New Orleans-based firm Eskew+Dumez+Ripple has unveiled designs for the much-anticipated $45 million renovation and expansion of the Bruce Museum. Located in downtown Greenwich, Connecticut, the 107-year-old institution for arts, science, and natural history hasn’t been significantly upgraded in 26 years, but that’s about to change as it prepares to double in size. The design team, alongside Chicago studio jones/kroloff, will redesign the museum’s existing facility—a 30,000-square-feet private residence from the 1850s—and add new, state-of-the-art exhibition, education, and community spaces and more storage room. The result will be a seamlessly-connected, 70,000-square-foot structure, nicknamed the New Bruce, centered around a brand new three-story wing that will open onto the adjacent 30-acre Bruce Park. For the new wing, Eskew+Dumez+Ripple will create a contemporary look that plays off the geology of the surrounding region. The facade will be clad in cast stone and glass with striations that mimic Connecticut's coastal rock quarries. The interior will hold a new, public entrance lobby, a large lecture hall, and an events space. According to the architects, the design, like the museum itself, is intended to be a “repository for exploring the complex relationships between art and science. The Bruce is conceived of as a stone monolith that is carved and excavated to create a monument that celebrates the geology of the site and its impact in shaping the culture of Connecticut.” Reed Hilderbrand will revamp the landscape surrounding the Bruce Museum in an effort to connect it more strategically with Bruce Park. One of the boldest ways they’ll do this is by outfitting a central courtyard in the middle of the building between the lobby and gallery spaces to immerse visitors in lush greenery regardless of whether they are outside or indoors. Additionally, Reed Hilderbrand will preserve and restore the tree canopy around the museum and create a clear circulation system with a guided path for museum-goers to view outdoor sculptures. Renovation work on the current gallery areas began last month and is expected to wrap up in early 2020 following the completion of the Permanent Science Galleries. Once open, the expanded art galleries will allow The Bruce to host larger exhibitions, as well as showcase more of the museum’s 15,000-piece permanent collection, much of which was previously hidden away in its basement. Construction on the new wing is expected to begin next summer.
Posts tagged with "Reed Hilderbrand":
Sydney and Walda Besthoff Sculpture Garden at the New Orleans Museum of Art 1 Collins Diboll Circle City Park New Orleans Louisiana 504-658-4100 Architect: Lee Ledbetter & Associates Landscape Architect: Reed Hilderbrand The Sydney and Walda Besthoff Sculpture Garden, which adjoins the New Orleans Museum of Art (NOMA), reopened this summer after a major expansion. The renovated garden includes a variety of amenities for education and entertainment, including an amphitheater, a gallery, and an outdoor learning environment. Pathways and pedestrian bridges snake past groves, open fields, and lagoons to enable visitors of all physical abilities to fully explore the garden’s art. NOMA maintains a particularly impressive collection of contemporary sculpture in the outdoor space, including pieces by Yinka Shonibare, Beverly Pepper, and Frank Gehry. Working with Reed Hilderbrand and Lee Ledbetter & Associates, the museum has prioritized environmental sustainability throughout its expansion. An elaborate lagoon system, as well as ecologically conscious soil-management practices and hundreds of new trees, ensures that the garden’s ecosystem continues to thrive. As has always been the case, the Besthoff Sculpture Garden is free and open to the public seven days a week.
