(Nicholas Venezia/Courtesy Selldorf Architects)More outstanding is the proliferation of windows and daylight all through the project, which is taken to an excessive. On the Prospect Street side, giant storefronts look out onto the village—no doubt a part of the effort to make the museum extra inviting and accessible. To the south, a full-height window, tilted slightly, reveals the beach-shack vernacular of the neighboring Scripps Inn. And on the west, of course, large panels of glazing open the interior to the mesmerizing expanse of the Pacific. (and it’s a big exception) is 1˚2˚3˚4˚, a 1997 installation by Robert Irwin that cuts three square voids into the tinted windows of a west-facing rear gallery, providing panoramic views of the seaside.
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