Master box-stacking architecture firm ODA has unveiled its latest addition to the Brooklyn cityscape: an eight story, mixed-used development at 71 White Street in East Williamsburg. The approximately 80,700-square-foot hotel, retail, and semi-public space will rise from the skeleton of an existing one-story, graffiti-adorned 1930s warehouse. Calling 71 White Street a mall would undermine the grittiness it strives so hard to project. Yet, its circulation pattern and its relationship to the street speaks for itself. The complex's stacked and rotated layers recede from, yet tower over, the existing low-slung street wall to create a series of insular private and public spaces. The main entrance, on the corner of McKibben and White streets, is set deep into the lot, drawing visitors though indoor and outdoor corridors to access food, drink, and entertainment. The first two floors are programmed for restaurant and retail space. Ground-floor windows would punctuate the now window-deficient facade, and create visual interest on the street. The top five floors are given over to a 112 room hotel. That hotel will provide de facto amenities: gym, rooftop bar, and pool. In addition, renderings depict multiple, expansive shared terraces that afford views of Manhattan. For those interested in people-watching, the third floor will be an open-air public promenade. To access the third floor space from the main entrance, a set of stairs slopes gently upward and diverges, giving access to the east and west ends of the structure. The circulation pattern will accommodate a range of uses: on the west end, an amphitheater slopes down to the ground floor, while the east end appears to be reserved for more quiet activities, like eating at picnic tables.
Posts tagged with "Adaptive Reuse":
When Thames Water extracted a 15 ton "fatberg" from the depths of London's sewers last year, a neat portmanteau jumped from public utility jargon into the general lexicon. https://vimeo.com/147753531 The fatberg is made up of all the things that go down the drain but shouldn't: baby wipes, sanitary pads, hair, and cooking oils. Though absolutely foul, the putrid blobs are massive reserves of untapped energy. (The video above shows the fatberg in its natural environment.) Two Dutch designers, Mike Thomson and Arne Hendriks, have created a fatberg to experiment with energy extraction and adaptive reuse. Thomson is co-founder the Amsterdam-based design and research group Thought Collider and Hendriks is the creator of the Incredible Shrinking Man. The duo describe Fatberg as a "critical design research project." The project was exhibited at the 2015 Dutch Design Week in Eindhoven. To build context for their design experiments, Thomson and Hendricks theorize on the nature of lipids. Fat is reviled in excess, but essential to survival. Fat is othered from the body through calorie counting and measurements like the Body Mass Index (BMI). Their analysis focuses on the spatiality and materiality of fat: its uneven distribution in the body (lipohypertrophy), its interface with surfaces ("Spiral Fatty"), its use in construction (reinforced fat), and fat's presence in the ecosystem (sewer fatbergs, the duo claims, are glaciers in reverse) Their designs exemplify the grotesque realism of reuse. Building on British World War II-era experiments that compressed wood pulp and ice to make bricks, the team created 30 percent beef fat and 70 percent pork fat admixture. To test the strength of various composites, Hendriks and Thomson added wood shavings, toilet paper, wet wipes, plastic straws, natural straw, and bubble wrap to the fat in different proportions to create a durable material. Hendriks and Thomson report that "layering toilet paper, wet wipes, and hair significantly increased the tensile strength of the material (standard fat = 0.01Pa, “fatcrete” = >0.29Pa), highlighting the potential of fat composite materials for berg building." https://vimeo.com/112821592 The video above shows the creation of a fatberg in the lab. As the excruciatingly slow pipetting illustrates, a proper fatberg can take years to grow.
Union Station Technology Center (USTC) in South Bend, Indiana began its life as a train station. Now it's a data center and the state's second largest carrier hotel. As a piece of internet infrastructure, it's high tech. With the help of Adrian Smith + Gordon Gill Architecture, the building owners are aiming for a design to suit. The building is in South Bend's Studebaker Corridor, so named for the wagon company turned automobile titan. Before it closed in 1963, Studebaker was the fourth largest automobile manufacturer in the nation, employing as many as 23,000 people in South Bend. Union Station Technology Center is among the tech-oriented rehabs that local businesspeople like Nick Easley, director of strategic initiatives for USTC, and developer Kevin Smith are using to rebrand the area as South Bend’s Renaissance District. AS+GG was selected as the emerging district's master planner in 2012. On Sunday it was announced that the Chicago-based firm—known for energy-efficient, eye-grabbing projects around the world—would lead the redesign of USTC, as well as “a mixed-use campus consisting of more than one million square feet of Class A office, education, technology, research grade manufacturing, data center, and live-work spaces.” A press release promises to turn USTC into “a large scale, sustainably designed tech hub that promises to spur a second economic boom for South Bend and the surrounding region.” South Bend's boosters hope the cold climate—which cuts server cooling costs—and local knowledge base at University of Notre Dame will help it stand out among cities from coast to coast currently chasing tech jobs to replace manufacturing work.
