Upon entering the museum, visitors gain access to three interior courtyards: the Tribal Court, Dining Court and Wisteria Court. Kiley’s entry design is both simple and elegant – a circular fountain at its center and four live oak trees in square beds, one at each corner of the court. A square recessed courtyard provides a formal entry to the building. Rows of trees provide an edge between the building and adjacent roadway. His simple palette uses lawn, water, trees and ivy to enliven the building’s restrained limestone façade. As in many of his designs, Kiley’s landscape creates a dialogue with the architecture. Upon approaching the museum, Kiley’s hand can be seen immediately in the design for the property’s perimeter. Kiley wrote of the project: “For us, setting a stage for art was as crucial as the pieces themselves.” Kiley-Walker was hired to create planting plans for the space, including the streetscape and museum entry court, interior courtyards, an adjacent parking area and the outdoor sculpture garden.
Collaborating with Dan Kiley as landscape architect for the project, his design for the Dallas Museum of Art, which opened in 1984, would take the form of a simple rectilinear building with a barrel vaulted roof, faced with Indiana limestone. Modernist architect Edward Larrabee Barnes was hired to create a world-class museum that could hold the city’s growing art collection. The 68-acre Dallas Arts District, located adjacent to the city’s business district, was laid out by the landscape architecture firm of Sasaki Associates. In the 1970s Dallas initiated plans to create a centralized downtown arts district, which would consolidate the city’s art and cultural institutions and help revitalize the downtown core.
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