A comprehensive inspection performed late last year by Chicago-based architecture and engineering firm Bailey Edward has found that the exterior metal skin of the 235-foot-tall dome topping the Illinois Statehouse in Springfield potentially needs to be replaced to stave off damage caused by active leaking. Per Capitol News Illinois, plastic sheeting is currently being used to guide rainwater and prevent leaks from entering the capitol’s magnificent stained glass inner dome and public areas of the structure. While the Statehouse has undergone several major renovations over the decades, including a $50 million overhaul in 2011, Bailey Edward noted that the dome itself has “been neglected, giving way to cracks and leaks.” The firm’s forthcoming report is set to “include a detailed and prioritized list of recommended corrections and repairs to guide the future preservation efforts of the Illinois State Capitol Dome.” Earlier restoration work performed on the nearly 93-foot-wide, 361-foot-tall dome’s protective metal shell was completed in 1975 for $950,000. Harl Ray, senior project manager for the secretary of state’s Department of Physical Services, anticipated that the cost to replace the faulty skin will range in the “ballpark of $5 million” based on the 1975 costs. This estimate is roughly $700,000 more than the initial cost of constructing the landmark Renaissance Revival capitol building in the first place, which first broke ground in 1868 and took 20 years to complete. Designed by Chicago-based Cochrane and Garnsey, the Illinois Statehouse’s soaring signature dome has helped the building achieve a notable claim to fame as the tallest classical-style state capitol in the United States at 361 feet (save for the 391-foot-tall Art Deco Nebraska Capitol). The Statehouse’s record-setting height seems appropriate given Illinois’ reputation for superlatively lanky buildings. In addition to a brand new metal skin, the study is also expected to recommend replacing the current flagpole atop the dome so that the process of raising and lowering the flag can be more streamlined—and less harrowing—for workers. “Our guys and gals are at great risk when they’re up there changing the flag. It might be zero wind down here, but up there it feels like 25 or so,” Mike Wojcik, director of Physical Services for the secretary of state’s office, told Capitol News Illinois. “We’ve been fortunate that we have volunteers that want to go up, but more and more, we have less and less people that are not too afraid to go up there.”
Posts tagged with "Restoration":
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By the initiative of the Boghossian Foundation, urbanlab announces an open international architectural competition “Reviving NPAK” for all interested individuals and teams. The purpose of the present architectural competition is to find the best design solutions for the existing building of NPAK located at 1/3 Buzand Street of Yerevan (Armenia), which needs to reflect the aspects of the competition package through contemporary architectural language that is conscious of social and environmental responsibility, the importance for radical technical experimentation and the need to sustain a dialogue with the Centre’s legacy and its traditions. Serving as a meeting point between the art community, the youth, general public, the creative and business sector, the revived Centre should become a facilitator between innovative artistic thinking, mass culture and industry. The current redevelopment project is a multi-stage plan for future growth, revivification and expansion of NPAK. It presents an opportunity to create the largest temporary exhibition space in Armenia, which will simultaneously serve as one of the key cultural, entertainment and educational hubs in Yerevan. Participation There is no application fee for participation. The submission deadline is 25 June 2019, while winners will be announced on 3 July 2019. For participation and request for competition package please send an email to email@example.com mentioning “Competition Package” in the subject line, following which you will receive the link needed for participation. For more information about the competition and how to participate please follow this link. Award The total award budget is 6’000’000 AMD (approx. 12’000 USD), which will be distributed between the below mentioned award categories.
