Posts tagged with "Milwaukee":
A little bit of Milwaukee died when the Pabst Brewery closed in 1996. It would be over a decade before anything started to fill in its sprawling campus. Over 20 years have passed and one of the brewery’s most iconic buildings is finally seeing new life… Or is that old life? Pabst Brewing Company has returned to the Brew City in the form of a microbrewery, restaurant, and beer garden. The rehabbed 144-year-old First German Methodist Church will produce upward of 4,000 barrels of beer a year, and seat about 140 people in a dining room, mezzanine, and bar. While Pabst Blue Ribbon will be on tap, the microbrewery will also brew rare German and Belgian beers. Knowing its audience, the new brewery opened April 14, also known locally as Milwaukee Day (414 is Milwaukee’s area code).Pabst Brewery 1037 West Juneau Avenue Milwaukee Tel: 414-630-1609 Design Architect: Dub Studios Architect of Record: Engberg Anderson
Downtown Milwaukee is going through what could only be called a renaissance. Along with the proposed revitalization of the multi-block Grand Avenue Mall, a slew of towers from the shore of Lake Michigan to the west end of the downtown are changing the skyline of Milwaukee. It has been decades since Milwaukee has seen such a building boom. With construction starting later this year, the 25-story BMO Harris Financial Center will be one of the next to join what will be a transformed downtown.
Designed by Milwaukee-based Kahler Slater, the new tower will sit immediately next to the current BMO Harris Building, home to the Chicago-based bank’s main Milwaukee office. Once complete, the bank will move to the new office tower and open a new branch in the building. The Irgens development firm, which is overseeing the new tower, will also lead the redevelopment of the older building. The current BMO Harris Building, a 20-story modernist block, was built in 1967.
Currently, BMO Harris’s own five-story parking structure sits on the site. Just across from the site is the Flemish Renaissance revival–style City Hall, a National Historic Landmark and one of the most iconic structures in the city. This site is also in the heart of the city’s historic financial district. While much of the latest development has shifted to the south and east, closer to the lake, the area has continued to see more and more traffic, as theater and entertainment spaces have come to the area.
“The project is on one of the most desirable parcels in town, just kitty corner from the City Hall,” said Glenn Roby, vice president at Kahler Slater and the principal in charge of the project, said. “What an opportunity to replace such an unfortunate use of the corner as a parking deck. So, we were really excited from the start.”
The new tower’s massing will make reference to its modernist neighbor, while also implying slenderness through its split form. The base of the tower will be a 10-story podium of parking and public-facing amenities. Retail and the bank’s retail branch will make up the ground level. The facade will also add to its vertical reading by stretching down over the podium and up past the roofline.
This is not the first project that Kahler Slater and Irgens have completed together in recent history. Notably, the two worked on the newly completed 833 East tower, which sits on the lake side of the downtown. “The relationship with Irgens is fantastic. It has really evolved over the years,” explained Roby. “They do this often. They are very sophisticated. They know what they want. We understand what they value, and that helps shape what we deliver.”
Besides the few surviving late 19th-century structures, Milwaukee’s downtown is a milieu of parking structures and second-string postmodern towers. When the BMO Harris Financial Center is complete in 2019, glassy towers—a typology that is only now making its way to the city—will dominate the skyline. Add in the new bikeshare program and forthcoming streetcar, and Milwaukee’s downtown will be unrecognizable.
This year’s University of Wisconsin-Milwaukee Urban Edge Award will focus on post-industrial urban sites
This post is part of our years-long running Eavesdrop series (think page 6 for the architectural field). It’s your best source for gossip, insider stories, and more. Have an eavesdrop of your own? Send it to: eavesdrop[at]archpaper.com.
Milwaukee residents were sorely disappointed at a packed City Hall meeting when they were told they could not partake in a program to buy city-owned foreclosed properties for $1. The Milwaukee Employment/Renovation Initiative (MERI) was set up to entice developers to buy and renovate vacant properties in the Sherman Park neighborhood, emphasis on developers. The initiative is only open to developers, which submitted to an RFQ in early January. Critics of the initiative say that they don’t believe developers buying large portions of the neighborhood will address pressing community issues.
Chris Cornelius, founder of Milwaukee-based studio:indigenous, knew what he wanted to do when he started graduate school at the University of Virginia. His goal was no less than to develop an architecture that is based in the timeless worldviews of Native Americans. For the past decade, that goal has been unwavering, and has led to award-winning built and unbuilt work.
