Posts tagged with "Historic Preservation":

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Massachusetts puts the Paul Rudolph-designed Hurley Building on the market

A piece of Boston’s brutalist Government Center has reached the end of the road. The Charles F. Hurley Building, designed between 1962 and 1966 by Paul Rudolph, has been placed on the market by the State of Massachusetts. Citing the building’s challenging layout—the top floor lacks windows on three sides, for starters, according to the Boston Globe’s report—as well as an outdated surrounding urban landscape, Governor Charlie Baker’s office plans to offer up the site for total redevelopment rather than adaptive reuse. The Hurley Building occupies a 3.25-acre site in downtown Boston, near North Station and the MBTA transit lines, and the move to open the site for development is expected to rake in tens of millions of dollars for the state. In pursuing a public-private partnership, the Division of Capital Asset Management and Maintenance plans to solicit an official redevelopment partner by mid-2020. The complex will accommodate new uses while retaining office space for some of the several state agencies currently housed in the building. Approximately 675 government employees work in the Hurley Building at the time of writing. News of the redevelopment quickly sparked a movement to save the building, which some consider among Boston’s brutalist treasures. The nearby Boston City Hall, built in 1968, has long been an icon of brutalism, even if it achieved that status through sheer controversy. Many architecture aficionados and critics have praised the Hurley Building's unabashed modernism, while a number of locals consider it nothing more than an eyesore. The Paul Rudolph Heritage Foundation published a blog post titled “S.O.S: - Save Rudolph’s Boston Government Center,” describing the Hurley Building as “one of Rudolph’s most interesting commissions, and a serious work of urban design.” In a call to action, the blog post encourages readers to leave comments on the Boston Globe article voicing their concerns with the project. Construction on the site is expected to begin within the next few years once the property finds a buyer. For now, the state is formulating plans to relocate its agencies to alternative sites.
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Did Elizabeth Hirsh Fleisher build Philadelphia's modernist stone pavilion? The answer may save it from demolition

The city of Philadelphia is moving forward with plans to demolish the beloved modernist stone pavilion in Columbus Square, affectionately referred to as the 'Roundhouse' (not to be confused with the Philadelphia Police Headquarters at 8th and Race Streets, also colloquially known as the 'Roundhouse'). The building gained notoriety earlier this year when The Philadelphia Inquirer's Inga Saffron attributed the building's design to the late Elizabeth Hirsh Fleisher, the first woman architect in Philadelphia and one of the first in Pennsylvania. However, the Department of Parks and Recreation has expressed its doubt of Saffron’s claim, attributing the project to Fleisher’s partner Gabriel Roth instead. Some claim that the Roundhouse lacks historical significance without direct attachment to Fleisher, making it an easy target for demolition in the wake of a $2.8 million renovation of Columbus Square. In a recent article for her column in the Inquirer, Saffron bluntly addressed the following questions: “Who’s right? And why should it matter at this late date?” Regardless of the architect’s identity, Saffron claims that the structure, which has been vacant since the city opened a larger recreational facility in 2005, deserves another chance. The whimsical modernist roof and hefty stone walls make it a unique time capsule from a bygone era, drawing parallels to Eero Saarinen’s MIT Chapel, which has long been praised as a treasure of mid-century modernism. Since its completion in the 1960s, the Roundhouse served as an important center of community life for the surrounding neighborhood of Passyunk Square. Its single doorway opened into a small but inviting space in which park-goers could stop to rest, grab sporting equipment, and hold meetings. Even after years of vacancy, Passyunk Square residents have not forgotten the legacy of the Roundhouse; Philadelphia resident Jay Farrell launched a change.org petition to save the beloved pavilion, stating that “the Columbus Square Fleisher Pavilion is clearly a much-loved and familiar landmark in the Passyunk Square neighborhood of South Philadelphia and there is a strong desire among local residents to see it preserved and adaptively reused.” The petition has garnered over 2,500 signatures thus far. While the future of the building remains unclear, the story of the Roundhouse has sparked important conversations about the unsung contributions of women architects and how we determine the historical significance of buildings.
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Six LGBT historic sites declared NYC landmarks

