The Department of State’s Bureau of Overseas Buildings Operations (OBO) announced yesterday its shortlist of design firms to rehabilitate the Walter Gropius-designed US Embassy building in Greece, known as the Athens Chancery. The four firms were selected out of an applicant pool of 56 submissions, and include: Ann Beha Architects, DesignLab Architects, Machado Silvetti / Baker, and Mark Cavagnero Associates. “The shortlisted submissions presented projects that were well-conceived and well-executed, displaying a sophisticated understanding of the issues involved in renovating historically significant buildings and experience with rehabilitations of complex modern structures,” the OBO said in a statement. While in keeping with a modernist aesthetic, the building, completed in 1961, is also a nod to the Parthenon with its white columns and marble facade. Following the selection, the four firms will be expected to establish their technical teams and provide more detailed information on their work and experience for the next phase of consideration.
Posts tagged with "Historic Preservation":
Last month AN compiled a list of the most high profile projects taking place in Miami, and on a recent trip to the Magic City, we had the opportunity to visit two of these sites: the shuttered Marine Stadium and Herzog and de Meuron's new building for the Perez Art Museum Miami (PAMM). While new developments flood Miami, preservationists are fighting to save and revive the abandoned Marine Stadium on Virginia Key by Cuban-born architect Hilario Candela. In 2009, the graffiti-covered venue that once held powerboat racing events and large-scale concerts, was placed on the National Trust for Historic Preservation’s list of “11 Most Endangered Historic Places.” Now that the advocacy group, Friends of Miami Marine Stadium, has won the approval from Miami City Commission for its Virginia Key Master Plan, including the restoration of the 6,566-seat stadium, the next step is winning the approval for the site plan and raising $20 million. When the Miami Art Museum started to outgrow its cramped quarters in Philip Johnson's Miami-Dade Cultural Center, museum officials and board members selected Herzog and de Meuron to design a new building (now dubbed the Perez Art Museum Miami) right on Museum Park overlooking Biscayne Bay, what Jorge Perez, real estate developer and the benefactor of the museum, has said is the "last big piece of public land downtown." "The board wanted a building that was first functional, and not just a piece of sculpture," said Thom Collins, Director of PAMM. The concrete and glass structure is a nod to Stiltsville, a vernacular form of architecture originally built on the bay in the 1930s, and will house a variety of exhibition spaces to accommodate works of different scale. "Our project was principally driven by the recognition of the fact that Miami is becoming a home for contemporary art," said Collins. "Our building now has no room for storage or conservation, or education."
The slow and tortured demise of Chicago's Prentice Women's Hospital now has an official stamp: according to the Chicago Tribune, Northwestern University was issued a demolition permit for the Bertrand Goldberg cloverleaf last Friday. Wrecking crews will be on site in a few weeks after asbestos abatement wraps up, and there are sure to be protesters around the construction fence. Of course, as seems all too common, the city is also busy readying soldiers for the next preservation battle. The 1957 Edo Belli-designed Cuneo Memorial Hospital is targeted for demolition, but Uptown residents have reached out to Preservation Chicago for support seeking landmark status. The group listed the building on its 2012 list of seven most-threatened structures in the city. Add this to what happened to Prentice and it isn’t a good year to be a midcentury modernist hospital in Chicago.
Northern Illinois may not have pyramids (you’ll have to go to elsewhere in the Midwest for that) but the Egyptian Theatre continues Pharaoh Ramses II’s reign over downtown DeKalb, IL. As this post in PreservationNation describes, the movie house has undergone a series of restoration efforts since it landed on the National Register of Historic Places in 1978. Designed by architect Elmer F. Behrns in 1929, the theater’s pharaoh sculptures, scarab stained glass, and winged orb marquee fell into disrepair by the late seventies, when the theater closed. It reopened in 1983, but renovations continued until recently. In the last six years building rehabilitation and maintenance exceeded $1.5 million, but creative fundraising—the owners, Preservation of the Egyptian Theatre, Inc., sold the theater’s original seats when they were replaced in 2011 and even started running popular haunted tours—have helped fill the financial gap. The building owners hope to continue renovations, including replacing the carpeting and installing air conditioning.
