Another prominent Midtown Manhattan building could be demolished and replaced with a 26-story mid-rise tower. The Demarest Building, a 19th-century, iron-framed structure on the corner of Fifth Avenue and 33rd Street, has long been loved for its three-story-high arched windows and unique history as a high-end horse carriage showroom and later as the home of the world’s first electric elevator. Its owners, Pi Capital Partners, filed an application for the new building this summer but have yet to begin the paperwork for a demolition permit, according to amNewYork. Over the past few years, preservation groups have tried without success to stop the project. They worry that, if destroyed, the Demarest Building would be a major loss for the city, given its architectural and technological legacy. It was designed in 1890 by local firm Renwick, Aspinwall & Russell, the practice of St. Patrick’s Cathedral architect James Renwick Jr., and built by Aaron T. Demarest, a prominent carriage and automobile manufacturer. The then-upcoming Carnegie Hall was thought to be the design inspiration for the light-orange Beaux Arts building, though it’s unlikely since they were built around the same time. Preservationists are set to gather today at 10:30 a.m. at a rally on-site (339 Fifth Ave.) to protest the Demarest's potential demolition. The event is co-organized by the Greenwich Village Society for Historic Preservation, which has repeatedly appealed to the Landmarks Preservation Commission (LPC) to designate the building as a local landmark and has launched a petition (here) to save the building. The LPC claims its exterior has been altered too much since opening nearly 140 years ago. Andrew Berman, the organization’s executive director, told amNewYork that despite any changes, the Demarest Building is particularly significant given its age and because it’s a “great link to New York’s commercial past and its development as the commercial capital of the world.” Situated blocks away from Penn Station and near Herald Square as well as the Empire State Building, the structure is and has always been a cornerstone of activity. While now the ground floor contains a Wendy’s, a souvenir shop, and a money exchange, the upper portion of its tan brick facade—with its terra-cotta panels and detailing—has remained architecturally iconic, preservationists argue ,and should be saved.
Posts tagged with "Beaux-Arts":
In any other circumstance, razing a beloved historic building elicits outrage from preservationists. This time, the Landmarks Preservation Commission (LPC) worked the homonym, approving plans to raise the Palace Theater, at the corner of Seventh Avenue and West 47th Street, by 29 feet. New York's PBDW Architects and historic preservation consultants Higgins Quasebarth & Partners will lead the theater-raising and subsequent renovation. The lift will allow for 10,000 square feet of retail space on four levels, a new entrance on 47th Street with a 75-foot marquee, back-of-the-house space, a lobby 25-times the size of the current one, plus new bathrooms, the Wall Street Journal reports. Indianapolis-based Maefield Development is financing the move and renovation. When complete, theatergoers will enter through an escalator on West 47th Street to access the mezzanine lobby. Completed in 1913, the 1,700-seat Beaux-Arts Palace was one of the largest vaudeville theaters in the city. Originally, the theater was ensconced in an office building on four sides, though that building was demolished in 1988. Currently, the 45-story DoubleTree hotel tower surrounds the structure. The LPC gave landmark status to the theater's interior in 1987. Though raising a theater in the middle of a crowded urban area poses some logistical challenges, the project management team is not worried. The existing truss will be reinforced. One part will be removed, and a full box will be built around the theater. Beams for the new platform will be installed before telescopic jacks are put into place. The jacks they are using have twice the capacity needed for the weight of the structure, just in case. The existing structure will be raised one inch at a time. Though approved, the plan faced opposition from some preservation groups concerned about the message—commerce > art—that the project sends. The nonprofit Historic District Council noted that:
It is not appropriate to move or obstruct access to an interior landmark to make way for private development, a request that seems to be on the rise as we saw last year with the clocktower at 346 Broadway. Approval of this application will be a clear communication of conscience, and indicative that our culture and art is merely secondary to a Times Square corporate chain store.Proponents argue that the move allows both ground floor retail and expanded space for theater. Moreover, the Palace's interface with the street will be enhanced by the move, as the sidewalk on Seventh Avenue is too busy for theatergoers to linger around pre- and post-show. There's no word yet on dates for the move.
