Raleigh, North Carolina's diminutive Warehouse District is getting a big newcomer. Durham, North Carolina–based Duda Paine Architects has released renderings for a 17-story, mixed-use development on the current site of a three story warehouse. With land costs rising in the six-square-block area, Duda Paine decided to scale up. The complex, across the street from the Contemporary Art Museum (CAM), will be more than three times taller than its neighbors. In conversation with The News & Observer, project architect and Duda Paine partner Turan Duda explained that the firm has a "philosophy of placemaking." The design takes cues from Colin Rowe's Collage City and the paintings of Charles Sheeler. The building's variegated massing and sharp planes do somewhat evoke the geometries of the latter. Sheeler applied a pastoral eye to industrial technology; it would be interesting to see how he would have depicted the five-story-tall multimedia wall, mounted on the building's south side, that will advertise CAM events and exhibitions. The tower leans back from the street, so as to not overwhelm its neighbors. The ground level incorporates the warehouse structure, allowing brick-clad street frontage to blend in with neighboring warehouses. Steel beams from parts of the demolished warehouse will be used to cover the vestibule and a 40-by-60-foot pocket park. Ten floors of office space will sit atop a seven-story parking deck. A ninth floor lobby will accommodate a restaurant, with views of the city. On the 13th through 17th floors, a "sky window" will offer views of the city from the southern side of the building.
Posts tagged with "Raleigh":
A group of North Carolina preservationists is trying to protect a local piece of modernist history from the impending wrecking ball. The News & Observer reported that a group called North Carolina Modernist Houses (NCMH) has started a campaign to save the former Raleigh Orthopaedic Clinic building, which was designed by Raleigh architect G. Milton Small over 50 years ago. "The building is really Raleigh’s finest example of international architecture," said George Smart, the head of NCMH, who noted that Small studied under Mies van der Rohe at IIT. The two-story structure is wrapped in floor-to-ceiling windows and a porch, and has a 6,000-square-foot courtyard with a 10-foot decorative brick wall. While the building does not have a national profile or an esepcially famous architect, it was noted for its "taste and design" in a 1965 New York Times cover story. The building is currently vacant, and its owner has filed plans for a structure twice its size on the site. Construction on that project is expected to begin in a few months, but before that happens, NCMH is making its own push to find a new tenant for the building. They will be hosting an open house at the clinic building on May 7th.
As cities across the country struggle to bring new life to aging athenaeums and cash-strapped local libraries, the AIA has honored six outstanding examples of library design in this year’s AIA/ALA Library Building Awards. In the past we have seen a Walmart transformed into a library, a controversial starchitect renovation in New York, and an interactive, LED light-show—now take a look at these honored projects. From democratic design in the nation’s capital to a stunning Beaux-Arts restoration in St. Louis and high-tech solutions in North Carolina, this year's winning projects present a range of answers to the challenges facing our fading repositories. The jury for the biannual award included Jeanne M. Jackson, FAIA, Chair, VCBO Architecture; John R. Dale, FAIA, Harley Ellis Devereaux; Charles Forrest, Emory University Libraries; Kathleen Imhoff, Library Consultant; J. Stuart Pettitt, AIA, Straub Pettitt Yaste and John F. Szabo, Los Angeles Public Library. Anacostia Neighborhood Library Washington, D.C. The Freelon Group From the AIA: The small-scale residential context provided the inspiration for the design of this new branch library, located in a low-income, underserved neighborhood in Washington, D.C. The project not only fulfilled programmatic needs but also provided a stimulus for community pride and economic development. The residential scale is reflected in the library design as a series of pavilions for program areas that require enclosure: the children’s program room, the young adults’ area, support spaces, and public meeting rooms. The remainder of the level one plan is high, open space for the main reading room, stacks, computers, and public seating areas. A large green roof structure provides shelter over all program areas. Central Library Renovation St. Louis Cannon Design From the AIA: Cass Gilbert’s grand Beaux-Arts library, now 100 years old and a St. Louis cultural landmark, was in need of a transformative restoration that would increase public access and modernize it for the 21st century. On the interior, the centrally located Great Hall is