Amid the latest in a series of temporary reprieves, Bertrand Goldberg’s former Prentice Women’s Hospital was again denied landmark status by the Commission on Chicago Landmarks. Despite once again turning out a crowd of supporters who contributed hours of impassioned testimony, many preservationists were unsurprised by an outcome that they chalked up to political determinism. “I have this suspicion that [owner] Northwestern [University] has put before us a false choice,” said Commissioner James Houlihan, who nonetheless voted along with all of his fellow commissioners to deny the 1975 building landmark status. The commission Thursday reprised, in a way, a vote taken in November, in which they recognized the litany of evidence qualifying Prentice as an architectural landmark, voted to grant the building landmark status, and subsequently revoked their own decision in a second, almost unanimous vote. (The sole holdout during that vote, Christopher Reed, resigned at the end of 2012.) Their reason for doing so, said commission Chairman Rafael Leon, was a provision in municipal code that called on them to allow testimony from the city’s Department of Housing and Economic Development. The jobs and tax dollars promised by new construction, they concluded, outweighed the building’s architectural significance—logic that preservationists took issue with on several levels. In December the National Trust for Historic Preservation and the Landmarks Preservation Council claimed in court that the commission “acted arbitrarily and exceeded its authority,” when it denied the building landmark status by considering economic matters so prominently. Judge Neil Cohen dismissed that suit in January, but not without raising concerns over the commission’s transparency. “The commission maintains that it did not violate the landmarks ordinance or any other law,” Leon said when it came time to discuss Prentice. To show their methods were “beyond reproach,” he said, they would again hear public testimony. Jeff Case, a principal at Holabird & Root, was among the design professionals who opposed preservation, saying Prentice had “outlived its useful life.” “The building has moved on, and so should we,” he said. “333 East Superior will not be missed.” Carol Post of Thornton & Tomasetti concurred, citing structural problems in the building’s clover-shaped concrete shell. Still many more echoed the sentiments of an open letter signed in July by more than 65 architects, calling on the commission to reject the recommendation of the Department of Housing and Economic Development that previously swayed them to withhold landmark protection. “A Walmart will always generate more revenue than a water tower,” said Preservation Chicago’s Jonathan Fine. Christina Morris, a senior field officer in the National Trust for Historic Preservation’s Chicago office, similarly rebuked the commissioners for appearing to sidestep their civic duty. “You have an obligation,” she said, “to protect Chicago’s cultural heritage.” Since the commission’s November decision, preservationists have also attempted to meet Northwestern’s arguments on their own terms. Architects submitted four proposals for reuse that also included new buildings to satisfy Northwestern’s stated development needs. They claimed saving the Goldberg structure would result in an additional $103 million in one-time expenditures, $155 million annually in operating costs, $1.1 million in yearly tax revenue, and create 980 new jobs. Northwestern dismissed those proposals Thursday in a statement that called their economic assumptions “deeply flawed.” The four alternatives were “not viable,” said Northwestern’s Eugene Sunshine, because of structural challenges presented by Prentice and because some of them relied on developing nearby vacant land not owned by Northwestern University, but by Northwestern Memorial HealthCare. Commissioner Houlihan asked Sunshine if it was disingenuous to suggest the sister organizations could not get together and work out a solution to that problem. Sunshine said it was not. Dean Harrison, president of Northwestern Memorial HealthCare, later testified that NMH had "long-standing plans" to build something else on the site, but did not provide a timeline for that development. Though Thursday’s decision could mark the end for preservationists in a long and heated fight, another court hearing is set for February 15.
It has been nearly five decades since the Glenwood Power Plant in Yonkers, New York closed its doors, but developer Ron Shemesh has plans to transform this four-building complex on the Hudson into a hotel and convention center. The Wall Street Journal reported that Mr. Shemesh, a plastics manufacturer from the area, bought the property from investor Ken Capolino for $3 million. The project will be costly, however. Mr. Shemesh will need to raise around $155 million to redevelop the plant. In December, the Mid-Hudson Economic Development Council gave Mr. Shemesh a small economic boost with a $1 million grant to preserve the sprawling complex.
