Posts tagged with "Adaptive Reuse":

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Faurschou Foundation expands to NYC with a massive exhibition space in Greenpoint

This November 3, the international Faurschou Foundation is set to open a new 12,000-square-foot exhibition space in Brooklyn. The inaugural exhibition, The Red Bean Grows in the South, will be on view through April 2020 and will feature work by artists including Ai Weiwei, Louise Bourgeois, Yoko Ono, and Robert Rauschenberg, among others.  Established in 2011 by Jens Faurschou, a Danish art collector and philanthropist, the foundation already has two permanent exhibition spaces in Copenhagen and Beijing as well as a biennial pop-up gallery in Venice. Housed in a newly renovated industrial warehouse in Brooklyn’s Greenpoint neighborhood, the exhibition space will allow the foundation to organize a wider variety of group shows such as this one, as well as showcase some of the larger-scale installations and experiential works from the Faurschou’s permanent collection.  As founder Faurschou explained in a recent press release, “Now that we’ve found the perfect venue—raw and industrial in aesthetic and vast enough to accommodate the large-scale installations we often collect and present—we are excited to establish a permanent presence in one of the world’s foremost cultural capitals.” It is exactly this idea of cross-cultural exchange between Europe, Asia, and the Americas that is at the heart of the foundation’s ethos. With a long personal history of studying and collecting contemporary Chinese art, the foundation describes China as a big part of “their DNA”—an identity, of course, also infused with Danish values and aesthetics.  The exhibition’s title itself references a Chinese Tang Dynasty poem by Wang Wei with a title that translates to Yearning
Red beans grow in southern countries. How many would sprout in spring? I wish you'd pick more, my dear friend: The closest bond they would bring.
Just as the four-line poem expresses a deep longing for a loved one, the show will also explore the idea of yearning, whether it be for a person, an escape, or a better future. Desire, however, is not the exhibition’s sole curatorial focus. Works on view will also form a dialogue within conceptual frameworks such as war, violence, and global politics.  Faurschou New York 148 Green Street, Greenpoint, Brooklyn Open Wednesday – Sunday, 12:00 PM – 7:00 PM
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The Railyards in Sacramento will be America's next big urban development

A neglected parcel of land once home to a leg of the First Transcontinental Railroad could become the next Hudson Yards-like mega-development in the United States. The former Union Pacific Railyards spans 244-acres just north of downtown Sacramento, California,—the largest urban infill site in the country—and is currently being eyed for several large-scale projects. Built in the 1860s, the site served the western terminus of a 1,912-mile-long stretch of rail line that extended from Council Bluffs, Iowa, to the Oakland Long Wharf in San Francisco Bay. Old, existing brick buildings used as maintenance shops in the yard's heyday still exist on the massive industrial plot and serve up sour views for drivers along Interstate 5 or passengers on flights headed into the nearby airport.  Sacramento has long had a difficult relationship with the Railyards—environmental remediation has been ongoing for decades—but recent investment in the adjacent Downtown Commons district has brought in significant interest in revamping the underused land next door. For example, the Golden 1 Center, a new high-tech arena for the city’s NBA franchise, the Sacramento Kings, finished up construction in 2016 and has spurred the introduction of new hotels and businesses in the area.  Around the same time the venue was completed, the local city council approved a planning entitlement submitted by Downtown Railyard Ventures, a subsidiary of the development group, LDK Ventures, that bought the Railyards in 2010 for $18 million. The ambitious company has a masterplan to make the Union Pacific return to its roots as a central hub of activity and innovation. In the next several decades, The Railyards, as the project is formally being marketed, will become a mixed-use urban landscape made to attract local residents, tech workers, and tourists. In total, there’s set to be 30 acres of green space, 70,000 square feet of retail, up to 10,000 residential units, 5 million square feet of office space, a 1,000-room hotel, and a mass transit hub with a new Amtrak station.  Preservation will be a key component of redevelopment on the site—unlike at Hudson Yards—with the partial reuse of the “Central Shops” buildings and the old Southern Pacific Sacramento Depot. It’s suspected that this area will become some sort of tech district for the city. In addition, three major architectural projects already in the works will anchor the initial phase of development.  By far the biggest and most-talked-about development coming to Sacramento is a new, $250 million soccer stadium for a future MLS franchise. The city has been in talks to upgrade its own team, Republic FC, to major league status now that it’s secured long-term funding from billionaire businessman Ron Burkle. The proposed development would include a 20,000-seat sports and entertainment arena situated on 14-acres of the Railyards’ northeastern corner, as well as a surrounding 17-acres of commercial buildings and retail.  Visuals for the project have already been revealed by architecture and infrastructure engineering firm HNTB and feature a square-shaped, open-air bowl with red inverted triangles that wrap and protect a 360-degree canopy. Fans will have unencumbered views of the surrounding city from anywhere around the pitch. Housing is planned in between the arena and an upcoming 900,000-square-foot hospital by Kaiser Permanente. The healthcare giant announced in January that it had purchased 18 acres of land to build a state-of-the-art medical facility on the northwestern edge of the Railyards that will open in 2025 and offer services to the thousands of people who live downtown.  Other structures slated to come online include a light rail stop, two six-story office and retail buildings by RMW Architecture & Interiors, as well as a 175,000-square-foot museum. On the southernmost portion of the Railyards, there will be a 17-story complex housing the Sacramento County Courthouse. Designed by Miami-based studio MOTIV in collaboration with NBBJ, the largely-glass-clad structure is supposed to start construction this fall and open in 2023. 
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ODA tapped to transform Detroit’s historic Book Tower

