Posts tagged with "Beyer Blinder Belle":
At the end of 2015, restaurateur Thomas Carter and chef Ignacio Mattos, the duo behind Matter House, were tapped to create the new restaurant and coffee shop at the Met Breuer in collaboration Beyer Blinder Belle, the architects that led the building’s overall renovation. Carter and Mattos previously created trendy downtown restaurants Estela and Café Altro Paradiso, and Thomas P. Campbell, the director and CEO of the Metropolitan Museum of Art, hoped that the pair would bring the same kind of hip ambience to the stately Brutalist Upper East Side building that now houses the modern and contemporary branch of the museum. With the opening of Flora Bar and Flora Coffee, the Met Breuer’s reinvention takes another step forward.
Flora Bar is open to the public without a ticket and is located one level below the sidewalk with a seating capacity of 74. Throughout the space, iconic elements play off of updated, modern decor. For example, an ample wood-and-marble bar and custom stools by Brooklyn-based designer Steven Bukowski complement the original concrete walls and columns, while the ceiling, with Marcel Breuer’s original disc-shaped lights, is mirrored by the circular Mountain White Danby marble tables. Flora Bar will maintain separate hours from the museum and will be accessible through the main entrance even when the museum is closed.
Flora Bar and Flora Coffee 945 Madison Avenue, New York, NY Tel: 646-558-5383 Designers: Beyer Blinder Belle with Matter House
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Today elected officials, Port Authority higher-ups, and a whole cadre of former TWA pilots gathered in one of New York’s best buildings to break ground on the TWA Hotel, an extension of and homage to Eero Saarinen’s grand terminal at JFK.
The Beyer Blinder Belle–led (BBB) restoration of the existing TWA Flight Center and hotel extension is meant to bring back the ethos of Saarinen’s 1962 building, which has been closed to the public since 2001.
JFK is one of the country's busiest airports, and one of the only major international airports without an adjoining hotel. Today it accommodates 56 million travelers annually, but come 2050, 90 million passengers are projected to pass through its doors.
Like President-elect Donald Trump, Governor Andrew Cuomo fixated in his introductory remarks on the nation’s lackluster airports. Invoking halcyon days when big projects got done quickly, Cuomo lamented that New York is not keeping up with the Dubais and Shanghais of the world. Unlike thorn-in-his-side LaGuardia or the Second Avenue subway, the airport hotel is a bright spot: He praised MCR Development, the hospitality investment firm spearheading the project. “They have built a hotel for the future," Cuomo said. "They’re not building a museum, they’re building a business. They're banking on the future.”
Actually, there will be a museum. It's devoted to New York's role in the Jet Age, that hopeful time when people thought science and technology could resolve the profound contradictions of the human condition, and when women picked shoes to match their handbags. As befits the setting, there will also be exhibits devoted to midcentury modern design.
For travelers, the soon-to-be 500-room TWA Hotel will try to infuse some glamour into the New York airport hotel landscape, now thoroughly dominated by budget inns with gross carpeting. The new structure will sit behind the original terminal and flank its wings on either side: The landmarked flight terminal will be a lobby, and patrons will be able to access the structure via Saarinen's red passenger tubes that connect to Terminal 5. In that same vein, BBB's work will revive original interiors by Charles Eames, Raymond Loewy, and Warren Platner.
A 40,000-square-foot events space will accommodate up to 1,600 people, and attendees can access a 10,000-square-foot observation deck to see planes take off. If hungry, visitors can dine in eight restaurants and six bars, one situated prominently behind Saarinen’s terminal, or patronize a food-hall-cum-incubator that features Queens- and Brooklyn-based vendors. When it's complete in fall 2018, the building will have its own power plant, totally off the grid.
No need to worry about another Calatrava mall (uh, transit center): The $265 million project is being executed with the Port Authority and other agencies, but it is privately funded.
The Met Breuer, which opened in March of this year, houses the Metropolitan Museum of Art’s expanding modern and contemporary collections within its modest 29,000 square feet of exhibition space. When the Met moved into the building, its main goals were to restore and rejuvenate the space while still preserving the patina of the past. To that end, the Met gave the former Whitney the kind of exacting precision and gentle care it uses on its most treasured art objects.
That precision and care resulted in a building that both honors Breuer’s original vision and updates the space to meet the challenges of contemporary museums. The Met enlisted the help of Beyer Blinder Belle, a firm that specializes in the revitalization of historic buildings and has significant experience with the restoration of other midcentury modernist icons (Eero Saarinen’s TWA Flight Center at JFK International Airport and Wallace Harrison’s Lincoln Center Promenade are two great examples). The restoration of the building took just under a year.