There is some good news coming out of Oklahoma City where the effort to save the late John Johansen's iconic 1970 Mummers Theater has taken a positive—if tentative step—towards preservation. AN last wrote about the theater on May, 11, 2012 when a recent flood in the building seemed to doom an effort by a local group to purchase the facility and turn it into a downtown children's museum. We've kept up with the preservation effort periodically over the past year and always heard that its was a hopeless cause and would soon be destroyed and replaced by a new building. But the building which Johansen himself said "might be taken visually as utter chaos" has a compelling joy in its elevation and plan that makes it unique and certainly the most important structure in Oklahama City. Though it seems to be unloved by many in the local community who would rather see it demolished, Mummers Theater fortunately also has its supporters who want to see it saved and they are taking steps to free it from the wreckers ball. Just this week the Oklahoma State Historic Preservation Office voted unanimously to forward the building to the National Park Service (NPS) for designation as a national monument. Though the owner of the propert,y The Oklahoma Community Foundation, has objected to the listing, its still a positive step for this important building. A designation by the NPS would not in itself offer protection for the building but would be a sign that it has value and merit. So the fate of the building which Johansen said "gives the impression of something in-process" appears to be still that in process. Stay tuned.
Lenore Norman, a pioneer of historic preservation, died at 83 years old in her home on the Upper West Side on December 21st. She spent over 4 decades working tirelessly to preserve some of New York's most iconic buildings and historic districts. Ms. Norman first stepped into her role as the executive director of the Landmarks Preservation Commission in the mid-1970s—a time when the idea of landmark preservation was fairly new and unpopular among some New Yorkers. "The whole idea of preservation was not something that people really understood, and of course, all of the larger institutions and buildings, for the most part, fought it," said Ms. Norman in an interview for The New York Preservation Archive Project. The New York Times described Ms. Norman as someone who was influential, but "did her work behind the scenes" and "was content to let the commissioners, developers, advocates and lobbyists occupy center stage." During her tenure as executive director, she played a critical role in designating a number of significant landmarks including Grand Central, St. Bartholomew's, the neo-gothic-style Woolworth Building by Cass Gilbert, and the Villard Houses by McKim, Mead & White. Her approach with the real estate industry was collaborative, even when discussions grew contentious: "We always try to compromise, to find a way where we could co-exist," said Ms. Norman. Ms. Norman left the Landmarks Preservation Commission in the early 1980s and took a position as the director of intergovernmental affairs at the city's Department of Buildings. In her later life, she served as the co-chairwoman of the preservation committee of Community Board 7 on the Upper West Side—the very neighborhood she lived in and helped designate as an historic district when she worked at the Landmarks Preservation Commission. While a preservationist by profession, she didn't see development as a black and white issue. She understood the need to balance the city's growth with its architectural history. "I want to live in a city that has diversity but I also want it to be reminiscent of what it was like years ago," Ms. Norman said in the interview. "The city has to change, it won't grow if it doesn't, and don't misunderstand, but I don't believe that we are rooted in tradition to the point where nothing new can be built or there can be no modifications to accommodate life as it is today, I think in general, there are verboten areas that we shouldn't be going into."
After an anonymous buyer stepped in to save a threatened Frank Lloyd Wright house in Phoenix, it appears that the future the David & Gladys Wright House is not so sunny after all. AN previously noted that an anonymous buyer was throwing the iconic home a $2.4 million cash life line to save it from demolition, the real estate broker announced this week that the home would be placed back on the market after the purchase agreement fell through. The buyer cited “personal and business” reasons for rescinding the offer, according to The Phoenix Business Journal. After much urging and a petition by the Frank Lloyd Wright Building Conservancy, the Phoenix City Council will vote on December 4 on whether or not to designate the home as a historic landmark, thus preventing its demolition. The house, built in 1952, is considered by some to be an architectural foreshadowing to the continuous circular movements seen in the spirals of Wright's Guggenheim Museum.
AN found out today that Frank Gehry's Aerospace Hall at the California Science Center (now known as the Air and Space Gallery) in Los Angeles has now been listed on the California Register by the California Office of Historic Preservation. As we've reported, the museum's fate has been in doubt as the Science Center makes plans for a new building to house the Space Shuttle Endeavor, and refuses to comment on what it plans to do with Gehry's building, which was shuttered last year. The listing doesn't guarantee the building's protection, but it could slow down any threats. It may trigger an environmental review if another building were to replace it. At the very least, the museum would need to review the impact of a demolition or major change. The angular, metal-clad building, built in 1984, was Gehry's first major public building.