Just in time for LGBT History Month, the New York City Council announced at the end of September that six sites have been designated Individual Landmarks for their significance to LGBTQ+ history. While the six sites were selected during Pride Month this past June, they were required to go through a few more rounds of confirmations by the full 51-person City Council, the City Council’s subcommittee on Landmarks, and the Land Use Committee. While there are always naysayers in Landmarks Preservation Commission (LPC) public hearings, these significant landmarks have officially made it.  This is great news for both the LGBTQ community and the NYC LGBT Historic Sites Project, an educational resource that began in 2015 with the goal of broadening people’s knowledge of LGBT history and geography “beyond Stonewall.” Sites are added to the project’s interactive map, which can be navigated through filters including “Cultural Significance,” “Neighborhood,” or “Era,” all of which aim to make “an invisible history visible.”  "I am very proud of these designations, which recognize that despite the obstacles they faced, the LGBT community has thrived in New York City," said Landmarks Preservation Commission chair Sarah Carroll in an earlier press release.  Below are the six newly-landmarked buildings:  Audre Lorde Residence (1898) Location: 207 St. Paul’s Avenue, Staten Island Architect: Otto Loeffler Audre Lorde (1934-1992), an American writer, feminist, and civil rights activist lived in this Staten Island home with her two children and partner Frances Clayton from 1972 to 1987. Born in Harlem, Lorde noted in an interview with Louise Chawla that this home was a perfect balance between nature and her commitment to raising her children in the city. While living there, Lorde was the Thomas Hunter Chair of Literature at Hunter College and spoke at the 1979 National March on Washington for Lesbian and Gay Rights.  Caffe Cino (1877) Location: 21 Cornelia Street, Manhattan Architect: Benjamin Warner Caffe Cino was designated for its significance as New York City’s first gay theater, as well as the birthplace of Off-Off-Broadway. The Greenwich Village Italianate-style building was occupied by Caffe Cino from 1958 to 1968 (closing a year before the Stonewall uprising) and currently houses a bar called The Drunken Monkey. The four-story tenement and store was constructed by Benjamin Warner in 1877 and features Philadelphia brick walls with iron and wood elements.   LGBT Community Center (1845) Location: 208 West 13th Street, Manhattan Architect: Amnon Macvey The Lesbian, Gay, Bisexual & Transgender Community Center has been an indispensable resource to hundreds of thousands of queer city dwellers since its opening in 1984. Colloquially known as “The Center,” the Italianate-style hub serves the community through health and wellness programs, political action, and social events. In 2001, the center brought on Françoise Bollack Architects to restore the facade and transform the former high school into its present-day program. James Baldwin Residence (Remodeled 1961) Location: 137 West 71st Street, Manhattan Architect: H. Russell Kenyon This building is “the most significant surviving building in the United States associated with the celebrated novelist, essayist, poet, and civil rights advocate James Baldwin,” claims the LPC designation report. Born in Harlem, Baldwin made this his Upper West Side residence from 1965 until his death in 1987. H. Russell Kenyon expanded an existing row house from 1890 into a modern five-story apartment house in 1961. While here, Baldwin participated in events including a meeting at Carnegie Hall with Dr. Martin Luther King shortly before his death, and where he wrote Tell Me How Long the Train’s Been Gone (1968), If Beale Street Could Talk (1974), and No Name in the Street (1972). Women’s Liberation Center (1866) Location: 243 West 20th Street, Manhattan Architect: Charles E. Hartshorn From 1972 to 1987, this former Chelsea firehouse was known as the Women’s Liberation Center and was the home to many lesbian and feminist organizations, which broke away from the male-dominated LGBTQ organizations of the time. The space was run by volunteers and organized as a collective, serving as the primary meeting area for women fighting for LGBT rights through social service groups and political committees. Gay Activists Alliance Firehouse (1881) Location: 99 Wooster Street, Manhattan Architect: Napoleon LeBrun Another firehouse, this one in SoHo, was also designated. The Gay Activists Alliance (GAA) used the building as headquarters from 1971 to 1974, making it one of the most important LGBT political and cultural centers during these years prior to the opening of the LGBT Center (number three on this list). The GAA lobbied for local civil rights laws, worked against police harassment, and aimed for the creation of fair housing legislation and employment. Located in the SoHo Cast Iron Historic District, the building features neo-Grecian and Queen Anne-style ornamentation including terra-cotta reliefs and stained-glass windows.
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AN gets up close with McKim, Mead & White at the Morgan Library restoration

