Posts tagged with "Milwaukee":
A little bit of Milwaukee died when the Pabst Brewery closed in 1996. It would be over a decade before anything started to fill in its sprawling campus. Over 20 years have passed and one of the brewery’s most iconic buildings is finally seeing new life… Or is that old life? Pabst Brewing Company has returned to the Brew City in the form of a microbrewery, restaurant, and beer garden. The rehabbed 144-year-old First German Methodist Church will produce upward of 4,000 barrels of beer a year, and seat about 140 people in a dining room, mezzanine, and bar. While Pabst Blue Ribbon will be on tap, the microbrewery will also brew rare German and Belgian beers. Knowing its audience, the new brewery opened April 14, also known locally as Milwaukee Day (414 is Milwaukee’s area code).Pabst Brewery 1037 West Juneau Avenue Milwaukee Tel: 414-630-1609 Design Architect: Dub Studios Architect of Record: Engberg Anderson
Downtown Milwaukee is going through what could only be called a renaissance. Along with the proposed revitalization of the multi-block Grand Avenue Mall, a slew of towers from the shore of Lake Michigan to the west end of the downtown are changing the skyline of Milwaukee. It has been decades since Milwaukee has seen such a building boom. With construction starting later this year, the 25-story BMO Harris Financial Center will be one of the next to join what will be a transformed downtown.
Designed by Milwaukee-based Kahler Slater, the new tower will sit immediately next to the current BMO Harris Building, home to the Chicago-based bank’s main Milwaukee office. Once complete, the bank will move to the new office tower and open a new branch in the building. The Irgens development firm, which is overseeing the new tower, will also lead the redevelopment of the older building. The current BMO Harris Building, a 20-story modernist block, was built in 1967.
Currently, BMO Harris’s own five-story parking structure sits on the site. Just across from the site is the Flemish Renaissance revival–style City Hall, a National Historic Landmark and one of the most iconic structures in the city. This site is also in the heart of the city’s historic financial district. While much of the latest development has shifted to the south and east, closer to the lake, the area has continued to see more and more traffic, as theater and entertainment spaces have come to the area.
“The project is on one of the most desirable parcels in town, just kitty corner from the City Hall,” said Glenn Roby, vice president at Kahler Slater and the principal in charge of the project, said. “What an opportunity to replace such an unfortunate use of the corner as a parking deck. So, we were really excited from the start.”
The new tower’s massing will make reference to its modernist neighbor, while also implying slenderness through its split form. The base of the tower will be a 10-story podium of parking and public-facing amenities. Retail and the bank’s retail branch will make up the ground level. The facade will also add to its vertical reading by stretching down over the podium and up past the roofline.
This is not the first project that Kahler Slater and Irgens have completed together in recent history. Notably, the two worked on the newly completed 833 East tower, which sits on the lake side of the downtown. “The relationship with Irgens is fantastic. It has really evolved over the years,” explained Roby. “They do this often. They are very sophisticated. They know what they want. We understand what they value, and that helps shape what we deliver.”
Besides the few surviving late 19th-century structures, Milwaukee’s downtown is a milieu of parking structures and second-string postmodern towers. When the BMO Harris Financial Center is complete in 2019, glassy towers—a typology that is only now making its way to the city—will dominate the skyline. Add in the new bikeshare program and forthcoming streetcar, and Milwaukee’s downtown will be unrecognizable.
This year’s University of Wisconsin-Milwaukee Urban Edge Award will focus on post-industrial urban sites
This post is part of our years-long running Eavesdrop series (think page 6 for the architectural field). It’s your best source for gossip, insider stories, and more. Have an eavesdrop of your own? Send it to: eavesdrop[at]archpaper.com.
Milwaukee residents were sorely disappointed at a packed City Hall meeting when they were told they could not partake in a program to buy city-owned foreclosed properties for $1. The Milwaukee Employment/Renovation Initiative (MERI) was set up to entice developers to buy and renovate vacant properties in the Sherman Park neighborhood, emphasis on developers. The initiative is only open to developers, which submitted to an RFQ in early January. Critics of the initiative say that they don’t believe developers buying large portions of the neighborhood will address pressing community issues.
Chris Cornelius, founder of Milwaukee-based studio:indigenous, knew what he wanted to do when he started graduate school at the University of Virginia. His goal was no less than to develop an architecture that is based in the timeless worldviews of Native Americans. For the past decade, that goal has been unwavering, and has led to award-winning built and unbuilt work.