ODA New York has been tapped as the design architect for the ambitious and high-profile adaptive reuse of Downtown Detroit’s historic Book Tower. ODA, known for historically significant renovations like Rotterdam’s Postkantoor and New York City’s 10 Jay Street, will apply their expertise of designing a mix of residential and hospitality, retail, and office space at the Book Tower. Originally designed by Louis Kemper in 1916 in an Italian renaissance style, the 486,760 square-foot structure took a decade to build. Acquired by Bedrock in 2015, a Detroit-based full-service real estate company, the recently completed extensive exterior restoration included replacing 2,483 historically-accurate windows and full restoration of the ornamental cornice with caryatid statues. “The Book Tower has been an iconic part of Detroit’s skyline for nearly a century," said Melissa Dittmer, Chief Design Officer at Bedrock. "and throughout the meticulous exterior restoration process it became clear we needed to partner with an architect that understands how to leverage modern uses in a way that preserves the unique historic details that have endeared this building to Detroiters for generations." ODA’s strategic role is to update and expand on Book Tower’s programming and existing structures, creating nearly 500,000 square feet of mixed-use space downtown that will blend public and private. “The Book Tower will serve as a point of engagement," said Eran Chan, ODA New York’s founding principal, "unlocking its potential as a link in the heart of Detroit; bringing people, place, and events together. The Book Tower represents to us Detroit’s regeneration; how the city, standing in its unique and distinguished history, is entering a new time that is more diverse, more inclusive and more sustainable.” Detroiters will be offered a renewed take on a building full of memories, as the public has been invited to tour the Book Tower as part of Detroit Design 139, an exhibition focusing on projects in Detroit that embody “inclusive futures.” Bedrock officials and ODA will present “A Look Inside Book Tower” on Saturday, Sept. 7 from 1:30-6 p.m.
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Dutch furniture label Lensvelt opens a penthouse showroom in Antwerp, Belgium

Where better to showcase bespoke furniture than in-situ? For maverick Dutch label and design firm Lensvelt—purveyor of limited edition classics by top talents like Piet Boon, Willem Hendrik Gipsen, Wiel Arets, Tejo Remy, Studio Job, Richard Hutten, Piet Hein Eek, Marcel Wanders, Maarten Van Severen, Maarten Baas, Ineke Hans, and Gerrit Rietveld—a converted warehouse loft seems appropriate. Set on the top two floors of a listed late-19th-century depository, along Antwerp's trendy Godefridus quay, the sprawling 500-square-foot attic space plays host to a set of interior stagings, showcasing pieces from the brand's extensive collection. Lensvelt CEO Hans Lenvelt first acquired and converted the property in 1997 with the help of Delft-based architecture firm Fokkema & Partners, but it wasn’t till 22 years later that he decided to transform the space into a live-in showroom. At the time of purchase, the surrounding area was still a gritty port and, as Lensvelt describes, “populated by Eastern European truck drivers looking for a good time.” Since then, the neighborhood has become one of the Belgian “fashion city’s” trendiest districts. The celebrated MAS Museum and designer Dries van Noten are notable residents. After having visited over 20 warehouses, this locale piqued his interest. Regardless of the neighborhoods seedy reputation, the loft’s aesthetic reminded him of the office decor in a Donald Sutherland film he had recently seen and enjoyed. With that direct emotional reference and other key attributes: size, material, proximity, Lensvelt was sold and maintained the space as a private residence for over two decades. Read the full story on our interiors and design site, aninteriormag.com.
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Contested oil tanks in Bushwick Inlet Park are being demolished to make way for open space