Manhattan's Morgan Library & Museum is almost ready to show off its newly renovated McKim, Mead & White facade, the 2019 renovation being the first comprehensive overhaul of the landmarked building since its completion in 1906. But before the scaffolding comes down, principal conservator Glenn Boornazian invited AN to climb the ladders, and see the ceiling and detail work adorning the neoclassical institution up close.  The wing under renovation is the historic library itself, originally the mansion of J.P Morgan, which houses the famous Renaissance-inspired loggia, Morgan’s red silk-walled office, and the heart of the museum—the three-tiered reading room that holds rare manuscripts from the original handwritten A Christmas Carol to one of Bob Dylan’s personal notebooks.  The museum itself has been evolving rapidly since the 2006 Renzo Piano addition, a glass-box intervention that bridged the annex, library, and brownstone of the Morgan family compound framed by Madison Avenue and 36th and 37th Streets. The addition also created a new entrance for the museum with state-of-the-art amenities for visitors—however, the swap from the original 36th street entrance to the grander ‘museum-grade’ avenue welcome area directed visitors and general street traffic away from the original library's monumental facade. This renovation and cleaning of the Tennessee pink marble exterior is poised to refresh the building’s curb appeal. Up on the scaffolding, it’s impossible to overlook the extraordinary attention to detail in the intricate carving of each stone. One ceiling relief depicts a sailboat, with billowing sails projecting over an inch from its stone base, so prominent that Boornazian was able to wrap his hand around it like a door handle. This craftsmanship was only fully appreciable from where we stood, suspended on a platform two stories high, but granted the same treatment as an eye-level detail.  “If there was one crack, the stone was rejected,” said Boornazian, “The contractor almost went bankrupt trying to satisfy the standards of the project.” The joinery was a primary concern of the conservator, as time and settlement had begun to pry some of the expertly set stones in the ceiling program apart. “Today, this amount would have been unacceptable,” he added, pointing to a seam just slightly thicker than a strand of hair.  Physical alterations also extend from the facade to the overly-oxidized metal fencing, the prominent lioness sculptures framing the library entrance, the cast-bronze doors, and the lesser-known bluestone public sidewalk pavers. Yet, the marble exterior is only one facet of the regeneration project. When the scaffolding comes down, predicted to occur as early as this week, installation will begin on the landscape and lighting improvements, set to debut in spring 2020.  A new garden program by British designer and GSD faculty member Todd Longstaffe-Gowan will enliven the front entrance of the restored structure, and offer a rare strip of green space in the Midtown streetscape. Coming off of commissions like the grounds of Kensington Palace, the scale is relatively modest, but the sensitivity to history is shared. The low-lying planted selections will allow for full viewing of the building from the garden and street, and Renaissance Revival pebble slabs and McKim, Mead & White-inspired parterres will abound throughout the grounds.   “This project will reintegrate the monumental facade into the museum’s program,” said Morgan deputy director Jessica Ludwig, “and bring more people closer to the building’s details than ever before.” 
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Historic Detroit newspaper building will be razed for 12 parking spots

