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James Taylor-Foster reports for Archdaily: Five Teams Shortlisted To Restore Mackintosh’s Glasgow School Of Art.

It has been announced that five teams are the running to restore Charles Rennie Mackintosh’s celebrated school of art in Glasgow. UK based John McAslan + Partners (who restored Mackintosh’s last major commission), Scottish practice Page \ Park, and London and Hong-Kong based architects Purcell are all in the frame to lead the restoration of the Mackintosh Building amid a debate over how best to approach the rebuilding of the library and the areas of the building that were devastated by fire in May of last year.

The selection of Avanti Architects and LDN Architects complete the rostra. Fourteen practices, from over one hundred initial expressions of interest, formally submitted documents in the first round of the tender. The five successful bidders now have nine weeks to put forward more detailed proposals and specific costings. The brief, which emphasises the GSA’s wish to use this opportunity to create an art school which is fit for the 21st century whilst still ackowleding and respecting the original listed building, allows the practices to decide whether or not to “pursue detailed reconstruction or a more creative response.” A spokeswoman talking to BDOnline asked: “do they turn the clock back to May 2014 when the fire broke out, to 1909 when Mackintosh signed it off, or a third way?”

According to Liz Davidson, Mackintosh Restoration Project Director at the GSA, “all of the shortlisted practices have a strong record in undertaking major restoration and work in historic buildings together with an impressive commitment to the use of new technology and the finest craftsmanship. They each bring the level of experience and expertise that is vital to the restoration of Mackintosh’s masterpiece. We are now looking forward to hearing more about their proposed approaches.” The final proposals will be put to a panel of GSA staff and external specialists in March. It is expected that the winner will be announced towards the end of March.  

Camile LeFevre reports for The Architect's Newspaper: Assembly Line. Architects retool a WWII-era steel works factory in Minneapolis.

Once a steel works facility, Minneapolis' Crown Center is getting a second act thanks to local Brewers and Designers.

Tucked behind the intersection of two rebounding thoroughfares in Northeast Minneapolis is the former Crown Iron Works, a steel works and factory that bustled with activity during World War II when much of it manufactured airplane wings, bridges, and pontoons. After lying dormant for decades, the complex is now the subject of an adaptive reuse plan to house the creative industries of the 21st century: architectural offices, design firms, and a microbrewery among them. Bauhaus Brew Labs now occupies one formidable 9,255-square-foot structure measuring 200 feet long and 50 feet wide. Designed by Shelter Architecture, the space includes new glass windows and skylights. The original overhead bridge crane—now a chassis for the electrical, plumbing, and beer lines—looms above the fermenting tanks in an open, spacious taproom.

The family-owned brewery is extremely brand conscious, choosing the Bauhaus movement in the design world to exemplify the innovation and care with which they craft their beer. Shelter specified orange, yellow, and blue accents and simple modern furnishings that carry the brand forward. “Whole families are welcome to Bauhaus,” said Kurt Gough, partner, Shelter Architecture, “so we wanted the space to be inviting and cheery. We also included a large garage door that opens to an outdoor patio.” The patio—where kids cavort, food trucks line up, and families dine and drink—also connects to another outdoor space, The Shed, which is a former impound lot for a towing company. The design of the partially covered 16,000-square-foot space was inspired in part by New York City’s High Line, says Michael Roehr, principal, RoehrSchmitt Architecture, “because of the magical way in which the High Line weaves its way through and engages the private spaces around itself.”

To “introduce green space into this very hard, cold, industrial complex, and ensure the project could compete with and complement the scale of the space,” said Roehr, he included raised concrete planters, large Cor-ten steel boxes (10 feet long by 4 feet wide by 4 feet tall) and “other super-sized elements” like six-foot culvert sections repurposed as tree planters. “Placed into their context they feel appropriate to the scale of the space,” said Roehr. The architects removed selected metal roof panels to let in sun and rain. Several water tanks salvaged from a nearby factory collect rainwater and are used to drip irrigate the linear planters. Benches clip onto the garden wall. A stage between The Shed and Bauhaus’ beer garden hosts live music and other events. Meanwhile, an enclosed mezzanine space designed by RoehrSchmitt now houses Shelter’s architectural offices. RoehrSchmitt has its offices in Crown Center, as well. Adjacent to The Shed is a 15,520-square-foot industrial building that Kampa Studio is working on for modern furniture design firm Blu Dot. The revitalized space for offices and a showroom features floor-to-ceiling glass, exposed ceiling joists and trusses, a refinished concrete floor, and exposed brick. “Our destinies in this complex are intertwined,” said Roehr.