The Boston Symphony Orchestra (BSO) may boast one of the most luminous performance halls on the East Coast thanks to a recent $32.5 million expansion at its Tanglewood campus in Lenox, Massachusetts. William Rawn Associates (WRA) has added three spaces spanning 24,000-square-feet to the Linde Center for Music and Learning, all flexibly designed as a nod to the firm’s seminal 1994 Seiji Ozawa Concert Hall, also on site. The last time the 524-acre campus (where BSO has spent its summers since 1937) was put on the map was when WRA designed and completed the award-winning venue years ago. Now, with a new performance and rehearsal pavilion, as well as a 150-seat cafe that doubles as a cabaret room, the center will support BSO’s year-round program, the Tanglewood Learning Institute. Not to mention that these structures are the first climate-controlled buildings on the bucolic campus. In an interview, William Rawn and Clifford Gayley, both principals at WRA, said their “modernist impulse” is evident both in their 25-year-old Ozawa Hall, as well as in the four contemporary spaces built last year. Most importantly, though, their buildings feature clean, simple lines and were designed with a similar sense of place like the other structures on campus that were designed by modernist architect Eero Saarinen. “Saarinen’s work promotes a sense of simplicity, almost elementary," said Rawn and Gayley, "a real sense of transparency and a connection between the inside and the outside.” WRA’s 21st-century vision for Tanglewood aimed to echo that sentiment. Using a primary material palette of glass and wood, they were able to integrate stunning views of the Berkshire Hills from the multi-studio pavilion, cafe, and patio while also allowing light to energize the interiors. The largest of the spaces, a 270-seat performance and rehearsal area called Studio E, can house over 90 members of the BSO during shows. At more informal moments, a 50-foot-tall retractable glass wall on the stage side can open the space up to the elements, and allow visitors to walk in to listen to the practice sessions. Two of the three studios also have this feature. According to Rawn and Gayley, this informality of setting—combined with the intensity of the music—is embodied in the new architecture. “There’s a sense of democracy, an egalitarian feel, that everybody is welcome,” they said. “The sense of connection between a rehearsal studio that has a barn door opening out, or Ozawa Hall, with its open back wall that allows the music being made to waft out onto the lawns.” Reed Hilderbrand built out the seamless landscape surrounding the Linde Center and added over 120 trees, 300 shrubs, and 10,000 square feet of woodland ferns and perennials. A large birch grove was planted in a courtyard garden in between the new structures and WRA created a windy pergola alongside the cafe.
In Lenox, Massachusetts, the Boston Symphony Orchestra is putting money into expanding the Tanglewood Music Center, a place the orchestra has called home during summertime since 1932. The $30 million project is being headed by Boston firm William Rawn Associates. The practice has designed four new buildings for the site including a multi-use rehearsal and performance venue, cafe, and two small studios. "We know the site very well, we have a history here," said Bill Rawn, founding principal of William Rawn Associates. The firm designed the Sieji Ozawa Hall, a 36,000-square-foot venue for the Boston's Symphony Orchestra's summer shows 25 years ago. Orientated in a linear fashion, the coterie of new buildings set for Tanglewood cover 24,000 square feet. Rawn stressed that the additions did not attempt to outdo Ozawa Hall in terms of scale. "They're much less monolithic, Ozawa Hall is still the centerpiece." Predominantly, the site is geared for outdoor circulation among the four new buildings. A canopy protrudes over a pathway adjacent to landscaping, which is courtesy of Reed Hilderbrand, a landscape architecture firm from Cambridge. Clifford Gayley, another principle at William Rawn, described "Studio 1," a new multi-use performance space that will seat 200 when being used for small-scale performances. The room will also double up as a place for rehearsals, banqueting and as a lecture hall. Despite extensive fenestration (for a music-based space, at least) Studio 1 performs well acoustically thanks to Chicago acoustic specialists Kirkegaard Associates who prescribed horizontal wood paneling for the interior. Speaking to The Architect's Newspaper, President of Kirkegaard, Joseph Myers said how his firm had to be careful not to place the glass too close or far away so to avoid creating a "confusing echo" effect. Windows bathe the space in natural daylight and allow audiences to gaze at the scenery behind and around performers. "Given the size of the space, loudness wasn't an issue, but we wanted to ensure that sound was kept clear and crisp for when a lecturer is speaking," said Myers. Motorized wooden grills can be exposed during loud performances to absorb sound. Here, the size of the gaps between the timber stops reverberations. Meanwhile, speakers are aimed at the retractable seating risers, intended to be used when lectures are taking place. Gayley added that the timber interior of Studio 1 is carried through materially throughout the scheme, creating spaces "that are instantly recognizable as new." All the new buildings will be climate controlled and, as with Studio 1, feature views out onto the landscape and beyond to Ozawa Hall. Groundbreaking is scheduled fall this year, with project completion in summer 2019.