A curious thing is happening in downtown Detroit. An iconic building that once housed an early-20th-century local newspaper is slated for demolition and set to be replaced by 12 parking spots.  You read that right, just 12 parking spots.  The three-story brick structure at 550 West Fort Street initially served as the headquarters of Detroit Saturday Night from 1914 to 1929. It was designed by Smith, Hinchman & Grylls, one of the oldest architecture firms in the U.S., now known as SmithGroup. Last week, the Detroit City Council voted to deny the building its own historic designation, which in turn allows a proposal by local developer, Emmet Morten, Jr., to move forward. The building will now be razed in order to provide more parking for a luxury condominium nearby. It’s long been part of the developer’s plans to expand its work in the Fort Shelby Hotel historic district, which houses the Fort Shelby Residences on the site of a demolished 18th-century military base. Preservation groups didn’t think the city would actually allow the small news building to go down, but over the last year, the City Council and the Historic District  Commission began showing signs that the structure wasn’t worth saving, as it lies just outside the historic district. Advocacy organization Preservation Detroit stepped in about 10 months ago and mustered over 3,600 signatures for a petition to protect and rehabilitate the building for future use.  This morning, protestors gathered outside the old Detroit Saturday Night building to ask the City Council to reconsider last week’s vote. According to the Detroit Metro Times, the event was organized by Detroiters for Parking Reform, a group calling for a moratorium on building new parking spaces:
“We have more parking spaces downtown than ever before, with nearly 40 percent of land in downtown Detroit devoted to this use," the group wrote to city council. "But somehow, we are convinced we need 12 more spaces where the historic Detroit Saturday Night Building stands today. This is a building that might otherwise be redeveloped for housing, business, and retail space. World-class cities are not defined by how much parking they have."
Detroit Saturday Night was published from 1907 to 1939. The news outlet moved into a bigger location, an Art Deco building also designed by Smith, Hinchman & Grylls, after 15 years on West Fort Street. 
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Controversial expansion to Ottawa's Chateau Laurier rejected for now

The owner of what’s arguably the most important historic hotel in Canada wants to expand its northwestern backside with a modern addition that’s met with extremely severe criticism online.  Designed by Peter Clewes, principal of the Toronto-based architectsAlliance, the bulky, seven-story structure would bring 147 new rooms to the iconic Fairmont Chateau Laurier, a 107-year-old structure in Ottawa near Parliament Hill. Late last month, the City Council’s Committee of Adjustment rejected the request by property owner Larco Investments for a reduced rear yard setback on the addition. The denial effectively prevents them from breaking ground on the project. Built in 1912 and originally named after the First Grand Trunk Railway by then-owner Charles Melville Hays, the limestone-clad structure spans an impressive 660,000-square-feet, boasts 429 rooms, and sports a number of iconic turrets. It’s located in a section of Major’s Hill Park, a grand landscape in downtown Ottawa along the Rideau Canal. Some opponents of the expansion project say it would hinder views of the surrounding cityscape, much of which is on federal land. In the September 27 setback hearing, the committee acknowledged that these heritage features would be threatened and as one city council member also noted in the Ottawa Citizen, that the design isn’t compatible with the “shapes and materials” of the hotel. All these factors were outlined in the committee’s final decision: 
“The committee is of the opinion that the approval of (the) variance would allow for a new build that does not respect the landscape and character of the heritage features of the historic properties that surround the site, specifically those of the Rideau Canal, Major’s Hill Park and the Parliamentary Precinct, in contravention of the policies currently in place for compatible design and protection of views to these sites.” 
But Clewes, who has attempted to explain his design decision over the last few years, said the addition was imagined with the utmost respect for the historic site. In a 2016 interview with Maclean's, he claimed the hotel’s use of limestone and deeply incised windows was considered in the new project in order to complement the existing building.  “We’ve chosen to reinterpret that... but in a much more contemporary manner, which is a series of vertical windows in a somewhat whimsical pattern—some have likened it to a bar code,” he said. “What we’re trying to say is, look, the hotel is the most important building here, and we were simply trying to respond to that.”  If Clewes’s proposal was realized, it would be built on the site of a former parking garage located at the rear of the hotel. To signify the separation between the historic building and its contemporary predecessor, the architect added in a glazed structure so that “there’s a very clear distinction between what is old and what is new.”  But it’s not enough. Larco Investments has already secured heritage and site-plan approvals from the city council but has failed in trying to minimize the required setback for an addition to the hotel property. The reduction, according to Ottawa Citizen, would project out towards the park and “represents an increase in density on the site.” It's expected that Larco Investments will appeal the decision with the Local Planning Appeal Tribunal.

