Posts tagged with "Deborah Berke Partners":

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Deborah Berke Partners' prison-to-women's rights club conversion canceled

A social club for nonprofits dedicated to tackling women’s equality issues was slated for Manhattan’s West Side inside a former women’s prison, but now it appears the long-awaited conversion has been canceled. The redesign by Deborah Berke Partners, a conversion of the Bayview Correctional Facility into The Women’s Building by the NoVo Foundation, had been the talk of the town since 2014, but the nonprofit group spearheading the much-anticipated project abruptly announced its cancellation last week.  Instead of using the $50 million raised to repurpose the Chelsea prison as originally intended, the NoVo Foundation has instead decided to put that money directly into the pockets of organizations and minority communities doing the work it hoped the hub would serve. The City reported that The Women’s Building released a letter last Friday explaining that the timelines and budgets for the project “far exceeded original estimates,” and that the development plan was not a responsible use of these resources.
“At NoVo, we hold a very deep and continuous responsibility to examine how we are distributing resources in a world where needs are urgent and growing,” the letter read. “This country is in a time of great upheaval, with the most marginalized communities, including girls and women, facing daily and deepening attacks. In these profoundly unstable times, we know how important it is for NoVo to be nimble and responsive. We must move quickly, shifting resources to the communities facing injustice every day.”
Originally set to be built inside the shuttered women’s prison—which permanently evacuated its incarcerated ahead of Superstorm Sandy—the project had gained major traction and was backed by Governor Andrew Cuomo, local Community Board 4, and Gloria Steinem, among other activists. The design team was chosen in 2016 after a request for proposals went out through the state government, and 43 teams applied.  A lot of work was needed to update the facility before tenants could move in, as it suffered extensive damage during the 2012 hurricane. Berke’s team, which included Rhoda Kennedy and Arthi Krishnamoorthy, along with the Lela Goren Group, had been aiming to make the 100,000-square-foot building an inclusive “place of hope and action.” It was to going to allow natural light to reach the building's core, feature ample wellness and co-working spaces, and would have boasted expansive views of the Hudson River.  In an email to AN, Deborah Berke Partners said it will continue to support The Women’s Building and the group's efforts to build community.  “We are inspired by The Women’s Building community, and we share their values. We will continue to support the work of The Women’s Building community in any way we can, and we applaud the NoVo Foundation’s $50 million commitment to advancing that work on behalf of women and girls around the world."
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Deborah Berke Partners splits this dormitory with a zinc-and-stone facade

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College dormitories are sometimes drab affairs, utilitarian in their design and timid in their expression. But Deborah Berke Partners’s (DBP) Dickinson College High Street Residence, completed in September 2018, uses a limestone masonry and paneled-zinc facade to create a bright and confident presence on campus.
  • Facade Manufacturer Rheinzink Knight Wall Rolling Rock Building Stone Duratherm
  • Architects Deborah Berke Partners
  • Facade Installer Novinger's Inc. Caretti, Inc, Hershocks, Inc.
  • Location Carlisle, PA
  • Date of Completion September 2018
  • System Block-and-plank
As the building's name suggests, the 42,000-square-foot dormitory is located on High Street, which runs through Carlisle, Pennsylvania's historic core. Wanting to blend the dorm into its context of limestone Federal-style residential and institutional buildings, the design team created a four-story, roughly-cut limestone elevation whose three-dimensional surface creates a play of shadows. Alverson Limestone cladding supplied by Rolling Rock Building Stone is fastened to the north elevation with a block-and-plank structural system using masonry anchors. “The public-facing limestone mass of the new residence hall bookends the central campus on its western edge,” said project manager Aaron Plewke at DBP, “echoing the facades of its historic neighbors, but with a modern and minimal sensibility." Many secondary structures within the town and region, such as warehouses and sheds, as well as other buildings on Dickinson College's campus, are roofed with weathered zinc. The three campus-facing elevations wear this material strapped in a vertical orientation by thermally-broken brackets and horizontal rails. The building's restrained rectilinear massing is enlivened by moments of spontaneity in the facade. Irregular window openings are punched through all of the elevations, with those to the north deeply recessed within the limestone cladding. According to Plewke, "the pattern of the openings obscures the building's efficient, repetitive layouts, avoiding the undifferentiated facade that would have resulted from strict adherence to the plan." While most of the dorm's skin is made of stone and zinc, vertical bands of Sapele mahogany wood line entrances and principal community areas. Each of the three facade materials will patina into different hues while they are exposed to the elements over the coming years; the sun will bleach the dark-grey limestone ashlar, oxidization will darken the zinc paneling, and general exposure will darken the mahogany strips to a leaden complexion.
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2018 Best of Design Awards winners for Unbuilt - Cultural