https://vimeo.com/120168095 The Architect's Newspaper is introducing a new video series focusing on the places, people, and processes behind news-making projects. We begin with a tour of Philadelphia's Reading Viaduct, an abandoned rail line that advocates hope to transform into an elevated park, a grittier take on Manhattan's celebrated High Line. With the city and state pledging millions toward the project, the Viaduct park is moving closer to reality. Come along with us for a first look.
San Antonio firm transforms vacant industrial building into sunlit workspace.Dissatisfied with their two-story office, San Antonio architecture practice Overland Partners recently went looking for a new home. They found it in an unexpected place: a long-vacant plumbing supply warehouse within the city's burgeoning arts district. The 1918 Hughes Plumbing Warehouse offered the firm exactly what they wanted—a large open floor plan—in an architecturally refined package. The timber-framed, brick-clad building "is simple," said project architect Patrick Winn, "but it's really elegant and beautiful when you're able to look at it." The problem was that years of disuse had left their mark. "When we first viewed it, it was really far gone," recalled Winn. The original windows had been broken up, and the roof had flooded. Undaunted, the architects took on an extensive renovation project, with the result that today the former plumbing distribution center is a boon not just to Overland, but to the neighborhood as a whole. Prior to renovation, Hughes Warehouse was entirely encased in a double-width brick wall, except for a few garage door openings and two levels of clerestory windows. While the clerestories, approximately 16-20 inches and 20-25 inches in width, provided a good dose of daylight to the interior, they did not provide views out, nor did they facilitate the transition from parking lot to studio. "At Overland we really enjoy blurring the line between the outdoor, natural realm and the indoor, built realm," said Winn. "Right from the get-go we said: we have to cut a courtyard into the building and elongate that entry sequence." Overland carved out approximately 2,000 square feet of space for the new courtyard, which is faced with a custom glass and steel curtain wall. The transparent opening floods the office interior with light and frames views for the occupants. It has also become a de facto community space. "What's been nice is that runners' groups and cycling groups are starting to use our courtyard as a hub for activity," said Winn, who notes that live music and other events at a neighboring coffee shop are an additional draw. "It's brought a lot of life and energy into our space from the courtyard." To secure the courtyard after hours, the architects designed custom steel gates to replace the original, graffiti-covered garage doors. To tie-in to the warehouse's arts-district location, and to pay homage to the graffiti, Overland looked to Jackson Pollock for inspiration. They pixelated photographs on Photoshop before transferring the file to AutoCAD and sending the pattern on to Rivercity Industries, who laser-cut the design into the doors. The doors themselves were fabricated by Overland Workshop. "From the exterior, especially when the lights are on, when you drive by, there's almost a twinkling effect," said Winn of the perforated gates. "They're really neat." The architects punched additional windows into the remaining brick facade. "We decided to honor the old brick building," said Winn. "Any new insertion is done with steel and glass." To mitigate solar gain, the new windows are extruded about a foot on the east side of the building, and about two feet on the west. The clerestories and courtyard curtain wall are equipped with automated shades. Though the original steel frames around the clerestory windows would only accept 1/4-inch laminated safety glass, the new windows feature one-inch-thick high performance glass. Additional sustainability measures include a complete board insulation system over the roof. "We loved having brick on the interior, so what we couldn't do there in terms of insulation, we made up for on the roof," explained Winn. "We over-insulated it." A rooftop solar setup offsets about 60 percent of the office's energy consumption. In addition, the architects re-used original materials wherever possible. They built the interior stairs out of old joists, and the contractor saw-cut discarded concrete into pavers for the abutting alley. Even the brittle roof decking found a second life as board forms for the building's cast-in-place concrete elements. The Hughes Warehouse building has exceeded the architects' expectations in terms of bringing the office back together, said Winn. "It's done wonders for us from the standpoint of office culture. People seem to really love working here—it's not a place that's a drag to work in, it's very comfortable." He noted that in less than two years the firm has grown from just over 40 members to about 70, and recalled several recent events, including art shows and a courtyard holiday party, held in the renovated space. "I have to say that Overland's been elevated to a whole other level."