Today the Landmarks Preservation Commission (LPC) unanimously approved plans for a major expansion to the American Museum of Natural History (AMNH) in New York. In almost 90 pages of presentation materials, representatives from Studio Gang, preservation consultants Higgins Quasebarth & Partners, and landscape architects Reed Hilderbrand demonstrated to the commission and the public how they would demolish three museum buildings constructed between 1874 and 1935 to make way for the Richard Gilder Center for Science, Education, and Innovation. In a radical but elegant departure from AMNH's mélange of Victorian gothic, Beaux Arts, Richardson Romanesque, and contemporary buildings, the 195,000-square-foot Gilder Center, inside and out, takes formal cues from geological strata, glacier-gouged caves, curving canyons, and blocks of glacial ice. "Sleekness was never a goal—we wanted a richness of texture," explained Studio Gang design principal Wes Walker, in a pre-meeting model walkthrough with The Architect's Newspaper (AN). The pink Milford granite the designers intend to use for the facade is the same stone used for Theodore Roosevelt Memorial Hall, the museum's main entrance on Central Park West. The Gilder Center granite will be sliced into two- and three-inch-thick bricks and arranged in diagonal bands on the facade to create the attractive variation that's produced by ornament on the neighboring 19th-century buildings. Bill Higgins (of Higgins Quasebarth) and Jeanne Gang detailed how the unconventional form will fit in with—and enhance—those buildings: The original, aggressively rectilinear master plan calls for architectural focal points on each of the museum's main facades. The angular forms are complemented by a playful, curvilinear landscape—plans show undulating paths that flank the imposing buildings. The rectangle/curve relationship remains at the Teddy Roosevelt entrance, and the Gilder Center, directly across the complex, extends and amplifies historic precedent—"[it's] an insertion into the historic fabric," said Gang. For AMNH, the new building is both an addition and connective tissue that bridges disparate programs. Museum president Ellen Futter explained that her institution needs to expand to accommodate five million annual visitors: Though its classroom and exhibition space will augment the museum's offerings, the Gilder Center is also a switchboard, connecting ten buildings at 30 different points. Inside and out, transparency and accessibility define the design. Vertical glazing on the facade lets visitors see deep into the structure, like looking into a fjord. Where the museums of past centuries defined their monumentality with great granite steps, the Gilder Center's no-step entrance allows for seamless access for people with mobility impairments or strollers. The addition will also open up sightlines to Building One, AMNH's first structure, via a passageway and additional gallery space. Manhattan borough president Gale Brewer, councilperson Helen Rosenthal's office, AIA New York, the Van Alen Institute, and the Columbus Avenue BID spoke in support of the addition, but preservation and neighborhood parks groups were not as bullish on the project. The Historic Districts Council (HDC), while offering that the Gilder Center "defers sensitively" to existing buildings, questioned the facade detailing and expressed concern about the building's exposed interior. The structural concrete columns that define the main space, HDC claims, are not clad in the same quality material as the facade. The group suggested Studio Gang refine the design further. Residents and members of park preservation groups spoke out against the Gilder Center because it encroaches on Theodore Roosevelt Park, and its construction requires the removal of seven mature trees. In response, Reed Hildebrand divided the layout into slow and fast programs—slow, or passive recreational activity will be directed away from the Gilder Center entrance, a meandering paved walkway shaded by (new) trees and curving flower beds. 80 percent of the addition will occupy the museum's existing footprint, and less than two percent of the 10-acre park will be sacrificed to AMNH. Noting the designers' willingness to adjust their designs in response to community concerns, the commissioners offered additional suggestions. Chair Meenakshi Srinivasan said that the cultural aspect of the museum was often absent from the conversation around the design, while other members suggested that the architects reconsider the stucco planned for a northern exterior wall. Commissioner Frederick Bland, an architect, noted that the essence of AMNH is its "excellent" architecture that has accrued on the site over time. He praised the design team's vision and level of detailing, adding that at this stage it can be dangerous to intrude on the details of another architects' design vocabulary. "Very seldom do you see a design this soaring and open," said commissioner Wellington Chen. "It's a stunning piece of architecture—the commission can be proud in approving the project," said Srinivasan. After hours of tension, a palpable wave of relief emanated from the assembled architects. After the LPC's vote, a smiling Jeanne Gang told AN that her team had to move the modeling and detailing much farther along than usual for this round of approvals. "We had to make the parametric model way ahead to figure out the coursing and interfaces with the masonry," she said. Next, the Gilder Center moves onto design development and through the Environmental Impact Statement (EIS) process towards an expected groundbreaking next year.
Responding to community pressure, Chicago-based Studio Gang and Cambridge, Massachusetts-based landscape architects Reed Hilderbrand have changed the design of the controversial gardens surrounding their addition to the American Museum of Natural History (AMNH) in New York City. This week the architects re-submitted plans for the Richard Gilder Center for Science, Education and Innovation to the Landmarks Preservation Commission (LPC) for approval. The $325 million expansion, designed to evoke glaciers and geologic formations, will augment the museum's classroom and exhibition space. The revised plans account for community concerns over the footprint of the six-story addition, particularly its encroachment onto Theodore Roosevelt Park, a public space in front of the AMNH at West 79th Street and Columbus Avenue. Instead of occupying a half-acre, as originally proposed, Studio Gang's scheme was whittled down to a quarter-acre in size. Pathways were reconfigured so leisure-seeking visitors can avoid quick-walking museum-goers seeking the most direct path the museum's entrances and exits. A service driveway was rerouted to save a stately English elm and pin oak; now only seven trees will be removed for the addition. Although flora will be saved, the addition actually grew eight percent in its latest iteration, to about 235,000 square feet, the Wall Street Journal reports. The schematic design shows that some passageways were altered and walls taken down to accommodate the upsizing, increasing the budget but not the building's footprint. The AMNH is hosting an information session next week where members of the public can learn more about the proposed changes.