- 1st: 2’500’000 AMD (approx. 5’000 USD)
- 2nd: 1’500’000 AMD (approx. 3’000 USD)
- 3rd: 1’000’000 AMD (approx. 2’000 USD)
- Jury’s mention(s): 1’000’000 AMD (approx. 2’000 USD)
- Philip Gumuchdjian, Architect, Gumuchdjian Architects (UK)
- Albert Boghossian, Boghossian Foundation Co-Chairman (Switzerland)
- Arthur Meschyan, Architect, Chief Architect of Yerevan (Armenia)
- Eduard Balassanian, Architect, NPAK Co-Founder (Armenia, USA)
- Misak Khostikyan, Architect, Art Historian (Armenia)
- Nadim Karam, Architect, Artist (Lebanon)
- Sarhat Petrosyan, Architect, Planner (Armenia)
- Verena von Beckerath, Architect, Chair for Design and Housing at Bauhaus-Universität Weimar (Germany)
- Vigen Galstyan, Curator, Art Historian (Armenia, Australia)
Today, Manhattan’s historic Trinity Church commenced an approximately two-year restoration project. The last restoration of the church occurred over seven decades ago in 1946. New York’s Murphy Burnham & Buttrick is leading the restoration of three-century old church. Trinity Church is one of the oldest parishes in New York City. The congregation moved to its Richard Upjohn-designed Gothic Revival house of worship in 1846. Since then, Trinity has built three additions to Upjohn’s original design, including the All Saints’ Chapel. Upjohn was a cofounder of the American Institute of Architects (AIA) and a prodigious ecclesiastical architect in New York and New England. The nearly $100 million project will bring the church to contemporary accessibility and environmental standards through the construction of wheelchair-accessible ramps along the church’s entrances, gender-neutral restrooms, and a new steel-and-glass canopy adjacent to the south elevation. While a significant portion of the project is dedicated to new alterations, Murphy Burnham & Buttrick are fully repairing and restoring the church’s stained-glass windows, redesigning historic pews, and replacing non-original clerestory fenestration. Additionally, the church’s chancel will be adapted to Upjohn’s original design, boosting seating capacity by 140 seats. In a statement, Trinity Church Vicar Reverend Phil Jackson said the decades of deferred window maintenance shrouded the church’s interior detailing under a layer of shadow. Through the restoration, Jackson hopes to highlight the nave and main body’s impressive Gothic rib vaults and collenettes by giving “back its light.” Murphy Burnham & Buttrick has amassed a wide scope of residential and religious restorations across New York City, including an expansive top-down project for St. Patrick’s Cathedral, which involved the conservation of interior and exterior masonry and stained glass windows, and even the insertion of a nine-well geothermal plant below the cathedral. During the restoration process, Trinity Church’s nave and main body will be closed off to parishioners and visitors. The project is slated to be completed by spring 2020, and Trinity Church hopes to reopen the nave soon after.
By this time next year, Flint, Michigan’s, Capitol Theatre will once again host live performances. Opened in 1928, the historic theater was designed by John Eberson, and was once the largest theater in Flint. Under the design guidance of DLR Group|Westlake Reed Leskosky, renovations of the building will be completed by the end of 2017 or the beginning of 2018. The Whiting, another theater in Flint, and the not-for-profit Uptown Reinvestment Corporation are spearheading the project. “The Capitol Theatre was once the community’s living room so-to-speak, where residents gathered for shared cultural experiences and live entertainment,” said Jarret M. Haynes, Executive Director of The Whiting. “The Capitol’s re-opening will deepen the impact of our vibrant arts community and become a resource to foster creativity right here in Flint. We are so proud to bring this treasure back to the city and look forward to welcoming visitors from the city and region for generations to come.” The Capitol Theatre was added to the National Registry of Historic Places in 1985, but it has laid vacant since 1996. Starting in 1970s the 1,600-seat theater played host to many popular acts, including Ray Charles, AC/DC, John Mellencamp, Green Day, and Black Sabbath. The experience of the theater was so designed to evoke the idea of sitting in an outdoor amphitheater. The restoration will bring back many of the theater’s original details while updating its technology. Restorations will be extensive, on the interior and exterior of the building. The original 1928 facade will be fully restored with its intricate terracotta ornament. The ceiling of the auditorium will be restored to its sky-like appearance, to include lighting special effects that mimic the transition of day and night. Decorative plasterwork and statuary throughout the building will also be brought back to its former glory. A new marquee and sign are already visible on the building, which started restorations in mid-2016. While the theater may be brought back to its original aesthetics, its new technology will be state-of-the-art. While the theater seats will be replicas of the originals, the sound, acoustics, lighting, backstage, and front-of-house will all be updated. Along with updating the performance space, 25,000 square feet of office and retail space will be reopened in the building. When completed, it is hoped that the theater will host about 100 events a year, attracting more than 60,000 guests annually. This article appears on HoverPin, a new app that lets you build personalized maps of geo-related online content based on your interests: architecture, food, culture, fitness, and more. Never miss The Architect’s Newspaper’s coverage of your area and discover new, exciting projects wherever you go! See our HoverPin layer here and download the app from the Apple Store.
