The new OMA-designed Maggie's Center in Glasgow has opened. Extra Large Image
Glasgow · 2011.1003
A new Maggie's Centre has opened on the grounds of Gartnaval Royal Infirmary in Glasgow, Scotland, United Kingdom. Designed by international architecture firm OMA, based in Rotterdam, the Netherlands, the center is intended to provide emotional and psychological support to those affected by cancer.
The single-level building takes the form of a ring surrounding an internal landscaped courtyard. Instead of a series of isolated rooms, the building contains a sequence of loosely arranged interconnected figures, L-shaped in plan, that create clearly distinguished areas while maintaining a casual atmosphere.
The building is both introverted and extroverted: each space has a relationship either to the internal courtyard or to the surrounding woodland and greenery, with some views of Glasgow beyond. With a flat roof and floor levels that respond to the natural topography, the rooms vary in height, with the more intimate areas programmed for private uses such as counseling, and more open and spacious zones for communal use, such as the dining room.
The project was led by OMA partners Ellen van Loon and Rem Koolhaas, with associate-in-charge Richard Hollington. Lily Jencks, the daughter of Maggie's charity founders Charles Jencks and Maggie Keswick Jencks, designed the landscaping for the internal courtyard and the surrounding wooded knoll.
The New York School of Interior Design's new LEED Platinum-certified Graduate Center, designed by Gensler, has opened in Lower Manhattan. Photo: Mark LaRosa/ Courtesy Gensler Extra Large Image
New York · 2011.1018
The new Graduate Center for the New York School of Interior Design (NYSID) has opened in Lower Manhattan. Multidisciplinary firm Gensler designed the LEED Platinum-certified center, which occupies 40,000 square feet (3,700 square meters) on two contiguous floors in an existing building. It represents the first satellite space for the Upper East Side school.
Both floors are sleek spaces with open layouts that include seminar rooms, lecture halls, exhibition space, computer design labs, and other workspaces. Floor-to-ceiling windows transmit extensive daylight. The center received a Platinum certification under LEED for Commercial Interiors (LEED-CI). Sustainable design features include recycled-content materials, water-conserving plumbing fixtures, LED lighting, low-VOC paints, electric submetering, and an energy-efficient, water-cooled HVAC system.
The Graduate Center's first phase, comprising half the floor area, opened in September 2010. The center was created to accommodate rapid growth in NYSID's enrollment since 2008, corresponding with the introduction of new graduate programs such as a one-year master's program in sustainable interior environments.
NYSID also recently announced the appointment of Dr. Ellen Fisher, interim dean, to the position of dean and vice president for academic affairs.
An addition by Pei Cobb Freed & Partners has opened at Cornell University's Johnson Museum of Art (1973), designed by I.M. Pei. Image: Pei Cobb Freed & Partners Architects LLP/ Gilbert Gorski Architectural Illustration Extra Large Image
Ithaca · 2011.1015
At Cornell University in Ithaca, New York, a new addition to the Herbert F. Johnson Museum of Art has opened. Originally designed by I.M. Pei, the 1973 museum was renovated and expanded by his former firm, Pei Cobb Freed & Partners Architects LLP, with design led by John L. Sullivan III, who served as architect-in-charge on the original museum project.
The 17,200-square-foot (1,600-square-meter) new wing is located north of the existing hilltop museum, on a site identified for possible future expansion in the original 1968 master plan. The simple, square-plan volume connects to the main building via two below-grade levels. It also relates materially, with board-formed architectural concrete carefully sourced to match the texture and buff color of the original.
The new north lobby echoes the lobby of the earlier building in design and materials, but, bathed in natural light and offering glimpses of the landscape from all four sides, more thoroughly melds exterior and interior space. From the entrance hall, visitors descend one level to new galleries, a 150-seat lecture hall, a workshop studio, and the main museum building. The addition also includes art storage and office space, and provides a secondary entry to the museum, primarily for use by school and tour groups and for after-hours events.
Several areas of the existing 61,000-square-foot (5,700-square-meter) building have undergone renovations. The fifth-floor galleries of Asian art, also known for their 360-degree views of Ithaca, are now reconfigured with 50 percent more square footage of gallery space. An innovative visible storage gallery has been installed on the lowest public level of the original building, and additional renovations are underway to create a photography study and storage space.
The project team included Leslie E. Robertson Associates RLLP, New York City, structural engineer; ICOR Associates, LLC, Iselin, New Jersey, MEP engineer; Reginald D. Hough, FAIA, Rhinebeck, New York, concrete consultant; and Murnane Building Contractors, Plattsburgh, New York, construction manager.