2018 Best of Design Awards for Unbuilt – Cultural: Beggar’s Wharf Arts Complex Designer: Ten to One Location: Rockland, Maine The Beggar’s Wharf Arts Complex is at the heart of a redevelopment design vision commissioned by Rockland City Planning to revitalize the coastal Maine town’s brownfield waterfront district. Ten to One conceived of a mixed-use program that incorporates a museum, studios, educational facilities, live-work housing, commercial spaces, and a marina. At the core of the proposal, a main museum structure is set to seamlessly blend into the streetscape outside. This main building will be clad in a mushroom-shaped skin composed of cedar wood fins. A series of flexible galleries will unfurl upward through a public procession of theaters, terraces, cafes, and markets. The historic Bicknell Factory Building will be reclaimed as a continuation of the museum and house additional exhibition and event spaces. Honorable Mention Project name: NXTHVN Designer: Deborah Berke Partners Location: New Haven, Connecticut
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Deborah Berke Partners reveals East Village community arts center

  New York's Deborah Berke Partners (DBP) has just completed interior work, unified by a subtle side-lot addition, on 122 Community Art Center, a space for theater, painting, and health services in the East Village. The five-story building, a former schoolhouse at 150 First Avenue, cheerily commands the corner of 9th Street. In the 1970s and 80s, arts groups occupied the building: actors from P.S. 122 (now Performance Space New York) converted the column-filled ground floor into a theater, and artists affiliated with Painting Space 122 worked under the light from tall classroom windows. Despite their long residency, the two groups, plus theater company Mabou Mines, legalized their occupancy only ten years ago. Working in collaboration with these groups, plus a health nonprofit, the Alliance for Positive Change, the city's Department of Cultural Affairs and Department of Design and Construction initially tapped DBP to bring the performance spaces up to code, but the project evolved into something bigger: Over a year of talks, the stakeholders developed a unifying program that would enhance inter-group collaboration while improving their individual workspaces. All four nonprofits wanted a room for meetings, and an ADA-accessible entrance lobby, as well as a common roof space. "They said, 'don't make it too nice—keep the grit,'" Maitland Jones, a partner at the firm, said. "There wasn't extra money for anything too fancy." To meet their needs, DBP carried the building, lightly, into an adjacent lot. Their addition, essentially circulation and a new entrance, hugs a former masonry schoolhouse designed in 1894 by C.B.J. Snyder—New York's go-to school architect at the time. The addition, clad in a perforated steel scrim and tucked carefully into the north wall, lightens the school's heavy red-brick facade without compromising its classical symmetry. On the fourth floor, the largest theater belongs to Performance Space NY, a company founded in 1980 in the building. Previously, the group staged performances on a first-floor space littered with structural columns, a charming but challenging arrangement. Now, actors perform in a double-height theater with a black-painted sprung floor—one of the extras the city paid for over the five-year-long construction process. On the second floor, Mabou Mines was staging a show in the smaller, 99-seat theater, and a puppet show had just wrapped in an adjacent studio. The second and third floors host Painting Space 122's studios, while the ground floor is home to their gallery and the Alliance for Positive Change clinic. Shop space, offices, studios for dance group Movement Research, and an as-yet-unfinished roof deck round out the program. Throughout, the color palette is simple: black for the floors, grey services and mechanicals, and white walls. To further unify the groups' individual workspaces, Berlin-based artist Monika Goetz crafted two light installations on multiple floors that dim and brighten rhythmically, like calm breath. Inhale/Exhale and Independent Lines, installed as architectural lighting on the cornice, and in the lobby and third floor addition, were visible from across the street on an overcast day, understated reminders of the creative frisson inside the building. The space is half-open right now, but Jones stated that renovations will be complete sometime before summer 2018.
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2017 Best of Design Awards for Office & Retail

2017 Best of Design Award for Office & Retail: Albina Yard Architect: LEVER Architecture Location: Portland, Oregon

Albina Yard is the first building in the United States made from domestically fabricated cross-laminated timber (CLT). This new 16,000-square-foot speculative office building utilizes mass timber construction, with a glue-laminated timber frame and CLT panels manufactured and prefabricated in Riddle, Oregon. The project’s primary goal was to utilize domestic CLT in a market-rate office building that would pave the way for broader adoption of renewable mass timber construction technologies in Oregon and the United States. The design approach reflects a commitment to this sustainable technology by developing an architecture focused on economy and simplicity, material expression, and the careful resolution and integration of all building systems to foreground the beauty of the exposed Douglas fir structural frame.

