The 22,000-square-foot museum is a multiple volume, single-level structure clad in zinc panels and French limestone. A large, naturally lit sculpture gallery is the organizing element for a sequence of 18-feet-high gallery spaces with state-of-the-art museum environmental controls, and an administrative office suite. The sculpture gallery is also the gathering space for receptions and special events and opens onto a terrace overlooking the pond and grounds. Support space to one side of the galleries includes high-density art storage, temporary holding space, a service dock and a catering kitchen.

Visitors to Glenstone must first pass through the entry gatehouse, then drive along a maple tree-lined road, passing between two commissioned sculptures by Richard Serra and Tony Smith. The cobblestone entry court, anchored by another Richard Serra piece, has views of the pond and a commissioned Ellsworth Kelly totem sculpture which acts as the site’s fulcrum.

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The Jewish Children’s Museum is a unique institution where children and their parents—from all segments of the community—can explore their history and heritage in a stimulating, interactive environment. It also provides the non-Jewish world with a forum for understanding the Jewish community and its contributions to history and culture.

Visitors enter the lobby and information area on the ground floor, which also houses a cafeteria and museum shop. The Interactive Computer Arcade on the lower level is devoted primarily to hands-on learning: it contains dozens of interactive creativity workshops, as well as an arts and crafts center.

In the galleries occupying the third and fourth of the building’s six floors, visitors encounter an array of exhibits and displays covering Jewish history and heroes, holidays and customs, the Holocaust, and contemporary Jewish life. On the second level, a flexible, 2,700 square foot area alternates as a gallery, concert hall and banquet room. The top two floors of the Museum holds administrative offices, a conference room and support services.

Gwathmey Siegel Kaufman’s design invokes sustainable, contemporary materials and a high-tech infrastructure to offset and complement the Museum’s narratives of ongoing tradition.

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The new 35,000 square foot facility includes exhibition galleries, a multi-purpose auditorium, painting and ceramics studios, an arts research library and an outdoor sculpture court. Support facilities include a museum shop, art storage areas, a cafe, and staff offices.

The site is exceptional not only because of its history—with remains of trenches from the Civil War battle in which the Union forces captured the city of Wilmington—but also due to its location at the confluence of two major regional arteries (Independence Boulevard and 17th Street). The building serves as its own “signage” for the entire institution.

Associate Architect: Boney Architects

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The structure frames an exterior sculpture courtyard, which provides pedestrian circulation to all parts of the museum and creates a visual dialogue between the Police Building and City Hall. The public plaza is outlined by a 28-foot grid of 40-foot-high palm trees at 125th street, and by the reflecting pool, studio and museum entry arcade on the south side. The materials are painted stucco, ground faced concrete block, galvanized corrugated metal panels and steel.

Associate Architect: Gelabert-Navia Architects, P.A.

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The ability to experience these buildings, all within walking distance, presents a rare engagement. Designing a museum and academic building in this special historical and physical context was a unique opportunity.

Conceived as a contrapointal, abstract, ambiguously scaled, “sculptural object” on Elmwood Avenue (one of the city’s main thoroughfares), the composition rotates around a cast stone rotunda, to a modulated brick rectilinear volume, establishing a collage assemblage that interpretively relates to a multifaceted context.

The spatial sequence is intended to be dynamic, varied and unexpected, yet clearly referential to the exterior forms. The programmatic combination of exhibition and teaching spaces affords both an experiential richness and multi-use, that engenders vitality, as well as an inspirational sensibility that visionary architecture embodies.

Housing a museum dedicated to the art of Western New York, the 84,000 square foot two-story structure is a highly functional organization of related program components, clearly divided into public and private realms. Spaces include the dramatic 147-foot long double height main gallery, a variety of other flexible gallery spaces, an auditorium, classrooms, museum store, café, public reception room, administration, boardroom, roof terrace and support functions.

The building is clad in zinc panels, magnesium brick and cast stone, accentuating the formal articulation of the volumetric elements. The selected materiality is intended as both a counterpoint as well as a reference to the existing and nearby campus buildings as contextual precedents.

The first art museum in New York State to be LEED certified, and among the first several art museums in the nation to achieve certification, it has officially received LEED Silver certification from the U.S. Green Building Council. It meets rigorous standards in the areas of site sustainability, water use and efficiency, reduced use of energy and atmospheric impact, use of materials and resources, improved indoor air quality and innovation in design.

