In 1991, Philadelphia's Old City Arts Association launched the First Fridays initiative to encourage visitors to explore the art galleries that made the historic neighborhood their home. A quarter-century later, the area has been completely transformed into one of the city's premier cultural hubs, and now there's yet another reason to head to the 'hood: the brand-new Philadelphia Design District (PDD). The new collective celebrates the independent design businesses—showrooms, workshops, galleries, and shops—in the area spanning from Second and Third Streets to Market and Race. The PDD will make its official debut this spring with a showcase curated by design studio Mona Rose Berman Interiors that will run from April 14 to 28 at the new LEED Gold–certified Bridge apartment building by Gluck+. The first of its kind in Philadelphia, a city with a rich history of manufacturing and design, the PDD unites 11 founding members, including Moderne Gallery, a city staple for art deco designs and the work of George Nakashima; Mode Modern, the city's go-to destination for midcentury modern designs; Wexler Gallery, which represents contemporary names like Gulla Jónsdóttir; the multidisciplinary art practice Biello Martin Studio; and more. More events will be scheduled in the future, but in the meantime, be sure to check out Philadelphia's newest design destination.
Posts tagged with "Gluck+ Partners":
This story is part of a monthlong series of guests posts by AIA New York that feature Archtober Building of the Day tours. See the full 2017 schedule here. Today, Archtober got a tour of the Cary Leeds Tennis Center in the Bronx led by GLUCK+ principal Marc Gee. Gee elaborated the complex process of getting such a major public project built, and explained how the design/build capabilities of GLUCK+ allowed the project to be completed on time and under budget. The Tennis Center is a joint venture between New York Junior Tennis & Learning (NYJTL) and the New York City Department of Parks and Recreation. NYJTL, which runs tennis clinics and tutoring and academic programs, approached GLUCK+ with the idea for the Center, which would serve as a home base for all of NYJTL’s programs. The Center was to be named after Cary Leeds, a professional tennis player who tragically passed away, and whose parents wanted to commemorate him in a way that would help bring the sport he loved to more people. Over a number of years, GLUCK+ worked on five schemes for five different parks in three boroughs before finally being able to realize the design in Crotona Park. There are 12 new hard courts at the Center, ten of them bubbled for winter play. This number adds to the ten public courts that the Department of Parks and Recreation renovated. NYJTL uses revenue from renting court time during the winter to pay for its on- and off-court programming. In addition to the courts, GLUCK+ was responsible for the design of the airy clubhouse. The clubhouse had two design objectives: minimizing sightlines from the park and opening the interior space to the courts as much as possible. When the original design was rejected because at two stories it would have been visible from multiple points in the park, GLUCK+ decided to sink the lower floor below grade. From the park side of the tennis courts, all one sees is the fence of the tennis court – the Center itself is invisible. But once you enter the space from the front door on Crotona Avenue, it is clear that GLUCK+ have designed an extraordinary space. The top entrance-level floor houses a check-in desk, offices for NYJTL and, to the right, a restrained, adult-focused lounge. Locker rooms and a pro shop are located against the entrance wall, away from the courts. The far wall is all glass, opening to a terrace and giving a picture-perfect view of the two stadium courts below. In the middle of the room is the precast-concrete staircase, which, due to a manufacturing error, had to be recast and then moved in after windows had already been fitted, creating a logistical nightmare. At the bottom of the stairs is the kids’ lounge, accented by multicolored chairs and a tennis ball pit. Further on are a classroom and a broadcasting room – the Tennis Channel donated equipment so that children can interview the major players who stop by the Center. Other back-of-house functions like the kitchen are also downstairs. Glass doors lead outside, where a patio separates the building from the courts, providing, on the day we toured, space for a barbeque and other festivities. GLUCK+’s dual role as architect and contractor made the project possible, allowing decisions that would usually have taken weeks going back and forth from construction site to office to be answered immediately. When a construction issue forced the design to be adjusted, it could be done almost immediately. The project came in $1800 under the $26 million budget and exactly on time. And since, as Gee pointed out, “the only person with a deep stake in the design is the architect,” supervising construction allowed GLUCK+ to make sure that the design was executed just as they wanted.
