2017 Best of Design Award for Adaptive Reuse: The Contemporary Austin, Jones Center Architect: Lewis.Tsurumaki.Lewis Architects Location: Austin, Texas Formed from the merging of Arthouse and the Austin Museum of Art, the Contemporary Austin is a 23,800-square-foot museum in the heart of Austin. The building presents a fresh identity for the new organization, while preserving and adding to the century-old building’s history of transformations from a theater, a department store, and a local art center to a highly refined exhibition space. The most public aspect of the renovation comprises a perforated aluminum canopy that floats 23 feet above the roof deck, providing shelter from the elements and framing site-specific art installations on the parapet. The canopy supports a retractable weather curtain, monumentally scaled at over 5,600 square feet. Key to the renovations, though less visible by design, are alterations that provide increased capacity for large-scale artworks and exhibitions, including enlarged access panels, a high-capacity scissor lift, environmental control upgrades, and improvements to the building envelope. "Simultaneously serious and whimsical, the project is a beacon not only for Austin, but for adaptive reuse in general—inspiring for its inventiveness." —Eric Bunge, Principal, nARCHITECTS (juror) Construction Manager: Zapalac/Reed Construction Company MEP Engineer: Kent Consulting Engineers Structural Engineer: MJ Structures Lighting Designer: Lumen Architecture Curtain Fabricator: Contract Workroom Honorable Mentions Project: New Lab at the Brooklyn Navy Yard Firm: Marvel Architects Location: Brooklyn, New York The New Lab transforms Building 128 at the Brooklyn Navy Yard, once a shipbuilding factory, into a high-tech design and prototyping center. A variety of classes and educational programs will provide job training for Navy Yard tenants and other high-tech manufacturers, as well as local entrepreneurs wishing to advance their skills. Honorable Mention Project: Massachusetts Museum of Contemporary Art (MASS MoCA), The Robert W. Wilson Building Architect: Bruner/Cott Architects Place: North Adams, Massachusetts Mass MoCA breathes new life into a 17-acre industrial complex built in the late 1800s with this pioneering adaptive reuse project. The museum was completed in three phases, with the Robert W. Wilson Building being MASS MoCA’s final realization of its “museums within the museum” concept.
Posts tagged with "LTL Architects":
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.
In December of last year, New York–based Lewis Tsurumaki Lewis Architects (LTL) completed its renovation of The Contemporary Austin-Jones Center which, among other improvements, includes the freshly inaugurated Moody Rooftop pavilion. The $3 million dollar renovation responds to the enormous growth of the institution and its popular public programming as well as the increasing scale of Austin’s architecture. This project is one in a series of designs that the organization has commissioned in recent years including the ongoing master planning of its sculpture park at Laguna Gloria by Cambridge, Massachusetts–based landscape architecture firm Reed-Hilderbrand. Since the museum opened its downtown location in 2010, the roof deck has been a central feature of its public engagement strategy and often hosts outdoor film screenings and music performances. This upgrade allows The Contemporary to hold larger events with more control over the open air roof space. LTL designed a deceptively thin roof canopy that hovers 23 feet above the original structure with stark white curtains that can be drawn to enclose the space for year-round use. The museum also moved its administrative office to Laguna Gloria, thereby allowing for Jones Center to double its ground floor area for exhibitions and upgrade its mechanical systems to accommodate a more diverse range of art installations. The building is situated along Congress Avenue, Austin's central thoroughfare, with a direct view to the State Capitol, making the museum one of the city’s most visible cultural institutions. Coincidental with the re-opening of the museum was the installation of a text artwork by artist Jim Hodges that wraps the edge of the roof. The piece consists of 27 seven-foot-tall block letters reading “With Liberty and Justice for All” lit from behind and encased with iridescent mirrored surfaces. The eponymously titled piece is in the public gaze at all times and will reportedly remain in place for three years, though the architect re-designed the roof to potentially mount the letters permanently. Earlier this year, directly following the presidential inauguration, both the building and the art were the backdrop for the Women’s March in Austin, underscoring the social responsibility that cultural institutions have to shape a city’s identity. With cooperation between distinctive architectural design and timely public artwork, the museum aims to vault itself from a sometimes scrappy nonprofit to a growing powerhouse among national art institutions.
