Frank Gehry’s $196 million masterplan for the Philadelphia Museum of Art will reveal its first signs of life this fall with the opening of Stir, the famed cultural institution’s new restaurant and cafeteria that will open to the public in October. Operated by Starr Catering Group and led by Executive Chef Mark Tropea, Stir will offer museum-goers and guests a seasonal and locally-sourced menu inside a very Gehry, contemporary atmosphere. The design centers around a grid-like sculpture shaped out of Douglas fir slats and beams that extends from an undulating ceiling. The walls are also wrapped in Douglas fir panels while red oak covers the restaurant’s floors. Hints of frosted glass, felt, steel, leather, bronze, and onyx are also featured throughout the space, all coming together to create a warm and inviting setting. Gehry Partners will design the tables and chairs that will hold up to 76 people. In addition to Stir, the firm will reimagine a new, full-service cafeteria for the museum that will seat 160 people. The space will extend the entire width of the building and include windows offering views of the East Terrace and its garden as well as the Schuylkill River on the west side. It will have stations for salads, sandwiches, and brick oven pizza. The museum’s North Entrance, which will open at street level in early 2019, will house a new espresso bar in the Vaulted Walkway that will also be accessible to the public. There, visitors can enjoy views of the building’s facades through the skylights above in a space that’s been closed off since the mid-1970s. Gehry’s masterplan is part of the museum’s Core Project, a massive interior renovation of the neoclassical landmark built in 1928 which has long suffered from poor circulation and a lack of clear wayfinding. The redesign will add 67,000 square feet of new public space to the facility and an additional 23,000 square feet of gallery space, while also opening up the heart of the museum. Gehry will introduce a new central space, called the 'Forum', by removing the upper-level auditorium, thus heightening the ceiling and adding glass walls to create sightlines between The Great Stairs Hall and Lenfest Hall, the building’s grand lobbies that were previously completely disconnected. Construction on the Core Project began early last year and is expected to wrap up in 2020. Stir will be open for lunch Tuesday through Saturday, from 11:00 a.m. until 2:30 p.m., and will offer brunch on Sunday from 11:00 a.m. until 3:30 p.m.
Posts tagged with "Gehry Partners":
In Los Angeles—when it comes to preservation battles and development, at least—history tends to repeat itself. Such was the case last week, as the Gehry Partners-designed 8150 Sunset complex cleared another legal hurdle in the quest to demolish an existing historic building so that the project might move one step closer to construction. The California Supreme Court refused to consider an appeal brought forth by the Los Angeles Conservancy against a recent ruling that would have allowed developers Townscape Partners to demolish the 1960s-era Lytton Savings bank designed by Los Angeles architect Kurt Meyer located on the project site. The bank itself was built following the destruction in 1959 of the storied Gardens of Allah hotel complex, an elaborate collection of villas surrounding the historic Hayvenhurst estate. In its time, the hotel hosted a who’s-who of Hollywood entertainers and literary personalities, including the likes of F. Scott Fitzgerald, the actress Alla Nazimova—after whom the complex was originally named—Greta Garbo, the Marx brothers, Ronald Reagan, and many others. Urban legend has it that the demolition of the Gardens complex inspired the line "they paved paradise and put up a parking lot" in the Joni Mitchell song "Big Yellow Taxi,” though sources—and Mitchell herself—do not quite agree on the matter. At the time of its destruction, the Gardens complex was seen as representative of an outdated style in need of renewal. Nearly 60 years later, Frank Gehry says the existing concrete folded plate structure that replaced the gardens has “outlived its time” as well, and is incompatible with his proposed design, a rumpled collection of twisted, fluted forms set to rise on what is now the city’s Sunset Strip. Gehry has pledged to “recognize” the Lytton structure as part of the redevelopment, though he has not specified what that means. The latest mixed-use project would bring a clump of segmented towers surrounded by broad public spaces and a stepped plaza to the site. Contained within the three squat towers that make up the project would be 229 housing units, including 38 low-income designated homes. The housing element will be joined by 60,000 square feet of commercial spaces, as well. It is unclear what’s next for the project. A statement from the L.A. Conservancy website states that the latest ruling “effectively ends legal efforts to stop the needless demolition of the historic Lytton Savings building,” however. A statement put out by Friends of Lytton Savings referred to the ruling as “bad news.” Steven Luftman and Keith Nakata of Friends of Lytton Savings said via email, “Demolishing the Lytton building will be a tremendous loss for Los Angeles. The building represents what was good about the ‘Mad Men’ era of architecture in Los Angeles: Kurt Meyer and Bart Lytton created a soaring space that brought art, sophistication and the vision of a bright future to the people of this city.’’ A development timeline for 8150 Sunset has not been released.