The Tanks are tanked. The City of New York has nailed the coffin shut on one group's idea to turn massive abandoned oil tanks on the Brooklyn waterfront into a postindustrial playground. Instead, the parcel is being cleared of its industrial relics, cleaned up, and returned as an extension to Bushwick Inlet Park, the green space on the East River at the border between Williamsburg and Greenpoint. The demolition of the tanks marks a victory for area residents who want a park with ample wide-open space. For a newer group of designers and real estate professionals, however, the demolition represents a missed opportunity for a creative reuse of distinctive industrial infrastructure. For years, Williamsburg and Greenpoint residents fought for a park on the East River waterfront as the area transitioned away from its industrial roots. Many saw the future green space as a counterpoint to decades of pollution. In 2005, Mayor Michael Bloomberg made a deal with residents and area stakeholders to rezone the waterfront for residential uses in exchange for a 28-acre park. One prominent stakeholder, Friends of Bushwick Inlet Park, pushed for a park with ballfields, wide-open lawns, and the spectacular view of Manhattan that goes with it. Since the groundbreaking a decade ago, the city has acquired land piecemeal and at great expense. The current controversy centers on a seven-acre parcel that supported the Bayside Oil Depot, a petrol storage facility distinguished by ten five-story tanks that loom over the south side of Bushwick Inlet. The city bought that piece of land in March 2016 for $53 million. For those who want the oil tanks to go, the infrastructure is an ugly reminder of the environmental degradation brought on my heavy industry. For others, the tanks are a canvas for postindustrial regeneration that would draw on north Brooklyn's creative reputation. Three years ago, professionals in architecture, design, and real estate banded together to propose repurposing the tanks as galleries, gardens, and an oyster farm. Group leaders Stacey Anderson and Karen Zabarsky assembled a team that includes architect Jay Valgora of STUDIO V Architecture and landscape architect Ken Smith of Ken Smith Workshop. Together, they put forth a vision called The Tanks (formerly Maker Park) that pushed back on the idea that the industrial relics needed to be eliminated for the park to be a success. Ward Dennis, a member of the Friends group and a partner at New York's Higgins Quasebarth, dismissed The Tanks as a non-starter from the get-go. "The alternative proposal has never really gotten a lot of traction in the community. Open space was the priority," said Dennis. Another issue at play in the tanks debate centers on public safety; the ground around and underneath the tanks is toxic and needs remediation. The Tanks group hired an outside environmental consultant who determined that remediation can be accomplished with the tanks in-situ, but the city contends that the tanks must be removed for a full clean-up. A NYC Parks Department spokesperson told The Architect's Newspaper (AN) that demolition work began in July.
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AMAA embraces industrial decay with its own factory-to-office conversion

Over time, everything is romanticized and appropriated as nostalgic pastiche. Whether it be pastoralism—the idealization of rural life by a privileged elite in search of perceived simplicity and retreat—or the age-old bourgeois aspiration of emulating bohemian culture. For contemporary Europe, this sentiment comes with the mitigation of its manufacturing past. While, the glamorization of rustic life is indulgent, ignoring the harsh realities, the desire to rhapsodize the aesthetic qualities of machine-age architecture comes out of necessity: what does a society do with vast swathes of a crumbling postindustrial landscape. For some, the answer has been to convert old factories into sprawling cultural complexes. For others, it has been to raze these depilated zones and develop new architecture. A handful of historical industrial buildings, throughout Europe, have received a listed or heritage status in recent decades. Strict governmental regulations determine how these landmark-sites are renovated and adapted for new use. But what should happen to the rest of Europe’s less-glamorous industrial architecture? And what have studios, such as AMAA, done to adapt them? Read the full story on our interiors and design site, aninteriormag.com.
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For its 250th anniversary, San Diego gets an update

