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Gallery 64, Washington, D.C. housing + museum

Gallery 64, Washington, D.C. Residential Building, New Eye Street Housing, Architecture Design USA

Gallery 64, Washington, D.C.

September 22, 2021

Design: Beyer Blinder Belle Architects & Planners

Location: 65 Eye Street, SW, Washington, D.C., USA

rendering courtesy Beyer Blinder Belle

Gallery 64, Washington, D.C. Housing and Museum

Beyer Blinder Belle Announce Groundbreaking of Gallery 64, Mixed-Use Multifamily Development And Future Home of Rubell Museum on Historic Site

The renovation, adaptive reuse, and redevelopment of the historic, former Randall Junior High School and site will create a vibrant arts campus with a contemporary art museum and Gallery 64, a new 12-story apartment building.

rendering courtesy MAQE

September 21, 2021 (Washington, DC) — Beyer Blinder Belle Architects & Planners (BBB) announce the design and groundbreaking of Gallery 64, a new 12-story residential building providing 492 units of housing. Gallery 64 will anchor the renovation and redevelopment of the historic 2.7-acre Randall Junior High School site located at 65 Eye Street, SW, in Washington, DC, with the existing former school buildings transformed into the Rubell Museum DC, a world-class contemporary art museum. National real estate firm Lowe is the developer along with joint venture partner on the project, Mitsui Fudosan America.

Constructed in 1906, with two significant wings added in 1927, the Randall Junior High School historically served African American public-school students in southwest Washington, DC until its closing in 1978. The Rubell Museum will fill the central building and east wing of the school buildings which will be preserved and repurposed, presenting internationally renowned contemporary paintings, sculptures, photography, and installations.

A dynamic glass addition at the east wing will create an inviting museum entry, with a bookstore, café, and an outdoor dining terrace that enriches street activity along Eye Street. The West Randall building will provide approximately 18,000 SF of creative workspace aimed at variety of potential tenants including nonprofits, cultural institutions, technology incubators, and coworking businesses. The concept design for the redevelopment of the historic Randall School has received unanimous approval from the Historic Preservation Review Board and from the Advisory Neighborhood Commission. With Gallery 64 sited north of the historic buildings, the redevelopment will result in over 500,000 SF of usable space.

rendering courtesy Beyer Blinder Belle Architects & Planners

Gallery 64’s apartment residences are configured as studio, one-, two- and three-bedroom units of which 98 are designated affordable. Nineteen two-level, townhouse-style residences activate the street with increased pedestrian connectivity and visual interest. Amenities include rooftop gathering spaces with fire pits, grilling stations, and outdoor kitchens; a dog walk; and a resort-style pool. Indoor communal areas include a spacious lounge with fireplace, game room, fitness center, a maker space, and a sound studio.

Gallery 64 is designed to LEED Gold standards, and the renovation of the historic school buildings will comply with LEED Silver guidelines. Gallery 64 and the overall campus redevelopment are anticipated to be completed by year-end 2022. Project visuals can be accessed here.

The 20-story infill residential tower includes ground-floor and cellar retail space, 121 rental units on the second through twentieth floors, and amenities including a landscaped rooftop terrace, private rear yard terraces, fitness and yoga rooms, resident lounge space, children’s playroom, general and bicycle storage, communal laundry, and pet wash. Located within the Borough Hall Skyscraper Historic District, the development was approved by the New York City Landmarks Preservation Commission. The project’s foundation was completed in March, and the superstructure was completed in late summer 2021.

The unit interiors will boast a clean modern palette with oversized windows. The building’s distinctive design pays subtle homage to the area’s historic architecture with its verticality, rhythmic dark facade, including a polished black granite base, profiled Glass Fiber Reinforced Concrete (GFRC) piers, bronze-tone metal detailing and charcoal-grey colored window frames.

image courtesy Beyer Blinder Belle Architects & Planners

About Beyer Blinder Belle

Founded in 1968, Beyer Blinder Belle Architects & Planners (BBB) is an award-winning architecture, planning, and interiors practice of 170 professionals in New York City, Washington, DC, and Boston with a longstanding commitment to design excellence, social integrity, and sustainable practices. The firm’s multi-faceted portfolio encompasses preservation, urban design, and new construction projects that span a wide spectrum of building typologies and sectors, including cultural, civic, educational, residential, and commercial.