Westchester County, New York, is renowned for opulent homes—Twin Ponds, Kykuit, the X-Mansion—that match the tastes and aspirations of its mostly very wealthy residents. Channeling champagne wishes and caviar dreams, Philadelphia-based KieranTimberlake recently completed a two level, 5,250 square foot "house in the woods, of the woods" in the leafy northern Westchester town of Pound Ridge. KieranTimberlake has been known to push the envelope of facade design. Mirrored surfaces make the property, hemmed in by glacial outcroppings, appear more expansive. Viewed from the outside, the metal and mirrored glass facade is like a sylvan Lee Bul installation. To avoid a last days of disco effect, exterior treatments alternate between glass, tin zinc-coated copper, brushed stainless steel, and polished stainless steel. The home has precedent in MLRP's 2011 Playground Pavilion (below), designed for a public park in Copenhagen. The south-facing property descends over 100 feet, from a ridge to a wetland. A ravine carrying water downhill bisects the home's two "rock rooms." The first level is clad in stone. A glass-sided walkway, punctuated with skylights, connects the house's private and common spaces. The daylighted interiors create the illusion of a bivouac without the hardship of camping outdoors. Kieran Timberlake collaborated with Cambridge, MA and New Haven, CT–based Reed Hilderbrand on the project's naturalistic landscape architecture.
Today, the American Society of Landscape Architects (ASLA) revealed its 2013 Honors recipients. The Honors acknowledge individuals and organizations for their lifetime successes and notable contributions to the landscape architecture profession. The process is straightforward – ASLA members submit nominations to be reviewed by the Executive Committee and forwarded to the Board of Trustees. This year, the awards will be presented in Boston during the ASLA Annual Meeting & EXPO, November 15-18, 2013. Warren T. Byrd Jr., FASLA, is the 2013 recipient of the ASLA Medal, the Society’s highest award for a landscape architect who has made a distinctive and lasting impression on public and environmental wellbeing. Byrd, who has taught full-time at the University of Virginia for 26 years, has served for seven years as chair of the landscape department. His firm, Nelson Byrd Woltz Landscape Architects, has won over 70 national and regional awards. Stuart O. Dawson, FASLA, is the 2013 recipient of the ASLA Design Metal, which recognizes an individual landscape architect who has continually produced an outstanding body of design work for a minimum of ten years. Dawson, founding principal at Sasaki in Watertown, Massachusetts, has practiced for more than 50 years. He received the ASLA Medal in 1999 and has been involved with numerous award-winning endeavors such as the Charleston Waterfront Park, which won the 2007 Landmark Award. Reed Hilderbrand is the 2013 recipient of the Landscape Architecture Firm Award, the highest award ASLA presents to a landscape architecture firm that has created an exceptional body of work and has influenced the landscape architecture profession. Since 1997, Reed Hilderbrand, comprised of Doug Reed, Gary Hilderbrand, and colleagues, has been acknowledged for its craftsmanship and innovative use of plants. The firm’s projects include residences, parks and cultural institutions. Hilderbrand has acquired 12 ASLA awards within the last decade. Additional honors include: Jot D. Carpenter Teaching Medal: Max Z. Conrad, FASLA LaGasse Medal – Landscape Architect: Stuart Weinreb LaGasse Medal – Non-Landscape Architect: Katherine F. Abbott Olmsted Medal: Renata von Tscharner Medal of Excellence: Shlomo Aronson Community Service Award: Nicholas T. Dines, FASLA
Earlier this week, we checked in with the student winners of the American Society of Landscape Architects (ASLA) 2011 awards and found reason to be hopeful about the future of landscape architecture. But what legacy will those students be inheriting? The ASLA has recently doled out 37 awards to professional firms from across the globe, honoring their innovation, design, and sustainability. The submissions (most of which have been built) range from the systematic redesign of streetscapes and historical residential gardens to large scale estuarine master plans. General Design Category Award of Excellence Portland Mall Revitalization Portland, OR ZGF Architects From the project statement:
The Portland Mall, a landscape architecture legacy project and icon for progressive urban planning and design, has been transformed into a Great Street. Today it extends the entire length of downtown Portland, mixes multiple modes of transportation, stimulates adjacent development and re-establishes itself as Portland’s civic spine. A new benchmark in design, placemaking and infrastructure for the 21st century – the Portland Mall represents the region’s commitment to civic space, vital urban centers and sustainable transportation.Honor Awards City of Greensburg Main Street Streetscape Greensburg, KS BNIM From the project statement:
