A new idea recently emerged for a piece of property, which has long been in dispute, along the Bushwick Inlet. The initial plan for the Bushwick Inlet was to convert the industrial “wasteland” into a 28-acre park. That was what was promised to the people of Williamsburg and Greenpoint in 2005 following the Waterfront Rezoning Agreement, introduced under the Bloomberg administration. Advocates for this proposal, including Friends of Bushwick Inlet Park, have continually voiced their desire that the property be used for green space. However, Citistorage owner Norman Brodsky still possesses an 11 acre triangle of land needed for the park. It currently holds the old Bayside Oil Depot. Brodsky wants to sell the property for $250 million to the city. However, the city has far exceeded initial cost estimates for the park—$60 million to $90 million—having already spent around $224 million. Rumors are circulating that city may use eminent domain to take the land. If that were to happen, the city would have to compensate Brodsky for a certain amount, then additionally pay for the extensive environmental remediation needed to make the site usable. As of yet, the city has not make decision. More recently, however, local stakeholder Zac Waldman has floated a vision for a “Maker Park” at the site's industrial facilities. In fact, Waldman has assembled a team of supporters to translate that vision into a more definitive plan. They include the events coordinator for the Municipal Art Society (MAS); Stacey Anderson, a creative director at Kushner Companies; Karen Zabarsky; and architect Jay Valgora of New York City–based firm STUDIO V Architecture, along with other designers and developers. Valgora is known for his adaptive reuse projects, such as Empire Stores, the redevelopment of an empty and neglected brick storehouse in DUMBO, Brooklyn. While no definitive plans have been revealed for Maker Park, the development team is working to devise a strategy to convert the warehouses, garages, and cylindrical fuel containers into an artisan marketplace and industrial playground. The Maker Park website describes the vision as “a beautiful and otherworldly industrial topography.” However, Natalie Grybauskas, a spokesperson for Mayor de Blasio, has stated that Maker Park is not a feasible use of the site due to the need for environmental remediation, according to The New York Times. Previous projects of this nature have proved successful, notably the on-going Freshkills Park project and the Croton Water Filtration Plant. Freshkills was the world’s largest landfill until 2001, when it stopped receiving trash (save the debris from post-9/11 cleanups). Over the course of two decades, each of the Staten Island landfill’s massive mounds have been capped, allowing development of 2,200 acres of parkland that offer hiking, biking, playgrounds, and a number of other amenities not typically accessible to residents and visitors of New York City. The site even harvests natural gas from the contained landfill. The Croton Water Filtration Plant, designed by New York City–based Grimshaw Architects, is situated beneath a golf driving range in Van Cortlandt Park in the Bronx. An article in The New York Times notes that 290 million gallons of water are treated each day at the $3.2 billion plant. Additionally, the plant provides 100 million of gallons of water each day to the western edges of Manhattan and areas of the Bronx. While adaptive reuse has played a significant role in breaking up the monotony of the congested metropolitan landscape in these projects, the concept of an "industrial theme" for the Maker Park remains vague. Although the use of existing infrastructure presents advantages, there are still many considerations to take into account before this is deemed feasible and worthy of the community. The fact remains that Citistorage still owns 11 acres of the property needed to pursue any development for public use of the site, or development, period, since anyone could snatch up the property.
