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
Posts tagged with "Adaptive Reuse":
James Turrell rooms, a 15-ton Louise Bourgeois sculpture, and many site-specific works feature in MASS MoCA expansion
Fougeron Architecture transforms a 1920s building into a home for organizations fighting for tech industry diversity
The Architectural League’s Emerging Voices award and lecture series spotlight individuals and firms with distinct design “voices” that have the potential to influence the discipline of architecture, landscape architecture, and urban design. The jury, composed of Sunil Bald, Mario Gooden, Lisa Gray, Paul Lewis, Jing Liu, Thomas Phifer, Bradley Samuels, Billie Tsien, and Ian Volner, selected architects and designers who have significant bodies of realized work that creatively address larger issues in the built environment.
The Architect's Newspaper featured the Emerging Voices firms in our February issue; stay tuned as we upload those articles to our website over the coming weeks. The firm featured below (Atlanta, GA–based BLDGS) will deliver their lecture on March 2, 2017, at The Architecture League in New York City. Click here to learn more!
When Brian Bell and David Yocum first founded BLDGS 10 years ago, they didn’t plan to specialize in adaptive reuse—certainly not in Atlanta, a city not necessarily known for exploring the past.
But after they continued to land such commissions, they began to relish the role and have elevated this ever-expanding realm of architecture to a more creative, thoughtful, complex level than almost any firm has been able to achieve.
“We take a lot of pleasure in uncovering,” Yocum said. “If we can find the truth in each of the challenges and kind of reflect the presence of that truth it gives us a lot that we would not be able to layer onto a project.”
Bell and Yocum met at Harvard’s Graduate School of Design and then worked together at Mack Scogin Merrill Elam Architects in Atlanta. They founded their firm in 2006, spurred mostly through work from art galleries, whose budgets and interests called for work within existing spaces. One of their first, Whitespace Gallery, is located inside an 1880s carriage house. Impressed by how clearly the original functions were expressed structurally, they set out to not only maintain that core, but also express the building’s new artistic focus with equal intensity. They hid lighting and HVAC along the periphery, and installed thin, floating panels—framed in steel—to display art.
Yocum calls this inserting the “featherlike presence of the new while respecting the gravity of the old.”
“We’re pushing and pulling off things that are seen and unseen rather than inventing from our own imagination,” added Bell. “There’s a lot of fascination with the situation that’s already there.”
Their work has continued along these lines, pushing and pulling on the complex layers of existing materials and techniques and the addition of contemporary ones. The installation Boundary Issues at the Atlanta Contemporary Art Center removed contemporary plaster walls to display a mesmerizing combination of existing paint and bricks.Essentially they practiced addition by subtraction, architecture’s version of etching away a solid in a block print.
For their Caddell classroom and faculty building at Georgia Tech, they took cues for a new canopy from the structural logic of the existing 1950s building, whose steel frame is hidden behind a concrete exterior. The resulting canopy of aluminum louvers looks ultra-light from below, but like the original building, its thick steel frame is hidden above, out of sight. At Congregation Or Hadash Synagogue, they converted a former Chevrolet paint and auto body repair shop by carefully carving away its tilt-up concrete and sheet metal cladding, creating a radically different typology, nonetheless informed by its bones.
Even their only ground-up building, the Burned House in Atlanta, plays with history. Its cladding is painted with dozens of layers of paints, stencils, metallics, and other markings, which are meant to become exposed as the paint decays. Its interior plays with solid and void, with spaces pushed and pulled in unusual configurations to maximize exposure and push the boundaries of expectation.
“We wanted to think of history in reverse,” said Yocum. “Everything has a historical presence. If you’re not exploring that you’re missing opportunities.”
Historic urban buildings across the country are being converted into boutique hotels, and Memphis, Tennessee, is seeing its own set of downtown makeovers. The latest is the forthcoming hotel at 158 Madison Avenue in the 1962 Leader Federal Savings and Loan building with a new nine-story neighboring addition. Seattle-based Chris Pardo Design: Elemental Architecture is transforming the five-story midcentury modern building into a 70-room hotel and the planned addition would take the room count up to 150. Along with the hotel, Pardo is also designing a ground-floor restaurant, Teller, and a rooftop bar, Errors & Omissions, names that pay homage to the building’s original program. The building will retain its distinctive precast facade. “We will be restoring the entire exterior of the building, adding back the fifth-floor planters, repairing the windows, and adding architectural facade lighting. The building is a real jewel and speaks for itself; we intend to honor its originality,” Chris Pardo said.
Architect: Chris Pardo Design: Elemental Architecture Client: Wessman Holdings Location: Memphis, TN Completion Date: Spring 2018
Adrian Smith + Gordon Gill will transform former Studebaker factory in South Bend, Indiana into tech hub
When asked why he installed his latest public intervention at the Museo Espacio in Aguascalientes, Mexico, French artist Daniel Buren simply said, “Because I was invited.” But it is not difficult to see what makes the Museo Espacio and the larger Macro Espacio para la Cultura y las Artes (MECA) campus desirable for an international artist. Over the past five years the local government has been quietly developing one of the most intriguingly designed arts destinations in North America.
Many municipalities profess a dedication to the arts, but the government of the state of Aguascalientes, with assistance from Mexico’s federal government, has successfully implemented an ambitious master plan that transforms a century old rail yard into MECA, a world-class destination and center for the arts.