Cornelius is a member of the Oneida Nation, and the stories and traditions of native peoples are a key part of his identity. Every project by studio:indigenous starts with an intensive investigation of the narratives surrounding the client’s needs. Often working for Wisconsin tribes, Cornelius’s designs depart from the all-too-common iconographic motifs built on many reservations. (There is more than one turtle-shaped building in the Oneida Nation.) Rather, the work is consciously produced outside of a specific style and without direct reference to native architecture or symbolism. Instead of relying on historical sweat lodge structures for the sweat lodge-changing room at the Indian Community School of Milwaukee, Cornelius repurposed the stones that are used in the ceremonies held in the steamy sacred spaces as a base for the design. In the Oneida Veterans Memorial, on the Wisconsin Oneida Reservation, the long history of the Oneida’s service to the United States is manifest in the scaled timeline stretching though three acres of prairie grass.
“I realized at some point along this journey that I am not going to tie into anything stylistically,” said Cornelius. “I had to be able to trust myself. Most important to me, first and foremost, was to be a good architect. The Native American thing is not going to change; it’s who I am. So I have allowed my voice to express itself. That has turned into an aesthetic that is latent to the process.”
Cornelius works through complex drawings and models, producing images and forms that embody the narratives of his projects. The drawings, which have been recognized with multiple architectural and artistic awards, are intricately layered with colors, lines, and shapes. While times were slow during the recession, this drawing technique became an outlet for his continued research into articulating native narratives into formal operations. A series of drawings, entitled Radio Free Alcatraz, is a study of the Native American Occupation of Alcatraz Island in the late 1960s. A self-initiated project, Radio Free Alcatraz imagines that Native Americans never left Alcatraz and were planning to build a university on the island. Other similar projects formalize small pavilions based on the Oneida calendar.
Yet it is not only Native clients that have found value in studio:indigenous’s design approach. The focus on culture resonates with many groups that have strong cultural identities. studio:indigenous has worked with communities throughout Milwaukee, and found that the techniques translate across cultures and traditions. In every case, though, Cornelius sees the work not only as an embodiment of stories and traditions of the past, but also as the development of a contemporary story.
“The architecture is part of the current story,” Cornelius said. “What is it that we want to make or achieve? The stories haven’t necessarily changed, but the characters have.”
Indian Community School Milwaukee, WI
The true genesis of studio:indigenous came about through a collaboration with Antoine Predock for the Indian Community School, just outside of Milwaukee. Completed in 2007, the goal was to help ensure that the architecture was an accurate translation of the cultural values of the 11 Native Nations represented in the student body. The pre-kindergarten-through-eighth-grade, 150,000-square-foot school also serves as a community center for the Native American population of the Milwaukee area.
Radio Free Alcatraz San Francisco, CA
A speculative look at the occupation of Alcatraz Island in the San Francisco Bay, Radio Free Alcatrazimagines a new Native American University, part of the occupiers’ original plan. Through complexly layered drawings, sketches, and multimedia, the speculations are put on paper to be reflected upon. Historical, contemporary, and speculative forms and information are blended together in each drawing to produce a new understanding of the island and its possibilities.
Sweat Lodge Changing Room Milwaukee, WI
Known as the “Grandfather Stone,” the Sweat Lodge Changing Room for the Indian Community School of Milwaukee takes the form of a stone used in sweat lodge rituals. The gray form is meant to appear as if it had emerged from the earth and has always been in its location.
Oneida Maple Sugar Camp Oneida, WI
“tsi? watsikhe? tu-nihe,” or “The Place Where They Make Maple Sugar,” is an 800-square-foot project designed for the Oneida Tribal School in Oneida, Wisconsin. Along with providing the infrastructure to boil maple sap down to syrup, the building is an observational device. The ventilation cone provides a view of the “seven dancers”—the Pleiades—when the constellation is directly overhead during the Midwinter Ceremony.
Moon Domicile Conceptual
The Moon Domicile series is based on the moon calendar of the Oneida Nation. Each moon cycle throughout the year is associated with a specific ceremony or ritual. Each of the domiciles is formalized through these traditions, as well as the natural weather phenomena of each time of year. The narrative surrounding the Moon Domicile is ambiguous about whether each of the small projects would be created by human, animal, or other.