A California judge has ruled in favor of Gehry Partners’s proposed 8150 Sunset development in Los Angeles, agreeing with the architects and developers Townscape Partners that preserving the historic Lytton Savings bank would make the project “infeasible." The decision comes nearly a year after a separate judge ruled against the project, arguing that the Googie-style, Kurt Meyer-designed bank was worth preserving. Gehry’s controversial project has faced a litany of complaints from the community since it was first announced in 2015, both from NIMBY-driven and preservation-focused groups. Initially, the project was tarred for being too tall, too dense, and for blocking views of the city from the adjacent Hollywood Hills. Next, preservation groups such as the Los Angeles Conservancy and Friends of Lytton Savings came out against the project for its proposed demolition of the historic bank. Following this initial dust-up, the 1960s-era Googie-style structure was swiftly landmarked, cited for its clean modernist aesthetic and its folded plate concrete roof. After last year’s ruling—precipitated by a suit from the L.A. Conservancy—it was hoped the bank could be saved and incorporated into the 229-unit mixed-use development. That opportunity has now disappeared. The Gehry project, as currently designed, consists of a cluster of five wobbly towers of various heights organized around a series of public outdoor spaces and ground floor retail. The development’s tallest tower is expected to rise up to 15 stories high. Hopes that 8150 Sunset would move toward final approval were dashed with the most recent ruling, however, which all but cleared the project’s forward movement. The ruling issued last week, according to the Los Angeles Times, stipulates that although the Kurt Meyer structure was not reason enough to stop the project, the project’s approval was incorrectly administered nonetheless. At issue is a proposed street vacation that would eliminate a right-turn lane bounding the project in favor of adding pedestrian sidewalk space to the project. Because the development is a private project, the judge ruled, closing off the right turn late equates with vacating a street, a measure that requires strict and separate approval. The court is sending the project back to the city so the lane closure can be properly approved.
Frank Gehry has been selected to design a new expansion to the Colburn School performing arts center in Downtown Los Angeles, marking the architect’s third high-profile project in the area following the Disney Concert Hall and the long-forthcoming Grand Avenue mixed-use project. For this latest project, Gehry Partners will add a 200,000-square-foot structure containing three new performance venues, including an 1,100-seat, full-scale, orchestra-caliber concert hall, a 700-seat flexible studio theater for dance and vocal performances, and a 100-seat “cabaret-style” space, according to a press release. Gehry will be joined on the project by Yasuhisa Toyota of Nagata Acoustics—the same acoustician who worked on the Disney Concert Hall—and Michael Ferguson, principal of TheatreDNA, whose former office—Theater Projects—consulted on Gehry’s New World Center in Miami, Florida. The project comes as the second expansion to the Colburn School, following the addition of a 326,000-square-foot facility designed by Pfeiffer Partners Architects in 2007. The school’s original 102,000-square-foot home was designed by Hardy Holzman Pfeiffer Associates in 1998. The Colburn expansion will further boost Grand Avenue’s status as a premiere cultural district in the city, with the project joining the Walt Disney Concert Hall, The Music Center, the Museum of Contemporary Art, and The Broad among other cultural venues and institutions In the area. Now that the project team has been announced, the designers will move into the conceptual design phase of the project. A detailed timeline or estimated completion date for the project has not been unveiled.
