Posts tagged with "McKim Mead & White":
Lexington, Kentucky’s oldest skyscraper, the 1913 15-story McKim, Mead & White-designed Fayette National Bank Building, has been remodeled into the fifth iteration of the 21c Museum Hotels. 21c’s founders, two Louisville art collectors, spent $43 million converting the former bank into an 88-room boutique hotel. The Louisville-based chain is notable for including contemporary art spaces in its hotels. 21c Lexington includes 7,000 square feet of exhibition area with original art throughout the guest rooms and public spaces.
New York–based Deborah Berke Partners were the design architects for the project, while Pittsburgh-based Perfido Weiskopf Wagstaff + Goettel acted as executive architects. The hotel’s restaurant, Lockbox—a nod to the building’s heritage—includes a 12-person private dining room in the original vault with a functional locking door. 21c’s exhibition space is free and open to the public, with tours offered on Wednesday and Friday evenings.
Renovation transforms decommissioned McKim Mead & White building into campus event space.When Amherst College decided to convert a former steam plant into a student event space, the choice likely struck some observers as odd. Designed in 1925 by McKim, Mead & White, the coal-burning plant was decommissioned in the 1960s; since the 1980s, it had been used as a makeshift garage for ground equipment. The facade of the neglected building needed to be opened up to reveal its potential while respecting its good bones. "It wasn't in great shape, but it wasn't in terrible shape," said Bruner/Cott's Dana Kelly. "Impressively enough, the school recognized that it had qualities that could be harnessed for a new student space." The brick building's industrial aesthetic was a particular draw, said Kelly, whose firm has spearheaded renovations at the nearby MASS MoCA (itself a former industrial complex) since the museum opened in 1999. For Amherst College, Bruner/Cott took a similar approach, balancing preservation and alteration to support the new program without disrupting the historic building's essential character. By the time Bruner/Cott began work on the Powerhouse, the original brick envelope had already seen a lot of change. Earlier renovators had filled windows with glass block, rebuilt a blind arch in mismatching brick, and cut a large garage door into the south facade. "Since the building had been altered so much, we chose to continue the dialogue by restoring or reconstructing some exterior elements, and sensitively altering others to match the new use and open the building up to campus," said Bruner/Cott's Jason Forney and Aoife Morris. On the side of the building facing the campus road, the architects inserted a new steel and glass entrance into a blind brick arch. On the south facade, to connect the interior to the new outdoor terrace, they inserted historic replica windows and french doors in place of the glass block, and swapped out the roll-up garage door for a bi-fold glass door. On the north side, which faces the parking lot, Bruner/Cott retained the existing glass block. "The observer still reads the McKim, Mead & White design, but with the changes the building has evolved to be an extroverted part of campus instead of being an introverted coal-burning steam plant," said Forney and Morris. Environmental performance was a priority for the architects, who will monitor the building's energy consumption during occupancy. They talked Amherst College into opting for operable windows over mechanical cooling. For heat, they chose a hydronic radiant floor and an overhead infrared heater that runs on gas. "These systems work to heat the bodies of occupants, instead of heating the large volume of air in the space," explained Forney and Morris. An insulated chamber designed by Bruner/Cott captures waste heat from the new steam plant below the building and releases it into the event space during the winter. The architects chose not to insulate the interior walls "since their character was an important design element for the event space," said Forney and Morris. To compensate, they installed a new slate roof, heavily insulated with spray-on cellulose. The new roof, noted Forney and Morris, mixes two colors of stone "to achieve the mottled effect of the existing roof, which was beautiful but had outlived its lifespan." To avoid interrupting the Powerhouse's open plan, Bruner/Cott situated the restrooms in an understated addition constructed from board-formed concrete. "We find that additions like this are often necessary to support existing buildings without undermining their spatial qualities," observed Forney and Morris. To foreground the steam plant itself, "we chose to make the addition appear like a garden wall—a 'non-building,'" they said. "It is simply two offset concrete walls that conceal the door to the terrace." The contractor built the formwork from rough-hewn lumber to achieve a patinated look, and tinted the concrete to match the existing water table banding. The addition's gutters are designed to pour water down the face of the wall and hasten the appearance of age. Like Bruner/Cott's sensitive renovation, the steam plant's new moniker—the Powerhouse—effectively gestures at both the history of the building and its new incarnation as a campus activities hub. "Amherst College chose the name both to remind students of the building's industrial past, and to recognize its place in 21st-century student life," said Forney and Morris. Once responsible for producing heat, today the structure generates something less material, but equally important: student engagement.