Cary Leeds Center for Tennis & Learning Crotona Park, the Bronx GLUCK+ Today’s Archtober Building of the Day tour of the Cary Leeds Center for Tennis & Learning in the Bronx offered a close-up view of GLUCK+’s construction process. The firm works in the architect-led design-build model, in which the architect also serves as the project’s general contractor. Our group of inquisitive participants asked GLUCK+ Principal Marc Gee about how this process works, from the company’s insurance requirements to day-to-day life in the office. According to Gee, the system works because “architects are able to think on their feet in terms of design, not just the project’s bottom line.” The bottom line, of course, is also very important. This project was a public-private partnership between New York Junior Tennis & Learning (NYJTL), an after-school and summer program that offers free tennis lessons, mentoring, and leadership workshops to local youth, and the NYC Department of Parks & Recreation. Because it was an open-book contract, GLUCK+ worked closely with the client to adjust the plan as the budget allowed, such as substituting bluestone for the less expensive brick that had originally been planned for the building’s core. In the end, the project came in $2,000 below the guaranteed maximum price. There were a few hiccups along the way. The design of a poured-concrete stairway was not completed until after the building’s windows had been put into place, and then there was only an inch-and-a-half of clearance to get it inside. Now that it has been installed, though, you’d never know what a headache the staircase caused. Brand-new colorful tennis balls fill in for plantings or a fountain that we might expect to see at the bottom of the stairs. For every GLUCK+ project, someone from the firm is on-site throughout the construction process, on hand to deal with any problems that might arise. After all, “there’s no one who can look at a set of drawings better than the person who drew them,” Gee said. Archtober-ites will head to the Lower East Side bright and early tomorrow to tour PBDW Architects’ renovation of the Educational Alliance by PBDW Architects. Julia Cohen is the Archtober Coordinator at the Center for Architecture.
Last year, at an event inside David Adjaye’s Sugar Hill affordable housing development in Manhattan, AN asked New York City Mayor Bill de Blasio how architecture and design factored into his overall housing plan. The mayor—who doesn’t elevate public design the way Michael Bloomberg did—said he wants to see new affordable housing buildings that are both “beautiful” and “contextually appropriate.” But, he added, design is about more than aesthetics, it is a tool to be wielded to create dynamic, mixed-use properties. “I think the design question really is about, to me, the functionality—meaning, what we can achieve in a site,” said the mayor. Now, roughly eight months later, the Department of City Planning (DCP) has unveiled zoning changes to make it easier and cheaper to develop the type of affordable housing the mayor was talking about—buildings with function and architectural design. And by rewriting the rules, the de Blasio administration thinks it has a better shot at delivering the 120,000 new units of affordable housing it has promised. First, the city addresses burdensome parking requirements for affordable and senior housing developments. Within a so-called “Transit Zone”—areas in Upper Manhattan, the Bronx, Brooklyn, and Queens that have good access to mass transit—the city will eliminate parking requirements for senior housing and low-income or inclusionary housing developments. And, on a “case-by-case” basis within this zone, the city could slash parking minimums for new mixed-income buildings. Outside of the zone, the city says it will “simplify or reduce” parking requirements for affordable housing and senior housing. On the design front, the city hopes that updating “Contextual Zoning” controls from 1987 will give rise to less generic housing.“The tightness of contextual zoning controls constrain housing production and raise costs, and too often results in buildings that are flat and relate poorly to the street,” the DCP said in its report. A lot has changed in the AEC world since the 1980s and the city wants to allow designers and builders to take full advantage of all their new tricks and tools. This could mean more buildings like The Stack (above), a modular building in Inwood that was designed by Gluck+ and assembled in less than a year. The city is not touching existing floor-to-area (FAR) ratio limits with this proposal, but hopes that by loosening zoning controls and boosting height limits (between 5–15 feet in medium and high density areas), developers can take better advantage of allowed buildable space; current limits tend to force developers to produce boxy, boring buildings. "To fit full FAR," explained the DCP, "ceiling heights are reduced, building facade is flat and upper‐story layouts are awkward.” Boosting height limits would also open up more interesting massing and programmatic options with possible building setbacks and courtyards, and ground-floor retail and community spaces. As for building facades, the DCP only lays out some vague bullet points about how it will "update and clarify regulations to support traditional types of building variation” and “make transparency and design requirements consistent" for ground floor spaces. While this package of proposals has the potential—again, the potential—to create more architecturally interesting buildings, it is ultimately a means to make it easier to build and develop affordable and senior housing. The DCP expects to kick off a public review of its plan this summer.