Archtober Building of the Day #9 Kickstarter 58 Kent Street, Brooklyn Ole Sondresen Architect “Nothing is better than doing nothing.” While this may be the maxim that many of us live by on lazy Sunday afternoons, in Greenpoint, Brooklyn it applies to the design philosophy of Norwegian carpenter-turned-architect Ole Sondresen. During today’s tour of the Kickstarter headquarters, Sondresen demonstrated how this sustainable principle guided his design process. Sondresen approached the task of adaptively reusing a landmarked former pencil factory in an unorthodox fashion, at least by preservation standards. Rather than bringing the building back in time to its glory days, the architect froze the building in place, treating it as a post-industrial ruin. His design team left the brick exterior virtually untreated, even refusing to scrub away the graffiti accumulated over time. Since the building had been gutted by a former owner, Sondresen had the liberty of reinventing many of the interior spaces. Instead of opting for traditional floor plates to offer lateral support, he created a structural core that also holds many of the building’s mechanical systems, minimizing piping elsewhere. This also allowed the creation of a glass-framed courtyard held up by repurposed steel trusses from the roof. The atrium floods most office spaces with natural light, and allows for green spaces on all three floors. All of the plants in the three-tier garden are local and were chosen to provide food and shelter to migratory songbirds. Sondresen’s “do less” approach is also evident in Kickstarter’s interiors. As a former craftsman, wood plays a major role in making the untreated concrete structure appear warm and welcoming. All of it is reclaimed from dilapidated country barns or city demolitions, and a lot of it is left raw and untreated. Most of the furniture used in the variety of meeting spaces are either made of reclaimed materials in collaboration with local artisans or were bought second hand. With more than $1 billion in pledges from 5.7 million donors to fund 135,000 projects, Kickstarter is responsible for the birth of many of our generation’s young makers and creators. With its focus on local, low-impact, and artisan-made materials, Ole Sondresen Architect’s design perfectly captures the global crowdfunding platform’s ethos. See another contemporary work space today at The Barbarian Group by Clive Wilkinson Architects.
Bombay Sapphire is in the process of converting a historic paper mill into a facility for producing their famous gin. Overseeing this transformation is the ever-busy Heatherwick Studio, which has been brought on to renovate the 40 derelict buildings found on the site. Their most drastic intervention to the extant campus comes in the form of a soon-to-opened visitor's center that was recently awarded a BREEAM 'outstanding' rating for sustainability, an international system for ranking green buildings. The building is composed of the original structure and two new large glass outgrowths that are seemingly blown out of its interior and into a surrounding body of water. These alien forms are, in fact, drawn from the shapes of the curvaceous copper stills traditionally employed in gin distillation. One temperate, the other humid, the two greenhouses are populated by the various botanicals incorporated into gin production. The glass additions sit partially in the shallows of the River Test that snakes through the entirety of the mill. Integrated photovoltaic cells, a biomass boiler for recycling organic matter, and energy-producing water turbines all contribute to the center's elevated BREEAM status. The watery foundations of the greenhouses are indicative of Heatherwick's attempts to emphasize the role of the river in their refurbishment of the site. The firm hopes to increase the Test's visibility while using it as an organizational device for traversing the numerous buildings in the facility.
