Created as a competition entry, the design for this new residential tower, located on a site immediately south of the World Trade Center, features a façade composed of pre-fab ‘Sky Box’ components - volumetric expansions that are attached to a simple concrete structural frame. The ‘Sky Boxes’ are cantilevered at 2 feet, 4 feet, and 8 feet, creating bay windows, alcoves, and intimate rooms - a distinctive feature that endows the building with a memorable and dynamic facade, while creating desirable and varied apartment layouts with enhanced views and abundant natural light. The ‘Sky Box’ components, along with the regular and efficient concrete frame, grant the client latitude to adjust the design in response to a variety of aesthetic, environmental, jurisdictional, or programmatic concerns.

• Status

  Unbuilt, Competition

• Type

  Residential Tower

• Client

  Fisher Brothers

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The Artist's Studio is a 20- by 32-foot building with a large, elevated deck. The simple wood-frame structure is clad with common industrial materials, including cement board panels, ribbed plastic glazing and standing-seam metal roofing. The interior is bound by juxtaposed L-shaped walls, one eight-feet-high and one twelve-feet-high. A volume enclosed by sliding plywood panels contains a bathroom and kitchen. The plane of the metal roof slopes from high corner to low corner, opening up a triangular clerestory on all four sides of the building and creating a dynamic sequence of elevations.

• Status

  Built

• Type

  Art Studio

• Size

  690 sf

• Cost

  $120,000

• Client

  Acadia Summer Arts Program

• Collaborators

  Structural: Ed Drummond
  General Contractor: John Dargis and Associates

• Scope

  Full Architectural Services: Schematic Design - Contract Administration (Construction)

• Recognition

  AIA New York, Honor Award (1999)

• Photo Credit

  Paul Warchol: 1-6

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This conceptual design for a 42,000-square-foot addition to the Albright-Knox Art Gallery preserves the integrity of the great binary composition of Edward B. Green’s 1906 Greek Revival building and Gordon Bunshaft’s 1963 modern addition, by placing a third component, the addition, on the site’s secondary east-west axis, creating a tripartite solution that achieves a dynamic balance while respecting the primary north-south axis of the existing composition. This new expansion would allow the Museum to open outward to its immediate grounds, the neighboring Delaware Park, and Hoyt Lake.

Perpendicular to the existing museum complex, the new addition includes exhibition, administration, education, event, and public spaces, as well as an auditorium and the main entry. Our design creates an additional 20,000 square feet of sky-lit exhibition space at the Museum’s main level, linked with the existing exhibition space via a new glass galleria. The existing sculpture garden is enclosed within a flat glass dome to form a new lobby and event space. A new observation gallery is created overlooking Hoyt lake, surmounting the relocated cafe and new terrace on the lower level.

The museum’s entry sequence will be clarified and expanded, maintaining Bunshaft’s Entry as the Museum’s main entrance, while leading visitors along a new, more generous introductory path through the transformed sculpture courtyard before they move into the rest of the museum. Our design also proposes a 46,500-square-foot subterranean parking garage that includes a sky-lit stair which ascends to the Entry Lobby.

• Status

  Unbuilt, Conceptual Design

• Type

  Art Museum

• Size

  42,000 SF

• Client

  Albright-Knox Art Gallery

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A concept design proposal for the Delaware, Lackawanna and Western Railroad Terminal in downtown Buffalo as a satellite for the Albright-Knox Art Gallery.

• Status

  Unbuilt, Conceptual Design

• Type

  Art Museum

• Size

  75,000 SF

• Client

  Albright-Knox Art Gallery

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This proposal for a visitor center at Art Omi’s forthcoming ‘Pavilions’ site responds to the undulating ridge line site with a building that blends several versions of the prototypical “shed roof,” common in the agricultural structures of the Hudson Valley into a subtly curved roof set on a simple, rectangular building. This profile of the building, much like the ridge line that dominates the site, changes as visitors walk around the structure, part of a sequence that unfolds and reorients visitors to the view west over the Hudson Valley and Catskills.