This is the third article of AN‘s July/August 2019 print edition feature focused on development. The first, “A new breed of skyscraper threatens to devastate the fabric of New York,” can be read here. The second, "Why the developer’s vision matters in the experience economy," can be read here. As it celebrates the 250th anniversary of its founding this year, San Diego is rethinking past projects, planning billions of dollars’ worth of new projects, and coping with a housing shortage that is making it one of the nation’s least affordable markets. The most significant project on the boards is the redevelopment planned for Horton Plaza shopping center, a 1985 postmodernist downtown mall designed by Jon Jerde. But there are many other megaprojects under construction or in the offing throughout this county of 3.3 million residents. Laura Warner, an architect who moved from the San Francisco Bay Area in the 1980s, watches all this action from her perch as cochair of the San Diego Architectural Foundation’s Orchids & Onions program. This 43-year-old education effort celebrates the good and shames the bad in local building, landscape, planning, and historic preservation projects. “We’ve got some really well crafted, well designed, and well detailed buildings that are places that people like to go to, where they want to create memories,” Warner said. San Diego’s architectural zeitgeist goes back to its founding in 1769 by Spanish colonizers intent on protecting the area from European rivals and the local Kumeyaay population. The colonists introduced new building techniques, laid out towns as required by Spain’s “Laws of the Indies,” and built adobe and stucco ranch houses that remain the local go-to style, especially for residential development. The city’s iconic buildings and structures include the Mission San Diego de Alcalá, Reid & Reid’s 1888 Hotel del Coronado, the 1915 Panama-California Exposition grounds in Balboa Park, the 1920s Navy and Marine Corps bases, the 1938 County Administration Center on the downtown waterfront, Louis Kahn’s 1964 Salk Institute, and William Pereira’s 1970 Geisel Library at the University of California, San Diego, campus. Post–World War II car culture led to sprawl, center-city blight, and urban ills shared with other American cities. Some midcentury mistakes are being reversed, but challenges remain: homelessness, high-priced housing (the median home price in May was $591,000), large wage gaps between tourism service workers and high-tech engineers, and relations with Tijuana across the Mexican border. Ten major projects in the works promise to add to San Diego’s collection of notable buildings, but it remains to be seen if any of them rise to world-class, must-see status in the decades ahead. The Campus at Horton Stockdale Capital Partners of Los Angeles bought the Horton Plaza shopping center in 2018 for $175 million with plans to turn it into a high-tech office complex with only half the 600,000 square feet of retail originally required in the center. The Jerde Partnership’s original postmodern design was copied worldwide, and the new owners are seeking ways to retain some of its quirky features. L.A.-area firms RCH Studios and EYRC Architects are the design architects, and RDC is the executive architect for the redesign. The developers hope to complete the first phase by the end of 2020. Chula Vista Bayfront A 535-acre World War II-era industrial zone is being transformed into a complex comprising hotels, housing, retail, parks, and a conference center in this South Bay city’s portion of the San Diego port tidelands. Houston-based RIDA Development plans a $1.1 billion hotel and conference center on 36 acres. RIDA’s architect is HKS of Dallas. Courthouse Redevelopment Another repurposing project involves the 1960s downtown county courthouse. On the first of three blocks owned by the county government would be a $400 million, 37-story mixed-use building developed by Vancouver, Washington–based Holland Partner Group and designed by local firm Carrier Johnson + Culture. Manchester Pacific Gateway The Navy Broadway Complex, which dates back to the 1920s, has been leased to local developer Doug Manchester, who agreed to build the Navy a new West Coast headquarters. He, in turn, won rights to build hotels, offices, a retail galleria, and a museum on the balance of the complex’s 13.7 acres. Gensler is the architect, and construction of the tower is well underway in the $1.3 billion, 3 million-square-foot complex. NAVWAR The Naval Information Warfare Systems Command (NAVWAR, formerly the Space and Naval Warfare Systems Command or SPAWAR) occupies former Air Force hangars dating to World War II located between Old Town San Diego