A tiny mountain town nestled in the Rocky Mountains is bringing in the big guns for the adaptive reuse of a beloved crumbling warehouse in its burgeoning arts district. Already a destination for the outdoorsy, the former mining village of Telluride, Colorado, decided to add ‘thriving arts community’ to the list of reasons to come and visit. Local non-profit Telluride Arts was instrumental in the push for more cultural programming and is responsible for the adaptive reuse of the dilapidated, but adored, Telluride Transfer Warehouse. The 6,000-square-foot sandstone warehouse stands at the heart of the arts district, making it an ideal spot for a center for the arts and a good candidate for restoration. After gaining approval for restoration, Telluride Arts launched a national design competition earlier this year. "Key elements of the program include a Kunsthalle for exhibitions, flexible spaces that transform to host a multitude of events, and a small, museum-style bar/cafe that invites a constant flow of people and casual gatherings into a living-room atmosphere," said the arts organization on their website. Thirty firms put their names forward and, after careful selection, three finalists have been chosen: Gluckman-Tang and Lewis.Tsurumaki.Lewis of New York, and NADAAA of Boston. The finalists will now have two months and a $10,000 stipend to put together a conceptual plan ready to present to the community on May 30. During that time, the teams will visit Telluride get to know the town and the little warehouse that could. The building is listed as a National Historic Landmark and has stood for over 100 years. Originally built in 1906, it was in use until its roof collapsed in 1979. Since then, the building has stood vacant and decaying, a period that has become as much a part of its history as the life it had prior to 1979. NADAAA touched on this relationship of crumbling historic landmark and contemporary cultural hub in their statement to Telluride Arts. “Rare is the opportunity to both preserve an important historic landmark and create something wholly unprecedented,” said Katie Faulkner and Nader Tehrani of NADAAA. “The Transfer Warehouse stands as a monument to Telluride’s history of perseverance. The fundamental challenge of the project will be to maintain the power of the ruin while sponsoring the vision and opportunity through architectural speculation for the Arts District.” The final presentation will occur in Telluride on May 30 and Telluride Arts anticipates construction on the project to begin in 2019. To learn more about the Telluride Transfer Warehouse visit the Telluride Arts website here.
Posts tagged with "Gluckman Tang Architects":
Staten Island Museum at Snug Harbor 1000 Richmond Terrace, Snug Harbor Campus, Building A Staten Island Gluckman Tang Architects The recently reopened Staten Island Museum at Snug Harbor, housed in a former dormitory for aged and decrepit sailors, has a renewed vitality in a historic setting. “When restoring historic buildings, make interventions as quietly as you can,” Richard Gluckman told Archtober enthusiasts gathered at the museum today. The neoclassical building, originally designed by Richard Smyth in 1879 and landmarked in 1965, is part of a complex of historic buildings occupying the bucolic 83-acre Snug Harbor area of Staten Island. Gluckman Tang Architects was responsible for breathing new life into the building to better showcase the museum’s diverse collection spanning the arts, natural history, and local history objects. Over the past ten years, Gluckman Tang has been responsible for undoing previous—and precarious—restorations of the building, redoing the shell, restoring original elements, including the staircase and windows, and adding contemporary interventions to bring the building up to American Museum Association and LEED standards. The museum building serves as an important link between the local history and the museum’s mission. Gluckman Tang introduced geothermal well fields, paying tribute to the Staten Island Museum’s conservationist history. The auditorium and education space has linoleum floors, a functional choice by the architects, but also a reference to Staten Island’s Linoleumville, the location of first linoleum factory in the United States. Gluckman and his colleague James Young-Sik Lim discussed the “congenial relationship” between the historic and the contemporary that they nurtured during the renovation process. Visitors feel elements of the historic structure underfoot—the wood floors were repurposed from the building’s original pine beams. Gluckman also emphasized the importance of maintaining a sense of the historical usage of the building. He pointed to a compass rose inlaid in the wood floors—a contemporary interpretation of a historic detail that serves as a nod to the nautical history of the space, and as a centralized orientation point for visitors. Upstairs in the Treasure Box Gallery, the museum’s eclectic collection is displayed in a room flooded with natural light. The architects focused on flexibility within the exhibition spaces, a crucial aspect of the redesign, given the museum’s mission as a general interest cultural institution covering art, science, and history. The tour ended in the Mastodon Room, housing a life-sized replica of the now-extinct mammal. The mastodon (for which the museum is currently in the process of naming) serves as an elegant metaphor for the museum’s mission and Gluckman Tang’s renovation—history comes alive here, whether in the form of a giant-tusked creature or a beautifully restored cast-iron neoclassical staircase. Next up, Archtober-ites will venture to the Goethe-Institute. Alex Tell is the Committee's Coordinator for the AIANY | Center for Architecture.
Cooper Hewitt, Smithsonian Design Museum 2 East 91st Street, Manhattan Babb, Cook & Willard (1902) Gluckman Mayner Architects with Beyer Blinder Belle (2014) Part a historic house tour and part a lesson on material culture and curatorial practices, today’s Archtober lunchtime session packed a ton of information into 60 minutes. Brooke Hodge, deputy director of the Cooper Hewitt, National Design Museum, showed us around one of the finest mansions of Manhattan. Designed by Babb, Cook & Willard in 1902, the Carnegie Mansion’s most recent renovations were completed just last year. Executive architect Beyer Blinder Belle developed the master plan, while Gluckman Tang Architects (formerly Gluckman Mayner Architects, the firm responsible for the Staten Island Museum at Snug Harbor that we’ll be touring on Thursday) oversaw the historic preservation aspects of the project. Diller Scofidio + Renfro worked closely with the museum’s curators to develop the display cases and exhibition design. The firm also oversaw the plan of the garden, which, once complete, will open at 8:00a.m. to welcome visitors onto the property even beyond hours of admission. Our dear friends at Pentagram worked on the graphic identity together with the typographer Chester Jenkins, who developed an open-source typeface called the Cooper Hewitt. This initiative was yet another way to make the museum more inviting to the public, and to encourage people to feel connected with design. The renovation added 7,000 square feet of exhibition space to the mansion without expanding the building’s envelope. Offices and the library were relocated to adjacent townhouses, and part of the collection was moved to offsite storage. Other smaller pockets of space were carved out: a former powder room is called the “Teaspoon Gallery,” a play on its location next to the Spoon Gallery, which was named after a donor family. Visitors are encouraged to grab a Pen (note the capital “P” since we still never take ink into exhibitions) at the admissions desk and keep track of their favorite objects. These electronic styluses turn visitors into collectors, and encourage creative moments of exploration. One gallery features a projection screen that covers two walls, reproducing visitor-drawn forms as wallpaper. The digital transformation of these designs into large-scale patterns help visitors connect with the objects on display. Fragments of wallpaper that might otherwise be interpreted as whole objects unto themselves can now be understood as part of repeating patterns that set the tones of entire rooms. Julia Cohen is the Archtober Coordinator at the Center for Architecture.