This weekend, 256 public and privately-owned sites across New York City will open their doors to thousands of architecture and history nerds for the 13th annual Open House New York (OHNY) Weekend. All sites are free to visit, though some require registration in advance. Gregory Wessner, executive director of OHNY, said the event is an "opportunity to get an audience to look at the city through different disciplinary lenses." This year, 1,200 volunteers will staff 256 sites. Wessner explained the selection criteria: sites are evaluated for their architectural, cultural, and historical significance; location; proximity to public transportation; period, style, and typology. Last year, OHNY Weekend attracted approximately 75,000 visitors over two days. 80 percent of those visitors were New Yorkers. Given the depth and breadth of the offerings, it's impossible to privilege one site over another, though Wessner said he's particularly excited about City Hall. City Hall, he believes, "represents what's great about OHNY. It represents the seat of government, which most of us don't get to go into, and welcomes the public to go in and look around." New York's Beyer Blinder Belle renovated the palatial 1812 structure this year. A little-known architectural mecca is Bronx Community College. From 1959–1970, New York University (then owner of the campus) commissioned Marcel Breuer to design four buildings. DOCOMOMO New York/Tri-State will lead tours of Breuer's buildings on Saturday and Sunday. Also on campus: the Beaux-Arts Gould Memorial Library and Hall of Fame (Stanford White, 1900) and North Hall and Library (Robert A.M. Stern, 2012). Though the weekend is the group's biggest event, OHNY operates throughout the year, organizing tours and talks to encourage dialogue around major issues affecting the city's built environment. The Final Mile is a yearlong exploration of the "challenges and choices for an equitable and resilient food system" in New York. Food manufacturing, Wessner stated, is the fastest growing manufacturing sector in the city, and drives real estate development (think Smorgasburg and Chelsea Market). Tomorrow, Friday, OHNY is leading tours of food manufacturing facilities as a lead-up to the weekend. Visitors should check the OHNY Weekend for updates ahead of their trip. See the gallery below for more images of featured sites.
There are few buildings as emblematic of the urban blight in Detroit as Michigan Central Station. That changed slightly this week, when new windows appeared in some of the historic building's vacant frames. FOX 2 reporter Jason Carr spotted the new fenestration earlier this week. Michigan Central Station's neoclassical entryway and mighty Beaux-Arts towers once welcomed rail passengers to Detroit like royalty, but the building has been empty since 1988. Manuel "Matty" Moroun owns the building through his company NBIT. Last year the company got permits for $676,000 of rehabilitation work, from installing new elevators to repairing the roof. Mlive reported that NBIT had invested more than $4 million on "security, preparation and interior improvements" on the building to date. A few new windows may be little solace for those hoping to mount a full restoration, which could cost $300 million. But as FOX 2 observed, some are happy anythings being done at all:
"I love it," said another passerby. "I want good things to happen here."
In 1915, when San Francisco’s City Hall, designed by Bakewell & Brown, opened to the public after the Great Earthquake destroyed an earlier edifice, architect Arthur Brown, Jr. couldn’t have predicted that a digital light show would grace the Beaux-Arts building a century later. But, San Francisco Mayor Ed Lee recently proposed just that—his plan would allow for corporations and city events to use the east façade for projected light and multimedia displays. https://youtu.be/u8fY585emEM The San Francisco Examiner reported that the proposal immediately opened up a debate about whether civic structures should be used for commercial purpose and calls attention to the blurry boundaries of public-private partnerships, especially between the city and tech companies. In a text message to the paper, supervisor John Avalos expressed his concern that the display is an advertising opportunity for local companies. The mayor’s office contends it is an expression of creativity to enhance special events held on Civic Center Plaza. “Like City Hall brought to you by Facebook, Salesforce, Big Brother of Public Private Partnerships Ron Conway?” he wrote, referencing one of Mayor Lee’s most prominent backers. “What’s next, selling naming rights for City Hall and all the other Civic Center buildings?” he continued. John Updike, San Francisco’s director of Real Estate, countered that there would be tight controls on the displays. A July 27 letter to the Board of Supervisors spelled out the limitations:
The content of displays shall be City-approved government speech. This ordinance does not open the east facade of City Hall as a public forum, or non-public forum, for nongovernmental speech, nor shall it be open to general advertising signs.The rooftop installation of two projectors on Asian Arts Museum and the Main Public Library comes with $1.5 million price tag. The cost would be covered by a private fund related to San Francisco’s Centennial Celebration. All aspects of the installation on the historic buildings require review by the Historic Preservation Commission.