 

The building before conversion.

Marshall Heyman reports for The Wall Street Journal: David Barton Gym Finds Sanctuary at the Limelight. 

Former Church and Night Club Now Houses State-of-the-Art Workout Equipment.

A David Barton Gym member lifts weights in a lower-level weight room. 

A new gym on the border of Chelsea and the Flatiron district is giving new meaning to the idea that working out is at the intersection of a religious experience and going to a nightclub. The David Barton Gym opened last week, in the Sixth Avenue space once occupied by the Limelight.

The nightclub was previously an Episcopal church built in the mid-1800s, so in a way the gym evokes a place of worship and a hot spot from the heyday in one. The church became a drug-rehabilitation center in the 1970s and remained that way until 1982, when Peter Gatien turned it into the Limelight. In 2010, after a short-lived run as the nightclub Avalon, it was redeveloped into a Fred Segal/Ron Herman kind of mini-mall with a wine bar and restaurant.

     

Left: David Barton Gym’s new location at 47 W. 20th St. Right: The front desk at the new David Barton Gym.

There is still a small shopping area at street level, but most of the church as well as the former nunnery and the rectory have been transformed into a workout facility. As it has expanded over the years, the David Barton Gym, said its president, Kevin Kavanaugh, has been looking for spaces that aren’t “cookie-cutter.”

The Limelight didn’t immediately scream treadmills, elliptical machines and locker rooms, but, he said, “it was a nightclub, so it had the bones of a great public space. Its natural architecture and beauty is so crazy, I just had to accentuate that.” The goal, he added, is to inspire members by the atmosphere and the energy when they walk in, “so that they’re going to want to work out.”

After entering what was once the church bell tower and climbing the stairs to check in to the gym, you are greeted with a tray of votive candles. It’s a nod to honoring the gods of fitness, as well as one of the many references and holdovers from the space’s former lives. (The gym, like many of the recent David Bartons, was designed by Bill Sofield.) A safe that once belonged to the Limelight when it was a nightclub has been placed under the stairs.

A tin ceiling has been recovered and restored, and original stonework and stained glass have been retained and exposed. The stained-glass windows will also be lighted from the inside, so the effect lasts through the day and evening. Yoga is being taught in a “sanctuary” at the top of the church, while hard-core lifters can use a downstairs area that previously served as a chapel.

David Barton Gym has preserved much of the former church's original architecture.

Mr. Kavanaugh said that these days, a gym, conceptually, is a kind of “religious environment, where like-minded individuals can get healthy. We welcome everyone. It’s about coming to get the results you want and improve yourself.” Though the space has many throwbacks to the past, it is also the first gym in New York to feature Life Fitness’s Integrity equipment, which can be scanned with a smartphone to track calorie-burning and connect with other diet apps.

On treadmills, for instance, you can download new trails. The cardio machines, in particular, use a high-speed Internet connection that allows for television viewing and interfaces like Netflix. As for actually doing the workout and reps for you, “we haven’t figured that out yet,” said Mr. Kavanaugh.

Jeremiah Budin reports for Curbed: Inside (and Atop) Kickstarter's Greenpoint Headquarters.

Every element of Kickstarter's new headquarters, located in a former pencil factory at 58 Kent Street in Greenpoint, was designed with sustainability in mind, architect Ole Sondresen explained to a series of Open House New York tours on Saturday morning. That the office space is built (or, as Sondresen put it, "programmed") around an open planted courtyard means that the main spaces are filled with natural light, and the additional gardens on the second floor and rooftop work to reduce the air temperature around the building.