Posts tagged with "Adaptive Reuse":
Gensler’s Los Angeles office has revealed plans for a $150 million expansion to the Port of Los Angeles by marine science and business innovation group AltaSea. At a ceremony hosted at the firm's Downtown L.A. headquarters, designers at Gensler detailed a 280,000 square foot facility encompassing a new waterfront promenade, aquaculture research center, and science hub set 35-acre stretch of historical docks and waterfront spaces. The project combines the adaptive reuse of existing dockside warehouses with the construction of a new visitor’s center and signal-house. Three formerly industrial warehouse shells, exposed composite steel beams, and original overhead trusses will house dedicated research and business development facilities for aquaculture and underwater robotics endeavors. The project's development will be divided into phases beginning with the redevelopment of Warehouses 58 through 60, which will add 180,000 square feet of combined research and business hubs to the site. This phase also incorporates an education pavilion and wharf plaza into the mix. The second and third phases entail renovating Warehouse 57—which will contain 60,000 square feet of laboratory and classroom space—and the construction of the site's two new structures. Those new constructions, Berth 56 and a tower dubbed “the Viewing Structure,” are located between the arms of the two docks housing the science warehouse spaces. Berth 56 is a landscape-oriented community center with educational and exhibition spaces, as well as amenities like viewing platforms and a theater. The 5-story viewing tower is located at the foot of a Berth 56’s roof terrace, which has been sculpted to blend with a street-level plaza. After citing the prominence of tower structures in the port’s historical development, Li Wen, Design Director at Gensler, described the firm’s approach with the new tower as an attempt to, “make a place with a new, 21st century tower that’s all about sustainability. So instead of emitting light, this tower actually harvests energy.” The overall scheme is an attempt to create a closed loop of scientific discovery, product innovation, and entrepreneurial commercialization at AltaSea’s campus. It is also being designed to be “net-positive” by generating more energy, through tidal, wind, and solar generation, than it consumes. Gensler expects to begin construction on the first phase of the project in 2016 with the community center set to open in 2023.
Bentonville, Arkansas will soon be home to a new art space designed by Chicago-based Wheeler Kearns Architects. The Crystal Bridges Museum of American Art has announced plans to convert a former Kraft cheese factory in Bentonville into new gallery space for unconventional programming. Like MoMA’s PS1 in Queens, New York, this venue will facilitate the showing of temporary, interactive, and performance art in a less formal setting. The museum’s permanent collection is currently displayed in a Moshe Safdie-designed building that bridges natural spring ponds in a forested setting. The museum grounds are also home to the Frank Lloyd Wright designed Bachman-Wilson House, which was moved from its original location along the Millstone River in New Jersey. The new exhibition space will take on a much different feel than the polished Safdie galleries. The former factory will be allowed to maintain much of its industrial character throughout its 63,000 square feet. The new space's downtown location will also distinguish it from the museum's more rural main campus. The biggest difference, however, will be the way in which art is displayed and created in the space. In addition to film screenings and performances of music and theatre, the former factory will host a new multi-disciplinary artists-in-residence program. As such, Wheeler Kearns plans to design the space to be flexibly-used. Crystal Bridges will also collaborate with the Massachusetts Museum of Contemporary Art (MASS MoCA) to develop the programing for the space. The Walton Family Foundation, Wal-Mart's philanthropic group, was heavily involved in the creation of Crystal Bridges. Steuart and Tom Walton—grandsons of Walmart founder Sam Walton—are leading the foundation’s support the new space. Both have served on the museum's Board of Directors. The yet-to-be-named exhibition space is scheduled to be completed in 2018.
San Francisco seeking enhanced landmark protection for one of Frank Lloyd Wright's most significant works
A gestural ramp takes visitors to the upper stories, passing objets d'art nested into built-in niches. A bubbled skylight lets the sun's rays penetrate into an expansive atrium, even on cloudy days. The AIA says the landmarked building is one of Frank Lloyd Wright's 17 essential works. The Guggenheim? Not so much. Wright's only San Francisco building, a city landmark since 1974, sits on Maiden Lane, a quiet side street downtown. The last tenant, Xanadu Gallery, closed up shop last year. Before the next tenant moves in, preservationists are rallying to expand existing landmark protections to include parts of the interior that date to 1948, including the ceiling, a skylit plane comprised of 120 acrylic domes, mahogany display cabinets, and a brass hanging planter. Wright designed the project, one of his only renovations of an existing building, in 1948 for V.C. and Lillian Morris. The couple had a shop on the same street and had previously commissioned Wright to design four houses for them (none were built). The space became the home of the V.C. Morris Gift Shop. Although the exterior, whose arch could be a subtle tribute to Louis Sullivan, is elegant, Wright experts concede that the interior is more architecturally significant. 140 Maiden Lane was a real-world test for the Guggenheim, built in 1959, which Wright conceptualized sixteen years earlier. The skylight hints at Wright's later work, like the 1961 Marin County Civic Center. The Prairie-style homes Wright completed in the Chicago suburbs are echoed in the masonry cliff, muses John King, The San Francisco Chronicle’s urban design critic. When Xanadu Gallery moved into the space in 1997, the owners, Raymond and Marsha Handley, restored many of the interior details that were left to languish in the basement. They consulted preservation experts, including Aaron Green, who with Wright collaborated on the Marin Civic Center. Marsha feels confident that the new owner, a Hong Kong–based investor who also owns Los Angeles's Bradbury Building, will be mindful of this building's significance. It's rumored that the new tenant may be a restaurant, or a European clothing boutique. City Planners have broached the bid for elevated landmark status with the owner's representatives, as they intend to send the revised landmark designation to the Planning Commission and Board of Supervisors in the next few months.