According to a recent article on azcentral.com, Phoenix’s Warehouse District is in the midst of a renaissance. Or is it? The man behind several adaptive reuse projects in the neighborhood says not so fast. “It’s like every five years someone gets excited about it and writes the same article,” said developer Michael Levine. While he admits there’s been an uptick in interest in the mid-century industrial buildings, he doubts his fellow landowners’ motives. “If you give them enough money...they’d have the [buildings] demolished,” he said. Levine grew up in Brooklyn and attended Parsons, where he considered becoming an architectural designer before a retrospective on the work of Gordon Matta Clark convinced him to switch to art. “I wanted to get my hands dirty,” said Levine. After college, Levine moved to Phoenix, doing all kinds of work, from residential contracting to building visual displays and starting an art gallery. When he began manufacturing for multinational companies, he needed a larger workspace, and moved into his first warehouse. “Basically the buildings are like big three-dimensional sculptures,” said Levine. Eventually, the buildings themselves became Levine’s subjects. He renovated his first warehouse in 1992, his second in 1999. Phoenix, it turns out, is a particularly difficult place to be a champion for adaptive reuse. For one thing, the city didn’t have that many warehouses to begin with. “The best warehouse in Phoenix would be the worst in Detroit,” observed Levine. In addition, said Levine, the city’s reluctance to embrace the International Building Code combined with its early adoption of ADA standards to make it “almost impossible to save a building.” Even a recent preservation program hasn’t done as much as advocates might have hoped for the Warehouse District. In 2006, the city, aware that its pre–World War II building stock was rapidly dwindling, launched a special category of grants (funded through the city’s bond program) specifically for preserving warehouses. “It hasn’t been quite as successful as we’d hoped, but it hasn’t been a complete failure,” said Kevin Weight of the City of Phoenix Historic Preservation Office. The office had hoped there might be another bond issue, but then the recession hit. “We really don’t have the incentives to offer that we did before, so that’s part of why it’s not moving as quickly as we’d like,” said Weight. According to Levine, the problem is that would-be renovators have to compete with new construction. “The real story of the Warehouse District is it’s the cheapest land in town,” he said. Preservationists have scored a few big wins, as in 2007, when a lawsuit spared the Sun Mercantile Building (an E.W. Bacon-designed warehouse built in 1929) from a condo project. But the trend still seems to favor new over old. “They demolish 10, 13 buildings, then save one building,” said Levine. “It’s been like tokenism.” There are a few bright spots in the Warehouse District’s recent history, including several of Levine’s projects: 605 E. Grant Street (1917), originally owned by the Southwest Cotton Company; The Duce (525 S. Central Ave, 1928), built for Anchor Manufacturing Company; and Bentley Projects (215 E. Grant Street, 1918), first occupied by Bell Laundry. Then there’s 22 E. Jackson Street, the 1930 Arizona Hardware Supply Company building renovated by Dudley Ventures. A number of additional warehouse buildings have been listed on the city’s register of historic buildings. Levine cites the recent relocation of several of Arizona State University School of Art graduate student buildings to his 605 E. Grant Street. “The fine artists get it...ASU has finally gotten it,” said Levine, though he went on to express dismay at an ASU urban planning professor’s embrace of a nearby luxury-apartments project. That said, the Warehouse District renaissance doesn’t yet seem to have reached the tipping point. The city’s out of money to assist preservationists, at least for now. And Levine thinks that some of the recent interest in the neighborhood may be a passing craze. “However much they love it, unfortunately it’s a fashion thing to these people,” said Levine. “It’s really cool to be in a brick building...For me, I really want these buildings to be around for another 100 years.”
Dutch firm MVRDV is creating a new office building in Hong Kong, and by the looks of the renderings, people will be really happy to work there. The project actually entails the transformation of the Cheung Fai Warehouse, a 14-story industrial building that currently sits on a busy corner in the city's designated business area of East Kowloon. MVRDV will be stripping the structure to its concrete infrastructural core before filling the frame with glass and stainless steel in order to define the new office spaces. Glass dominates the exterior as well, as large sheets are inserted into the white concrete frame of the structure. The largely clear facade is punctuated by small explosions of greenery, which spills out of select rectangular sections. The rooftop has been set aside for a terrace meant to serve as a communal gathering space. The glass spills over into the interior, bringing with it large amounts of light and also meaning that the building's concrete skeleton is readily visible throughout the offices and circulation areas. The Cheung Fai building is MVRDV's first foray into Hong Kong. In addition to 37 office units, the structure is also slated to house retail space and restaurants. At its rear the site faces a disused service alley that the firm hopes to one day convert into usable public space in keeping with the development of the surrounding area. The transformation is scheduled to be completed by 2015.
A monolithic cluster of concrete silos on the Cape Town waterfront is the subject of a dramatic surgical intervention. The industrial relic will be transformed by Thomas Heatherwick into an art museum planned for the city's V&A Waterfront. The project entails the conversion of the grain silo complex into a new space to house and display the Jochen Zeitz Collection, an assortment of art that will act as the foundation for Zeitz MOCAA a non-profit institution dedicated to contemporary art from Africa and its diaspora. Rather than attempt to grapple with the unwieldy nature of the extant structure, Heatherwick elected to embrace its"tubiness." The cluster of cylindrical spaces will remain largely intact while a towering glass-roofed museum atrium is carved out from its interior, resulting in a curvaceous irregular honeycomb form denoting an egg-shaped void. Surrounding bins will be filled by smaller galleries or re-purposed as elevator shafts and spiral stairways. Paint will be stripped from the exterior of the silos to expose the structure's original concrete. Other alterations to the building are relatively minor. A restaurant and sculpture garden will be placed atop the roof. Curved glazed panels will be inserted into some of the more rectilinear portions of the exterior. These subtly bulging additions are meant cast Zeitz MOCAA as a "glowing lantern or beacon for the harbor" by night. Heatherwick Studio will collaborate with South African firms Van Der Merwe Miszewski, Rick Brown Associates, and Jacobs Parker Architects to realize the museum. The decision to preserve much of the silo complex may go a ways towards tempering local concerns regarding the direction and scale of the development of the waterfront. The plans for the museum were revealed at Design Indaba, an annual design expo held in Cape Town. Heatherwick will also be contributing a large fountain to Manhattan's in-the-works Hudson Yards development.