        

 The lower floor of the building features a kitchen, art gallery, "project room," and a small theater, while the second floor has the main offices, a library, and private conference rooms, all arranged in a circular shape around the donut hole of a courtyard in the middle. On the top floor is a lounge space and the large roof garden. Practically everything in the Kickstarter offices is reused or recycled — reclaimed wood, seats from a closed theater in the midwest, roof trusses repurposed to form the framework of the courtyard, the top parts of porch posts made into the legs of a long table in the library, and more.

Sustainability, for Sondresen and his team, isn't just a means to LEED certification (in his opinion, the requirements for LEED certification are "not even close to stringent enough") but a guiding principal for every part of design and construction. He estimated that 50 to 60 percent of the materials used in construction were sourced within 20 miles. To view all the photographs from the visit click here.

Evan Bindelglass reports for Curbed: 121-Year-Old Upper West Side Church Will Add Apartments.

The congregation wanted it, and now it will become a reality: the Upper West Side's Mt. Pleasant Baptist Church will get a residential addition. The Landmarks Preservation Commission on Tuesday approved its DXA studio-designed conversion to mixed-use—hosting both religious and residential uses. (Seems to be the direction dozens of other houses of worship in the city are headed anyway.) Shockingly, Upper West Siders, who usually hate this kind of stuff, were also supportive. Located on West 81st Street between Amsterdam and Columbus, it was formerly known as the Church of Eternal Hope. Built in the Romanesque Revival style by architect John F. Capen of Newark, it opened its doors in 1893.

The plan was presented by DXA architect Jordan Rogove. The congregation will be relocated to the first floor and lower level and the back of the building will be transformed and added to, resulting in a seven-story residential building consisting of seven to 10 units. The top two floors were proposed as duplex levels. The entrances would be reconfigured to give a separate entrance for the church. New signage will be added to differentiate between the residential and church sections, though Rogove said it wouldn't be as conspicuous as some of the signage the church had used in the past. Growth on the exterior as a result of poor water drainage and interior deterioration will all be repaired. Some of thestained glass windows will be repaired in place, while others will be relocated and still others will be replaced with ordinary wood-frame windows.

 

A church pastor of over 30 years was also part of the presentation team. The congregation actually left the church over a year ago because the building had deteriorated to such an extend that the church couldn't cope financially. He said the handsome brick structure on 81st Street had once been a "beehive of activity," and hoped it would become so again. He will have his own dedicated two-bedroom apartment in the converted building. The commissioners were very supportive of the project. Commissioner Michael Goldblum wondered if it would be possible to square off the back, but it wasn't that significant.

Chair Meenakshi Srinivasan wondered if the top floor could be lowered, but Rogove said the existing structure dictated the floors and that it would mean losing the top floor, which he said would lead to the project having "questionable viability." In the end, Srinivasan said it was a "very nice proposal." Commissioner Frederick Bland said converting churches and synagogues was a particularly difficult task, but this was "exemplary." He did lament the loss of the full building as a church, but understood the reality of the situation. Commissioner Adi Shamir-Baron said "reuse is clearly a sustainable model." Commissioner Roberta Washington was concerned about the color of the new terra cotta, but it was decided that that could be dealt with at the staff level. The proposal was approved unanimously.

 

And now for the neighbors' response: Community Board 7 recommended approval, though it noted concern about the too-modern rear façade. Barbara Zay of the Historic Districts Council applauded the "generally sensitive approach to a difficult problem." "In particular, the terra-cotta baguettes are a nice gesture to the church's tile roofs," she added." Our committee's only reservation about this proposal is the entirely glass rear facade, and would ask that further study be done to soften this starkly modern gesture."

The president of the West 81st Street Block Association, Donald Press, voiced his support for the project, though he also regretted the loss of the full building for church use. He said his organization was satisfied that the conversion would stabilize both the church's finances and the structure itself. American Institute of Architects New York executive director Rick Bell called the project "complex" and "very exciting." Max Yeston of Landmark West also voiced his organization's support, saying "DXA studio has developed an all-too-rare proposal for conversion of a traditional church for combined residential and religious use that is functional, appropriate and altogether architecturally acceptable."