Photography Tour: Historic Theaters of Downtown Baltimore

Tour downtown Baltimore for fascinating stories and photography tips with photographer Amy Davis, author of Flickering Treasures: Rediscovering Baltimore’s Forgotten Movie Theaters. Explore the revival of the historic Hippodrome and Everyman theaters and ponder the fate of other grand picture palaces on the city's west side, the Stanley and Mayfair. Bring your smartphone or digital camera and snap away as you walk along the route. This program complements the exhibition Flickering Treasures: Rediscovering Baltimore’s Forgotten Movie Theaters. One-day Museum general admission pass with tour registration fee, which grants access to all exhibitions. Valid through November 30, 2019. Rain date September 28. $25. Pre-registration required. Space is limited to 15 people. Tickets are non-refundable and non-transferable. Online registration for this program closes at midnight the day before the program.
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Oak Park's historic preservation commission rejects proposal for Frank Lloyd Wright visitor center

A major move shook up the world of all things Frank Lloyd Wright last week. The Frank Lloyd Wright Trust has long been planning to build a new Visitor and Education Center next to the modernist architect's hugely-popular Oak Park, Illinois, home and studio, but the proposal to move forward was unanimously rejected by the village’s Historic Preservation Commission.  To accommodate the potential 9,000-square-foot welcome space, the plan indicated that 925 Chicago Avenue, situated next door to the Frank Lloyd Wright Home and Studio, would have to be relocated or demolished as a last resort. That, and later additions at 931 Chicago Avenue, where Wright’s mother lived—and where the Trust currently operates the site from—also needed to be removed, restoring the building to its original footprint. This didn’t sit well with the Commission or the nearly 30 people who spoke out against the plan at the public hearing and vote on August 27.  In a statement following the vote, the Trust said it is considering its next steps: 
“As a 21st Century organization, the Trust is resolved in its mission to honor the innovative vision and legacy of Frank Lloyd Wright and to further contribute to the vitality of Oak Park as a living museum of significant architecture...Our commitment to design education will ensure that future generations value achievement in art, architecture and design for which Oak Park is renowned. To retain the value the Trust has added to Oak Park over the years, we must keep pace with standards of best practice in cultural tourism and education and set a tone of forward-thinking that Wright himself advocated.”
Located within the Frank Lloyd Wright-Prairie School of Architecture Historic District, the proposal was slated to set the Trust up for a new space that would filter the 90,000 people who visited the famous site each year. Visitors currently enter and exit the historic locale through a cramped garage shop, noted the Chicago Tribune A design for the visitor’s center had already been in the works for the past few years since the Trust purchase 925 Chicago Avenue. The organization held a local competition for the project and announced in June that Chicago-based John Ronan had won. His vision included a reception hall, gift shop, a ticketing and information area, and an outdoor plaza with green space. According to the Trust’s chairman Bob Mill, the proposal was selected between it had a “quiet presence within the site” and used materials that reference the surrounding neighborhood. Despite what appeared to be a thoughtful proposal, there was overwhelming opposition to the project. The National Trust for Historic Preservation, Landmarks Illinois, and the Frank Lloyd Wright Building Conservancy all denounced the scheme. The Village of Oak Park said the Trust must submit a new application with a different proposal through the Historic Preservation Commission.  Last week, the Trust issued a noted saying it will not appeal the commission's decision, but instead reconsider its plan.
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The iconic Round Bank in Bellmead, Texas, will be demolished