Gehry Partners onto the project, though Krens and Gehry have a longstanding relationship: the pair worked on the Guggenheim Bilbao when Krens directed the museum's New York location.Visitors will start in the Berkshires (North Adams's home) and head towards New York City, London, Tokyo, the Southwest, and the Rocky Mountains. Firms the world over are contributing models to the project. Extreme Model Railroad and Contemporary Architecture Museum Inc. is leading the design and fabrication of the interior exhibitions, with Jarzyniecki as a consultant, while Gehry is in charge of the exterior. The project will anchor the redevelopment of Western Gateway Heritage State Park, one of nine parks Massachusetts established in the 1980s in its former industrial cities and towns to spur tourism. That park is expected to host two other museums and a distillery. The museum, a for-profit enterprise, is expected to be complete in 2021 at a cost of $65 million. Thomas Krens, the man behind MASS MoCA, brought
Work on the long-stalled complex adjacent to Frank Gehry's Walt Disney Concert Hall is finally about to begin. The Los Angeles architect is finishing up designs for the Grand, a $1 billion residential, retail, and entertainment complex right across the street from his famous concert hall. The parking garage, not-so-affectionately known as "the Tinker Toy garage" is a dead zone in the Bunker Hill neighborhood, which was itself bulldozed and made anew in a midcentury urban renewal scheme. The 24-hour, live-work-play district envisioned by civic leaders never materialized in full. According to developer the Related Companies, construction is expected to begin in the fall. The Los Angeles Times reported Related was slated to build the project in 2004, but concerns about the project's feasibility (a nice way of saying the design was too expensive), along with the 2008 recession, stalled work. This time, the developer is partnering with a real estate subsidiary of China Communications Construction Group, one of China's largest companies, to fund the project. Gehry told the paper he can "live within the constraints" of the budget. With its stylistic similarity to the Walt Disney Concert Hall, the architect believes the Grand will stand out from other L.A. mixed-use developments he regards as uninspiring. He added that terraces and a big plaza between the Grand and the concert hall will draw visitors and residents into the space. And there will be plenty of people: the grand will feature a 39-story tower with 113 condos and 323 apartments, as well as a 314-key, 20-story Equinox hotel. One-fifth of the apartments are set aside as affordable housing. Just like the concert hall, the Grand's metal walls will be fitted with projection-friendly cladding so images can be screened on its surfaces. "You'll see a lightness in the building," Gehry told the Los Angeles Times. "That's in the way we are relating to Disney hall. We are not building heavy stuff."
Gehry Partners has released a new batch of renderings of their mixed-use tower on Ocean Avenue in Santa Monica, California, nearly five years after initially announcing the project. What was once a 22-story tower has now been cut down to 12, after the Santa Monica City Council imposed wide-ranging height restrictions on new construction in the city’s downtown in April of 2017. When AN last wrote about the Ocean Avenue project in 2013, Gehry’s tower-on-a-base was still 22 stories and 244 feet tall, and destined to sit in a major 1.9-acre redevelopment at the corner of Ocean Avenue and Santa Monica Boulevard. The $72 million mixed-use tower would have housed 22 condos, 125 hotel rooms, two stories of restaurants and retail, and a 36,000-square foot art museum with a glassy facade nearby. After years of legal battles stalled out development at the site over the tower’s height, Gehry’s rippling building could finally be on the rise following a City Council meeting on January 11th. While the overall massing and white-paneled, rippling façade of the revised tower still resembles the original plan, Gehry’s team has implemented sweeping changes. The project will now top out at 130 feet at its peak, with an average height of 44 feet across the tiered building. According to the Ocean Avenue Project website, the floor area ratio (FAR) has been reduced from 3.2 to 2.6, all condo units have been removed, the number of residential and affordable units has been increased, and Gehry has tried to improve integration with the street. A more concrete timeline for the project’s construction will likely become available following the upcoming City Council meeting.