“As a structural strategy, mass timber is very similar to a cast-in-place concrete structure in terms of layout and function of its individual elements. The main difference is the character and humaneness of the remaining spaces.  It is very well-suited for this type of use.” —Nathaniel Stanton, principal, Craft Engineer Studio (juror) General Contractor: Reworks Structural Engineer: KPFF Consulting Engineers CLT Supplier: DR Johnson Lumber CNC Routing: Cut My Timber   Honorable Mention Project: Cummins Indy Distribution Headquarters Architect: Deborah Berke Partners Location: Indianapolis, Indiana This new office building reinforces an active pedestrian experience that is connected to downtown Indianapolis and its parkland. The unusually slender floorplan and high ceilings provide abundant natural daylight for every space and minimize reliance on electricity. A high-performance “calibrated” facade and an integrated system of fins and shades limit heat gain and increase thermal comfort.   Honorable Mention Project: Zurich North America Headquarters Architect: Goettsch Partners Location: Schaumburg, Illinois Located on a 40-acre expressway site in suburban Chicago, the North American headquarters of the Swiss Zurich Insurance Group reflects the company’s global reach and commitment to sustainability. Composed of three primary “bars” that are offset and stacked, the arrangement creates unique spaces for collaboration, opens views of the surrounding landscape, optimizes solar orientation for amenities, and provides programmatic flexibility.
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Deborah Berke Partners transforms Buffalo asylum into resort and conference center

For a psychiatric hospital built in the late 19th century, the Buffalo State Asylum for the Insane in Buffalo, New York, was remarkably ahead of its time. At the request of physician Thomas Story Kirkbride, who helmed the hospital’s design, emphasis was placed on access to natural light, fresh air, and pastoral views to benefit patient well-being. It was originally completed in 1880, combining Victorian and Romanesque elements.

Deborah Berke Partners (DBP) recently completed the asylum’s metamorphosis into the Hotel Henry Urban Resort and Conference Center. “The intentions for this building were about it being a welcoming and safe space,” said Stephen Brockman, senior principal of DBP. “The graciousness of the space is what’s fascinating. You open these doors, and it’s breathtaking,”

That said, converting the former asylum – located in the central portion of the sprawling National Historic Landmark Richardson Olmsted Campus – into a 191,000-square-foot luxury boutique hotel and conference center without losing its character was not without its challenges.

During early presentations of the project to the local community, conversations with the relatives of people who had spent time at the hospital and felt a close relationship with it created a desire “to make it feel like it was still theirs,” Brockman said. “Our interventions were subtle.”

The hotel and conference center houses 88 guest rooms, multiple conference facilities, a fine dining restaurant, a bar, and a cafe. Of the campus’s original 11 buildings, the hotel comprises three central buildings that were the asylum’s administrative hub and patient housing.

Along with the exterior, original interior elements, including windows, interior shutters, plasterwork, stairs, and tile and wood floors were preserved, while the grand staircase was restored. The spacious hallways, 200 feet long and 15 feet wide, were also kept intact. These corridors, which were originally called “day rooms” and functioned as the asylum’s social spaces, were flooded with ventilation and light to aid patient recovery.

“The grandeur of the building simply cried out to be a destination, so this is a perfect fit,” said Jean Carroon, principal at Goody Clancy, preservation architects for the project. “The exterior is rugged and beautiful. The interior has the high ceilings, natural daylight, and views, which were part of its first life.”

To transform the building into a modern hotel welcoming the 21st-century traveler, a flagstone-and-granite entry plaza was added. A new, second entrance, in glass and steel, glows at night, as do newly illuminated towers, lit internally to serve as beacons. A staircase created within the second entrance features an illuminated glass handrail and leads to the second-floor lobby. An attic was converted into large, loft-like guest suites with partially exposed beams and high, sloped ceilings. Guest rooms were updated in neutral tones and will feature works by local artists.