Frank Gehry should be plenty busy with ambitious plans to revitalize downtown Toronto and to expand Facebook’s offices on the boards. Now, Gehry has been commissioned by the National YoungArts Foundation (NYAF) to update one of Miami’s most elegant and historically significant urban spaces: The Bacardi Complex on Biscayne Boulevard. Purchased below market for $10 million by the NYAF—a nonprofit arts organization that helps aspiring high school artists—Gehry will convert the former 3.5 acre corporate campus into a new arts complex. “By acquiring the Bacardi campus we are able to honor and preserve an important part of Miami’s cultural history,” Paul T. Lehr, executive director of YoungArts, said in a statement. Known for his curvaceous object-buildings, Gehry has already addressed obvious concerns from local community members and historic preservationists. “It’s not going to be a building that’s architecturally published in any way,” he told The New York Times, suggesting that his renovations won't include his typical flourishes on the campus' exterior. “But it’s a place I want to go.” A jewel of Miami Modernism (MiMo), the complex houses the beautifully-proportioned, 8-story Bacardi Headquarters Building (1963), a structure that elegantly fuses European, Latin American, and Caribbean Modern influences. Arguably one of Cuban architect Enrique Gutierrez’s best projects (designed in collaboration with Mies van der Rohe), Bacardi quickly became a symbol of hope and nostalgia to Miami’s newly immigrated Cuban community, a burst of intense formal beauty on an otherwise banal Miami streetscape. Its solid north-south facades showcase tropical murals designed by Brazilian artist Francisco Brennand, who used 28,000 6" by 6" hand-painted blue and white ceramic tiles to produce a warm, exotic contrast to the cool, gridded glass facade floating above the street. Behind the tower, a smaller, 2-story annex building nicknamed “The Jewel Box on a Pedestal” (1975) hovers 47-feet above the street. Designed by local Coral Gables architect Ignacio Carrera-Justiz , the Jewel Box also fuses architecture, culture, and art. Its exuberant one-inch thick glass mosaic walls, produced by French stained glass artists Gabriel and Jacques Loire, were designed by German artist Johannes Dietz to reference the rich and complex rum-making process. Miami's Preservation Board designated the complex, including its buildings, “historic” in October 2009, prohibiting demolition and protecting its heritage from insensitive alterations. Gehry, who has long been friends with NYAF's founders, will make interior alterations to accommodate new educational programs, design a new public park, and build a new performing arts center to replace an existing—non-landmarked—office building. “I have been a mentor to some of the YoungArts students and know what a tremendous impact this organization has on them,” Gehry said in a statement. “It’s a privilege to help make a new home for YoungArts, so it can do even more for these wonderful young people.”
Bertrand Goldberg’s Prentice Hospital has become the cause célèbre for architectural preservationists from across Chicago and beyond, now garnering five more Pritzker-toting allies amid mounting pressure for demolition. Robert Venturi, Tadao Ando, Jacques Herzog, Pierre de Meuron, and Eduardo Souto de Moura added their names to a letter sent to Mayor Rahm Emanuel last month from more than 60 architects, including Frank Gehry. Dan Coffey and Jack Hartray of Chicago, George Miller of New York City, Denise Scott Brown of Philadelphia, and Bjarke Ingels of Copenhagen also joined the chorus of designers calling on Chicago city officials to grant the iconic cloverleaf structure landmark status. The National Trust for Historic Preservation recently completed a landmark recommendation report, but Chicago’s Commission on Landmarks, the City Council, and the mayor will ultimately determine whether its owner can proceed with its plans to demolish. AIA Chicago and Landmarks Illinois have long supported landmark designation for the building, which Northwestern University wants to demolish so it can construct a medical research tower. Preservationists counter Northwestern owns vacant land nearby that should be considered for new construction. Reuse options for Prentice, vacant since 2007, abound—a reuse study by Landmarks Illinois found rehabilitation as a lab, office or residential tower would take less time and cost less than new construction on the site. Goldberg designed the hospital to actualize his vision for community-building through architecture. The four bays in the building’s unique quatrefoil floorplan were meant to preserve sightlines and encourage interaction between and among patients and staff. Its concrete shell, designed uncharacteristically for the time with the aid of computers, is a unique feat of engineering permitting column-free floors. It was hailed as a structural engineering milestone upon its completion in 1975. “The legacy of Bertrand Goldberg’s Prentice Women’s Hospital is unmistakable,” the letter reads. “Chicago’s global reputation as a nurturer of bold and innovative architecture will wither if the city cannot preserve its most important achievements.” There is a Commission on Chicago Landmarks meeting this Thursday, and Prentice supporters are trying to put the issue on the agenda, but the Commission has not responded. They have not weighed in on the issue in more than a year, even ruling a coalition representative who tried to broach the topic out of order during the last meeting. UPDATE: The Commission's agenda does not include Prentice.