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At the heart of the project is the Center Court Atrium, organized around a basketball court that will serve as a forum for clinics and special events. Visitors glimpse the atrium while ascending in glass elevators. The Honors Ring, the first museum experience in this procession, is suspended within the spherical volume. Surrounding second-floor, galleries frame multiple views into the spherical atrium and Center Court.

Intersecting volumes define the building’s exterior. A curved roof spans the retail and museum spaces; a 100-foot-high sphere contains the Center Court; and rectilinear volumes contain the theater and the north and south arcades. A 150-foot-high spire supports a beacon that incorporates the Hall of Fame’s logo, which illuminates the sphere at night. Events with up to 10,000 visitors can take place in the south parking lot.

The museum also includes a tourist information center, a new avatar of the existing Basketball Hall of Fame, a pedestrian bridge over the Amtrak rail lines to Springfield’s Riverfront Park and a pedestrian Walk of Fame connection to downtown Springfield.

Associate Architect: Bargmann Hendrie & Archetype, Inc.

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The reception area mediates the change in level between the entrance and the ground floor exhibition space in the second building, where a 17-foot high ceiling accommodates large sculptures and paintings by contemporary artists. The walls of this gallery are rotated slightly from the orthogonal column grid, maximizing interrupted wall surfaces, and creating a new pure volume within a space whose perimeter had been compromised by columns, ducts and pipes.

A wide stair leads to a mezzanine, lit by six new windows, overlooking the main floor. The stair continues from the mezzanine to another gallery on the second floor of the third building. Here, the grid of the existing columns and beams is used to modulate the long interior volume along Rodeo Drive, creating a series of intimate galleries, suitable for exhibiting similar works, drawings and photographs.

Along the perimeter of the building, a “floating” wall, articulated by a single row of glass block at either end, stops at the underside of the beams, and is lit from behind. In addition to controlling natural light from five existing windows, the wall creates both the primary hanging surface and a “street façade” for the gallery. Behind and beyond the exhibition area are private offices and viewing rooms, accessible from both the gallery space and a separate elevator lobby.

Its design responds to a number of unique site conditions, including the adjacent Carpenter Center for the Visual Arts, designed by Le Corbusier, an existing subterranean library by Jose Luis Sert and a required three level connection to the Fogg Museum.

The building establishes a primary two-story facade facing the street and integrates a new exterior stair, plaza and ramp at the library entry. Behind it, the building rises to three stories, complementing the Carpenter Center as a distinct yet related object perceived from all angles.

The fine-arts library has a separate entrance from the gallery, thus resolving a security problem when the library and museum hours are different. With its high ceilings, tall windows, and visible reference stacks, the reading room conveys the stature associated with such spaces.

Existing streetscape and scale relationships had to be addressed, and constraints imposed by building above an existing underground library structure with limited load-bearing capacity had to be accommodated.

The solution also resolves Le Corbusier’s compelling site circulation idea. The Carpenter Center ramp, which was intended to provide a public mid-block walkway from Quincy Street to Prescott Street through the building, ended in the Fogg’s rear yard without a connection to the sidewalk. The design extends the ramp onto a new plaza from which one can either enter the library or descend a new exterior stair to the street.

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The permanent ground-floor intervention includes a flexible exhibition gallery, a state-of-the-art 200-seat movie theater, a bookstore/museum shop, a lobby and a café. The second floor houses administrative offices, a multi-use exhibition loft, and the Tut’s Fever Movie Palace. Designed by artist Red Grooms as an interpretation of Egyptian-style movie theaters of the twenties and thirties, Tut’s theater adds an engaging dynamic to the exhibition loft. The roof will accommodate a prefabricated metal pavilion, providing exhibition and entertainment space.

The architects placed a new monumental stair and elevator tower on-axis with the main entrance to the building, so that it extends from the original courtyard façade as a counterpoint to its gridded solid-void frame.

The stair acts as the iconic object of the design and the orientation element for the entire complex. The landings provide visitors with an alternative exhibition experience, giving them the opportunity to reorient themselves before reentering through the façade of the original building, creating a sense of anticipation and reengagement. In the final phase, the courtyard will be developed as an outdoor movie theater and exhibition space to hold larger-scale installations.

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