While visually complex, the “curves” are created using ruled surfaces (repeated, straight lines that together form a curve). These forms are expressed on the inside as exposed glue- and cross-laminated timber framing, and as a standing-seam metal roof at the exterior, the linear textures of which quietly emphasize the building’s geometry.

The 10,000 SF structure contains galleries, offices, and a café for visitors to the complex, and was designed with a suite of sustainable strategies in mind, such as solar electric energy, ground-source geothermal for heating and cooling, as well as using the site’s unique topography to mitigate storm water run-off through the creation of bio-swales.

• Status

  Proposal

• Type

  Institutional

• Size

  10,000 SF

• Cost

  $4.5 million

• Client

  Art Omi

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This study for a gallery proposed an iconic, six story tower to allow the client to consolidate operations and maximize exhibition space on a reduced footprint, taking advantage of rezoning of the West Chelsea Neighborhood. The new building distributes additional exhibition space throughout, sharing administrative space in the tower. The top floor includes a generous, high-ceilinged, top-lit gallery with views west to the Hudson River.

The basic design strategy starts with the ‘as of right’ zoning envelope and torques the building to exploit its orientation towards the river. A series of models shows the evolutionary thinking that starts with studying the maximum buildable area within the Zoning Envelope and proceeds incrementally to the final design. The facade is conceived of as a screen of concrete that modulates the amount of light entering the building.

Phased construction would allow the gallery to remain in operation in the short term and during the development of two additional sections that maximize the remaining FAR available on the site.

• Status

  Concept

• Type

  Gallery

• Size

  23,500 SF

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This 5,000 sf residence was designed for an art-collector couple to accommodate specific works in their collection. Solar orientation and views factored into the design of the residence, as well as water management and internal privacy.

Located in northern New Mexico, this home sits at the juncture of the flat bottom-land of the Tesuque River and a steeply-rising mesa to the east. This juncture is the Acequia Madre de Tesuque, one of the oldest natural drainage systems in North America. The Acequia runs through the valley, managed along historic principles of shared irrigation established in the early 18th century. The architecture of the house is integrated into the structure of the Acequia and framed by the retaining wall backed up to the mesa.

• Type

  Residential

• Size

  5,000 sf

• Client

  Private Client

• Photo Credit

  Daniel Nadelbach: 1-9

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Located on New York's East Village, this careful, contemporary intervention into a 1920s ConEd substation introduces galleries on four floors while retaining the building’s industrial ethos. The 16,000 SF structure was also the home and studio of artist Walter De Maria from the mid-1980s until his death in 2013. This new gallery is a perfect complement to the Brant Foundation’s Greenwich, CT, Art Study Center completed by Gluckman Tang in 2009.

The building’s open plan is the ideal space for art installations, especially large-scale paintings and sculpture. Many of the historic features - including the landmarked north façade, steel and wire-glass interior stair, manually operated 50-ton gantry, and historic brick were retained and restored.

Design challenges included concealing a new museum-grade HVAC system and designing compatible interventions including an industrial-sized elevator, over-sized art loading floor hatch chain hoist system, and a new 3-story window on the south façade. Natural light filters throughout the building culminating in a 10’ x 12’ skylight that is also a roof-terrace reflecting pool. Light filters through the water creating an ever changing visitor experience.

• Status

  Completed

• Type

  Gallery

• Size

  16,000 sf; 7,000 sf galleries

• Cost

  Withheld

• Client

  The Brant Foundation

• Scope

  Located in on New York’s Lower East Side, the Brant Foundation occupies a former ConEd substation built in the 1920s that also served as the home and studio of Walter DeMaria from the mid-1980s until 2013. Many of the historic features were retained and restored, including the main façade, a manually-operated 50-ton gantry, and an enclosed fire stair. This four-story, 16,000-sf industrial building allowed for 7,000-sf of gallery space, including the 30’-tall second-floor gallery. Design challenges included concealing a new museum-grade HVAC system, and installing contextually considerate, contemporary interventions including an industrial-sized elevator, oversized art loading floor hatch chain hoist system, and a new 3-story window on the rear façade. One of the unique elements of the project is a 10’x12’ reflecting pool on the roof garden that also serves as a skylight.