The David & Helen Gurley Brown Institute for Media Innovation is a busy hub of technology housed within a building from McKim, Mead & White’s late 19th-century campus plan for Columbia University. In subsequent years, the space, which occupies part of the eastern wing of the Pulitzer Building, was broken up into small offices. Marc Tsurumaki and his team at LTL Architects were hired to revamp the space for the Columbia branch of the institute, which is a collaboration between Columbia and Stanford Universities. Despite all of its high-tech screens, the institute’s facility really respects its history. Eleven double-height windows that had been partially blocked now bathe the room in natural light, although a scrim that covers the walls also serves as a shade to deflect daylight and prevent glare, a necessary consideration in a room that is always filled with people tapping away on laptops. Given the collaborative nature of the institute, the primary space was designed with flexibility in mind. It can host concerts, performances, workshops, seminars, and symposia, in addition to the more typical set-up that we saw today. Large walnut-topped tables are moveable but not easily moved – the architects allowed for flexibility, but only with intention. Although acoustical fabrics are used throughout (including hidden behind the scrim), additional nooks were carved out for greater intimacy. Small rooms dubbed “the garage” are nestled under the mezzanine level, which was located above the entrance to the institute to create an extended threshold opening up into the larger space. Niches along the northern wall of the room take advantage of its thick masonry construction. Waist-height walnut wainscoting gives the room a more human scale and links the niches to the larger space. The thick end-grain recycled walnut floor connects visually to the tables and wainscoting, and provides durability in an active setting. The scrim, which is suspended on a steel armature and hides HVAC and electrical systems, announces the institute’s purpose. Mark Hansen, director of Columbia’s branch of the institute told us that Mark Wigley, former dean of Columbia’s Graduate School of Architecture, Planning and Preservation, and currently a GSAPP professor, talks about the space as both a laboratory that facilitates the cross-pollination of ideas among fellows, as well as a physical center that refers to and reflects the institute’s mission. This agenda is reinforced at the entrance to the institute, where a solid plate aluminum installation incorporates mirrored glass to reflect the surroundings back into the display. This subtle mirroring plays with the relationship of new media to the historic building. Join us tomorrow for a tour of another historic building: the Cooper Hewitt, Smithsonian Design Museum.
A jury of architects, landscape architects, critics, educators, and planners has named the 35 winning projects of this year's AIA New York Chapter Design Awards. "Each winning project, granted either an 'Honor' or 'Merit' award, was chosen for its design quality, response to its context and community, program resolution, innovation, thoughtfulness, and technique," the AIA said in a statement. "Submitted projects had to be completed by members of the AIA New York Chapter, architects/designers practicing in New York, or be New York projects designed by architects/designers based elsewhere." Take a look at the winning teams and projects in the Interiors category below. Clouds Architecture Office St. Mark's Bookshop New York, NY
From the architects: "The brief stated that the book store accommodate events, therefore the perimeter of the space is wrapped with full height shelving, freeing up the interior as a flexible use space. Variously stacked display units provide table display space while doubling as informal loose seating for reading and events. A windowed office space is created by pinching and pulling shelves toward the center of the space while facing more of the shelves toward the storefront entry."Desai Chia Architecture Photographer's Loft New York, NY MERIT AWARDS de-spec Chilewich New York, NY Helpern Architects Restoration of the Nave of Sterling Memorial Library at Yale University New Haven, CT LEVENBETTS Cornell Sibley Hall Ithaca, NY LTL Architects David and Helen Gurley Brown Institute for Media Innovation New York, NY Lynch / Eisinger / Design David Yurman Headquarters New York, NY Lynch / Eisinger / Design The Guidance Center Long Beach, CA
In finalizing a key component of the Long Island Index’s 2014 effort to explore innovations for Long Island’s downtown area parking facilities, Build a Better Burb: ParkingPLUS Design Challenge has revealed the chosen architectural firms to take on the venture. The Rauch Foundation’s project goal is to investigate new parking design concepts that integrate local amenities and transform parking facilities into architectural attractions. The four firms—dub studios, LTL Architects, Roger Sherman Architecture + Urban Design, and Utile, Inc.—will individually tackle downtown needs in one of four Long Island communities: Patchogue, Rockville Centre, Ronkonkoma, and Westbury. Each community will collaborate with a selected architectural firm to pinpoint prospective sites. With more than 4,000 acres of surface parking lots in Long Island’s downtowns, the chance to re-imagine parking will hopefully encourage residents to contribute to the process. The Design Challenge seeks to stimulate innovative thinking about the area’s mass transit-served downtowns. The Long Island Index’s online journal of suburban design, Build a Better Burb, will be the principal site for public discussion about the designs. Each of the winning architectural teams will receive design stipends and will have six weeks to complete their designs, which will be revealed in January by the Long Island Index. The firms and their corresponding communities are:
- dub studios, Patchogue
- LTL Architects, Westbury
- Roger Sherman Architecture + Urban Design, Ronkonkoma
- Utile, Inc., Rockville Centre