Missed some of our articles, tweets, or Facebook posts from the last few days? Don’t sweat it—we’ve gathered the week’s must-read stories right here. Enjoy! Gehry Partners to design Extreme Model Railroad Museum in Massachusetts The firm is replacing Gluckman Tang as architects of the Extreme Model Railroad Museum and Contemporary Architecture Museum in North Adams, Massachusetts. What happened to speculation in architecture? Architects are not really thinking about new ways of living and relating to the world outside of our own history and discourse. What happened? Gorge yourself on Burning Man's annual exhibition of weird and wonderful architecture The Architect's Newspaper takes a look at the best art and architecture at Burning Man. The 2017 edition of the desert gathering kicked off this week.. Thanks to big data, all architects will face a major professional crossroads bigger than CAD or BIM Should we architects cede our authority to algorithms, it’s likely we’ll lose all control and influence over the forces that reduce great design to mediocrity. Irishtown Bend in Cleveland could be in line for a massive transformation Cleveland non-profit LAND studio and CMG Landscape Architects are proposing radical changes to Irishtown Bend in Cleveland, Ohio. Jenny Sabin's selling furniture from her MoMA PS1 installation Well, we lied. There's actually six top news items today, because we just couldn't resist this: Jenny Sabin Studio's "spool stools," the seating for Sabin's MoMA PS1's Warm Up installation, are now available for purchase. Prices start at $150.
The proposed Extreme Model Railroad Museum in North Adams, Massachusetts, will be designed by Gehry Partners and developed on a new site in the town. The original design by Gluckman Tang Architects sited in the town’s Heritage State Park will instead become a new Museum of Time based on the New York architect's design. The Berkshire Eagle initially revealed the appointment, and the museums have confirmed the news with The Architect's Newspaper (AN). AN has learned that Gehry is designing the train museum, adding that the project has increased from 32,000 square feet to 75,000 square feet. In addition, the project is moving out of Heritage State Park and across the river to a different site. The projects, located on an 83,000-square-foot parcel on Christopher Columbus Drive, will be located just down the street from MASS MOCA, for which Gehry provided initial designs in 1987. Gehry has collaborated several times with the director of the new museums, Thomas Krens, former director of the Guggenheim Museum. Their most notable partnership came with the Guggenheim Bilbao in 1997. Gluckman Tang’s designs had called for large, pitched-roofed, warehouse-like spaces marked with sawtooth skylights. Gehry’s designs are still forthcoming. The Architecture Museum will display large-scale art and architecture works and installations that would never fit in museums in cramped urban contexts. The Extreme Model Railroad Museum will feature scale model trains moving through architectural dioramas created by the likes of Gehry and Zaha Hadid. According to the Eagle, the current plans will cost about $65 million, and fundraising is ongoing. Krens—always ambitious—is also proposing to build the Massachusetts Museum of Time and a distillery in the area, and he’s suggested that Jean Nouvel design the city’s master plan. In addition, Gluckman Tang is doing a master plan for the city's Heritage Park and designing the new Global Contemporary Art Museum on the grounds of the local airport. William Menking contributed reporting.
The long-stalled Grand Avenue Project by Gehry Partners in Downtown Los Angeles has roared back to life over the last year and is now slated for a 2018 groundbreaking. Urbanize.la reports that newly-filed construction permits for the $290 million project call for bringing 128 condominiums, 214 market rate apartments, 86 deed-restricted affordable housing units, and 305 hotel rooms to one of the most prime sites in Downtown Los Angeles. These components will take shape across a pair of towers, one 39-stories tall and the other rising 20 levels. The project also calls for 200,000 square feet of commercial spaces along the ground floors of the complex, which surrounds a central paseo that will bisect the site. The development’s multi-faceted towers are composed of shifting, boxy volumes that slide pass one another and grow narrower as each mass climbs higher into the sky. The paseo will be capped on the Grand Avenue side by a large public plaza. The project has been in the works for over a decade and was originally devised as the first phase of Grand Avenue’s redevelopment. The project has been delayed for so long, however, that later phases of that plan, like the Diller Scofidio + Renfro–designed Broad Museum, have already come to fruition. The project is slated to take four years to build, with final occupation taking place sometime in 2022.