Kansas City's main rail station will get a $7.5 million expansion and streetscape improvement, local officials announced this week, including a new bridge designed to improve circulation between the terminal's “front and back yards.” Union Station was built in 1901, but its last major renovation was in 1997, when a major renovation closed the Beaux Arts building—which is on the National Register of Historic Places—for two years. Now KC-based Burns & McDonnell, picked by the Union Station board after a “rigorous” review process, will guide the redesign, renovation, and reconstruction of the local landmark's outside areas. A $2.25 million tax credit from the Missouri Development Finance Board kicked off fundraising for the project, which topped off only after a recent gift from the Bloch Family Foundation. The Hall Family Foundation covered more than half of the total project cost with a gift of more than $4 million. The new landscape features include a bridge for cars and pedestrians connecting Union Station's various outdoor spaces to its parking garage. New spaces include an outdoor events plaza to the west of the adjoining Science City for interactive exhibits and community-based events. Officials hope to complete the project by 2017.
Cook County Board President Toni Preckwinkle briefly took the lectern at the Chicago Architecture Foundation (CAF) Tuesday night to welcome presentations on the future of an infamous white elephant structure on the city's near West Side: the old Cook County Hospital building. “We believe that this building has inherent value,” Preckwinkle said, “and that a thoughtful process like this can help unlock that value.” CAF asked the public through social media what they wanted to see on the site, which stands vacant in the Illinois Medical District along the Eisenhower Expressway. Apartments, affordable housing, and preservation of the 1914 structure scored highly among the 355 respondents of their informal survey. Although the building won recognition on the National Register of Historic Places in 2006, its southern wings were demolished in 2008. Its ornate beaux-arts facade remains along the 1800 block of West Harrison Street, retaining a physical link to its storied place in medical history as the country's first blood bank and a haven for the city's booming immigrant population. CAF's Lynn Osmond called the redevelopment of Cook County Hospital “a win-win opportunity” for the public and potential developers. The team convened by CAF fleshed out two scenarios, which they said could be fully funded by a private developer. “Adaptive reuse will put 526 more people back to work than a new construction option,” Osmond said. Their plan called for first floor retail and either office or mixed-income residential development in the floors above. The office option totaled 243,000 square feet of office space at about $20 per square foot rent, leaving 31,000 square feet of retail on the first floor. The residential option called for 302 units, (25 percent of which would be reserved for affordable housing) and also kept retail on the first floor. Another plan by the Chicago Central Area Committee reached out beyond the walls of the hospital itself, proposing a campus-scale redevelopment of the immediate area with new transit hubs, programmed park space and the construction of office and hotel towers nearby. You can view each team's presentation and read more about the hospital's redevelopment here. The County says it intends to issue RFPs for redevelopment of the area in “fall 2014.”