Custom sliding wood shades maximize privacy and views in Adirondack Mountains retreat.Architect-led design build firm GLUCK+ designed the Lakeside Retreat in the Adirondack Mountains on an historic blueprint: the Great Camps, sprawling summer compounds built by vacationing families during the second half of the nineteenth century. "The clients wanted to hold events there, and to make a place where their kids—who were in college at the time—would want to spend time," said project manager Kathy Chang. "They wanted to create different ways of occupying the space." GLUCK+ carved the hilly wooded site into a series of semi-subterranean buildings, of which the two principal structures are the family house and the recreation building. These buildings are, in turn, distinguished by massive lake-facing glass facades, camouflaged by wooden screens designed to maximize both privacy and views. The project, explained Chang, "was really about sculpting in and out of the landscape, manipulating the ground plane." By using the existing site as a primary element of construction, the GLUCK+ team was able to accomplish two things. First, "it gave us a new level area for the clients to hang out outside," said Chang. "It provided a new way to occupy the site, because before there was no flat ground." Second, they were able to manipulate the program so that the mechanical spaces were tucked into the underground portions of the houses, making way for a transparent facade along the lakeside. "The fact that so much of the program is buried allowed us to build the glass facade, despite the energy requirements," said Chang. The custom curtain wall is in fact quite simple, said Chang. "What made it custom was sizes and the ability to integrate the screen support: we have various slope conditions, and at the highest point the pieces are really very heavy." GLUCK+ installed Siegenia lift and slide hardware to insure easy operation of even the largest sliding glass doors. "The client was really intrigued with the idea of open sleeping porches," said Chang. "They wanted to be able to open up the house and have the breeze come through." The screen system was partly a response to concerns expressed by the local environmental commission. "The commission was very nervous about having a tall glass building facing the lake," recalled Chang. "We set the buildings back from the lake, in the trees. In addition, part of the idea of the screen was to break down reflections from the glass so that it wouldn't be so apparent from the lake." The wood shades are arranged in two layers, both attached at the top to the underside of the roof slab. Stainless steel outriggers placed in the window system between the first and second stories provide an additional point of attachment for the screens above and below. To reduce the gravity load, the outriggers are supported by cables attached to the roof slab. Each screen comprises thermally modified poplar slats from Cambia Wood affixed to a Cor-ten frame with horizontal steel elements for additional strength. "We calculated that there's almost four miles of wood, so we really spent a lot of time looking at different options, at different ways to price it and build it," said Chang. "We looked at doing this in mahogany or other woods typical for outside use, but both the weight and expense were prohibitive." GLUCK+ performed analyses to determine which rooms would require more or less privacy, or open spaces at sitting or standing levels for views. Many of the screens are designed to slide from side to side. In addition, some individual slats can be rotated to enhance privacy. On the top level of the buildings, the (fixed) inner layer of screening doubles as a balcony guardrail. GLUCK+ used the same poplar on the buildings' other exterior walls, some of which are occupied underneath, others serving as filler. "We used the same wood in a more solid condition to try to tie those walls in with the screen, and with the solid earth," said Chang. "It's really hard to tell where the building stops and the landscape begins." Because one building was ahead of the other during construction, Chang and her colleagues had the opportunity to compare the uncovered curtain wall with its shaded neighbor. "The unscreened building just looked naked and cold," she said. "It didn't have this life to it." The clients, reluctant at first to embrace the screens, agreed. "In the beginning of the process, the clients were a little worried about losing the view," recalled Chang. "We needed iterations of the mockups to convince them: no, it's actually adding to it. It ended up being one of their favorite parts of the whole project."
Thomas Gluck, of GLUCK+, has built himself one heck of a vacation home in upstate New York. The glassy residence, known as the Tower House, is separated into two main volumes: a transparent, three-story vertical column that is defined by a bright, yellow stairwell, and a horizontal living space that cantilevers 30 feet above the ground. The firm described the project as “a stairway to the treetops.” To minimize the home’s footprint, Gluck kept the vertical column narrow quite narrow, only allowing space for a small bedroom and bathroom on each floor. The larger living area is placed up within the horizontal section, which offers panoramic views of the Catskills. To further camouflage the structure within the surrounding environment, its exterior is partially clad in a “dark green enameled back-painted glass” that reflects the trees. “Tower house is part of the canopy,” explained the firm in a video about the project. "A gesture as whimsical as it is rational.” [ht 6sqft.]
Plans for a 17-story tower at 205 Race Street in Philadelphia are back on track, but what will rise at the vacant site appears to be significantly more restrained than what was first envisioned. In 2012, Peter Gluck, then of Peter Gluck and Partners, unveiled dramatic renderings for a tower that had a facade clad in panels that seemed to disappear as they rose up an increasingly glassy exterior skin. The building, which sits adjacent to the Benjamin Franklin Bridge, had ground-floor retail and was separated into two distinct volumes by a two-story cutout that opened up about fifty feet above the street. That plan was almost unanimously rejected by the Old City Civic Association. As PhillyMag reported earlier this summer, Peter Gluck, at the renamed GLUCK+, updated the tower’s design and the project's developer, Brown Hill, brought it before the Civic Design Review Committee. While the structure’s massing is roughly the same, its facade has been significantly toned down; it is now wrapped in two types of metal panels and plenty of glass (a spokesperson for GLUCK+ told AN that the design is still in the development phase). The plan was approved by the committee and the project is expected to break ground early next year. It includes 148 rental apartments (20 more than in the first proposal), nearly 15,000 square feet for commercial use, and an 8,000-square-foot roof terrace. As PlanPhilly noted, 205 Race Street will be the first residential building in the city to get a density bonus for including affordable units—10 percent of the building will be designated affordable.