The City of Greensburg developed a downtown environment that not only provides a unique environment for residents and visitors, but that also provides creative features that capture and recycle stormwater. This project is a part of an overall sustainable environment that was planned for the downtown business district. All components from planting and irrigation to seating, signage and materials are highly sustainable.Citygarden St. Louis, MO Nelson Byrd Woltz Landscape Architects From the project statement:
Citygarden is a three-acre public sculpture garden created on the Gateway Mall in downtown St. Louis. Sponsored by a private foundation, the garden has played a primary role in reinvigorating the city’s center. The design weaves innovative stormwater management strategies with abstractions of local geology, hydrology, and plant communities to create a multi-faceted public space that has become a magnet for locals and tourists alike.Residential Design Category Honor Award Beyond Pictorial: Revising Philip Johnson's Monumental Beck House Dallas, TX Reed Hilderbrand From the project statement:
Philip Johnson's monumental 1964 Beck House was conceived as a theatrical viewing platform for the surrounding landscape—a motive pursued more simply and elegantly in Johnson's own Glass House fifteen years earlier. The Beck House renovation, completed in 2009, critically revises this modernist paradigm. By deftly altering Johnson's conceptual break-line between building and landscape, the project demonstrates landscape architecture's capacity to integrate the conservation of the material legacy of a project with direct engagement of the visual, spatial, ecological, and domestic characteristics of the site.Analysis and Planning Category Award of Excellence An Emerging Natural Paradise — Aogu Wetland Forest Park Master Plan Taiwan National Sun Yat-sen University From the project statement:
Aogu is a 1,600-hectare site located on the route of Asian migrating birds. The site has been reclaimed from the sea and unexpectedly reverted to a coastal wetland because of land subsiding and the cessation of farming in the area. The project focuses on establishing a series of re-habitation strategies on site that is reclaimed for human development, and emphasizes the site as a seeding process for the natural systems, as well as environmental education and eco-tourism.Communications Category Award of Excellence LID Low Impact Development: A Design Manual for Urban Areas University of Arkansas Community Design Center From the project statement:
Low Impact Development: A Design Manual for Urban Areas is designed for those involved in urban property development, from homeowners, to institutions, developers, designers, cities, and regional authorities. The manual presents a graphic argument, illustrating the application of ecologically-based stormwater treatment technologies in urban contexts. The manual’s unique contribution is its advancement of LID from a set of suburban lot-based technologies to a distributed urban treatment network deployed at neighborhood, municipal, and regional scales.Landmark Award in partnership with the National Trust for Historic Preservation First San Diego River Improvement Project San Diego, CA Wimmer Yamada and Caughey From the project statement:
Great examples of landscape design often go unrecognized because the finished look is so natural it is unnoticed as "man made" by the observer. The first phase of the "First San Diego River Improvement Project" or "FISDRIP" is a good example. In place of a planned concrete channel as envisioned by the Army Corps of Engineers, the project was a successful collaboration by Public Agencies, Engineers, Biologists and Landscape Architects in designing a highly sustainable and functional flood control system that respected and preserved the natural habitat. Originally completed in the late 1980's, this project represents an excellent example of restorative design within an urban context, testimony to nature's ability to heal itself, survive within a busy transportation corridor and provide human connections to the natural environment.All of the award winning entries can be viewed here.
On Friday, the Speed Art Museum in Louisville, Kentucky announced the selection of Watertown, MA-based Reed Hilderbrand as the landscape architect for its planned renovation and expansion, led by LA-based wHY Architecture. The encyclopedic museum sits on the campus of the University of Louisville, and across from a park designed by the Olmsted firm. The museum has put a special emphasis the landscape strategy of the project, which they hope will help open up the museum to the campus and the community at large. The museum expects to release designs in Spring 2010. Known for their intensive site analysis and subtle design approach, Reed Hilderbrand is working on a number of significant institutional projects for clients such as the Clark Art Institute in Williamstown, MA, Bennington College in Bennington, VT, the Taft Museum of Art in Cincinnati, OH, and the Tyler Museum of Art in Tyler, TX.