University of Arkansas addition celebrates the future with a contemporary rewrite of Neoclassicism.As head of the architecture department and distinguished professor at the University of Arkansas Fay Jones School of Architecture, Marlon Blackwell was uniquely qualified to oversee the renovation and expansion of the school's home, Vol Walker Hall. To unite the school's landscape architecture, architecture, and interior design departments under one roof for the first time, Blackwell's eponymous firm designed a contemporary west wing to mirror the east bar on the existing Beaux-Arts style building, constructed in the 1930s as the university library. But the Steven L. Anderson Design Center—which tied for Building of the Year in AN's 2014 Best of Design Awards—is more than a container for 37,000 square feet of new studio, seminar, and office space. It is also a teaching tool, a lesson in the evolution of architectural technology writ in concrete, limestone, glass, steel, and zinc. "Our strategy was to create a counterweight to the existing building," explained Blackwell. Rather than a layered steel-frame construction, Marlon Blackwell Architect opted for a post-tensioned concrete structure to convey a sense of mass and volume. "We also wanted to demonstrate what you can do with new technology like post-tensioned concrete, such as introducing a cantilever and introducing a profile that has minimal columns in the spaces," he said. "All of that is a didactic tool for our students to contrast and compare with the load-bearing technology of the existing structure." The exterior of the Steven L. Anderson Design Center also reflects on changes to architectural practice during the last 80 years. "We really wanted to develop a strong profile of the building, in contrast to Vol Walker Hall," said Blackwell. He describes the effect as a figure-ground reversal: where in the older structure the mass of the building is the ground and the windows and ornament act as figure, in the new wing the mass is the figure and the fenestration the ground. To create what Blackwell terms a "condition of resonance" between the Design Center and Vol Walker Hall, the architects engaged Clarkson Consulting to develop an architectural concrete to match the color of a local Arkansas limestone no longer available. They echoed the Indiana limestone on the older wing with panels sourced from a quarry only 50 miles from the original. But instead of grouting the limestone cladding on the new wing, Blackwell chose a limestone rain screen system from Stone Panels. "That allows us to go much thinner but much larger," he said. "Again, we're using the same materials but showing how the advancement of technology allows for a different expression of architecture." The defining feature of the Design Center is the more than 200-foot-long glass and steel curtain wall on the western facade. Knowing that the western exposure would provide the only source of natural light for the new wing, the architects worked to balance the need for light against the threat of solar gain. To complement the existing building, they chose a fascia steel curtain wall custom-fabricated by local company L&L Metal Fabrication. With curtain wall consultants Heitmann & Associates, Blackwell developed a brise soleil comprising 3/4-inch by 18-inch frit glass fins, angled to filter sunlight into the Design Center's 43-foot-deep studios. "What we like about it, too, is that it's one big window," said Blackwell. "It allows it to feel as if we've cut a section right through the building. At night the entire facade becomes a beacon, allowing for a nice interface between the school of architecture and the rest of the community." Other details, including the monolithic concrete pours designed to lighten the Design Center's connection to the ground, and zinc cladding used on the top floor to sharpen the profile of the main body, continue the dialogue between the new structure and its Neoclassical neighbor. "There are a lot of little things that give a tautness to the expression of the new addition, and give it its own identity," said Blackwell. "But at the same time, one of the things we were faithful to was trying to analyze and uncover units of measure and proportion on the old building, and apply that to ours." Perhaps more importantly, the building works as a design school—and Blackwell would know. "There's certainly contrast on the outside," he said. "But there's an almost resonant seamlessness on the inside."
In 1913, the 69th Regiment Armory in Manhattan hosted what was then considered the most shocking art exhibition the public had ever seen. The International Exhibition of Modern Art, which came to be called The Armory Show, introduced modern European art to an East Coast audience. A showcase of -ism art movements then in development and exploration by artists now considered masters of their craft, the event was transgressive; it induced backlash from several publications and from former President Theodore Roosevelt who commented that “the lunatic fringe was fully in evidence.” Yet, even in his blatant dislike of the artworks displayed, President Roosevelt admitted the importance of the show’s existence, its revelation of the European “art forces that cannot be ignored.” This Saturday, September 28, in a centennial homage of the show that shocked the American world, the Architectural League of New York is hosting their annual Beaux Arts Ball in the same venue. Taking inspiration from a space originally meant for National Guard trainings and military activities, the ball will work with and within the great hall to transform its appearance, shockingly. (And tickets are on sale now!) Designed in 1903 by the architecture competition-winning firm Hunt & Hunt, the 69th Regiment Armory reflects the Beaux Arts style, featuring a sweeping hall with exposed interior structure and a symmetrical brick façade covering its exterior. According to Situ Studio, the environment created for Arch League’s 2013 Beaux Arts Ball will feature “an array of tensegrity structures that will rise above and dip below and existing cable grid datum 20 feet overhead.” This array includes an artistic matrix of sculptural, yet lightweight, fabric shapes that will float above partygoers. Accompanied by responsive lighting by Renfro Design Group, a performance of huge Processional Arts Workshop puppets, and sound installation by Nathan Halpern, the event will recreate the 28,000 square feet civic space as a completely different environment, a modern version of the inflammatory Armory Show that transpired there a century ago. Celebrate your favorite -ism at the party of the year. The Architectural League of New York’s 2013 Beaux Arts Ball September 28, 2013 9:00PM - 1:00AM 69th Regiment Armory at Lexington Avenue New York City For tickets, go to: archleague.org/2013/09/beaux-arts-ball-2013 Beaux Arts Ball 2013 - Design Preview from Situ Studio on Vimeo.