At the Montreal Museum of Fine Arts, a newly opened pavilion adjoins a restored Victorian church that now houses a concert hall for the museum. Provencher Roy + Associés Architectes designed the addition and renovation project. Photo © Marc Cramer Extra Large Image
Montreal · 2011.1014
An expansion has opened at the Montreal Museum of Fine Arts in Montreal, Quebec, Canada. Designed by Provencher Roy + Associés Architectes of Montreal, the expansion combines a new marble-faced pavilion with a restored historic church whose nave was converted into a 444-seat concert hall.
With 25,260 square feet (2,347 square meters) of gallery space, the new Claire and Marc Bourgie Pavilion of Quebec and Canadian Art increases the museum's total exhibit space by 20 percent. On the top level, a glassed-in gallery affords views of Mount Royal, and the incorporation of glass walls throughout the new pavilion and at each gallery entrance helps transmit light and offer views of the city. The exterior features the same white marble from Vermont as was previously used on the museum's Michal and Renata Hornstein Pavilion (1912, architects Edward & W.S. Maxwell) and the Jean-Noël Desmarais Pavilion (1991,
architect Moshe Safdie).
The museum's expansion efforts included saving and annexing the Erskine and American Church, a designated national historic site that was deconsecrated in 2004 and acquired by the museum in 2008. Built in 1894, the Victorian church features a facade of rusticated gray limestone and sculpted brown Miramichi sandstone that has now been restored and cleaned. In the nave, the Bourgie Concert Hall features 18 restored Tiffany windows and a new birch shell added over the stage. The hall's interior design was developed by the architects and designer Christiane Michaud.
Access to the pavilion and concert hall is provided via a shared new main entrance, while an underground gallery also links the two structures to the Jean-Noël Desmarais Pavilion. Total cost for the project was $42.4 million CAD, including $34.1 million for the construction.
HGA's new mixed-use student housing project, 318 Commons, was recently completed in downtown Rochester, Minnesota. Photo: Paul Crosby Extra Large Image
Rochester · 2011.1011
The mixed-use development 318 Commons was recently completed in downtown Rochester, Minnesota. HGA Architects and Engineers (Hammel, Green and Abrahamson) designed the nine-story building, which combines retail, office, and classroom spaces with market-rate, amenity-rich apartments for students at the University of Minnesota Rochester and for other local residents.
The student housing represents the university's first. The project was developed by G.H. Holdings, which leases out both the student apartments and those for the public, and which also leases space to the university for classrooms, offices, and student activities.
The building is clad in alternating bands of deep red and gray metal panels with limestone detailing. Inside, concrete columns and floors, exposed ductwork, and large windows contribute to a somewhat industrial aesthetic. The first two levels contain 20,000 square feet (1,900 square meters) of leased space, with floor-to-ceiling windows that provide a visual connection to the street. Sustainable design features include energy-efficient, four-pipe heat-pump units; a programmable thermostat in each dwelling unit; low-flow plumbing fixtures; and energy-efficient appliances.
The building contains 98 rental units, totaling 208 bedrooms. The student apartments, located on the third through ninth floors, include in-unit laundry and fully equipped kitchens with maple cabinets and granite countertops. The apartments for the general public, located on the ninth floor, offer the same amenities.
The building was completed in August. HGA, which has offices in seven cities including Rochester and Minneapolis, provided full-service architecture and engineering. The general contractor was Kraus Anderson.
CAM Raleigh's adaptive reuse project was designed by Brooks + Scarpa, with associate architect Clearscapes. Photo: Courtesy Brooks + Scarpa Architects
Raleigh · 2011.1001
Brooks + Scarpa Architects of Los Angeles, California, designed an adaptive reuse project for the Contemporary Art Museum Raleigh, which opened in Raleigh, North Carolina, in April 2011. The museum occupies a renovated, expanded brick building in the city's Depot Historic District. The architect of record was Clearscapes of Raleigh.
Much of the original fabric of the two-story building ó an early-1900s produce warehouse ó was preserved, including a lunette window and the original apparatus for the freight elevator, visible from the open stair to the museum's main level. The main gallery occupies that tall-ceilinged space, with the original metal trusses exposed and a row of porthole-like details that are part of the new HVAC system.
A second gallery is separated from the main gallery by a slot cut in the concrete floor, spanned by a glass-and-metal bridge that provides views down into the third gallery below. That lower-level gallery has square cast-in-place masonry columns with flared capitals and sheared caps. The basement also houses administrative offices, defined by half-walls to give a sense of openness.
The lobby is housed in a new glass-enclosed space set beneath a folded-panel roof that extends over a sculpture garden. Located on the east side of the building, this new 900-square-foot (84-square-meter) entry structure is a modern reinterpretation of the old loading dock. The asymmetrical cross axis was created to complement and contrast with the symmetry of the historic warehouse.