and the Marine Corps Recruit Depot north of downtown. The Navy, seeking a modern research and development home, would like to repeat its deal on the Naval Broadway Complex by signing up a developer who would deliver such a building in exchange for the right to develop the rest of the site privately. The 71-acre location is also being eyed by regional planners as a “Grand Central” multimodal transportation center. The Navy expects to issue a request for proposals. In the meantime, the local National Association of Industrial and Office Parks chapter sponsored a “university challenge” for a portion of the site. The winning $1.6 billion, 4.1 million-square-foot “Delta District” plan from students at the University of San Diego includes offices, housing, and retail, plus an “innovation center” where education and R&D would meet. De Bartolo + Rimanic Design Studio of San Diego aided the UCSD students. One Paseo Suburban development continues in San Diego County, and one of the most controversial suburban projects, One Paseo, opened earlier this year east of Del Mar on the North County coast. Opponents, led by a rival shopping center company, objected to the density and launched an initiative to kill the project, and the developer, Kilroy Realty, downsized the plans. The retail portion, by the Hollywood architecture firm 5+design, opened earlier this year, and the first apartments are due this summer. San Diego Convention Center Expansion The center, built in 1989 and last expanded in 2001, will appear on the March 2020 city ballot in the form of a hotel tax increase that will fund an $800 million expansion, plus homeless and transportation improvements if it can gain the required two-thirds approval. The main new feature would be a rooftop public park. The project designer is Fentress Architects of Denver. SDSU Mission Valley San Diego State University won voter approval in 2018 over local developers’ rival “SoccerCity” to redevelop the 166-acre site of the former Chargers NFL football stadium site in Mission Valley, north of downtown. When the Chargers returned to Los Angeles, the future of the 70,000-seat, 52-year-old stadium was up for grabs. SDSU plans to replace what is now called SDCCU Stadium with a smaller facility for its Aztecs football team. Developers would be selected to build 4,600 housing units and 1 million square feet of office and retail space that ultimately could be repurposed for academic use to complement the university’s 250-acre campus a few miles to the east. Carrier Johnson + Culture prepared a conceptual master plan, and Gensler is the architect for the new $250 million stadium, which is targeted to open for the 2022 football season. Seaport Village The downtown Embarcadero postindustrial transformation began with the construction of the Robert Mosher–designed San Diego–Coronado Bridge in 1969. The obsolete ferry landing was redeveloped as the Seaport Village specialty retail center in 1980. Now it’s time to turn the 39-acres of one-story buildings into something denser and more sophisticated. The current $1.6 billion plan calls for the usual mix of hotel and commercial uses plus an aquarium, ocean-oriented learning center, a 500-foot skytower ride designed by BIG, and water-centric recreational and commercial fishing features. The project architect is San Diego–based AVRP Skyport. UC San Diego The UC San Diego campus, whose first class of fewer than 200 students took up residence in 1964, is nearing an enrollment of 40,000 and is planning to add three more undergraduate residential colleges to the six already in place. The 2,100-acre campus, spanning Interstate 5 in San Diego’s La Jolla neighborhood plus a community hospital near downtown, has about $10 billion dollars in projects planned over the next 10 years. That doesn’t count the $2.1 billion extension of the San Diego Trolley light-rail system which is due to reach the campus in 2021. The campus trolley stop will lead to a new campus gateway entrance, where several major buildings and an outdoor amphitheater are in the works. An off-campus downtown hub on the trolley line is already under construction. Numerous architectural firms, both local and national, have been engaged to build out the campus, including HKS and San Diego–based Safdie Rabines Architects for Sixth College, now under construction; Seattle-based LMN Partners for the Triton Pavilion, a six-building complex at the new trolley stop; and the downtown hub by Carrier Johnson + Culture. Roger Showley is a freelance writer who recently retired from The San Diego Union-Tribune.  
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Atlanta City Detention Center could become mixed-use community development

