FEB 24 TO SAVE OR NOT TO SAVE
As the economy lifts, architectural/design firms are optimistically projecting full time sheets. It's a good feeling for once as the past few years have left many young graduates in the field with massive school loan debt and little job opportunities of which to repay them. Our industry, more than most, was notoriously written up as the weakest industry to recover. Yet we are slowly hiring again and work is thawing yet there is still a thick layer of ice that covers most states and the treasures within, buildings just beneath the layers of ice and neglect that are finding it harder and harder to simply exist.
As our industry moves forward with initial client presentations met with bright eyed client vision, our excitement tends to turn toward all that is new and optimistic subtle signs of spring. Interestingly, now that we are in the 21st century, we must not turn our backs on what is considered 'old' or eligible for 'historic renovation'. To 'thaw' out and give new life again? Seems like only yesterday the Farnsworth house, Glass house or many of Manhattan's glass wrapped skyscrapers were erected with awe and media coverage in newspapers and shelter magazines alike. They were beyond new, they were stand out divas unto themselves. Modernist buildings demanded attention and one was certainly enamored and captivated as one walked by it's facade of lobby clerestory glass reflecting you ....entranced. Yet it is a reality and while adaptive re-use, re-purposing, re-designing etc. can gain core & shell LEED points and more the real conundrum is what to save and when? To 'thaw' them out and give them new re-purposed life? They are over fifty years old and older now and the divas are in need of attention fast.
Many buildings while 'state of the art' at the time were erected with materials that were not fully proved and other materials have since proven them-self to be caustic like asbestos. Many of the glass wrapped dramatic exteriors no longer hold any heat value other than reflective value. A massive cost and undertaking to replace. Lastly what is most interesting when examining closer buildings and residential projects worth saving or not is the time and style in which the building was built.
Case in point, Paul Rudolph, one of my favorite architects. Rudolph's works spanned many generations from the sheer elegance and early sustainable/practical design of the petite yet fully functional Walker house in Florida to the recently argued debate to save the Brutalist example in Orange County. Both Rudolph masterpieces yet so vastly different in their form, light, mass etc. So the question in taking on new works is to advocate for what we may be missing soon due to decay and neglect and not forget how profound 20th century modernism was and still is. To save or not to save...to advocate and thaw out or not...that is the question going forward. Below: http://potd.chrisempey.com/category/black-and-white/
As our industry moves forward with initial client presentations met with bright eyed client vision, our excitement tends to turn toward all that is new and optimistic subtle signs of spring. Interestingly, now that we are in the 21st century, we must not turn our backs on what is considered 'old' or eligible for 'historic renovation'. To 'thaw' out and give new life again? Seems like only yesterday the Farnsworth house, Glass house or many of Manhattan's glass wrapped skyscrapers were erected with awe and media coverage in newspapers and shelter magazines alike. They were beyond new, they were stand out divas unto themselves. Modernist buildings demanded attention and one was certainly enamored and captivated as one walked by it's facade of lobby clerestory glass reflecting you ....entranced. Yet it is a reality and while adaptive re-use, re-purposing, re-designing etc. can gain core & shell LEED points and more the real conundrum is what to save and when? To 'thaw' them out and give them new re-purposed life? They are over fifty years old and older now and the divas are in need of attention fast.
Many buildings while 'state of the art' at the time were erected with materials that were not fully proved and other materials have since proven them-self to be caustic like asbestos. Many of the glass wrapped dramatic exteriors no longer hold any heat value other than reflective value. A massive cost and undertaking to replace. Lastly what is most interesting when examining closer buildings and residential projects worth saving or not is the time and style in which the building was built.
Case in point, Paul Rudolph, one of my favorite architects. Rudolph's works spanned many generations from the sheer elegance and early sustainable/practical design of the petite yet fully functional Walker house in Florida to the recently argued debate to save the Brutalist example in Orange County. Both Rudolph masterpieces yet so vastly different in their form, light, mass etc. So the question in taking on new works is to advocate for what we may be missing soon due to decay and neglect and not forget how profound 20th century modernism was and still is. To save or not to save...to advocate and thaw out or not...that is the question going forward. Below: http://potd.chrisempey.com/category/black-and-white/
1941 - The Ralph Twitchell Residence, an example of a time almost forgotten, Modernism at its birth (below). While burnt out, the Rudolph designed residence still emanates strong character in plane and harmony with the land. Occupied or barren it supports the idea that all modernism is not cold and more so one with itself in an almost 'zen like' state.
Below: http://www.ncmodernist.org/rudolph.htm
Paul Rudolph's office against the New York skyline below, while not a skyscraper, it's presence was noted and profound. So too were the drawings of buildings and residences that emerged from the architectural office. Unmistakably modern but more so unmistakably simple in gesture, plane and grace.
http://www.loc.gov/pictures/related/?va=exact&sp=5&q=Architectural+drawings--1960-1970.&fi=format&sg=true&op=EQUAL
http://www.loc.gov/pictures/related/?va=exact&sp=5&q=Architectural+drawings--1960-1970.&fi=format&sg=true&op=EQUAL
Sanibel Island Florida houses one of the most iconic modernist structures ever created, the Walker House. A small footprint of commonsense. The summer retreat was sustainable before LEED was ever formed. Adaptable open to fresh air and practical, a jewel box masterpiece that has been cared for up to today.