Planning and design for educational institutions is central to the firm’s practice— and is based on a commitment to understanding mission and responding to the unique physical, historical, and cultural context of each campus.

BBB has designed the renovation and restoration of existing buildings as well as the addition of new buildings for numerous educational institutions including Harvard University, Columbia University, Massachusetts Institute of Technology, General Theological Seminary, Denison University, and Stony Brook University. BBB has also provided comprehensive campus planning and facilities planning studies for Dartmouth College, Princeton University, and Amherst College, among others.

About Lowe

Los Angeles-based Lowe, formerly known as Lowe Enterprises, is a leading national real estate investment, development and management firm. Over the past 49 years, it has developed, acquired or managed more than $32 billion of real estate assets nationwide as it pursued its mission to build value in real estate by creating innovative, lasting environments and meaningful experiences that connect people and place.

Lowe established its Washington, DC area office in 1980 and has been an active developer of commercial real estate throughout the region. Among Lowe’s signature projects in the area is The Hepburn, ultra-luxury apartments developed adjacent to the famed Washington Hilton Hotel where the firm completed a $150 million restoration, development of the 700,000-square-foot National Science Foundation headquarters building on Alexandria, Virginia, and CityVista, a transformative mixed-use development in the Mount Vernon Triangle area of Washington DC.

Lowe maintains offices in Los Angeles (headquarters), Southern California, Northern California, Charleston, Denver, Seattle, and Washington, DC. For more information visit www.Lowe-RE.com

About Mitsui Fudosan America

Mitsui Fudosan America, Inc. (MFA) is the U.S. subsidiary of Japan’s largest real estate company, Mitsui Fudosan Co., Ltd., a publicly traded company with approximately $ 70 billion of assets. MFA is responsible for Mitsui Fudosan’s real estate investment and development activities in North America, and is headquartered in New York, with branch offices in Washington DC, San Francisco, Los Angeles, and Honolulu.

MFA has been active in the United States since the 1970s, and currently owns assets in the New York, Washington DC, Boston, Denver, Seattle, San Francisco, Los Angeles, and Honolulu metropolitan areas. MFA’s U.S. portfolio includes 5.6 million square feet of office space, 6.0 million square feet of office space under development, 1,600 residential apartments, 5,300 additional rental units under development, 350 condominiums and townhomes under development, and 753 hotel rooms.

About Rubell Museum

The Rubell Museum is a 501 c3 non-profit foundation based in Miami, Florida since 1994. The museum presents exhibitions drawn from one of the world’s largest privately owned and publicly accessible collections of contemporary art.

The collection is constantly expanding and includes over 7,400 artworks by more than 1,100 artists including Jean-Michel Basquiat, Keith Haring, Jeff Koons, Yayoi Kusama, Kerry James Marshall, Cindy Sherman and Kara Walker. In addition to displaying internationally established artists, the Rubell Museum actively commissions, acquires, exhibits and champions emerging artists working at the forefront of contemporary art.

Each year the foundation presents thematic exhibitions drawn from the collection and these exhibitions often travel to museums around the world. Recent exhibitions have been presented at the Detroit Institute of Arts, San Francisco’s Asian Art Museum, the San Antonio Museum of Art, Madrid’s Fundación Santander, Kansas City’s Nelson-Atkins Museum and the Barnes Foundation in Philadelphia.

Beyer Blinder Belle Architects & Planners

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Gallery 64, Washington, D.C. Housing images / information received 220921 from Beyer Blinder Belle Architects & Planners (BBB)

Location: Washington, D.C., United States of America

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Comments / photos for the Gallery 64, Washington, D.C. Housing Building design by Beyer Blinder Belle Architects & Planners (BBB) USA, page welcome

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caveartfair · 7 years

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When Steve Jobs Gave Andy Warhol a Computer Lesson

Andy Warhol drawing Debbie Harry on an Amiga computer. Photo by Allan Tannenbaum.

It was October 9th, 1984, and Steve Jobs was going to a nine-year-old’s birthday party.