The New York Restoration Project (NYRP) has launched a petition to turn more than 360 lots deemed unbuildable into parks, gardens, and other green spaces, often in underserved neighborhoods. These lots are considered unusable for building because of their odd size, shape, or proneness to flooding. Rather than leaving them abandoned, the NYRP is offering to transform these patches of land into usable green spaces. They are petitioning the Mayor's office to place this land under their care. Public parks are an incredibly valuable part of a neighborhood, with benefits to quality of life for residents as well as potential for urban farming and use as a community space. Parks are often few and far between in the neighborhoods that need them most, while those in more affluent neighborhoods tend to have more resources available for maintenance. By acquiring this otherwise unusable land from the city and relying on volunteers for labor, the NYRP would be able to provide an essential service to underserved neighborhoods in all five boroughs at a low cost, as well as cleaning up the vacant lots. The NYRP just celebrated the 20th anniversary of its founding by Bette Midler in 1995. The non-profit organization revitalizes neglected parks across the five boroughs, specifically in underserved neighborhoods. In 1999, Midler and the NYRP led a coalition to save 114 community gardens being auctioned off by the city for commercial development. They now maintain 52 of those community gardens with the help of volunteers. The organization also completed their MillionTreesNYC initiative on November 20, 2015, two years ahead of schedule. With the help of the NYC Department of Parks and Recreation, the NYRP planted one million trees across the five boroughs. They also offer free trees for New Yorkers to plant in their yards. Sign the petition here, and find more opportunities to donate or volunteer on the NYRP website.
Thanks to the Frank Lloyd Wright Revival Initiative, Banff National Park in Alberta may once again have its own Frank Lloyd Wright-designed building almost 100 years after the original structure was demolished. The Banff Park Pavilion was originally built in 1914 on commission from the Canadian government and designed in conjunction with Francis Conroy Sullivan (Wright's only Canadian student). It only stood for 25 years but was demolished in 1939 due to structural damage. The pavilion went through several stages of use in its brief life. It was initially conceived as a visitor center by the Department of Public Works by the National Parks Service, with the local community putting forth ideas about its design. However, given the timing of its completion at the start of World War I, it was repurposed by the Department of Defense into a quartermaster's store. After the war the pavilion was used for its original intended purpose: a picnic area and shelter. However, its location on the bank of the Bow River was prone to flooding and frost heaving, which damaged wooden floor supports. It was torn down in 1939 despite the resistance of park-goers. The Frank Lloyd Wright Revival Initiative is dedicated to rebuilding Frank Lloyd Wright structures on their original footprints according to their original design, allowing for changes only due to modern building code requirements. The Banff Park Pavilion will be their first project. The building is a great example of Wright's signature Prairie School architectural style, common in the American midwest but rare in Canada. According to the Frank Lloyd Wright Initiative, it was in fact the only building of this style in the country. It will also be the second Frank Lloyd Wright building in Canada. The number of yearly visitors to Banff National Park has grown to almost 3.6 million annually, and the pavilion has the potential to once again become a well used feature of the park as well as a tourist attraction in its own right. According to Canadian Architect, the proposal was accepted by the Banff Town Council, who is now conducting a feasibility study as Phase I of the project. The Frank Lloyd Wright Revival Initiative is accepting donations that will go toward funding the project.