Cornelius is a member of the Oneida Nation, and the stories and traditions of native peoples are a key part of his identity. Every project by studio:indigenous starts with an intensive investigation of the narratives surrounding the client’s needs. Often working for Wisconsin tribes, Cornelius’s designs depart from the all-too-common iconographic motifs built on many reservations. (There is more than one turtle-shaped building in the Oneida Nation.) Rather, the work is consciously produced outside of a specific style and without direct reference to native architecture or symbolism. Instead of relying on historical sweat lodge structures for the sweat lodge-changing room at the Indian Community School of Milwaukee, Cornelius repurposed the stones that are used in the ceremonies held in the steamy sacred spaces as a base for the design. In the Oneida Veterans Memorial, on the Wisconsin Oneida Reservation, the long history of the Oneida’s service to the United States is manifest in the scaled timeline stretching though three acres of prairie grass.
“I realized at some point along this journey that I am not going to tie into anything stylistically,” said Cornelius. “I had to be able to trust myself. Most important to me, first and foremost, was to be a good architect. The Native American thing is not going to change; it’s who I am. So I have allowed my voice to express itself. That has turned into an aesthetic that is latent to the process.”
Cornelius works through complex drawings and models, producing images and forms that embody the narratives of his projects. The drawings, which have been recognized with multiple architectural and artistic awards, are intricately layered with colors, lines, and shapes. While times were slow during the recession, this drawing technique became an outlet for his continued research into articulating native narratives into formal operations. A series of drawings, entitled Radio Free Alcatraz, is a study of the Native American Occupation of Alcatraz Island in the late 1960s. A self-initiated project, Radio Free Alcatraz imagines that Native Americans never left Alcatraz and were planning to build a university on the island. Other similar projects formalize small pavilions based on the Oneida calendar.
Yet it is not only Native clients that have found value in studio:indigenous’s design approach. The focus on culture resonates with many groups that have strong cultural identities. studio:indigenous has worked with communities throughout Milwaukee, and found that the techniques translate across cultures and traditions. In every case, though, Cornelius sees the work not only as an embodiment of stories and traditions of the past, but also as the development of a contemporary story.
“The architecture is part of the current story,” Cornelius said. “What is it that we want to make or achieve? The stories haven’t necessarily changed, but the characters have.”
Indian Community School Milwaukee, WI
The true genesis of studio:indigenous came about through a collaboration with Antoine Predock for the Indian Community School, just outside of Milwaukee. Completed in 2007, the goal was to help ensure that the architecture was an accurate translation of the cultural values of the 11 Native Nations represented in the student body. The pre-kindergarten-through-eighth-grade, 150,000-square-foot school also serves as a community center for the Native American population of the Milwaukee area.
Radio Free Alcatraz San Francisco, CA
A speculative look at the occupation of Alcatraz Island in the San Francisco Bay, Radio Free Alcatrazimagines a new Native American University, part of the occupiers’ original plan. Through complexly layered drawings, sketches, and multimedia, the speculations are put on paper to be reflected upon. Historical, contemporary, and speculative forms and information are blended together in each drawing to produce a new understanding of the island and its possibilities.
Sweat Lodge Changing Room Milwaukee, WI
Known as the “Grandfather Stone,” the Sweat Lodge Changing Room for the Indian Community School of Milwaukee takes the form of a stone used in sweat lodge rituals. The gray form is meant to appear as if it had emerged from the earth and has always been in its location.
Oneida Maple Sugar Camp Oneida, WI
“tsi? watsikhe? tu-nihe,” or “The Place Where They Make Maple Sugar,” is an 800-square-foot project designed for the Oneida Tribal School in Oneida, Wisconsin. Along with providing the infrastructure to boil maple sap down to syrup, the building is an observational device. The ventilation cone provides a view of the “seven dancers”—the Pleiades—when the constellation is directly overhead during the Midwinter Ceremony.
Moon Domicile Conceptual
The Moon Domicile series is based on the moon calendar of the Oneida Nation. Each moon cycle throughout the year is associated with a specific ceremony or ritual. Each of the domiciles is formalized through these traditions, as well as the natural weather phenomena of each time of year. The narrative surrounding the Moon Domicile is ambiguous about whether each of the small projects would be created by human, animal, or other.
- SmithGroupJJR and TKWA UrbanLab – Welcome to the River
- MKExTEN (Vetter Denk Architects, Ten X Ten, and Design Fugitives) – Urban Flashlights
- La Dallman Architects and Alfred Benesch Engineering – Waterlily Landing
- Quorum Architects and Ayres Associates – Slosh Park
- UWM Inner Harbor Team (UWM, City as a Living Laboratory, Creative Lighting Design, SEH) – Access/Engagement/Education
As Studio Gang gains respect as an office that builds formally and programmatically ambitious projects, one aspect in particular has helped the firm continue to be a major force: It is an office that does its homework. Every project that the studio does is accompanied by a body of research as well as collaborations with experts often outside of architecture. “As architects, we think of our role as being that of the translator,” explained Claire Cahan, design director at Studio Gang. “Early on in the project we bring in experts from interdisciplinary fields to discuss the past, present, and future conditions of a site. Our job is to ask questions and translate ideas between disciplines.” This becomes particularly visible in projects that involve water ecologies.