The updates that the Met and Beyer Blinder Belle incorporated show an informed understanding of Breuer’s subtle, graceful materiality and his ingenious structural engineering. A multitude of restoration and revitalization techniques needed to be devised for the various materials used in the building, which includes terrazzo, concrete, walnut parquet, and the famed gray granite exterior. The bluestone floors were treated with a natural, black wax to bring a soft luster while the walls, which required both chemical cleaners and water, were treated with a gentle, painterly approach. Breuer designed with the effects of time on materials in mind. The Met and Beyer Blinder Belle followed this example by leaving the bronze handrails of the staircase unfinished, allowing them to show their wear.
The lobby showcases the updates made for a contemporary museum with greater visitor numbers. The space was completely redesigned with multiple ticket sales points, self-service kiosks, and a substantially decreased retail footprint. Additionally, the lighting in the lobby has been updated to Breuer bulbs that can dim and provide a warmer uniformity of color temperature. The plexiglass and stone information center originally installed has been changed to a LED screen.
For the time being, the Met and the Whitney share ownership of the building. The Met will occupy the Breuer masterpiece for eight years, with a possible extension to 15 should the Met Breuer prove to be a success.
Despite its fame, the Breuer building is not a New York City landmark. Perhaps with a new tenant and renewed interest in the space, the building will get the recognition it deserves. Otherwise, its fate will be another question for the city and architecture lovers, should the Met end up vacating.
About the author: Anna Gibertini is a freelance journalist based in the New York metropolitan area. She contributes regularly to The ArtBlog, a Philadelphia-based arts and culture publication, and has had work published in Charleston, South Carolina’s Post & Courier and Syracuse, New York’s The Post Standard. She recently graduated from Syracuse University’s Newhouse School of Public Communications with a master’s in arts journalism.
Like many universities situated in the heart of their communities, Princeton is grappling with the enormous challenge of growing its campus to accommodate new and expanded programs. Some of the strategies to expand include selective densification of the core and the renewal and repurposing of existing facilities. But longer range, the university will have few options but to expand at the periphery. While densification risks upsetting the delicate balance between buildings and open space that defines Princeton’s campus and grants it a majestic beauty, the ability to craft large swaths of land in the image of itself is also a welcome opportunity.
Recent examples include the new sciences neighborhood at the campus’s southern border, where new buildings by Hopkins Architects and Rafael Moneo join a genomics facility by Rafael Viñoly, and an expanded engineering precinct at the campus’s eastern side, which just welcomed the new Andlinger Center for Energy and the Environment by Tod Williams Billie Tsien.
Located on a 23-acre site at the campus’s western edge, the arts and transit neighborhood is an exercise in forging a more engaged relationship between the university and town with new arts facilities, a transit hall and rail station, and various eateries, including a Wawa. Planning the precinct was tasked to Beyer Blinder Belle Architects and Michael Van Valkenburgh, who were working with the university at the time on a ten-year plan to guide campus growth through 2016. Scheduled to be complete in 2017, the $300 million project is the largest expansion project in the university’s 265 year history.
The new facilities inscribe themselves into the fabric of the campus by integrating the language of the neighborhood and surrounding courtyards in their form, scale, and materials. Steven Holl’s Lewis Center for the Arts anchors the precinct and creates a new campus gateway. It provides performance and teaching spaces for the theater and dance program, the department of music, and the arts in three buildings organized around a three-sided courtyard that opens to the community.
In the center of the courtyard a shallow pool defines a main public space. The buildings’ Italian limestone exteriors reference the early stones and bluestone paving used elsewhere on campus. The arts tower is scaled to Blair Arch. Rick Joy’s transit hub creates a chapel-like space that is washed in natural light. One of Joy’s big place-making gestures was putting the transit hall and the Wawa in two separate buildings to shape a new public space. “We had a program for it and the Wawa but we never conceived of splitting it apart,” said university architect Ron McCoy.
In addition to new facilities, the university is bringing in new infrastructure—reworking roads, creating plazas and circulation routes for pedestrians and cyclists, and providing for parking.
Beyer Blinder Belle restoring Marcel Breuer's Whitney building for 2016 reopening under the Metropolitan Museum
The inaugural season of The Met Breuer features a major cross-departmental curatorial initiative to present a historic examination of unfinished works of art; the largest exhibition to date dedicated to Indian modernist Nasreen Mohamedi; and a month-long performance installation, by Artist in Residence Vijay Iyer. Upcoming exhibitions include a presentation of Diane Arbus’s rarely seen early photographic works (July 11– November 27, 2016), and the first museum retrospective dedicated to Kerry James Marshall (October 25, 2016 – January 22, 2017).The building has been vacant since the Whitney decamped for its new Renzo Piano–designed Meatpacking outpost perches astride the High Line. Meanwhile Uptown, Richard Morris Hunt's grand Beaux Arts beauty is in the midst of a conceptual plan by David Chipperfield Architects that will eventually guide the redesign of the complex's Southwest Wing.