 

Jennifer Whelan reports for Archdaily: COBE’s Adaptive Reuse of Nordhavnen Silo Marks Beginning of Redevelopment.

Danish firm COBE is transforming the largest industrial building in Nordhavnen – a silo – into an apartment building with both private and public functions. For COBE, who also created the urban development plans for Nordhavnen, this project marks the beginning of the post-industrial area’s future. Nordhavnen is a harbor area located only 4km from Copenhagen‘s city centre.

“The exciting thing about old industrial property is how to preserve their soul and at the same time use them for something else,” said Klaus Kastbjerg, the owner of the silo, commenting on the adaptive reuse project. To preserve the soul of the silo, the architects will maintain a raw industrial feeling on the interior. Each of the 40 retrofitted apartments will contain visible historic remnants such as existing concrete columns and walls.

The spatial variation within the silo is immense due to the various functions of storing and handling grain, giving rise to a unique set of apartments. The single and multi-leveled apartments range from 80 square meters to 800 square meters in size, with floor heights soaring up to 8 meters. Each apartment has large panoramic views with balconies overlooking the city skyline. The public element of the building lies in both the ground and top floors, creating a multidimensional experience for users. The silo will be used for public purposes such as exhibitions, events, and conferences. On the top floor of the building there will be a restaurant with 360 degree views of almost all of Copenhagen.

While the building interior will be preserved as much as possible, the exterior will be re-cladded in order to bring the facade up to current standards. Despite this major change, the maintenance of the building’s slender, tall shape serves to preserve the existing silo’s distinctive character and redefine it as a modern landmark. For more images of the project click here.  

Chris Berger reports for Curbed: America's First Shopping Mall is Now Stuffed With Micro Homes.

In 2008, Rhode Island's Providence Arcade was in trouble. Considered America's first indoor mall, the nearly 200-year-old downtown building closed after struggling to fill its cramped commercial spaces. The arcade needed an overhaul, but few viable options existed: when the possibility of a gut job arose, preservationists raised holy hell. In the end, the shopping center and its snug quarters proved just the right fit for a growing housing trend: micro apartments.

Known as Westminster Arcade when it opened in 1828, the building marked the debut of English indoor shopping concept in the United States. Designed by architects Russell Warren and James Bucklin, the Greek Revival stone structure more resembles a courthouse than a shopping mall, what with its stately Ionic columns and sunlight-filled atrium with its glass gable roof. Shoppers browsed three floors of shops—or at least that was the idea; they never seemed willing to trudge up the stairs to the second and third floors.

The mall was nearly razed in 1944, but preservationists intervened, and it was spared. In 1976, the arcade was designated a National Historic Landmark, though businesses struggled. Even its 1980 renovation didn't help much, and it ultimately closed in 2008. "It had become economically obsolete," said J. Michael Abbott, a principal at Northeast Collaborative Architects. "When it was a full shopping center of all three floors, it just wasn't working. Shops were opening and closing all the time."

 

Oft smaller than a hotel room, micro apartments have grown in popularity in recent years as more people cram into urban areas and housing prices escalate. The concept first gained popularity in European and Asian cities before projects popped up in San Francisco, Chicago, and Boston during the Great Recession. And so, developer Evan Granoff, who bought the Westminster Arcade in 2005, sought to introduce shoebox living to Providence. The construction practices of yore proved a challenge for the rehabilitation team, led by Northeast Collaborative Architects.

"They just laid down some flat rocks and started building on top of those—that was the foundation," Abbott said. "The building has settled over time. We call that 'character.'" As a result, the walls had to be shored up, and custom doors and windows were created to fit the uneven contours. The well-worn wood floors and lacelike iron balustrades were left in place. Work on the $7M project wrapped in October 2013. Granoff retained the retail spaces on the ground floor and rented them to retail busineses.

These commercial spaces are enclosed by bay windows so sound doesn't drift to the residences above. Inspired by ship construction, each of the 38 rental units—which measure from 225 to 300 square feet—includes a bedroom, kitchen, bathroom, and built-in storage. The homes on the second floor even have guest accommodations in the form of a twin Murphy bed. The Providence Arcade also contains eight larger apartments, a game room, storage spaces, and laundry machine.