In 2009, the French Ministry of Culture began an $18 million restoration of the medieval Chartres Cathedral, a UNESCO World Heritage Site 50 miles southwest of Paris. By 2017, the Gothic structure is intended to look similar to the original 1194–1250 construction. However, as the past 765 years of dirt and grime are erased, critics are denouncing the project. To cleanse the interior of candle and oil grime, the French Ministry of Culture is painting the interior masonry its original color, a creamy-white. However, the freshly painted masonry looks out of place against the undulating stone floor. And now, the floor, worn by centuries of pilgrims, looks filthy against the freshly painted walls. Originally, the vaults were illuminated by candles that hung from the columns and natural light that filtered through the stained glass windows. Now, the space is lit with bright, 21st century lighting. Martin Filler, in his blog on the New York Review of Books website, accused Patrice Calvel, former architect in chief of the French Ministry of Culture, of a destruction similar to “adding arms to the Venus de Milo.” In an article in Le Figaro, Adrien Goetz compared it to “watching a film in a cinema where they haven’t switched off the lights.” Calvel defended his “vacuum cleaning,” saying, “It has the full weight of the administration of state, historians and architects who decided over a 20-year period what would be done.” But when asked whether or not parishioners were consulted, Calvel said, “I’m very democratic, but the public is not competent to judge.” Calvel’s research unveiled that in medieval times, “everything was painted.” However, Calvel will not paint the exterior, saying, “If we tried to do that on the outside I would be hanged.” Stefan Evans, Franco Scardino, Leila Amineddoleh, and Adachiara Zevi started a petition, Save Chartres Cathedral, to stop the renovation. The four sponsors believe Chartres’s restoration violates the 1964 Venice Charter, which prohibits the addition of new construction, demolition, or modification of historic buildings in ways that change the original composition and color. Save Chartres Cathedral has 573 supporters and counting. The petition can be signed here.
Before the Department of Homeland Security moves into its old insane asylum home, the National Historic Landmark will need some intense TLC
Although a designated landmark, the proposed new site for the Department of Homeland Security (DHS) in the heart of the St. Elizabeths West Campus, Washington D.C., is an intense fixer-upper. Working with architects Shalom Baranes Associates and contractor Grunley Construction, the General Services Administration proposes a total renovation of the 264,300 square foot Center Building, a collection of seven connected structures that served as patient treatment rooms and administrative offices for the original Government Hospital for the Insane. It later became known as the St. Elizabeths Hospital. Once rehabilitated, the Center Building will house the DHS headquarters and the Secretary’s Office. Located north of the U.S. Coast Guard headquarters, the 176-acre west campus was recognized as a National Historic Landmark in 1990. The Center Building was shuttered three years ago following the transfer of St. Elizabeths Hospital functions to the east campus, and photos submitted to the National Capital Planning Commission show that the building is deteriorating on the inside. Its exterior openings were boarded up in 2014 in advance of its reuse. "Basically, this project entails the integration of a completely new building within the envelope of the original and restored facades,” reads the submission to the NCPC. “Critical to the project's success is not only the preservation of important historic fabric, but the optimum interplay between historic planning ideals and modern, efficient workspace." The preservation and restoration project includes building stabilization from below grade, masonry repairs, window replacements, the removal and reconstruction of interior walls and floors, porch reconstruction, and landscape upgrades, among other fixes. To finance the repairs, President Barack Obama’s fiscal 2016 budget request includes $379.7 million to fund the second and third phases of the DHS campus consolidation.
