Posts tagged with "Art Deco":
After almost two years of construction, The Bass, Miami’s museum of contemporary art, is scheduled to open this fall. The project was initially scheduled to be completed December 2016 to coincide with Art Basel, but was forced to extend the construction timeline to accommodate the extra care needed to revive a historic structure.
The original building was constructed in the 1930s and was designed by Miami architect Russell Pancoast. It was first built as the Miami Beach Public Library and Art Center—considered South Florida’s first public space dedicated to art—and was renamed The Bass Museum of Art in 1964. Soon after, it was added to the National Register as “an exemplar of Art Deco architecture [sic].”
In 2001, the building underwent its first expansion at the hands of Arata Isozaki & Associates, a Tokyo-based architecture firm known for its work on projects such as the Museum of Contemporary Art in Los Angeles and the Olympic Stadium in Barcelona. The renovation added a wing to the building and a second level to house 16,000 square feet of exhibition space.
The museum board soon realized that it would need more room, and began plans for a second renovation, which broke ground in 2015. The team for this renovation includes Arata Isozaki & Associates and David Gauld, a consulting architect in New York, in addition to Jonathan Caplan of Project-Space, who redesigned the interior aesthetic of the museum.
The new additions build on the existing footprint of the structure, creating three additional galleries for a total of six. A creativity center will be housed in a new education wing, quadrupling the museum’s previous education space. The interior renovations are the most considerable in the building’s history, involving the reconfiguration of two courtyards to accommodate a new museum store and cafe. Though the changes alter some of the existing footprint, they will also allow visitors to once again use the original entrance of the building from Collins Park.
“[The] historic building is of real significance to our community, and one of the few structures of its kind on Miami Beach,” said Debbie Tackett, preservation and design manager for the Miami Beach Planning Department, in a statement. “The fact that the museum is striving to expand its exhibition and educational spaces while maintaining the integrity of the existing architecture makes this an example of resilient preservation.”
The Bass museum is scheduled to reopen fall 2017.
Anbang knows the Waldorf’s history is a large part of what makes this hotel so special. That’s why we fully support the LPC’s recommendation for what would be one of the most extensive interior landmark designations of any privately owned building in New York. These designations are consistent with our vision and will protect the Waldorf’s significant public spaces. We are now finalizing renovation plans for the Waldorf that preserve these spaces and will ensure that the Waldorf will provide memorable experiences for generations to come. We look forward to sharing our plans publicly when they are complete.This article appears on HoverPin, a new app that lets you build personalized maps of geo-related online content based on your interests: architecture, food, culture, fitness, and more. Never miss The Architect’s Newspaper’s coverage of your city and discover new, exciting projects wherever you go! See our HoverPin layer here and download the app from the Apple Store.
Anbang knows the Waldorf’s history is a large part of what makes this hotel so special. That’s why we fully support the LPC’s recommendation for what would be one of the most extensive interior landmark designations of any privately owned building in New York. These designations are consistent with our vision and will protect the Waldorf’s significant public spaces. We are now finalizing renovation plans for the Waldorf that preserve these spaces and will ensure that the Waldorf will provide memorable experiences for generations to come. We look forward to sharing our plans publicly when they are complete.The spaces under review include the Park Ave foyer and colonnade, the West Lounge (a.k.a. “Peacock Alley”), the East Arcade, the Lexington Avenue stairs, assorted lobbies and vestibules, the Ballroom entrance hall, and the famous Grand Ballroom. The ballroom hosts many high-profile events, including the Al Smith dinner that serves as comedic relief each presidential election season as the two candidates take light-hearted jabs at each other. The decadent architectural details inside represent an early embrace of the Machine age, even if in a “superficial way,” as described Marianne Lamonaca, author of Grand Hotels of the Jazz Age, a 2005 book about New York’s remarkable hotels of the era. "This is one of the most distinctive interiors in the city," Commissioner Frederick Bland explained. "In Delirious New York, Rem Koolhaas writes a whole chapter on this extraordinary city within a city. I always encourage my students to visit this sequence of spaces. That is what make this so special to me. It is public, or nearly public. To walk on that main axis, entering from Park Avenue, and ending up down a level on Lexington is wonderful. It is probably my favorite interior in all of New York. The fact that it is not landmarked already is really horrifying. This is a delightful day for me."