Atlanta could be poised to convert its now-defunct Atlanta City Detention Center into a mixed-use development catering to the formerly incarcerated and the community at large. The Reimagining Atlanta City Detention Center Task Force, which was convened at City Hall by Mayor Keisha Lance Bottoms for the first time last week, is in charge of determining how the 17-story jail facility will be used. With a whopping 471,000 square feet of available floor space, the building will likely serve numerous needs in the neighborhood.

Mayor Bottoms ordered the closure of the jail earlier this year, due primarily to rising costs and a lack of inmates. She emphasized the need for any revisioning or adaptive re-use project to be of benefit to locals, and especially to those who have already been involved in the city’s justice system. Several justice-oriented organizations, including the Racial Justice Action Center (RJAC) and the Oakland-based agency Designing Justice + Designing Spaces, have been tapped to guide the planning process. RJAC director Xochitl Bervera encouraged people to think big when contributing ideas. So far, informal proposals have included spaces for a daycare center, a food service training restaurant, a skate park, recording studios, and a legal clinic with an attached coffee shop. So long as the new development is not cost-prohibitive and is accessible to diverse swaths of the local populous, Bervera says it has serious potential to be successful.

In terms of the detention center’s physical makeover, concerns that entering the building could be triggering or unsettling to some former inmates have prompted planners to adopt a more transformative approach. The task force and RJAC have asked Designing Justice + Designing Spaces to reimagine the menacing structure with a more transparent and open form. With a glass curtain wall and a far greater number of windows than the jailhouse, initial renderings of the project offer a glimpse of how RJAC and the Atlanta city government will create the proposed Atlanta Center for Wellness and Freedom.

Overall, the effort is reminiscent of similar adaptive reuse projects executed in New York and other cities across the country. In 2016, two years after a film company announced plans to purchase Staten Island’s Arthur Kill Correctional Facility and convert it into the borough’s first movie studio, Deborah Berke Partners won a competition to turn Manhattan’s former Bayview Correctional Facility into The Women’s Building. Elsewhere in the country, detention facilities have been transformed into everything from luxury hotels to apartment buildings. But while the potential for an upscale development certainly exists at the Atlanta City Detention Center, there are concerns that such a proposal could exacerbate changes already seen in one of America’s fastest gentrifying cities.

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PAU reinvents the center of a complex postindustrial waterfront

The conversion of a 137-year-old sugar factory into a contemporary office complex requires a delicate touch when the building is landmarked—and even more so when it’s the heart of a complex, 11-acre riverfront master plan. The Domino Sugar Factory sits along the Williamsburg waterfront in Brooklyn on a SHoP Architects' master-planned redevelopment which also includes the James Corner Field Operations–designed Domino Park, SHoP’s doughnut-shaped 325 Kent, and COOKFOX’s mixed-use 1 South First. The facade of the Domino Sugar Factory is landmarked, but the interior, a tangle of sugar refining machinery, much of which acted as support infrastructure, was not. So, when Two Trees tapped Vishaan Chakrabarti’s Practice for Architecture and Urbanism (PAU) to helm the factory’s conversion, the studio proposed a radical solution. Rather than renovate the building, they would instead stabilize the historic brick facade, and drop in an entirely new structure with a glass curtain wall. “The original building has a simplicity and muscularity,” Chakrabarti, told AN, but the building's American Round Arch style arched windows rarely line up across floors and are a variety of different sizes. That meant that using standardized floor plates that touched the landmarked facade was infeasible. Separating the brick walls from the new structure negated the issue. By nesting the new building inside the old one, PAU has created a 10- to 12-foot-wide “breezeway” between the two that allows light to permeate all the way to the ground floor. This also affords each floor a different view of the facade. All of the original windows in the historic facade will be removed, creating a shell that will surround the new building, which will be stabilized with steel supports extending from the new structure. Chakrabarti, who helped lead the master plan while a partner at SHoP, described the site as a bridge between the past and the future, and the design fully embraces that philosophy. The glass topper that rises above the original factory’s roofline (but sticks below the smokestack facing Kent Avenue) consists of structurally-glazed mullions and heavily articulated glass at regular intervals. The barrel-shaped roof is reminiscent of an industrial skylight, but while it was a clear reference, the team didn’t want the contemporary addition to be too industrial nor compete with the heaviness of the surrounding brick. Rather than thinking of the building as having traditional front and back entrances—pitting Williamsburg versus the East River waterfront—PAU lowered the bottom all of the windows on the first floor of the brick facade to the ground, creating a permeable membrane and allowing the public to pass through. According to PAU, merging from the hardscape on Kent Street to River Street and Domino Park fulfills the pledge that SHoP made in the master plan to “pull” River Street out toward the public. While no tenants have signed on to occupy the offices yet, Chakrabarti expects that the building will attract creative industries thanks to the unique atmosphere. No completion date for construction on the Domino Sugar Factory conversion has been given yet, but interior demolition is ongoing.
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The Cayton Children's Museum turns an L.A. mall into a playscape