Among the Czech Stop kolaches, Robertson’s roast beef stands, and Buc-ee’s along Interstate 35 through Central Texas, the American Bank in Bellmead represents the most recognizable of icons. The characteristic round shape, with its namesake perched above like an Ed Ruscha painting, is the boldest of statements among a sea of pole signs and fast food joints. The Waco Tribune-Herald has reported that the iconic bank would be demolished in 2020, after recent attempts to determine a remodel for the structure was deemed “not economically feasible to get it up to serviceable condition for banking,” stated CEO Dana Hassell in the report. The renderings rekeased show a smaller replacement that evokes the round shape, framed by vertical wing walls clad in aluminum. Upon hearing of the impending demolition, preservation groups across the state have responded swiftly to save what Evan Thompson of the nonprofit Preservation Texas calls “a landmark.” Designed by then Dallas-based architect Durwood Pickle, the American Bank was conceived as a landmark from the outset, intended to create a lasting visual statement. In a 1978 interview for ENR, Pickle explained that the owners “wanted the image of at least a five-story building but they did not need that much space.” The 71-foot diameter, two-story structure was instead built atop a raised landscape plinth. A lightweight fiber-reinforced concrete (FRC) shell, one of the few early examples in the State of Texas, attaches at the second level and rises upward to become a five-foot high parapet. The entire composition places the building above the interchange level to frame the bank clearly within view. An invitation to conduct drive-up banking radiates outward from the round shell, setting up a very clear and bold statement at ground level and from above. It is a statement that the current replacement proposal fails to attain. Pickle’s intent clearly foreshadowed the bank’s impending concerns, however, its intentions were toward something greater, an experience rarely seen and that is quickly disappearing from our roadside theater. “People love this building because it's different,” explained Thompson. “It was designed with the intention of being a roadside landmark—and for forty years, it has been. The Round Bank is obviously one of the architectural highlights along the otherwise monotonous and repetitive stretches of interstate between Dallas/Fort Worth and Austin. Because the Round Bank provides a visual anchor for all those who sail along (sometimes fast, sometimes slow) I-35, its loss would be disorienting and damaging and a total waste.” The state-run Texas Historical Commission is also looking into the structure’s potential for historical tax credits. The loss of the American Bank would be an unfortunate one, visually of course, but also as an essential identifier for Bellmead and the Waco region. In capturing these images for the article, Dallas-based architectural photographer Parrish Ruiz de Velasco, shared his thoughts on the bank that is located near his family home. “It is one of those landmarks that you can’t miss and I think it is important to the community,” explained Velasco. “Upon sharing images I received several messages from friends and people I’ve never met, all saying the same thing—Gotta love the Circle Bank!” All photographs used in this article were taken by Parrish Ruiz de Velasco. His work can be found at parrch.com
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Fate of Tokyo’s Nakagin Capsule Tower still up in the air

After years of back and forth, Tokyo’s iconic Nakagin Capsule Tower may face demolition after all, according to Citylab. The 13-story building, which has stood in the Shinbashi neighborhood since 1972, is a distinct relic of the Metabolist movement that dominated architectural discourse in post-World War II Japan. Maintenance issues have plagued the site for over a decade, with certain stakeholders now reiterating that demolition might be the most economical option.

Many architectural historians consider the Nakagin Capsule Tower to be one of the best surviving examples of Metabolism, a movement that explored methods of large-scale reconstruction for Japan’s war-ravaged cities. Between the 1950s and 1970s, Metabolists like Pritzker Prize winners Fumihiko Maki and Kenzo Tange emphasized the need for Japanese architects to emulate organic systems in their designs for urban megastructures, highlighting how metabolisms in complex organisms work to maintain living cells.