Designed by The Jerde Partnership, the Daesung D3 City mixed-use development has opened in Seoul, South Korea. Photo: Hiroyuki Kawano Extra Large Image
Seoul · 2011.0927
Daesung D3 City has opened in Seoul, South Korea. The Jerde Partnership, an architecture and design firm based in Venice, California, designed the mixed-use development.
The centerpiece is the six-level, 80,000-square-meter (860,000-square-foot) retail complex, with major cultural spaces on its rooftop, including a 1,277-seat performance hall and 420-seat event space with a shared lobby and outdoor garden plaza overlooking the city to the north. A new public park and extensive landscaped gardens create a major new public space. A 42-story office and hotel tower and two adjacent 50-story residential towers complete the new urban complex.
Sustainable design features include photovoltaic panels, ground-source heating and cooling, a green roof, and use of graywater for irrigation. Developed by Daesung Engineering & Construction, the 2.5-hectare (6.33-acre) property is located adjacent to the Shindorim metro station, in a predominantly industrial zone, on a site that was once home to a large coal processing plant owned by Daesung. Sergio Zeballos served as Jerde design partner for the project.
In Mason City, Iowa, the Park Inn Hotel and adjoining City National Bank building by Frank Lloyd Wright have reopened as an expanded hotel following a renovation designed by Bergland + Cram. Photo: Aaron Thomas Extra Large Image
Mason City · 2011.0910
The historic Park Inn Hotel in Mason City, Iowa ó reportedly the last remaining hotel in the world designed by Frank Lloyd Wright ó recently reopened following a 12-year, $18 million renovation designed by local architecture firm Bergland + Cram.
The renovated facility comprises not just the original Park Inn Hotel (1910), located across from a downtown park, but also the adjoining City National Bank building. Wright designed both buildings in the Prairie School style, typified by flat roofs, large overhangs, and geometric designs.
After a bankruptcy sale in 1926, the bank was remodeled into commercial and retail space, drastically altering its original design. The hotel operated under various ownerships until 1972. It was converted into apartments and eventually left vacant.
Even though it now occupies both buildings, the hotel actually has fewer, larger guest rooms than it originally did: 27 rather than 41. One of the guest rooms is being restored almost exactly to its original appearance. The other rooms will be more modern while still adhering to historic design elements.
The distinctive brick and terra-cotta facade has been restored. Other signature features include Wright's original 25-panel art-glass skylight (which had been in the home of a Mason City resident) and the bank's original window grilles (which were found in nearby Clear Lake, Iowa, being used as a fence). Historical spaces include the lobby, ladies' parlor and balcony, law offices, and corridors. Reproductions of original designs include light fixtures and barrel chairs. Custom carpets were designed based on art-glass motifs.
Randall Cram, AIA, served as architect for Bergland + Cram, and Scott Borcherding, IIDA, served as project manager and interior designer. The nonprofit organization Wright on the Park Inc. owns the property and oversaw the renovation. Henkel Construction Co. was the project manager. The hotel will be run by HPI Partners of Mason City.
The new Helsinki Music Centre, designed by LPR Arkkitehdit, recently opened in Helsinki, Finland. Photo: Arno de la Chapelle/ Helsinki Music Centre
Helsinki · 2011.0831
The new Helsinki Music Centre opened in Helsinki, Finland, on August 31. The main users of the facility are the Helsinki Philharmonic Orchestra, Finnish Radio Symphony Orchestra, and Sibelius Academy. Arkkitehtitoimisto Laiho-Pulkkinen-Raunio (LPR Architects Ltd.) of Turku, Finland, designed the building, working with Yasuhisa Toyota of the Japanese firm Nagata Acoustics.
At the core of the building stands the main concert hall, a crater-like, vineyard-style 1,704-seat music venue whose interior is exposed to the surrounding foyer and lobby by a ring of sound-insulating glass walls. There are also five smaller performance halls, with capacities of about 140 to 400 each. The Sibelius Academy classrooms and offices are grouped in seven stories around the inner court facing an adjacent park.
Transparency and accessibility are hallmarks of the building. All the concert halls have hearing induction loops and wheelchair spaces. The corridors are wide, and the tactile ground surface indicators and signs help visitors with visual impairments move around the building. There is also a space for any audience members' guide dogs to stay during concerts.
The building's glass walls face Töölönlahti Bay and the Kiasma Museum of Contemporary Art, revealing activity within the center to passersby. The foyer, cafe, and restaurant, and the academy's library are open to the public. In addition to glazing, the facade features green, pre-patinated copper.
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