Micro apartments are not for everyone—in fact, their clientele are "young kinds that just graduated." They "are at the bottom-end of the totem pole and don't have that dining room set that grandma gave them," Abbott said. "They travel really light. They might have a bike and two suitcases." The Providence Arcade's dwellings have also attracted keepers of the shops downstairs as well as second homeowners seeking a place to stay when they're in town. Rent starts at $550 a month, but future residents better get in line—there is already a waitlist.  

Katherine Clarke reports for The Daily News: Salvage operation at Domino Sugar factory tops $10M as developers look to rescue industrial artifacts.

The iconic Domino Sugar factory sign and other artifacts are being salvaged and will return once the $1.5 billion project is completed.

The developers of Williamsburg’s iconic Domino Sugar Factory say the 40-foot yellow neon sign which has adorned the property since the 1920s will return — once a $1.5 billion redevelopment of the site is completed. And the sign, in the process of being temporarily removed, is hardly the only artifact being salvaged from the site, once home to the largest sugar-refining operation in the world. Landscape architects and preservationists have been like kids in a candy factory, raiding the site for relics. The relics speak to the area’s rich industrial past. And they can and will be incorporated into a brand-new ­waterfront park at the site. “The demolition contractors wanted to kill me because I kept finding things I wanted to keep,” said Lisa Switkin, a landscape architect with James Corner Field Operations.

The firm has been tapped by developer Two Trees Management Company to design the park. The salvage operation is now more important than ever, as Two Trees prepares to raze the majority of the factory buildings. And the salvation efforts may help assuage the anger of some neighborhood residents, who have long opposed the redevelopment of the site on the grounds of historical significance. Some concerns about the project were already put to bed earlier this year. That happened when Two Trees, headed by the Walentas family, agreed to up the number of affordable housing units included in its plans, from 660 apartments to 700. Two Trees also plans to build more than 2,000 rental apartment units, retail space and a school, in addition to the five acres of waterfront open space.

The wrecking ball is finally rolling after years of discussion. The so-called bin structure, on which the Domino sign is prominently displayed, is slated to be demolished by the end of August. And under the company’s current construction schedule, most of the property’s buildings will be gone by the end of the year. But the main refinery building, complete with its distinctive chimney and protected by a landmarks law, will remain. Plans call for that structure to be transformed into an office hub for technology and creative companies.

Switkin’s firm is drawing inspiration for the park from one of its biggest projects, the High Line, which the company spent five years masterminding. The Domino park will feature a similarly elevated catwalk. It will be abutted on one end by two salvaged 80-foot-tall gantry cranes, which were once used to unload raw sugar from freighters when the product arrived on ships from Latin America and the Caribbean. The runway, to be known as the Artifact Walk, will run the length of the 505-foot-long sugar warehouse currently housed on the site. That’s where the sugar was first stored before being pumped up into the main refinery. The warehouse recently played host to an enormous art installation by Kara Walker. For Switkin, salvaging these kinds of objects is a way to leverage the area’s industrial heritage and to add character and context to the park, all while adding value to the apartments and office space going up on the site. In the 1950s, when production peaked at the facility, there were more than 5,000 workers active at the factory. Up to 1,500 tons of sugar were refined there every day. “If you lived on Kent Ave., some mornings you’d wake up to find a thick sugar coating on your car,” said Dave Lombino, the director of special projects at Two Trees. When the company began the project nearly a year ago, visitors to the site were instructed to wear throwaway shoes. The floors were still sticky from molasses.


The park will feature an elevated catwalk, abutted on one end by two salvaged 80-foot-tall gantry cranes, which were once used to unload raw sugar from freighters when the product arrived on ships from Latin America and the Caribbean.