There are few buildings as emblematic of the urban blight in Detroit as Michigan Central Station. That changed slightly this week, when new windows appeared in some of the historic building's vacant frames. FOX 2 reporter Jason Carr spotted the new fenestration earlier this week. Michigan Central Station's neoclassical entryway and mighty Beaux-Arts towers once welcomed rail passengers to Detroit like royalty, but the building has been empty since 1988. Manuel "Matty" Moroun owns the building through his company NBIT. Last year the company got permits for $676,000 of rehabilitation work, from installing new elevators to repairing the roof. Mlive reported that NBIT had invested more than $4 million on "security, preparation and interior improvements" on the building to date. A few new windows may be little solace for those hoping to mount a full restoration, which could cost $300 million. But as FOX 2 observed, some are happy anythings being done at all:
"I love it," said another passerby. "I want good things to happen here."
Design professionals are being sought for a consulting role to provide a conditions assessment of the historic First Presbyterian Church complex in Stamford, Connecticut. As part of a multi-year campaign to repair, conserve, restore, and upgrade the complex, the selected team will be expected to complete an architectural analysis of the current conditions of the building and provide recommendations for its rehabilitation and restoration as part of Phase I. Phase II will see the implementation of these concepts by the same selected team. The complex in question includes the magnificent Wallace K. Harrison-designed sanctuary, completed in 1958, the 56-bell carillon tower, a community/education wing, and the surrounding 10-acre grounds. Over 20,000 pieces of faceted glass dapple the hushed sanctuary with its vaulted roof in sun-drenched color. The church itself is often likened to a fish, a symbol of early Christianity, and it, along with its sweeping complex, occupies an eminent spot on the Connecticut State Register of Historic Places. The conditions assessment in Phase I will help anticipate capital needs and outside grant funding needs in 2016 from the State Historic Preservation Office of the Connecticut Department of Economic and Community Development, as well as private foundations. Specifically, the chosen architect should earmark and document comprehensive repair needs for the envelopes, structure and MEP systems, and the interior finishes, and then also provide recommendations and a phasing framework for the restoration. The facade itself is notoriously water-permeable and lacks weatherproofing, made from béton glass secured to side wall concrete panels with caulking. As such, high on the checklist for the chosen architect is to examine the extent of moisture infiltration of the sanctuary Dalle de verre and improve climate control in the sanctuary to facilitate summer use. The architect should also observe the structural movement of the Carillon Tower, with the end objective of establishing a preliminary project scope and expected cost of repairs in compliance with SOIS, budget, and schedule. The Highland Green Foundation and Fish Church Conservancy will oversee the entire multi-year restoration campaign, and will provide the architect with digital files of the original construction drawings of the complex. Leaders of the proposed teams must attend a mandatory walk-through at the church on July 9, 2015, at 10:00 a.m. RFQs must be received at the church office (1101 Bedford St) by 3:00 p.m. on July 24, 2015. For more information about entry requirements and the judging panel, click here.
One Fish, Two Fish – Brooklyn’s Gotham MetalWorks Fabricates Historical Reproduction for New York Landmark Building
Gotham MetalWorks in Brooklyn. Normally, recreating an item like this involves creating a plaster cast, something impossible with an item made of four separate pieces. Instead, the craftsman at Gotham MetalWorks created a rubber mold, then a plaster cast of each piece, sharpening detail after each imaging. The final piece was stamped in copper using a pneumatic press, precisely reproducing the architectural element. “We are likely the only metal shop in the region with the capability to have done this reproduction with the precision and authenticity that the client required,” said Branch Manager Doug Kisley. Gotham MetalWorks has a long standing history with landmark buildings throughout NYC. Because these buildings require specific replication of existing materials during restoration or renovation, approval can be an arduous process for contractors and architects. With an extensive knowledge of historical preservation coupled with CAD and state-of-the-art techniques, Gotham MetalWorks focuses on achieving the desired result of both client and contractor, while adhering to the Landmarks Commission codes.