surrounded by five wings, four dedicated to public reading rooms and the fifth, the north wing, to a multistory book depository closed to the public. The transformation of the north wing truly rejuvenated the library and brought it into the next century. Old book stacks were removed, and a new “building within a building” was inserted. Now, a multistory public atrium provides an accessible and welcoming entry. The new “floating platforms” surround the atrium without touching existing interior walls. Glass-enclosed upper levels house the collection with compact high-density bookshelves. The windows of the north wall, now clear glass, bounce natural light deep into the interior and provide striking views. New York Public Library, Hamilton Grange Teen Center New York City Rice + Libpka Architects From the AIA: The center, located on the previously empty third-floor space of Harlem’s Hamilton Grange branch library, designed by McKim, Mead and White, is NYPL’s first full-floor space dedicated to teens. In an effort to attract and engage neighborhood youth, the 4,400-square-foot space challenges the norms of library design. The light-filled floor is divided into specific zones that foster small-group interaction and socialization. Visibility is maintained across the entire floor. Two programmatic elements—a 20-foot-diameter Media Vitrine and a bamboo bleacher—occupy the center of the space and work to define the seven zones between and around them. The vitrine’s open-top glass enclosure upends the notion that multimedia spaces must be dark, hyperisolated rooms. The bleacher allows views out to the street from the existing high south-facing windows and provides a sunny hang-out for a range of group sizes. Custom L-shaped lounge benches bracket this space and can be rolled away to allow for other uses and activities. James B. Hunt Library Raleigh, North Carolina Snøhetta and Pear Brinkley Cease + Lee From the AIA: An $11 million reduction in the budget for this library during the schematic design phase prompted the design, construction, and client teams to formulate a range of new ideas to maintain functionality and quality. The building would need to be highly programmed and reasonably versatile as well as comfortable and stimulating to visitors. One innovation was the introduction of an automated book delivery system (ABDS), which effectively reduced the total area of the building by 200,000 gross square feet and allowed more space for collaboration and technology. The ABDS is supported by user-friendly browsing software that matches and even enhances the traditional pleasure of browsing a collection. Oak Forest Neighborhood Library Houston NAAA + AWI + JRA From the AIA: This 7,600-square-foot modern brick and glass structure opened in 1961. Fifty years later, there was still great nostalgia for the library’s mid-century modern design, but the building no longer met the standards of the Houston Public Library system or the needs of the surrounding neighborhood. The 2011 renovations and additions respect the character of the existing library and enhance its accessibility and functionality. The original building’s restored signature green tile mosaic still graces the parking entry area on the north, but now the neighborhood is welcomed by a tree-shaded second entry and outdoor reading room framed by new dedicated adult and teen areas on the west. The original tile mosaic and globe light canopy of the old circulation desk were restored to create a toddler-sized reading nook. Each age group—from toddlers through teens and adults—now has appropriate facilities, furnishings, and technology. A new lobby and circulation space, lit by a continuous shaded clerestory, occupies the seam between old and new and unites the two entries. South Mountain Community Library Phoenix richärd+brauer From the AIA: The building integrates the varied uses of a contemporary public library with the needs of a state-of-the-art central campus library, allowing each to function both independently and collaboratively. The design is modeled after that of an integrated circuit, providing insulation between disparate functions and promoting interaction and connection between like functions and spaces. The simple massing of the building is attenuated to focus views on the surrounding mountains and provide shade and transparency. The site was once home to fertile agricultural valleys and citrus groves, and the building consciously merges interior and exterior spaces to connect to the area’s rich history. A series of rooftop monitors and light shafts flood natural light into the first-level core. The rain screen, formed of bent planks of copper, calls to mind the pattern of an abstracted bar code. Variegated cedar strips reinforce the digital aesthetic of the building. Further echoing the design of a circuit board, building systems are organized and expressed within an internally lit independent distribution soffit.