Kishō Kurokawa, a prominent voice in Japan’s post-war cultural resurgence and the author of the 1977 book Metabolism in Architecture, designed the Nakagin Capsule Tower at the request of the Nakagin real-estate company’s president, Torizo Watanabe. The structure is an agglomeration of 140 prefabricated “capsules” affixed in varying orientations to two concrete cores. Each unit is one hundred square feet in area and has a single porthole window. The highly formulaic design enabled construction crews to assemble the entire structure in only 30 days, resulting in a tower that hosted both commercial offices and private residential space. Kurokawa also intended for the capsules to be removed and replaced as needed. Ironically, the ability of capsule occupants to refurbish or replace their individual units was supposed to preclude any sort of large-scale demolition of the building. Perhaps the current state of affairs in Shinbashi is a reflection of the model’s shortfalls.

Over the years, not a single one of the 140 capsules have been removed or replaced. Many are still in use as apartments or offices, but some have been repurposed as storage compartments or outright abandoned. Certain owners have made an effort to preserve or restore their capsules, but many have fallen into visible disrepair. In 2007, the tower’s management company announced that asbestos had been found in many of the units and cleared the entire building for demolition. Financial difficulties at the construction company that was tapped to lead the lot’s redevelopment stalled the project, and the debate over whether to tear down the Nakagin Capsule Tower has remained at a standstill ever since.

By 2018, Nakagin Integration, Inc. had become frustrated with high maintenance costs and sold the land under the building, which currently operates as a condominium, to a real-estate company. In a move permitted under Japanese law, the new land-owner then prohibited any new sales in the tower and considered the site’s potential for redevelopment. As Jiji Press reported last month, though, an unnamed foreign buyer has expressed interest in purchasing the land and preserving the tower.

While maintaining the Nakagin Capsule Tower has grown into too great a burden for some managers and unit owners, the movement to preserve the building has also amassed support. Activists and organizers formed the Nakagin Capsule Tower Building Conservation and Regeneration Project to protect the building from developers in bustling Shinbashi. One member, Tatsuyuki Maeda, now owns 15 units in the building and hopes his investment in the property will help tip the scales in favor of preservationists.

Regardless of one’s standpoint on the importance of architectural preservation, the Nakagin Capsule Tower’s status as a rare built example of Metabolist architecture is indisputable. Investors will ultimately decide whether this legacy is worth defending, but preservationists are slowly accruing more of a stake in the building.

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ODA's 10 Jay Street in DUMBO shines with a faceted facade