Landscape architecture and planning firm Andropogon Associates updated and restored the grounds, originally designed by Frederick Law Olmsted, adding a new roadway in Olmsted’s aesthetic, as well as guest parking. Andropogon also planted 125 new trees, interspersed with rain gardens of switchgrass, as well as grapevines and hawthorns.

It was important to pay homage to the hotel’s history as an asylum more prominently as well. To that end, Carroon noted, several patient rooms have been completely restored and will be part of the campus’s historic tours when the Lipsey Buffalo Architecture Center opens in late 2017 as a co-tenant with Hotel Henry. Celebrating Buffalo’s rich architectural history and honoring the site’s legacy, the center will feature a 400-square-foot interactive exhibit about the asylum and the history of mental health treatment in the U.S. 

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Deborah Berke Partners calibrates the facade for Cummins office headquarters

Deborah Berke Partners' first new construction office project, located in downtown Indianapolis, opened earlier this year. Designed for Cummins Inc., the nine-story building includes flexible office space, retail, and a new urban park, all of which support the engine company's business goals and the revitalization of downtown Indianapolis. The building sits on the site of a former arena that the architects say produced an anti-urban “gaping hole in the city.” The transformation of this site was driven by urbanistic motives designed to correct these failures, producing a carefully scaled mid-rise tower that is informed by contextual and environmental criteria.
  • Facade Manufacturer Erie Architectural Products
  • Architects Deborah Berke Partners (design architect); Ratio (architect of record)
  • Facade Installer The Blakley Corporation
  • Facade Consultants Front, Inc.; Atelier Ten (sustainability)
  • Location Indianapolis, IN
  • Date of Completion 2017
  • System Post-tensioned concrete structure; Unitized curtain wall
  • Products Curtain Wall and Storefront systems: Erie Architectural Products; Glazing: Viracon and Cristacurva (curved glass); Sunshade manufacturer: Clover Architectural Products; Garage façade manufacturer: Proclad, Inc.
Examples of this design approach can be seen on the prominent south facade where its patterning undulates along the length of the building as opportunities for views outward into the city appear. A gradient pattern of frit glazing gives way to full view glass at the middle of the building facade to demarcate a series of double height “social hubs” centrally located in the building to foster a collaborative work environment. Elsewhere, on the west facade, afternoon shadows cast by a neighboring building allowed large projecting fins on the curtain wall to taper in depth as they track down the facade. Noah Biklen, principal at Deborah Berke Partners, said that having a client who is a technology leader like Cummins inspired a careful “tuning” process in the design of the facade system, involving life-cycle analysis and a global look at project's design approach. “We wanted everything to have quality and precision, and [we] spent a lot of time thinking about the shaping of vertical fins, horizontal shades, and the detailing of connections. We introduced curvature to provide a very machined and engineered presence. Particularly at the corners, where we wanted to evoke a certain fluidity—a line that could be tracked around the building as the massing shifts.” Biklen added, “This feels like a Cummins engine to us.” One of the biggest challenges to the project was the schedule, which was fast-tracked at 28 months from the initial site visit to construction completion. The critical challenge of this schedule was ordering the glass, due to coordination and shipping times. To manage this challenge, a design assist process was introduced to help establish a collaborative project team early. Starting around the middle of the design development phase, a “basis of design” document that combined outline specs with some basic design drawings were used to bid out the project to facade contractors and fabricators. Biklen said, "you can immediately start talking about ordering the glass, tricky details, the corners of the building, and more. We were able to have these conversations four or five months into the design process, and we had a design partner who was ultimately going to be the one fabricating these details." The unitized curtain wall facade features three modular widths and a subgrid of two-panel widths. This allows for some controlled variation to the compositional grid of the facade. The New-York–based architects said having a large site area to work with allowed plenty of room for various sizes of unitized panels to be delivered and stocked on site, which helped to ease the complexity of construction sequencing. Another goal was to limit the amount of tempered glass in the project, which the architects said was not desirable due to known issues with spontaneous breakage, and visual “roller wave rippling” distortion from the manufacturing process. The alternative was to use heat-strengthened glass, which undergoes a manufacturing process that minimizes imperfections in the glass. The end result was a product that maximized visual clarity and reflectivity of the building envelope, which Biklen said supported the urbanistic goals of the project. "You have a sense of the internal workings of the building from the city. The more you can be transparent at what's going on helps to make a strong connection to the city," Biklen said. "Having the building be a little didactic makes it a good urban neighbor."
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Deborah Berke completes new Cummins office building