Carlos Lozano de la Torre, the governor of Aguascalientes, always viewed the revitalization of the rail yard as a cultural imperative. Established by an American railroad company in 1898, the 200-acre property was shut down by the government in 1991, effectively leaving Aguascalientes without any viable industry. Recognizing an opportunity for “regeneration through culture,” Governor de la Torre assembled a homegrown team including architect José Luis Jiménez García and Aguascalientes Cultural Institute director Dulce María Rivas Godoy to develop a master plan to stealthily transform the industrial structures into modern containers for the arts and connect the campus to the other established arts institutions in the small urban center.
Museo Espacio, one of the first buildings to open, is a generous 86,000-square-foot, intentionally barebones contemporary platform for international artists to display large-scale works of art. The former wood warehouse was revitalized with simple materials that nod to the building’s industrial history—polished concrete, steel, and glass—all seamlessly integrated into the long, wide bays often favored by conceptual artists. Rail tracks weave through the building and the site maintaining the balance between old and new. A custom metal screen wraps the exterior with monumental openings on either end.
In January, Museum Espacio opened with a site-specific installation by Jannis Kounellis, followed by a site-specific intervention by Buren, who has a long-standing relationship with Mexico. Buren’s work, titled Como un juego de nino, fills over 64,000 square feet, creating an exaggerated colorful playground on one side that is mirrored by one devoid of color on the other. Buren, who likes “to work with different spaces as much as possible,” found “the transformation of this space very original. It is very simple, and is so sophisticated in many aspects. They took a lot of care [with the structure], so you have this connection between a very straight, modern view of architecture inside and the shape of an old manufacturing outside. The connection of both is very successful.”
While the Museo Espacio and the master plan were conceived of over five years ago, it was built in a quick five months, which is inconceivable in the United States. Construction is complete on new offices for Grupo Modelo, an archaeology museum, and a concert hall. All of the buildings on the campus were designed by an in-house design team at the Secretary of Infrastructure and Communications (SICOM) offices headed by Jiménez García, director of projects and secretary of infrastructure and communications. Governor de la Torre hopes MECA will inspire other cities in Mexico and beyond to not just revitalize local resources, but to use native talent to do it. “It was something that was broken’ for a long time it was a place that nobody went, and now we have people from all over the world visiting,” he said. “They always ask, ‘Who did this?’ and we tell them, ‘Our own people.’”
The La Kretz Innovation Campus (LKIC), designed by John Friedman Alice Kimm Architects (JFAK), is a new business incubation center in Los Angeles developed by the Department of Water and Power (LADWP), the Community Redevelopment Agency of the City of Los Angeles, and Los Angeles Cleantech Incubator (LACI), a nonprofit tasked to transform the city into a green-collar hub.
The 61,000-square-foot “sustainability factory” is located in a collection of single-story, masonry-and-bow-truss warehouses from 1923 in L.A.’s Arts District. The neighborhood, home to the Southern California Institute of Architecture and a growing number of creative industries, is well-suited to benefit from a “Cleantech Corridor” specifically zoned to support the green economy-related development now running through it.
The complex is meant to be a place where, as JFAK founder and principal Alice Kimm said, “Ideas for new goods and services can be birthed, researched, developed, prototyped, and pushed out to market from under one roof.”
The complex, measuring 290- by 200-feet, is carved into eight similarly sized warehouse bays mirrored about a central axis. The eastern four bays are dedicated to business incubation services: office spaces, meeting rooms, and lounge areas. The western half of the building contains maker spaces: state-of-the-art fabrication rooms with robots and wood shop tools.
While the exterior of the building has been left mostly untouched, the whole of the structure has been seismically retrofitted and its interiors upgraded with new surfaces and partitions. Upon entering the building, one discovers a waiting lounge demarcated by an abstracted triumphal arch. The area is wrapped on two sides by a luscious indoor green wall while white prisms—actually, light cannons designed to reflect sunlight indoors—descend from the ceiling above the adjacent reception desk. Spaces beyond contain an arrangement of single-height partitions and fully-enclosed meeting rooms, all sandwiched between polished concrete floors and the soaring, lumber arches of the bow-trusses distinctive to L.A.’s industrial architecture.
Kimm explained that daylighting strategies guided the design: “We staggered the placement of enclosed spaces so light could penetrate all the way through the building.”
The following bays provide more offices and lead to a semi-formal, wood-paneled amphitheater and cafe lounge. The lounge overlooks the new Arts District Park, designed by staff landscape architects from the Los Angeles Bureau of Engineering with JFAK, who designed a shade structure for it. The half-acre park features a playground and landscaping fed by a gray water–reclamation system designed by LADWP. BuroHappold was the mechanical and sustainability engineer.
The western portion of the building contains utilitarian conference rooms, laboratories, and fabrication spaces. Generously proportioned gypsum and glass partition–lined hallways snake along the main party wall at the center of the complex, connecting the business and fabrication spaces along a social core. These routes connect physically discrete spaces, giving the building’s interiors a sense relative impermanence that contrasts with the solid masonry walls and the elaborate truss ceiling above, now bedazzled with all manner of mechanical and electrical systems.
Kimm explained: “[With LKIC] ‘adaptive reuse’ meant that we had to make a building that had enough identity on its own, as a unifying architectural framework, but that would still allow the individuals to have their own voices. The project revolved around finding a balance and knowing when to stop.”
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