Classically trained sculptors breath new life into four 20-foot angels with the help of Rhino.When Old Structures Engineering engaged Boston Valley Terra Cotta in the restoration of the 1896 vintage Beaux-Arts building at 150 Nassau Street in New York—one of the city’s original steel frame structures—the four decorative angelic figures, or seraphs, that adorned the corners of the uppermost story were in serious decay. “Up close, they were in an appalling state,” said Andrew Evans, engineering project manager. “The biggest issue we had with the angels was understanding what happened with the originals.” The seraphs were carved from stone by Spanish immigrant Ferdinand Miranda in 1895 and had suffered years of exposure and improper maintenance. By the time the facade was up for rehabilitation, the angels were haphazardly strapped to the building with steel bands and supported with bricks. Their state was such that repairs would not suffice and Boston Valley’s artisans began the task of recreating the 20-foot-tall Amazonian figures. It was the company’s first foray into parametric modeling. Like Dorothy stepping from sepia tone into Technicolor, the sculptors at Boston Valley Terra Cotta proclaimed, “We’re not in Kansas anymore,” when they fabricated the 20-foot angels using parametric modeling and lasers. “I have a history in classical sculpture, so when this came in front of me, it was sink or swim,” said Mike Fritz, master sculptor at the Buffalo, New York–based ceramics company. “We went to Oz and everything changed after that.” Henceforth, the newly constructed terra cotta angels came to be known as “Dorothy.” The most decrepit angel was photographed onsite and then disassembled for shipment to Buffalo. In Boston Valley Terra Cotta’s ceramics studio, the images were converted with photogrammetry software and transferred to Rhino to build a digital model. The model was divided into sections, such as an arm, a face, several feathers of a wing, etc. Then a laser cutter was used to cut plywood profiles that matched each section. “Those [plywood] profiles of her face or her arms were packed with clay to realize the full forms,” said Mitchell Bring, the project manager for Boston Valley Terra Cotta. Each of Dorothy’s parts were hand-finished by Boston Valley’s staff of 30 sculptors. Once the clay had set, negative molds were made of each section to form the parts for Dorothy’s identical sisters. The finished sections, each of which weighs upward of 500 pounds, were shipped back to 150 Nassau Street in pieces and assembled onsite with mortared joints. Since completing the project, the digitally enhanced sculpture methods have been refined and wholly embraced by Boston Valley’s team of artisans. “Through this work flow, we’re able to get a little closer to our material earlier in the process,” Fritz said. “If we went without the new tools, it would have been six weeks of work in total. But even with our substantial learning curve the modeling and the build on the shop floor only took two-and-a-half weeks total.”
The landmarked Standard Oil Building at 26 Broadway continues to undergo its transformation from the oil giant’s Carrère and Hastings-designed New York headquarters into a bustling school building. Last week, AN got a sneak peek at the third academic institution to be completed there, a 104,000-square-foot space occupying the building’s first, mezzanine, and second levels. It will add 677 high school seats to the Broadway Education Campus, which currently includes The Urban Assembly School of Business for Young Women (on the 4th and 5th floors) and Lower Manhattan Community Middle School (on the 6th and 7th floors). All three schools have been designed by John Ciardullo Associates Architects, who have worked extensively with the SCA over the past several decades. Perhaps that relationship is why Ciardullo was allowed to have a bit of fun with the campus. As illustrated by the below photos, the underused interior mechanical courtyard is being transformed into a double-height gymnasium complete with a peaked skylight. The construction took a bit of maneuvering—not only with the Landmarks Preservation Commission but also with the new roof’s structural steel, which was slid into place through the building’s windows. John D. Rockefeller wouldn’t have imagined that students would someday play basketball within the walls of his Beaux Arts edifice, which he occupied from 1928 through 1956, but fortunately new pupils will see many of the original limestone and marble details intact in the school’s hallways, in addition to original elevator doors (now sealed shut) and brass light fixtures. Of course, the 29-story building’s upper floors are still marketed as posh office space, including Rockefeller’s own quarters, complete with historic woodwork and chandeliers.