After a long, cold winter, many of us are itching to lock away our wool coats, slip into our flip-flops, and dash to the beach. That's especially the case for Matt Tomasulo, the artist behind the Raleigh Beach proposal that would transform the corner of West Hargett Street into an alluring summertime oasis in inland North Carolina. His Raleigh Beach rendering depicts sunbathers soaking up the sun while lying on the sand as swimmers cool-off in the pools. Tomasulo, who is also the founder of CityFabrics, a company that prints figure-ground city maps on t-shirts, wallets, and more, daringly printed and posted a large rendering on his Raleigh Beach proposal on a fence at the vacant lot in Raleigh just outside of downtown, later splashing the scene online on the proposal's Tumblr, Twitter, and Facebook pages where it attracted hundreds of followers and received both positive and negative reactions from the community. This isn't the first time Tomasulo has stirred things up—in a good way—in Raleigh. The designer was also responsible for last year's Walk Raleigh "guerilla way-finding" movement, in which he and a small group of students posted 27 colorful signs on three street corners in Raleigh that stated how long it would take to walk from one destination to the other. His goal was to promote a healthier community by encouraging people to do more walking. The campaign successfully generated discussion about walking in Raleigh and attracted the attention of over 23 cities who wanted to bring the movement to their own city, leading Tomasulo to launch the Walk [Your City] website. Small-scale interventions like the Walk Raleigh campaign are part of a growing trend toward Tactical Urbanism to transform American cities. This time, though, Tomasulo confessed that his Raleigh Beach concept is fake and that the proposed scene would not be coming to Raleigh this summer, despite bold letters on the sign stating, "Coming this summer!" But with enough support, one day it could. His aim was to pique the community’s interests, start a conversation about the transformation of the empty, unused downtown lot, and encourage people to think about the best way for it to serve the community. If he can rally enough support for the project Tomasulo might be able to convince the property owner, 607 West Morgan Street, to transform his city-beach rendering into a reality. After all, urban beaches like this aren't unprecedented. Paris has famously shipped tons of sand and palm trees onto the banks of the Seine in the summer for its Paris Plage program. The French city—which has been ahead of its time on other urban interventions like a High Line style park, the Promenade Plantée, that predates New York's wildly popular example—announced last year the Paris Plage could become a completely car-free waterfront. Paris Plages 2012 en panoramique by mairiedeparis
A folded canopy reinvents a former loading dock in the city’s historic Depot DistrictRaleigh’s Contemporary Art Museum chose its new home in the city’s Depot District carefully. Located in a former produce warehouse, the project calls attention to the city’s history of railroad transportation and red brick architecture while emphasizing its commitment to sustainability and adaptive reuse. Led by Brooks + Scarpa Architects, the project included renovation of the existing 21,000-square-foot structure and the addition of a 900-square-foot entry pavilion. The glass-enclosed lobby reinterprets the location of the original building’s loading dock with an expanded and folded canopy that announces the building’s new purpose and balances the effect of daylight on its interiors. The architects saw an opportunity to treat the new museum entrance as a modern loading dock, a front porch that would deliver visitors into the galleries within. They began to experiment with the form of the rectilinear metal roof that originally sheltered the truck bay, expanding it and imposing a series of three folds to bend the shape skyward. The team developed a perforation pattern that shades the museum’s outdoor sculpture garden and the floor-to-ceiling glass lobby enclosure, then grows more dense to hide ductwork and sprinkler pipes indoors. Derived from the shape of flower petals, the pattern consists of three half-oval shapes with radii of 2, 4, and 6 inches. Each petal was combined with one other shape with the same radii, creating a total of 18 ovals in the pattern. These were laid out to create areas of greater or lesser density depending on the desired shading effect. While the perforated petals have 35 percent transparency, gaps between the ovals create an overall effect of 50 percent transparency indoors and 65 percent outdoors. The design team delivered shop drawings and sketches based on screen shots of Rhino files to architectural metal fabricators at Chicago-based Accurate Perforating and North Carolina-based Alumiworks. (The canopy’s top surface is composed of Polygal polycarbonate panels fabricated by North Carolina-based Jacob’s Glass.) Because the canopy’s interior slope does not match the exterior slope, transferring the complex geometry of the canopy into both top steel elevations at the intersections and into the bottom of the hollow structural section (HSS) steel substructure supporting the petal panels proved challenging. The canopy is built with steel wide flange beams, some of which are tapered and supported by the unreinforced masonry building and by three structural columns. Outdoors, perforated panels are attached to the underside of the frame and protected by polycarbonate panels installed overhead. Indoors, the perforated panels are installed beneath metal decking, insulation, and PVC roofing material. An HSS substructure suspended from the steel beams supports each assembly. While the canopy has become a symbol of the historic district’s renewal, not all visitors are welcome to its modern-day front porch. One-quarter-inch mesh between each petal shape keeps birds from roosting on flanges and steel beam supports. While the mesh allows pleasant North Carolina sunlight to filter into the museum’s courtyard, the glimpses of blue sky are also a nod to another bit of Southern porch culture—natives traditionally paint porch ceilings blue to mimic the sky, deterring mud dauber wasps from settling in.