Cummins Inc., the Columbus, Indiana–based diesel motor company has completed a new office tower in downtown Indianapolis. The nine-story building was designed by New York-based Deborah Berke Partners. The building will be home to distribution and select corporate offices. The slender profile of the new Cummins office, along with its orientation, are optimized to maximize environmental performance. Along with reducing heating and cooling loads, the shape allows for every worker to have direct access to natural light. The facade of the project is made up of a varied grid of glass and metal fins that are calibrated for the particular shading and daylight needs of each face of the building. J. Irwin Miller, Cummins’s former Chairman and CEO, had an intense interest in architecture and was a major architectural patron. The foundation which he founded helped fund many civic and cultural buildings by famous modernist architects in the small town of Columbus, Indiana. Cummins itself has facilities designed by architects such as Kevin Roche, Eero Saarinen, and Harry Weese. “Over the decades, Cummins has demonstrated a commitment to great design that benefits its employees, its customers, and the community,” said Deborah Berke in a press release. “This building carries that legacy forward with an environmentally sustainable design that dignifies the work going on inside while enhancing the urban realm. The building’s articulated facades and distinctive form serve a purpose—to create a comfortable, light-filled work environment for employees that adds to the vitality on Market Street. Adding some muscle to the great bones of downtown Indianapolis, the park is a public amenity that does double duty as a robust piece of green infrastructure.” The base of the tower includes a lobby and retail. Employee common spaces fills the second floor, including a space called the Square for large gatherings of employees and guests. The second floor also includes a conference center for employee development. Throughout the building flexible work spaces and connective common spaces allow for workers to collaborate and work in multiple configurations. Throughout the building, an art program will fill the workspaces with over 60 individual works of art. Three pieces by artists Kendall Buster, Odili Donald Odita, and the collaborative of Jennifer Riley and Emily Kennerk were commissioned specifically for the building. 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 area and discover new, exciting projects wherever you go! See our HoverPin layer here and download the app from the Apple Store.
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2016 Best of Design Award for Adaptive Reuse: National Sawdust by Bureau V

The Architect’s Newspaper (AN)’s inaugural 2013 Best of Design Awards featured six categories. Since then, it’s grown to 26 exciting categoriesAs in years past, jury members (Erik Verboon, Claire Weisz, Karen Stonely, Christopher Leong, Adrianne Weremchuk, and AN’s Matt Shaw) were picked for their expertise and high regard in the design community. They based their judgments on evidence of innovation, creative use of new technology, sustainability, strength of presentation, and, most importantly, great design. We want to thank everyone for their continued support and eagerness to submit their work to the Best of Design Awards. We are already looking forward to growing next year’s coverage for you.

2016 Best of Design Award for Adaptive Reuse: National Sawdust by Bureau V

Architect: Bureau V Location: Brooklyn, NY

At its core, National Sawdust is a retooling of the 18th-century chamber hall model as an incubator for new music. Described by The New York Times as “the city’s most vital new-music hall,” its design is characterized by the insertion of a highly articulated crystalline form into the rough brick envelope of a former sawdust factory. The design of this state-of-the-art performance and recording space allows the eponymous nonprofit to achieve its mission of supporting new musicians and composers on their way to viable and sustainable careers. In addition to the chamber hall, the project includes a two-story restaurant and lobby-bar.

Honorable Mention, Adaptive Reuse: 21c Museum Hotel Oklahoma City

Architect: Deborah Berke Partners Location: Oklahoma City, OK

A former Model T production plant built by Albert Kahn was adapted into a mixed-use hotel and contemporary art museum. Thoughtfully preserving the building’s industrial heritage, large open floorplates and new glass block light wells bring natural illumination into the core of the building, while 14-foot-wide hallways double as galleries.

Honorable Mention, Adaptive Reuse: Pennovation Center

Architect: Hollwich Kushner Location: Philadelphia, PA

A 20th century paint factory turned 21st century idea factory is the centerpiece of a new, 23-acre campus at the University of Pennsylvania dedicated to entrepreneurship and innovation. While most of the building is occupied by state-of-the-art labs and efficient co-working areas, key social spaces encourage the open exchange of ideas.