Paris is known in part for its numerous quaint outdoor markets offering foodstuffs and vintage objects. It is also home to an—if not quaint, at least fairly aged—abandoned railway system, the Chemin de fer de Petite Ceinture. Two enterprising architects have now proposed combining the idea behind the former retail markets and the infrastructure of the latter to create a traveling market that would circle the city center. Despite their surface appeal, Paris' street markets leave problematic amounts of trash in their wake and are prone to impeding the prevalent bicycle traffic within the city. Amílcar Ferreira and Marcelo Fernandes saw the long-abandoned railroad as a perfect solution to address these issues. The two propose reviving the tracks, last in operation in 1934, and using them as a platform for a train re-purposed as a site for commerce and bartering, with various cars providing storefronts, workshops, and utility services for local vendors. The train would also offer rides to visitors as it itinerates between various locations within Paris's fortified walls. The proposal was conceived as a submission to the 2013 M.ART opengap competition.
A bespoke aluminum building skin transforms an abandoned war bunker into a high-performing boutique hotel.Restoration hotelier Unlisted Collection recently acquired a historically listed, vacant municipal building in London’s East End that served as a set favorite for film luminaries like David Lynch. The 1910 Edwardian fore building and its utilitarian 1937 addition had served as the town hall of Bethnal Green before World War II. In order to convert the complex into a boutique hotel, Unlisted hired London-based architecture practice Rare and tasked the firm with designing an addition to the existing buildings to add space for more guest rooms and amenities, while unifying the three disparate elements into a single entity. Rare directors and founders Nathalie Rozencwajg and Michel da Costa Gonçalves answered this last charge with an ornamental screen facade that visually ties together the historic and modern buildings while also improving user comfort and environmental performance. “The yellow brick facade of the 1937 building wasn’t finished due to the outbreak of the Second World War, when it was repurposed as a bunker,” Rozencwajg recently told AN. Since the building had suffered no major damage during the war, the designers had to move forward while abiding by the English heritage guidelines for preserving historical structures, including the decorative Eduardian facade along the street front. To expand square footage and enable the building’s function as a hotel, the team designed a fourth-level add-on for additional guest rooms. The addition is enclosed in a double-glazed curtain wall that is screened by a parametrically designed ornamental skin. Working in a custom-scripted plugin for Rhino, the team designed a pattern for the screen wall derived from an old ventilation grill that they found in the 1937 extension. In developing the pattern, the designers divided the project into three major zones. The uppermost level functions as a brise soleil with a tightly defined pattern that blocks most of the southern sunlight that impacts this part of the building. Toward the center, the pattern is varied, more open in some places and more closed in others to accommodate interior programming—guest rooms feature smaller apertures for greater privacy while the public spaces are clad in a more open screen. At the bottom level, apertures are kept small to provide privacy from street-level passersby. Approximately 980 feet of the building’s surface is wrapped in this screen, fabricated from laser-cut, 4-mm-thick aluminum sheets. Eight 7-by-4-foot panels in varying pattern densities are bolted into a frame that hangs from the curtain wall. At the roof level, the panels were designed to conceal the building’s elevator towers, plenum, and pitched roof profiles. Rozencwajg estimated that unique panel shapes make up 30 percent of the screen system. Each panel was numbered for efficient installation and bolts in each of the panels’ four corners prevent damage from wind and other environmental factors. The modularity of the panel system also provides for future design flexibility. “If you rearrange the space internally and want to reconfigure the facade, you can change out the panels for more or less opacity,” said Rozencwajg. The panels are finished with a metallic powdercoat that changes hue based on the sun’s angle. Since the historical listing prohibited the architects from altering the existing building—including the old sash windows—the new curtain wall had to improve overall building performance. The south elevation features double glazing to minimize heat gain and natural ventilation is enhanced with trickle vents and energy-efficient windows on the new level. The combined efforts resulted in a BREAM rating of Very Good.