The developer is also salvaging the 425-foot long rail tracks. They supported the cranes and a series of structural columns from the sugar warehouse, still caked in sugary lumps, which will serve as a backbone for the catwalk. Other artifacts to be rescued from the rubble include: cylindrical tanks that collected syrup during the refining process, mooring bollards and bucket elevators. Switkin is even planning to restore various dials, meters and valves from old refinery machines. They’ll be incorporated into a play area for children in the park.

The process of salvaging these items is expensive and time-consuming, but Two Trees will likely get its money back out on the other end. A representative company estimated the cost of the salvage operation at more than $10 million. “It’s not pure altruism on our part,” Lombino admits. “We’re renting a couple of thousand apartments here. The more this place is desirable as an attraction, the more intriguing the history seems, the more we’ll be able to rent them for.” For its part, the Brooklyn Historical Society is happy with Two Trees’ preservation efforts and is helping the company to curate a small exhibition about the factory’s past. The show will be displayed in the refinery building once it opens. “Some people will always be unhappy about the development of the site,” says society president Deborah Schwartz. “But Two Trees has no desire to wipe out the history. They’re giving the community an opportunity to remain connected to the story of the site."  

Chris Bentley reports for The Architect's Newspaper: Smooth Finish. Planners mull the revival of a historic millwork district on the Mississippi.

For much of its modern history, Dubuque, Iowa, has been a city that could not catch a break. The millwork industry that built it moved elsewhere in the early 20th century, and later the Interstate Highway System passed it by, too, building I-90 to the north through Madison, Wisconsin, and I-80 to the south through the Quad Cities.

Dubuque languished, enduring about 9 percent unemployment throughout the entire 1980s. Since then local officials have embarked on a series of public-private partnerships to revive the Mississippi River town piece by piece. Their latest effort takes aim at the heart of Dubuque’s industrial past: its rustic downtown millworking district. Once the largest millworking district in the U.S., these 28 buildings across 17 city blocks sat largely vacant for decades.

     

Thousands of employees used to make the trek from the nearby residential neighborhood of Washington to work in dozens of mills and other businesses. That may not happen again, but Andrew Dresdner, a Cuningham Group urban design associate, said Dubuque could forge a new identity without turning its back on the past. Cuningham’s master plan for the Millwork District recently won the Environmental Protection Agency’s National Award for Smart Growth Achievement—a vote of confidence in an ongoing plan that has so far created 150 units of housing, 15,000 square feet of retail and restaurant space, a 200-car parking garage, and substantial improvements to area streets. The National Trust for Historic Preservation has named it a Green Lab pilot project.

The plan hopes to rehabilitate 1 million square feet of formerly vacant warehouse space, brining 1,000 new residents to the area. Those that have already come inhabit the Caradco Building, a three-story warehouse from the late 19th century. The namesake company is defunct, but the brick building remains, its inner courtyard turned into green space for residents of the city block-sized structure. “When you walk down the street there’s this glimmer of life from the courtyards through these huge, gracious arches,” said Dresdner. The master plan envisions similar transformations for other warehouses, with food co-ops, art galleries, and a solar energy company already moving in nearby.

 

        

  The city worked with existing property owners to redevelop the area as a unit, opting to landmark the district so it could score historic tax credits. They also landed an EPA Brownfields grant to daylight the underground Bee Branch Creek, which Dubuque buried after a fatal flash flood in 1858. Along with permeable pavement in the alleys and a bevy of “complete streets” improvements to the Millwork District’s urban grid, the newly exposed creek should help reduce damage to the flood-prone Washington neighborhood, too.

     

“It’s going to reintroduce green space into some of our most historic neighborhoods,” said Assistant City Manger Teri Goodman in the EPA video. The plan calls for a public plaza in the heart of the district and improved pedestrian connections to surrounding neighborhoods. For those traveling from farther away, Amtrak is looking to build a new multi-modal rail stop in the area, connecting the Millwork District to Chicago via the old Black Hawk line. Work is supposed to begin this year, but may be delayed while the Illinois Department of Transportation and Canadian National Railway negotiate track improvements.