395 Santa Monica Place, Suite 374 Santa Monica, CA 424-416-8320 The 21,000-square-foot Cayton Children’s Museum is a new multilevel experience curated to engage children with the physical world. OFFICEUNTITLED (formerly R&A Design), a Culver City, California–based firm, has designed a space for children to explore unhindered, as the nets, colorful palette, costume lockers, full-size helicopter and firetruck, and even a wall covered in pool noodles are all intended to spur tactile interaction without requiring constant adult supervision. The museum is on the third floor of the open-air Santa Monica Place mall, an adaptive reuse project on the top floor of the Frank Gehry-designed building. Despite being titled as a children's museum, the space provides a welcome respite for parents and children alike. However, if visitors walk past the enormous aardvark carved from plywood that houses the reception desk, they’ll find the “Courage Climber,” an entire level made from nets, which only children can access and that spans 20 percent of the museum’s footprint. Other architecturally scaled objects house the museum’s various non-exhibition programmatic elements such as ticketing and security, including the “Armadillo, Porcupine, Onion, Egg, Houses and Drum.” The space is broken into five exhibition “neighborhoods” with distinct educational elements. Launch Your is a space for zero-to-two-year-old children to explore different topological arrangements through touch and is intended to help them strengthen their coordination. In Let’s Help, children can explore what it means to be a farmer, veterinarian, or first responder. The Together We section has been stocked with exhibitions meant to promote group activities and team building. In Reach for, visitors can stretch their legs and climb all over the web of nets. Finally, things slow down in Reflect On, where children are encouraged to take a more contemplative attitude about the world and consider how they can better connect with nature. The museum is open from 10:00 a.m. through 7:00 p.m. Monday through Saturday, and noon to 7:00 p.m. on Sunday. Admission is $14, but the museum will be free for low-income families during the first year.
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This strip club's VIP room is a long-forgotten Futuro house

I first encountered a Futuro house in a lavish palazzo during Milan Design Week in 2016. It was part of Louis Vuitton’s exhibition Objets Nomades. Fifty years, ago, a futuristic prefab house hit the market in the U.S.A. Originally designed in the 1960s by Finnish architect Matti Suuronen, the portable houses featured built-in furniture, a full bedroom and bathroom, heating and air conditioning, as well as a living room and dining room. The fiber-reinforced fiberglass shell was punctuated by oval windows—an iconic shape now associated with futuristic design (and UFOs). But despite its place in design history, very few Futuro houses remain. There are around 60 of the houses left, which have become a mix of residences, tourist-draws on Airbnb, and museum pieces, among other quirky uses. The most exciting might be in Tampa Bay, Florida. Suuronen's company stopped production in 1975, partly due to rising production costs in the wake of the 1973 oil crisis. One house, a display model used in Clearwater, ended up in the hands of local Futuro dealership manager Jerry DeLong, who also happened to also own “2001 Odyssey"—a local strip club. The spaceship first appeared in ads in 1971, according to the Tampa Bay Times. The club was making big money until the mob pressured DeLong to sell, and, according to the Tampa Bay Times, fell under the ownership of “the Trafficantes,” or the crew led by Santo Trafficante Jr. Several years later, in 1974, Pasquale “Pat” Matassini bought the club, but Matassini was later convicted of distributing $1 million in counterfeit cash, and in 1992, was accused of having ties to the Tampa crime family because he owned a bar called Godfather’s on Trafficante-owned land. These days, according to the Tampa Bay Times, "the spaceship is entered via a carpeted staircase from the first floor of the club. There’s a curved bar in the center, serving soft drinks and water. Black lace curtains hang over leather booths that wrap around the mirrored walls. The ceiling is adorned with glow-in-the-dark constellations and a disco ball." the Futuro house has become 2001 Odyssey's VIP room." Well, this is one possible “future,” but probably not the one Suuronen imagined for his visionary design. For more on where the other remaining Futuro houses have landed, check out thefuturohouse.com.
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Akoaki is blending design disciplines in Detroit