Los Angeles–based Gehry Partners is moving ahead with a 135-foot-tall office structure slated for L.A.’s Silicon Beach district, the second such creative office project announced in recent months. The firm broke ground earlier this year on an 80,000-square-foot, single-story office complex called Ascend in nearby El Segundo that features spartan formal treatments and exuberant planting arrangements. The subdued creative office complex is designed with 24-foot interior ceilings and is modeled after the ubiquitous wood bowstring truss warehouse structures that populate L.A.’s industrial neighborhoods. With its latest office project—a 200,000-square-foot complex located just next door to the firm’s own offices in Playa Vista—the firm will add another streamlined creative office project to a growing body of tempered, late-career work following in the footsteps of the firm’s headquarters for Facebook from 2015. The purposefully banal projects in question are somewhat of a departure for a firm best-known for exuberant, sculptural works typically made from exquisite materials. Even so, the projects bear a certain resemblance to Gehry’s earliest works, which focused extensively on deploying prototypical materials and building technologies in unexpected ways. The New Beatrice West project, as it is known, expands on this new mode by creating a multi-story office tower complex peppered throughout with terraces and groves of trees. Renderings for the project depict a multi-volume cluster wrapped in alternating expanses of glass curtain walls and solid building masses. The curtain walled areas are delineated by projecting floor plates that create horizontal louvres over the glass expanses while the more solid facades are punctured by punched windows. The building’s 845-stall parking podium at the building’s base is concealed by an expansive arrangement of growing walls, trees, and terraced volumes that will include a restaurant, among other programs. The project is currently undergoing approval by city agencies and will be appearing before the Los Angeles City Planning Commission in coming days. Planning documents submitted in support of the project indicate the complex will take roughly 22 months to build, with final completion expected in 2019.
The debate over what is—and what is not—historically significant enough to save from demolition continues to heat up in Los Angeles, where a Los Angeles Superior Court Judge recently ruled in favor of the preservation of the historic Lytton Savings bank building. Townscape Partners, the developers behind the Gehry Associates–designed 8150 Sunset project, are seeking to demolish the midcentury modern structure so as to have a clean site for the controversial $300 million project. 8150 Sunset will consist of 60,000 square feet of commercial spaces and 249 housing units organized in a cluster of rumpled towers surrounded by plazas. The mixed-use development has received criticism from multiple fronts, including anti-density neighborhood advocates who see the project as incongruous with its surroundings. Detractors have also criticized the project’s parking stall count, saying the project has either too little or too much parking, depending on whom one asks. Preservationists—never to be left out of a good development fight—have waged a quest to save the historic bank building at the center of the recent ruling. The Friends of Lytton Savings group successfully nominated the structure for Historic-Cultural Monument (HCM) designation last year, but not before the Los Angeles City Council approved a development scheme for the project that presupposed the bank’s demolition. The Superior Court has determined that the city’s overall project approval was in violation of the California Environmental Quality Act (CEQA), a state law meant to defend both natural and built environments from harmful development. CEQA legislation is often used in California for historic preservation aims, especially with regards to culturally-important structures that might lack normative architectural significance. The decision with Lytton, however, was made easier because the project’s Environmental Impact Report (EIR) included two development alternatives that incorporated plans for repurposing the building, which was designed by architect Kurt Meyer in 1960. Under CEQA guidelines, historic structures must be incorporated into new developments if the project can still meet its fundamental objectives without demolition. As a result of the ruling, the City’s approval is being set aside and 8150 Sunset will have to either be re-approved to include preserving the historic structure or prove that keeping the structure intact would place an undue burden on the viability of the project. Of the various groups challenging the project, the L.A. Conservancy has perhaps has the firmest ground to stand on regarding their bid to positively impact the project's outcome. Sparing the Lytton building is a no-brainer, according to the Los Angeles Conservancy, as the structure is an important example of mid-20th-century design and has functioned for its original purpose—the building is currently home to a Chase branch bank—for its entire history. Moreover, according to the organization, the 20,000-square foot structure makes up a small percentage of the 330,000-square-foot project and could feasibly be incorporated into Gehry Partners’ plan for the site. Simply put, it’s unreasonable that the design and development teams should be able to clear a site of historic structures simply for convenience’s sake. In a statement announcing the Superior Court’s decision, Linda Dishman, president and CEO of the L.A. Conservancy said, “We’re very grateful for this decision, and we’re excited that the development project can move forward incorporating the historic Lytton Savings building.” Adrian Scott Fine, director of advocacy at the L.A. Conservancy added, “We’ve worked with many architects and developers to successfully integrate historic places into new development, and now that can happen here.” Scott Fine explained further: “blending old and new is the wave of the future in Los Angeles.” For now, Townscape Partners’ lawyers are evaluating whether to appeal the ruling.