He’d been invited just a few hours earlier by journalist David Scheff, who was wrapping up a profile of the Apple Computer wunderkind for Playboy. Jobs was far from the highest-profile guest, however. Walter Cronkite, Andy Warhol, Keith Haring, Louise Nevelson, John Cage, and singer-songwriter Harry Nilsson were also in attendance. And Yoko Ono, of course—it was her son’s birthday, after all.

Despite the last-minute invitation, Jobs had managed to bring along a gift for the young Sean Lennon. A few hours into the party—once cake had been served and the adults began to talk amongst themselves—Jobs asked Lennon if he was ready to open his present.

It was, naturally, a Macintosh computer. Released in January of that year, the machine was the newest of Apple’s personal computing products on the market. Jobs set up the Macintosh on the floor of Lennon’s bedroom, demonstrating how to use the mouse by opening up MacPaint. The boy was enthralled by the program, initially sketching a few simple shapes with the paintbrush tool and then moving on to a sort of camel-lion hybrid.

A 1984 Macintosh. Photo via Dave Winer on Flickr.

A few of the adult guests wandered in, including Warhol and Haring. Warhol took one look at the computer program and turned to Haring in wonderment. “What is this? Look at this, Keith. This is incredible!” A few minutes later, Warhol asked if he could take a turn in front of the monitor. Jobs explained how the mouse worked, but the artist instead lifted it off the floor and swished it through the air. Finally, Jobs put his hand over Warhol’s and steered it along until he’d gotten the hang of it.

After a few minutes in concentrated silence, Warhol glanced up. “Look! Keith! I drew a circle!”

That night, Warhol recorded the episode in his diary. He’d told Jobs that a man had been calling him repeatedly, trying to give him a Macintosh, but Warhol had never followed up. Jobs replied, “Yeah, that was me. I’m Steve Jobs.” (The artist, famous for his neon-hued prints, also noted of the program, “It only comes in black and white now, but they’ll make it soon in color.”)

Intrigued by the potential of computer-assisted art, Warhol agreed in 1985 to be a spokesperson for Apple’s rival in the personal computing sphere—Commodore. The artist was to promote the company’s new computer, the Amiga 1000, and its cutting-edge multimedia capabilities: The Amiga could display a up to 4,096 colors at once, a revelation when most displays at that time were grayscale.

During the launch of the Amiga 1000 at Lincoln Center that year, Warhol used ProPaint to sketch Blondie lead singer Debbie Harry in front of a crowd of eager tech enthusiasts. “You’ve found it to be very spontaneous, right?” asked the presenter. “Yeah. It’s great. Such a great thing,” Warhol responded, his characteristic monotone so at odds with the statement that the audience dissolves into peals of laughter.

But he was being sincere. Warhol did seem to be enamored of the computer, agreeing to a rare interview for an issue of Amiga World in which he declared, “I love the machine. I’ll move it over to my place, my own studio.”

Despite this enthusiasm, for years after the artist’s death in 1987, Warhol’s computer art mostly disappeared from the public eye. Decades later, artist Cory Arcangel began to wonder what had become of it. He’d seen a few remnants of the experiments, including a clip of the Debbie Harry demonstration, but no one knew if Warhol had made any digital artworks outside of his role as Amiga spokesperson.

A bit of digging by Arcangel revealed a cache of nearly 40 floppy discs in the Andy Warhol Museum’s archives. But they hadn’t been examined in years; Commodore had gone bankrupt in 1994, and the technology to access the floppy discs and programs was long obsolete. From there, it was a treasure hunt to figure out how to reconfigure a system that could access the ancient (by digital standards) files—without harming the floppy discs, which were starting to come apart at the seams.

In the end, a score of retrocomputing experts from the Carnegie Mellon University Computer Club, museum experts, and artists collaborated to extract 28 digital works from the discs—including a three-eyed version of Sandro Botticelli’s Venus (1490), a Campbell’s soup can, and a self-portrait. The files by today’s standards are tiny, approximately 200 by 300 pixels. But they revealed a new facet to the already groundbreaking artist’s practice.

On that October night in 1984, when Jobs had first showed Warhol how to use the computer’s paint program, the artist felt like a fish out of water. “I felt so old and out of it with this young whiz guy right there who’d helped invent it,” he wrote.

But he caught on quickly, becoming one of the very first fine artists to work on a computer—and heralding a new generation of artists that would be raised on MacPaint and Microsoft Paint.

from Artsy News

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