In October 2014, photos surfaced of John Johansen’s Mummers Theater, or rather, the theater reduced to a pile of scrap metal and rubble—the humbled remains of bold architecture traded in for corporate towers courtesy Robert A.M. Stern.
In 2010, before its demolition, the 1970 theater was vacant and severely damaged by flooding. Finding funding for historic preservation, especially for structurally compromised buildings, can be challenging.
And, if two Oklahoma state senators, Mike Mazzei and Rob Standridge, had their way—luckily the bill died on the Senate floor—more buildings could have lost funding sources for preservation and go the way of Mummers Theater.
This past February, the two Republican lawmakers introduced Senate bill 977, a sweeping proposal to close the state’s budget deficit by nixing a slew of tax credits for two years, including those intended for historic preservation.
Oklahoma’s Own News on 6 reported that the bill could affect Tulsa buildings like 400 South Boston, a planned hotel conversion; the TransOK building at Sixth and Main, a 30-unit residential building; and the Palace Theater, a residential conversion in process. The largest project to be affected is in the heart of downtown Oklahoma City: The $30 million renovation of the city-owned First National Center, a 33-story, almost one-million-square-foot 1931 art deco building at Broadway and Park Avenue.
On January 7, 2016, Oklahoma City awarded Lewisville, Texas–based NE Development the contract to preserve First National and convert it to the mixed-use trifecta of residential, retail, and hotel. Senate bill 977 was introduced the following day, complicating the project’s timeline and casting momentary doubt on its financial feasibility.
The issue with rehabbing big buildings like First National Center, said Luke Harry, president of asset management at NE Development, is that “you have to figure out ways to normalize the costs, not to make it cheap, but to make it regular. I could build a 30-story tower for half the price of rehabbing First National.”
The aim of federal, state, and new market tax credits, tax increment financing, and similar incentive programs, said Harry, is to mitigate the risk of investing in often-costly rehabs. “Nobody’s making money off of the tax credit, they’re making money off what you can do five, seven years down the road, once everything starts to stabilize.”
To many developers and preservationists, the cuts seem like a cheap shot. Harry explained that in order to receive a tax credit, his work—plans, rehabilitation, and completed construction—is checked at those three key points before the state issues any tax credits. “Everyone assumes the developers gets these credits. They don’t really understand that the money never gets close to [the developers]. We actually take a small loan out on the money. It’s not like when we have $20 million in tax credits, we’re walking around with $20 million in our pockets.”
NE Development will not close on the building until after May 27, 2016, the day the legislative session concludes for the year. Right now, the bill is in legislative purgatory. It’s been stripped of its title, and a title-less bill cannot be made into law. Roxanne Blystone, Senator Mazzei’s executive assistant, said that the bill was amended to reinstate historic preservation tax credits. The sponsors of the bill could resuscitate the bill during the next session, although this is not likely to happen.
While the near-certain death of the bill is good news for the historic preservation tax program, its mere presence has delayed the timeline of large projects like First National and all but killed smaller projects, especially in rural Oklahoma, observed Harry. Anticipating a delay like this, NE Development had two extensions related to preservation credits in its contract, “Mostly because it’s a longer process. We’re comfortable with our ability to get the credits, we’re just uncomfortable with whether they’re going to be there,” Harry noted, ruefully. Melvena Heisch, deputy state historic preservation officer at the Oklahoma Historical Society, said that she doesn’t know if the bill has affected any projects yet, but the agency was “quite concerned” about that possibility early on.
If the threat of cuts to historic preservation has real-world ramifications in Oklahoma, the bill also raises questions around civic priorities and the future of preservation in the state. Harry suggested an intervention as simple as a lunch-and-learn for legislators to address misperceptions about the tax credits and give a clear explanation of how they work. “I think everybody would understand [the credits] because they’re just not tricky, they’re very transparent. Historic tax credits work really well. Without that money, beautiful historic buildings rot in place.”