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.
Posts tagged with "Adaptive Reuse":
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.
Paris has its answer to Silicon Valley, with plans to convert an historic train station into the world's largest home for digital entrepreneurship. Architect Jean-Michel Wilmotte has been entrusted to rehabilitate the landmark building, situated on the southern bank of the river Seine, into a technological hub to accommodate 1,000 start-up companies by the year 2016. The new Halle Freyssinet building will be structured around modular container-based architecture, a nod to the cargo train heritage of the building, and will provide a range of business functions including meeting rooms, spacious co-working areas, a large auditorium, a fab-lab (workshop to create digital prototypes) and a 24-hour restaurant and bar. The ambitious venture is made possible through the Municipality of Paris with joint financing by Caisse des Dépôts et Consignations and French entrepreneur, Xavier Nile. If all goes to plan, the new digital incubator will strengthen France's presence and competitiveness in the tech enterprise market by cultivating an open space for entrepreneurs to grow and share ideas. "Paris is a magical city, a city that attracts people from around the world and where a real energy around digital is developing. But young companies that want to settle there are faced with a lack of affordable, practical and high-speed equipped places." Xavier Niel told the newspaper Journal du Dimanche.
Sawing off competition from five other shortlisted firms, British architects Theis and Khan have been selected to design the Royal Institute of British Architects' new headquarters in London. Located only a few buildings away at 76 Portland Place in downtown London, RIBA’s new premises are to be located inside the current Institute of Physics building, which will be entirely renovated. The existing RIBA offices will be freed up for new exhibition and events space. Construction will begin in March 2014 and is expected to last a year. (Photo: NICK GARROD/ FLICKR)
Artists in Flint, Michigan are used to morbid analogies, but Spencer’s Art House is literally using a funeral home to “demonstrate Flint’s potential for rebirth.” The project turned a 120-year-old mortuary in Flint’s historic Carriage Town neighborhood into an alternative space for artists, designers, and engineers. It’s a gut rehab and then some, but the project has attracted the full force of Flint’s artistic community. Vacant 15 years, the space has hosted concerts, puppet shows, community meetings, and other events since various artists and student groups began to fix it up. Flint’s Public Art Project passed along the news that the team launched a successful Kickstarter campaign, raising $12,000. Their project uses only recycled materials, reclaimed from construction dumpsters, occasional donations, and to-be demolished houses around the city. In addition to clearing debris in Spencer’s House, the team has added weatherproof siding, rainwater harvesting systems, and an outdoor amphitheater.
After a thorough search to identify a live/work project site in New York City, Artspace selected the former Public School 109 in East Harlem, a distinctive five-story building with copper-clad cupolas and decorative terrace cotta designed by Charles B.J. Snyder in 1898. The newly renovated building will include 90 units of affordable housing for artists and their families and 10,000 square feet of non-residential space for non-profits and community organizations. The Gothic Revival-style building is listed on both the National and State Register of Historic Places, and as part of the $52 million live/work project Hamilton Houston Lownie Architects and Victor Morales Architects plan to restore much of the terra cotta and reinstall original gargoyles and a large spire. Apartments range from 480 to 980 square feet with 100 to 150 extra square feet for artists to use as studio spaces, and feature large windows, high ceilings, and wide doorways. The project consists of common spaces such as galleries, meeting rooms and green space that promote community involvement. Applications will be available in Spring 2014. To assist the area in preserving its traditional Latino culture, at least half of the units will be reserved for current East Harlem residents.
Last year's Open House Chicago sent architecture enthusiasts skittering around the city to explore a fraction of the 150 sites open to the public during one October weekend. This year the Chicago Architecture Foundation presents the third annual Open House, and it will be no less impossible to see all that the free de facto festival has to offer. The buildings (view a full site list here) are open 9 a.m. to 5 p.m. on Saturday and Sunday, Oct. 19-20. Lincoln Park Patch.com has a guide to that neighborhood’s spots, including The Midwest Buddhist Temple and the Brewster (Lincoln Park Palace) apartments, the building from which an aging water tower plummeted in July. Pick a neighborhood (13 are featured), or a category, to line up your own itinerary. Nineteen architecture offices are open to the public, as are three Frank Lloyd Wright houses (Robie, Charnley-Persky, Emil Bach). You can follow the Foundation’s “sustainability trail” to stops like The Plant, a meatpacking facility turned net-zero vertical farm, power plant-turned-high school Power House High, and Uptown's "Greenrise".
The TWA terminal at JFK airport in New York may soon change prevailing opinions that sleeping at the airport is strictly a last-resort decision. Reports have recently circulated that the Port Authority of New York and New Jersey has named André Balazs—the hotelier behind the Standard hotels in New York, Miami, and Los Angeles—to develop the iconic TWA terminal in Jamaica, Queens. According to an exclusive interview with the New York Post, the terminal will be transformed into a hotel and conference center with a spa and fitness center, retail space, eateries, and a flight museum. The facility will be called The Standard, Flight Center. Port Authority Executive Director Pat Foye told the Post in a statement, "The Port Authority is committed to preserving the essence of [Saarinen’s] iconic design and to continuing to work with [Balazs Properties] on a plan to transform the historic TWA Flight Center into a one-of-a-kind hotel and conference center in the heart of JFK’s central terminal area." Andre Balasz Properties could not be reached for comment. Eero Saarinen designed the terminal in 1956 that then opened in 1962, though flight operations were suspended in 2001. Four years later, JetBlue began construction of a new terminal that encircled the original building and has been open since 2008. Saarinen’s terminal has since remained vacant, with the exception of a handful of rare and exclusive events.