Hawaii.
Old and New Horizons
When asked to list the five top priorities for the new museum, both Parker and Milligan mentioned the need for climate controlled exhibition spaces. The modernization of its galleries with humidity control and fiber optic lighting will enable the NHA to “borrow” art and artifacts from other museums and institutions to create more comprehensive exhibits. In turn, this significant upgrade will allow the NHA to pursue touring exhibits from other museums and to host traveling shows, an impossibility until now.
Already the museum has planned several special exhibitions, including a retrospective of the work of Tony Sarg in 2007 and a Smithsonian Institute exhibit on giant squid in 2008.
By ascending the staircase that encircles the cables of the old town clock, visitors reach the top of the museum three stories above Broad Street, where they can exit onto a rooftop observatory with spectacular, sweeping views of Nantucket harbor.
The notion for this “widow’s walk” came during one of many planning meetings that the NHA board held with community advisors. Parker recalled suggestions by one participant to use the rooftop deck as a way to turn attention back to the harbor where Nantucket’s whaling vessels came and went.
Planning for the new museum began in the late 1990s, starting as a dialogue between the NHA, Nantucket residents and the town’s regulatory bodies, explained Milligan. Because of the museum’s prominent location anchoring one of four corners in the historic downtown core, the Nantucket Historic District Commission and other agencies demanded a noble and timeless building.
To design the building, the NHA hired Brookline, Massachusetts, architect, Martin Sokoloff, whose resume’ includes the National Museum of Australia and the Mary Baker Eddy Museum in Boston. A team of exhibition designers was hired early on to lay out the interior gallery space. Whale “articulator” Den DenDanto oversaw the cleaning, moving and reassembly of the whale skeleton.
An aggressive capital campaign helped pay for the new $9 million building and for $2 million in new acquisitions for the NHA collection. Much of the money came from private donors, including leading gifts of just over $2 million each from the Gosnell family and the Heinz Family Foundation.
“The building that we have is absolutely the right size for the NHA. We have to be able to keep the galleries vital and offer fresh programming. It is the right size for our capacities,” concluded Milligan.
When the new museum opens in early June, Nantucket residents and visitors who consider themselves familiar with the Whaling Museum should see the NHA’s collection in a new light. This “great big learning space,” as Frank Milligan referred to the new Whaling Museum, offers a bright new showcase for both Nantucket’s storied past and its remarkable present.
“We want to make the museum a vibrant and important part of Nantucket today,” said Parker. “We hope it can be a place where people come to address current issues, while being able to reflect on the past.”
Through a first-floor hallway lies the candle factory, with exhibits ranging from informative panels and tools used in candle making to interactive ones for kids. Exhibits in an adjoining new children’s discovery room will change frequently and offer plenty of interactive activities.
Little is known about the exact process of making candles back then, according to Parker, because it was a closely guarded industry during its heyday on Nantucket in the first half of the 1800s. Each manufacturer had its own proprietary formula of ingredients and temperatures to which the oil was boiled. Little is left to document the Hadwen-Barney factory secrets, explained Parker.
On the second floor of the museum, small exhibition galleries show off the NHA’s extensive collection of Nantucket decorative arts, including scrimshaw, whirligigs and lightship baskets. Artifacts on display include objects brought back to the island by far-reaching whaling ship voyages to China, the South Seas and Hawaii.
When asked to list the five top priorities for the new museum, both Parker and Milligan mentioned the need for climate-controlled exhibition spaces. The modernization of its galleries with humidity control and fiber optic lighting will enable the NHA to borrow art and artifacts from other museums and institutions to create more comprehensive exhibits. In turn, this significant upgrade will allow the NHA to pursue touring exhibits from other museums and to host traveling shows, an impossibility until now. Already the museum has planned several special exhibitions, including a retrospective of the work of Tony Sarg in 2007 and a Smithsonian Institute exhibit on giant squid in 2008.
By ascending the staircase that encircles the cables of the old town clock, visitors reach the top of the museum three stories above Broad Street, where they can exit onto a rooftop observatory with spectacular sweeping views of Nantucket harbor.
The notion for this widow’s walk came during one of many planning meetings that the NHA board held with community advisors. Parker recalled suggestions by one participant to use the rooftop deck as a way to turn attention back to the harbor where Nantucket’s whaling vessels came and went.
Planning for the new museum began in the late 1990s, starting as a dialogue between the NHA, Nantucket residents and the town’s regulatory bodies, explained Milligan. Because of the museum’s prominent location anchoring one of four corners in the historic downtown core, the Nantucket Historic District Commission and other agencies demanded a noble and timeless building.
To design the building, the NHA hired Brookline, Massachusetts, architect Martin Sokoloff. Exhibits were conceived by Amaze Design, a Boston firm whose resumé includes the National Museum of Australia and the Mary Baker Eddy Museum in Boston. Whale articulator Dan DenDanto oversaw the cleaning, moving and reassembly of the whale skeleton.
An aggressive capital campaign helped pay for the new $9 million building and for $2 million in new acquisitions for the NHA collection. Much of the money came from private donors, including leading gifts of just over $2 million each from the Gosnell family and the Heinz Family Foundation.
“The building that we have is absolutely the right size for the NHA. We have to be able to keep the galleries vital and offer fresh programming. It is the right size for our capacities,” concluded Milligan.
When the new museum opens in early June, Nantucket residents and visitors who consider themselves familiar with the Whaling Museum should see the NHA’s collection in a new light. This “great big learning space,” as Frank Milligan referred to the new Whaling Museum, offers a bright, new showcase for both Nantucket’s storied past and its remarkable present.
