However they arrive, visitors will find a different Dubuque than the one passed over by the highway system in the 1950s. “I can remember sitting at the council table in the 1990s. The comment was made that people will never live downtown in the city of Dubuque,” Mayor Roy Buol said in an EPA video touting the district’s redevelopment. “I think as a community we showed that if you can develop the infrastructure, take your historic buildings and rehab those so it’s a welcoming space, you can attract people downtown to live.”


 

Jessica Dailey reports for Curbed: Inside Dumbo's Abandoned Empire Stores Before Its Makeover.

More than six decades have passed since Dumbo's Empire Stores warehouses served a purpose, but by the end of next year, the abandoned coffee warehouses will be home to tech and fashion companies, marquee retailers, and "the who's who" of restaurateurs. Developer Midtown Equities, which won the development bid from Brooklyn Bridge Park last summer, is currently giving the brick buildings new life. STUDIO V designed two modern additions for the top, as well as an open-air courtyard that slices through the middle, but largely, the two buildings, dating to 1869 and 1885, will be preserved. 

The developer always planned on keeping historic elements like coffee chutes and hoisting wheels, and the commercial tenants that plan to lease the space (no new names were given) fully support that plan. Jack Cayre, founder of Midtown Equities, said many companies wanted the space as-is, strewn-about coffee beans and all. While that won't be happening, Curbed recently took a trip inside the historic warehouses, and suffice it to say that these will be some of the coolest office spaces in the city. The Empire Stores warehouses are actually seven individual buildings, which were built at different times as four-story and five-story structures.

 

Each building's faded number is still visible on the exterior. The shorter building is older, having been completed in 1869, while the five-story building dates to 1885. Engineers working on the redevelopment think that the schist used to create the walls inside the older warehouse was excavated from beneath the East River during construction of the Brooklyn Bridge, which opened in 1883.

Both buildings will be six-stories with the new additions, and the four-story building will have a floor-to-ceiling open air courtyard sliced through it that will look something like this (rendering by STUDIO V). Cayre said they want "the new parts to look new" and juxtapose with the historic buildings. The ground floor will have eateries facing the park, including a yet-to-be-named Michelin star restaurateur, and retail in the rest of the space.

 

Every window on the warehouse had large black shutters which have been removed and tagged. Most of the shutters are falling apart and beyond repair, but they'll be used in spaces throughout the buildings. Many tenants have also expressed interest in having them in their offices. New shutters have been made to fit the windows, which are all different sizes. 

Part of the second floor of the development will host a museum dedicated to the history of coffee. Artifacts found in the warehouse, like these stencils that were used to write on the bags of coffee beans, will be displayed. The original floors on the ground level have been ripped out in preparation for new flooring. The concrete bases around the support columns were added during construction.

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All of the wood used in the original buildings is first cut pine. Since the building is located on the waterfront, a flood barrier system will be installed around the perimeter. This building, with its brick ground floor still intact, is still in the same shape that it was when it was last used as a coffee warehouse.

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The upper levels have wooden floors and some of the best views any office could have. New windows will be placed on the inside of the building to not disrupt the look of it from the outside. Tenants will be able to have floorplates of up to 100,000 square feet. To make this happen, openings will be cut through the schist walls that separate the buildings. The rooftop is currently untouched. This is the top of the five-story building, so there will be a new office space here.

The addition will be setback, so this office will have a private terrace. The four-story building, which will have a two-story addition sits in front of the Dock Street project. The open courtyard will be immediately beside the five-story building, and a public rooftop terrace will wrap around it. There will also be a rooftop beer garden. The public rooftop terrace will look like this. You can see the brick wall of the five-story building on the far side, and the glassy two-story addition of the shorter warehouse. The rooftop office spaces will lease for $90 to $100 per square foot, a price unheard of in Brooklyn. 

Midtown Equities plans to turn the spaces over to the tenants by the third quarter of 2015, and at that time, the public spaces and rooftop would open. Every retail space is spoken for, but Midtown Equities has not released the names of the restaurants or shops. West Elm signed on as an anchor tenant for 10,000 square feet of offices and retail space. They paid in the high $40s to low $50s per square foot, setting a record for the borough.

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And here's what it will look like when the whole thing is done. You can read the whole article and see more photographs here.