Roche’s declared design intention was to create an open urban plaza that defers to and displays the monumental Beaux-Arts façade of the museum. He wanted to distinguish the urban face …on Fifth Avenue from the park portions of the other three sides... (The Chapter) is hopeful that any modifications to the present plaza, to the extent that they are necessary, conform to the underlying principles of the Kevin Roche design-preserving an open urban plaza with unimpeded access to (his ingeniously three –sided) entrance stairway and unobstructed visibility of the stairs, adjacent facades and ground level entrances.And with the results now plain, how right they were. With the exception of a masterwork of exterior nighttime illumination by Hervé Descottes and his L’Observatoire International that subtly responds to the architecture’s classical hierarchies and the replenishment of the subsoil, it is only now that the relative dignity of this earlier renovation is fully evident. Restoration of the restoration was a worthy option after all. Apologies are due them. Despite some working drawings from McKim, Mead, & White in which the option of flower and shrub beds appeared alongside the façade elevation, their final intent was clear with the dignified built encounter of limestone and pavers accentuated further by the pedestrian-scaled Roman grills that inform urban places of majesty and safe-keeping. OLIN’s decision to place such beds there seems a pallid suburbanization vying to extend the park setting instead of contrasting it. Imagine flowers alongside the Pantheon or its Renaissance-descended Palazzo Farnese? Meanwhile, the new fountains, while retaining a classical symmetry, end up compromising the pomp and circumstance of the Roche-thrusting and much expanded grand stairs with a tight perplexing proximity. The visitor today cannot help but wonder if it is some disguised stab at crowd control. And while their new placement was meant in part to make more legible the secondary street-grade entrance at 81st Street, the trade-off is untested and dubious; who can resist mounting those stairs? This is a classical threshold at its iconic best. The waterworks vary in height and rhythm in a mannered echo of WET Design’s signature creations yet at low height the sprouts seem more than a tinkle. The previous fountains recalled the classical rigor that informed so much of high Modernism. This was never meant as a playful place. Instead it was always meant for unencumbered dignity; all who enter should arrive as big shots knowing that they each held a key to this great repository of beauty and truth. Likewise the addition of dozens of trees even as now young and leafless obscures the architecture. What about in 20 years? It is hard to object to more trees in this warned up day and age but here is one place where the sum is less than the design parts. Finally and through no fault of either client or landscape architect there is a the all too frequent New York curse of visual pollution as arises in public places, where governing statures collide and, in turn, destroy the clarity of the guiding design blueprint. Here at the Met plaza, it is the curbside licensed food vendors. Ironically the spot-on instinct on the Museum’s part to include in its initial plan outdoor kiosks for such inevitable trade was denied by the oversight Landmarks and Public Design Commissions in convenient disregard for the ultimate reality of the streets. With the present redesign, Mr. Koch might well wish that for now at least his name not be its site label after all. He seems shortchanged as much as those he generously aims to benefit.
In 1901, White, a famous playboy, began liaisons with actress and model Evelyn Nesbit, who was 16 at the time. White was a partner at the prestigious firm McKim, Meade [sic] and White, where he designed iconic New York City structures such as the Washington Square Arch and the New York Herald Building. White and Nesbit would rendezvous at the four-story building at 22 West 24th Street. They carried on the affair for years, fueling the rage of Nesbit's husband, millionaire Harry Thaw, who fatally shot White during a musical in the architect's own creation, Madison Square Garden, in 1906.And to think all these years we'd assumed he was famous simply for being part of that incomprable Beaux Arts trio. And mustache. Funny how history has a way of coming around, though. We guess some buildings are just cursed. (via Curbed)