Less than a year after presenting a design proposal to renovate an empty warehouse into their new national headquarters in the Crossroads Art District of Kansas City, local firm BNIM has withdrawn its plans. After a losing battle over tax incentives, the firm and the building’s owner have stated that without the financial support of the city, the project is not economically viable. The proposal by BNIM, the 2011 AIA National Architecture Firm Award winners, was envisioned as a “living” building that would efficiently use water and produce as much energy as it used. As planned, the building would achieve a higher standard than LEED Platinum, something that BNIM has achieved one other time in a built project in New York State. To achieve this level of sustainability, the project was planned to utilize numerous novel technologies and techniques, including a greenhouse to help with water management and a solar array used for energy, passive water heating and cooling, and shade. Also serving as a space for professional and academic education the firm described the project as “a global laboratory for quality sustainable design.” The firm would have used the top two floors of the 43,000 square foot building while the bottom floor was slated for retail, commercial, and office space. With the support of the mayor and city council, the $13.2 million project was hoping to utilize $5.2 million from the cities Tax Incentive Finance Committee (TIF). A hotbed issue in many cities, social justice activists and concerned Kansas City School District parents opposed the incentives going to the project, stating that too much money would be diverted from public schools. Understanding the concerns of residents, BNIM and the city attempted to negotiate and reformulate the proposal and incentive package to accommodate the resistance. The decision to provide the TIF money was to be voted on as a ballot initiative. By gathering petition signatures, opponents were able to stop the measure from even being added to the ballot, effectively killing the possibility of the money being released. BNIM has stated that its is still committed to staying in Kansas City, and will now be looking for a new office space as current projects require growth in the coming year.
Building on a long relationship, the 2016 SEED Award for Public Interest Design has been awarded to the arts education nonprofit Marwen’s new renovation and expansion, designed by Chicago-based Wheeler Kearns Architects. Founded in 1987 in a one-room studio, Marwen now serves from 200 to 300 students a year in part thanks to expansions and renovations done over the last 20 years by Wheeler Kearns. The newest of these projects renovated 30,000 square feet, expanding the organization’s space within its current building. New spaces in the building include a main student gallery, an alumni gallery, a library, administrative offices, nine state-of-the-art instructional studios, and a 950-square-foot glass loggia on the north side of the building. The loggia, an element Marwen and Wheeler Kearns have been discussing for since 1999, was finally able to be realized with the purchase of the neighboring parking lot. The space acts as an additional public exhibition and gathering space. Continuing with some of the elements and sensibility of earlier renovations for the organization, Wheeler Kearns worked with existing conditions in the former manufacturing building. Most walls were left as exposed brick and heavy timber douglas fir beams make up the structure and ceiling. The floors were replaced with poured, sound-deadening, tooled concrete. Gallery and studio spaces have limited color pallets to allow for exhibition flexibility, while informal support spaces are set in vibrant colors. The new and improved spaces will be used to expand Marwen’s programs and support its increased focus on college and career counseling for under-served 6–12 grade students from around Chicago. Along with that counseling the organization provides free classes in photography, graphic design, film, animation, textiles, and ceramics. Besides working with Marwen on its former spaces, Wheeler Kearns has also worked on other small cultural institutions in Chicago including the Old Town School of Folk Music and the Beverly Art Center. In a statement Dan Wheeler, founding partner at Wheeler Kearns explained the office's interest in designing for the youth and the arts, “In many minds, the arts are seen as an avocation; for a parent to come into a designed place and see that there are serious teachers and artists working with and instructing the students, and that their child’s work is considered and presented in a professional way, that gives them the confidence that this activity might actually be something to support and sustain their child.”
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.
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.