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Deborah Berke redesigns an old Albert Kahn factory into a hip hotel

In 1916, trains could pull up directly to Oklahoma City’s Ford Motor Company Assembly Plant to deliver kits of parts for cars; in 1968, Fred Jones, once an entry-level worker at Ford, bought the plant and founded Fred Jones Manufacturing Company; and as of June 2016, hotel guests can check into the very same building to browse 14,000 square feet of art. Laura Lee Brown and Steve Wilson of 21c Museum Hotels worked with Deborah Berke Partners on their sixth collaboration together to transform the assembly plant into a boutique hotel.

The building, originally designed by Albert Kahn, is on the National Register of Historic Places. Berke and her team restored or recreated many of the plant’s original features, such as the Model T showroom’s terrazzo floor, casement windows, storefront, and entry, as well as the exterior lighting and Fred Jones Manufacturing signage. The car showroom space has been reimagined as a bar and lounge, and the original train shed is an outdoor bar and dining area. Industrial and mechanical fixtures throughout the 23 guest rooms and common areas reflect the structure’s automotive history. The building’s original penthouse apartment is now a suite. 

21c’s curator, Alice Gray Stites, commissioned artwork that also references the site’s industrial past with Woozy Blossom, a misting mechanical tree by Matthew Geller; James Clar’s River of Time, in which conveyor belts are covered with colored acrylic sheets to create moving panels that “flow” over a large LED clock, and other site-specific works. Rotating exhibitions will come through the hotel that highlight up-and-coming artists and the city’s own art scene.

21c Museum Hotel Oklahoma City 900 W Main Street Oklahoma City, OK Tel: 405-982-6900 Architect: Deborah Berke Partners

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Deborah Berke Partners will redesign a former Chelsea prison into home for women's rights advocacy

New York-based Deborah Berke Partners has been announced as winners of The Women’s Building International Design Competition by The NoVo Foundation and Goren Group. The competition saw 43 teams submit designs to repurpose the former Bayview Correctional Facility into The Women’s Building, which will be home for girl's and women's rights advocacy in New York.

A 1931 project by Shreve, Lamb & Harmon, the structure sits on the south corner of West 20th Street and 11th Avenue. It served as a medium-security women's prison until 2012. At the time of closing, the facility held 153 inmates; the prison was forced to shut-down after incurring heavy maintenance costs post Hurricane Sandy. The building was then acquired by Empire State Development, who later sold it to The NoVo Foundation and Goren Group in fall of last year. Back then, executive director of the non-profit NoVo Foundation Pamela Shifman said, “We are envisioning a sort of vertical neighborhood where women leaders can connect with each other in very powerful ways.”

“We are deeply honored by the opportunity to be design partners in this important work,” Deborah Berke said in a press release. “In my more than 30 years of practice, few projects have resonated with me as personally as this one has. The idea of turning the old correctional facility into a place of hope and action, and the transformational nature of the project’s mission, are an inspiration for my team.”

“Over the last several months, we have met with and heard from hundreds of leaders and activists, including formerly incarcerated women, about what they hope to see in this building,” said Pamela Shifman. “Deborah Berke and her team are the perfect partners to join us as we continue this journey, turning a shared vision of a space for liberation, equality, and justice for all girls and women into a concrete reality.”

Lela Goren, founder and president of Goren Group also added, “As we think about all The Women’s Building stands for and all we hope it will be, Deborah Berke Partners truly embodies the essence of that vision. Berke leads a team that’s not only incredibly skillful, but which we believe has the collective expertise, creativity, and collaborative spirit necessary to breathe renewed life into this space.”

The 100,000 square-foot building is due to reopen by 2020, with ground breaking sometime next year.

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Deborah Berke Partners renovates McKim, Mead & White building into hotel

Lexington, Kentucky’s oldest skyscraper, the 1913 15-story McKim, Mead & White-designed Fayette National Bank Building, has been remodeled into the fifth iteration of the 21c Museum Hotels. 21c’s founders, two Louisville art collectors, spent $43 million converting the former bank into an 88-room boutique hotel. The Louisville-based chain is notable for including contemporary art spaces in its hotels. 21c Lexington includes 7,000 square feet of exhibition area with original art throughout the guest rooms and public spaces.

New York–based Deborah Berke Partners were the design architects for the project, while Pittsburgh-based Perfido Weiskopf Wagstaff + Goettel acted as executive architects. The hotel’s restaurant, Lockbox—a nod to the building’s heritage—includes a 12-person private dining room in the original vault with a functional locking door. 21c’s exhibition space is free and open to the public, with tours offered on Wednesday and Friday evenings.