"1952 - The Walter W. and Elaine Walker Guest House, aka Cannonball House, Sanibel Island FL. Designed with Ralph Twitchell. Commissioned 1951. A year earlier Rudolph designed the Walkers a primary residence which was not built. Color photos by Lloyd Alter. Bottom four photos by Ezra Stoller/Esto. Sold in 2013 to John R. Priest, trustee. A replica of the guest house, built by architect Joe King and others, will be on display at the Ringling Museum for a year beginning summer 2015."
Images: http://www.ncmodernist.org/rudolph.htm
Images: http://www.ncmodernist.org/rudolph.htm
1950 - The W. R. Healy Guest House, aka the 'Cocoon House'; there were other micro housing gems that Rudolph designed as the "Cocoon House" in and around the same time. Sweeping gestures of grandeur applied to simple geometry of line at the base structure. Stable, practical yet alluring to this day.
1950 - The W. R. Healy Guest House, aka the Cocoon House
As the sixties ushered in so too did the architectural style of 'Brutalism' while many fiercely disagreed that Brustism had any style at all it was for its time just as iconic and a push outward of Modernism's reach.
The image below, while not Brutalist in design (yet) shows the early division and consideration of space.
http://mattermatters.com/blog.asp?id=422
As the sixties ushered in so too did the architectural style of 'Brutalism' while many fiercely disagreed that Brustism had any style at all it was for its time just as iconic and a push outward of Modernism's reach.
The image below, while not Brutalist in design (yet) shows the early division and consideration of space.
http://mattermatters.com/blog.asp?id=422
The sense of openness was challenged and in favor interior spaces were divided and sub divided into mini structures of fortified housing all to themselves. Dark? yes... in many ways but none the less unique. Poured tonnage of massive amounts of concrete, many Brutalitst buildings today are in danger of total decay and neglect. But interesting to note, that while designers have been grappling with the open office concept and ways in which to introduce personal space ...Brutalist buildings have the solution. Consider perhaps light shed on them literally in sustainable way that would penetrate into the space enhancing the metal mood of all those that work within. Buildings that may prove valuable in more ways that one.
Below Newly constructed and today....Orange County Government Centre in New York State has been disused since it suffered a flood a few years ago but was recently saved but still to undergo much needed restoration.
Below Newly constructed and today....Orange County Government Centre in New York State has been disused since it suffered a flood a few years ago but was recently saved but still to undergo much needed restoration.
One could argue that saving modernist buildings is costly, and it is. Committees, nonprofits meet weekly to argue in defense of 20th century architects works and against. It is not always easy to define what is quintessential "Modernism", however a question that was easy for me to answer as a child..."It simply stood out".
It will take a few strong voices to advocate for the past so we can look toward the future. A prime example of applying the past and fusing it with modernist lines for a 21st century appeal is STUDIOS Architecture facade renovation of 200 Fifth Avenue in New York.
"It takes just the right amount of finesse to create the necessary blend of modern flair and traditional expression, which was what L&L Holding was looking for when it commissioned STUDIOS Architecture to restore and renovate the neo-renaissance façade of an historic New York office building bordering Madison Square Park at 200 Fifth Avenue.
“The goal was to make a modern statement within a beautifully restored historic shell,” says David Burns, principal of STUDIOS Architecture. “From the exterior, passersby would notice only the careful restoration of the building’s façade. What is most exciting is the surprise to find this vibrant environment on the inside.”The 14-story space, originally called the Fifth Avenue Building, was designed by architecture firm Maynicke & Franke. Completed in 1909, it was one of the city’s largest commercial structures, with 60,000-sq.-ft. floor plates. During the 1950s, 200 Fifth Avenue served as the International Toy Center and the owners constructed small showrooms, painted over the windows, and removed the courtyard to better serve their needs. By 2007, the building had become noticeably underappreciated.
L&L Holding sought to bring back 200 Fifth Avenue to its former glory as a premier Class A office building. STUDIOS Architecture aimed to achieve a “balance of harmony and contrast with the existing building palette” and create a dynamic and exciting experience for users through the recreated courtyard, according to Burns.
“The terracotta-lined courtyard boasts a 40-ft. by 60-ft. exterior terrace, with stepped areas leading toward the west (floors two, three, and four),” Burns says. “This allowed for large, column-free areas that do not otherwise exist in the building.”
Completed in 2009, the restoration also includes a modern, natural light-filled lobby, and roof terraces. New glass-enclosed areas on each floor add increased flexibility in tenant occupancy and circulation, while four new mechanical rooms per floor minimize duct sizes. Numerous sustainable strategies—such as use of materials with high recycled content, rainwater irrigation, conversion to steam energy production systems, and the replacement of approximately 1,200 windows—have earned 200 Fifth Avenue its LEED Gold Certification for Core and Shell.
“This project not only demonstrates L&L Holding’s commitment to the restoration of historic structures,” says Burns, “but also its vision to create modern, sustainable, and exciting properties that help transform the neighborhoods in which they exist.”
Quote/Images below: http://www.contractdesign.com/contract/gallery/Adaptive-Reuse-Winne-4487.htm
adaptive reuse
In a word....Bravo!