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Over the last two decades, Brooklyn's DUMBO neighborhood has undergone a significant degree of development, including the restoration of historic warehouses that dominated the neighborhood for centuries and plenty of new construction. ODA, which has a number of projects across the borough, recently completed the restoration and partial recladding of a decrepit 19th-century refinery and warehouse with a lively, iridescent glass curtainwall. The 130,000-square-foot development, which reaches a height of 10 stories, was originally built in 1898 as a sugar refinery for the Arbuckle Brothers and relied on a steel structural system with the brick elevations largely serving as curtainwall. Similar to other structures throughout the neighborhood, the building has undergone significant changes since construction; in 1925 it was converted to a winery, with the west elevation shorn off a decade later. The site was left vacant and in a state of continual decline from the middle of the 20th century until 1991.
  • Facade Manufacturer KPA Studio Hankuk Glass Industries
  • Architect ODA
  • Facade Installer KPA Studio
  • Facade Consultant SURFACE DESIGN GROUP
  • Location Brooklyn, New York
  • Date of Completion April 2019
  • System Custom KPA Studio unitized curtainwall
  • Products Hankuk Glass custom Low-E glass
The design from ODA draws from this history with a crystalline western elevation which shimmers and reflects the skyline of Lower Manhattan and the East River. According to ODA communications director Juan Roque Urrutia, "besides the construction challenges of dealing with an old structure, one of the main challenges was to actually convince the Landmarks Preservation Commission about the values of the original building and how a modern incorporation of a kaleidoscopic facade was not only respectful but also appeals to heritage stories." The glass modules are split between rectangular and triangular units, which rise perpendicular to the floor plate or inflect inward to effectively create concave bay windows. Minor segments of brick are interspersed throughout the western elevation and are located adjacent to the branch-like mullions. The average dimensions of the glass modules are approximately 11-by-5 feet, and each module was treated with a low-e coating to boost their reflectivity. Each panel spans from floor-to-floor and is held to the top of each floor slab with an aluminum anchor plate and hook. Grafting an entirely new skin onto a historic structure is a remarkably complex procedure, and ODA turned to facade consultant SURFACE DESIGN GROUP (SDG), who have established a particular expertise in facade retrofit and historic preservation. The retrofit uses a unitized glass and aluminum curtain wall system with angular facets and spandrel panels located at the slab edge. "As part of the north façade retrofit, the existing historic brick and terra cotta arched floors were extended with reinforced concrete to meet the new profile of the faceted facade," said the SDG team. "Given the complexity of both the curtain wall panel and edge of slab geometry, which is also faceted to mirror the form of the panels, standardizing the anchoring method aided in the efficiency of panel installation." Standing derelict for decades, the former sugar refinery also required an extensive degree of restorative work. First, stucco coating from the 1990s, and layers of old paint which hastened the decay of the brick masonry, had to be peeled away. The east elevation suffered the worst of the building's deterioration and required the complete reconstruction of the brick facade and the underlying steel structure. The remainder of the restorative work entailed brick replacement—nearly a third of them recycled, steel spandrel repairs, mortar repointing, and the application of a new weather resistant coating. The project is located in the DUMBO Historic District and required the input and approval of the Landmarks Preservation Commission throughout the design and construction process.
 
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The Nonument database is saving forgotten 20th-century buildings

Nonument is committed to not only recording but celebrating the 20th century’s most important non-monuments. Founded in 2011, the multidisciplinary artist and research collective has amassed a record of built spaces that stand, if barely; forgotten by time through decay, technological or political changes, Nonument is preserving them even as they fall out of favor in a changing 21st-century society.  Rather than present “a glorified collection of obscurities” or focus purely on architectural styles, founders Neja Tomšič and Martin Bricelj Baraga seek to develop a deeper understanding of public space and art, and how politics shape these spaces in our world today. In partnership with Mapping & Archiving Public Spaces (MAPS) project, the collective has a goal of cataloging more than 120 forgotten sites around the globe and bring them back into the public eye.  Created by the Museum of Transitory Art, MAPS shares many of the goals of Nonument: its mission “aims to identify, map and archive public spaces, architecture, and monuments which are part of our cultural heritage, but are not yet identified as such.” And that’s where Nonument began. NONUMENT01 was a response to the demolition of a Brutalist icon, the McKeldin Fountain in Baltimore. A decision made with limited public engagement or input, the fountain had been an important gathering point for protestors and creatives, and the visual centerpiece of McKeldin Square. Upon its removal in 2016, Lisa Moren, a professor of visual arts, enacted the first art installation of Nonument, debuting an augmented reality app that allowed users to recreate the fountain on their screens, and interact with memories like protest signs and koi fish to discover their stories. The app and its launch event at the site continued the legacy of the lost monument and its role within the city, setting a precedent for Nonuments of the future. The database is just one component of Nonument. Case studies on architectural theory and live art, and performance events like Moren’s, are also an integral part of the collective’s mission, making it more than just an encyclopedia of degrading buildings. While the act of listing the monuments breathes back a certain degree of life, critical discourse and real-life opportunities for interaction with the listed structures completes a circle of study and renegotiation with the space they occupy—aligning with the overarching goals of the group.  From nuclear power plants in Austria to stone sculptures in Serbia, the database is set to become a comprehensive collection and research resource for the 20th century, and continue to unearth the stories that matter, and rewrite the rules for sustainable management of our cultural heritage.