Upon their arrival to Detroit, partners Anya Sirota and Jean Louis Farges took four years to understand the complex landscapes and narratives that co-exist within the city. At the time, Detroit was fully entrenched in “ruin porn” and the design interest of the city followed a fascination with degradation or a re-imagination to building new. Cultural assets (like the industrial design of cars and jazz music) once thrived in the city and continue to have national and international range. Often though, the direct impact upon the residents is nonexistent. Akoaki [pronounced ak-o-ak-i] is compelled to research fields of architecture and art and their relationships to equitable redevelopment. By embracing the power of aesthetics and form-making, the couple peels away normative tropes of social practice. Beginning with aspirations to include aesthetics, beauty, and pomp creates pieces that do not comply with age. Often feeling burdened by good taste, Akoaki’s aesthetic quality tries to be bigger and badder. Imaging Detroit Supported by a Research on the City grant from the University of Michigan's Taubman College of Architecture & Urban Planning, Imaging Detroit is, in a nutshell, an international film festival and pop-up agora. The project investigates the many ways Detroit has been portrayed over the last decade, be it film or publications. Sirota and Farges, along with a suite of collaborators, researched the way people construct narratives around the city and responses to those narratives. A major challenge of the project was how to stage an event in this context without contributing to a proliferation of ruin porn and social degradation. The goal was to create true conversation and a positive impact while staging a public debate and open speculation. The 36-hour event transformed Perrien Park into a civic space with screenings, conversations, exhibitions, food, and leisure—a true ephemeral urbanization. Detroit Cultivator In collaboration with the six-acre Oakland Avenue Urban Farm (OAUF), Akoaki is designing a master plan that combines agriculture, culture, business, and ecology to envision a landscape that is both economically and ecologically sustainable. The project required navigating through major issues regarding land ownership, pressure from developers, and water access. After working with the University of Michigan Law School and a team of “moral investors” to secure the land, a business plan was created with volunteers from the University of Michigan Ross School of Business. The plan prioritizes the farm’s productivity to create a source of income and a flexible space for neighborhood entrepreneurs. As a result, the master plan features existing structures that will eventually become public amenity spaces; for example, a shoe-shine parlor will reopen as a multi-tenant commercial space and performance venue. Rather than keeping the farm purely agricultural, Sirota and Farges sought to activate other existing uses through building and site interventions. The project is an experimental urban prototype, though Akoaki is working to ensure the farm can become a permanent fixture in the neighborhood. Jackson, Mississippi Sirota and Farges’s experience working on Detroit Cultivator has set them up to discover a similar food-related project, this time in Mississippi. Supported by a $1 million public art grant from Bloomberg Philanthropies, “Fertile Ground: Inspiring Dialogue about Food Access” brings together architects and artists with chefs, gardeners, food policy experts, and local institutions to facilitate a year of community-engaged interventions. Ultimately, the project aims to establish a nonprofit research lab on food access that will operate on a permanent basis to sustain the momentum that is created. While Mississippi is known for its agriculture, a majority of the food grown in the state leaves, and Jackson is full of “food swamps”—a plethora of fast food options as opposed to fresh food. Rather than return to the “idyllic” past of farming (an image that is not necessarily representationally positive to everyone), Akoaki has formulated a “neo-rural” environment that deserves an aesthetic value and brings together aspirations of the city. Midtown Cultural Center Detroit’s Midtown Cultural Connections organized a year-long competition in an effort to connect Detroit’s most significant cultural institutions. The winning entry includes Akoaki and their assembled team of landscape architects, urban planners, and technology-experts. The announcement of the winning proposal displays how Detroit’s participating institutions and stakeholders carry a willingness in allowing an open-ended framework a chance to succeed. The plan that Akoaki and team are working on will take issues of mobility, environmental sustainability, and stormwater stewardship into consideration. Overall, the project requires a sensitivity to placemaking in order to avoid displaced cultural queues and gentrification. When finished, the project will create a unified, dynamic, and inclusive space that facilitates connections between the Cultural Center and the Midtown neighborhood.