After a yearlong study in collaboration with the National Resources Defense Council (NRDC) and the Harvard Graduate School of Design (GSD), the studio released Reverse Effect (2011). The book explored urban and ecological implications of severing the link between the Chicago River and the Mississippi River, effectively reversing the flow of the Chicago River to its original direction (something that has actually happened three times). The book presented a new Chicago that embraced a reshaped river as part of its cultural and civic space.
“We’re interested in the intersection between built and natural environments,” said Cahan about the office’s broader vision and approach. “While building projects typically have distinct property lines and boundaries, natural systems often intersect with property lines in a fluid way. Through research, which includes conversation, mapping, and analysis, we seek to understand the natural, cultural, economic conditions far beyond a property line.”
A similar study, in collaboration with Milwaukee-based Applied Ecological Services and Edgewater Resources, looked at the 1,000-acre Milwaukee harbor. The Edge Effect master plan set out to establish a framework and logic for Milwaukee’s waterfront development. The master plan envisions relocating the current active inner harbor to a new outer harbor, while bringing the city to the water’s edge. The process would include softening the coastline to achieve a more complete and sustainable ecosystem by learning from stable natural coastlines and reefs. This concept is already being deployed in the Studio Gang–designed improvements to Chicago’s Northerly Island, which has a similar geographic situation.
The long, low-slung Milwaukee Post Office is not a popular building. The rust-covered Brutalist structure sits along a five-block stretch of the Menominee Riverfront, a place that, until recently, was generally seen as the undesirable backside of the city. But that is all quickly changing. Just east of the post office, the Third Ward neighborhood has been completely transformed in the last ten years. The Menominee River Valley to the west is also seeing new life after over 100 years of being the city’s industrial heart. Now, Chicago-based developers R2, in collaboration with Gensler, are betting on a brighter future for the much-maligned post office.
When R2 bought the building and the surrounding land for $13 million in 2015, it knew it was going to be a long-term project. The United States Postal Service has a lease for its space through 2020, with the option to sign for up to 30 years. Even if the Postal Service were to vacate, the site would always have active train lines running under the building, between its massive concrete piloti. But that is not stopping R2 from planning ahead.
R2 and Gensler recently released new renderings and an outline of their plans for the site. Gensler’s designs call for a major mixed-use development that incorporates office space, residential, and entertainment, as well as small and big-box retail. The site benefits from extensive access to transportation, including ramps from the adjacent elevated freeway, the Milwaukee Intermodal Station, the city’s main Amtrak and Greyhound station, and the now under-construction city streetcar.
“The concerns that are on the site, that in the past have be seen as barriers to development, are now seen as potential drivers for the project,” explained Benjy Ward, Gensler principal and regional design leader. “The market has flipped. The elevated highway that runs by the site and the river have become assets.”
Along with renovating the current building, the project could include two large towers at each end of the site. The east tower would have 282,000 square feet of residential space, while the west tower (along with space in the existing building) would account for nearly one million square feet of office space. The 1,500 feet of riverfront would also be developed as a public promenade and an extension of the city’s growing Riverwalk. Restaurants will line the promenade, and kayak launches and boat docks will connect the project with river traffic. A foot bridge is proposed to connect the existing building to the James Biber–designed Harley Davidson Museum across the river.
Though the Postal Service will remain a tenant in the building for at least the next few years, Gensler’s plans are such that, if given the go-ahead, the project could begin. By working in the currently open land around the building, much of the proposal could be realized without disrupting normal operations.
If realized, the post office project will be one of many changing the face of downtown Milwaukee. Of those projects rising just north of the site, few are as ambitious in scale or program. Yet with at least three years to go before the site could be completely free of its current tenant, the city is going to have to wait a bit for delivery.
Milwaukee may be known for its Harley-Davidson Motorcycles, but there is a new ride in town. Royal Enfield, a division of India-based Eicher Motors Ltd., has just opened its first company-owned U.S. dealership and North American headquarters in Milwaukee’s Third Ward district. The new space is meant to be part of a greater push to move the 115-year-old motorcycle company into the U.S. market. Local management worked with Milwaukee-based Ener-Con developers, who own the building, to lay out the space for both sales and office.
The new store and headquarters in located on the first floor of the historic four-story Mitchell Leather building. The building is distinctly Milwaukee and is constructed out of the light-colored Cream City bricks that were once manufactured in the city. These bricks are featured in the showroom by way of exposed walls and a simple material palette for the space. A polished concrete floor gives the feel of a clean garage filled with the classically designed Royal Enfield motorcycles. Motorcycle parts are both for sale and used to adorn the space, including a striking chandelier made out of Royal Enfield headlights.
Royal Enfield North America 226 North Water Street Milwaukee, WI Tel: 414-502-1204 Architect: Ener-Con