• Photo Credit

  1,2,4,8 - Nikolas Koenig; 3,5 - Charlie Rubin; 6 - Tom Powel Imaging; © Estate of Jean-Michel Basquiat. Licensed by Artestar, New York; 7 - Sean Keenan

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The renovation and addition to a 1902 stone barn creates a suitable environment for the display of contemporary art. The large volume of space is transformed by the insertion of a new structure that is held back from the exterior walls on three sides. At one end, it creates a double-height gallery measuring 1,750 sf for the display of large-scale artworks. On the mezzanine level of the new structure is a 1,500 sf gallery that sits beneath the filigree of the exposed, light-weight wood roof trusses; below is an intimate 2,300 sf gallery. An 88’ x 25’ skylight extends over the full length of the exhibition spaces, introducing diffused natural light. A new stone, grass and mahogany terrace wraps the building and integrates it into the landscape, while providing informal seating for the adjacent polo field.

• Status

  Built

• Type

  Art Foundation

• Size

  9,800 sf

• Client

  The Brant Foundation

• Collaborators

  Structural: Ross Dalland, PE
  M/E/P: Altieri Sebor Wieber
  Civil: Redniss and Mead, Inc.
  Lighting: Isometrix
  Code: Bruce Spiewalk, AIA
  Contractor: Berkshire Wilton Partners

• Photo Credit

  1 - David Heald

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This 4,400-square-foot residence assembles a clear and logical series of spaces on two floors, linked by an axial corridor and stair lined with a translucent channel glass wall. The ground floor includes Entry, Kitchen, Dining and Living, as well as a Guest Bedroom. The main living space features floor-to-ceiling glazing with views to the exterior, and an oak ceiling that rises from the Dining area to create a double-height space, illuminated by a skylight above the fireplace, in the Living area. The upper level includes Master Bedroom with Study and two additional Bedrooms, with a stepped deck that affords views of the pool and terrace at the rear of the property and leads to an upper rooftop sundeck. The exterior cladding, a distinctive Alaskan yellow cedar siding, is complemented by mahogany for the decks.

• Status

  Built

• Type

  Residential, New Construction

• Size

  4,400 sf

• Photo Credit

  David Heald: 1-9

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• Status

  Built

• Type

  Studio

• Client

  Calvin Klein

• Photo Credit

  David Heald

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Gluckman Tang Architects designed this apartment for a couple with an extensive and growing art collection who sought a bespoke living space to display their works.

The space combines two previously separate units, and consists of a master suite, gallery, living and dining space, bike room, and a guest suite overlooking Central Park to the south. Full-height sliding walls, constructed of colored light blocks and raw canvas, allow the apartment to be configured in a variety of ways.

Nina Seirafi Interior Design created a minimally furnished environment that accentuates the art collection without sacrificing occupant comfort. The art displayed includes works by Katarina Fitch, Fancis Picabia, Robert Ryman, Mathew Barney and more. The furniture is a combination of special vintage pieces by designers Gio Ponti, Jorje Tenreiro, and Edward Warmly, along with a selection of custom designed pieces.

• Status

  Built

• Type

  Residential

• Size

  2,200 sf

• Client

  Private

• Photo Credit

  Amy Barkow: 1-6

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Gluckman Tang Architects designed this building for Weinberg Properties in conjunction with the Pace Gallery. The long-span structure and generous ceiling heights create flexible, column-free spaces that are well-suited for the display of contemporary art. In section, the building’s seven floors are staggered to provide increased opportunities for natural light, while varied floor-to-floor spacing efficiently accommodates offices and back-of-house functions.

The most distinctive feature of this building is the top floor ‘hammerhead’ configuration that allows the maximum footprint available at the top level of the building, while creating a generous terrace space on the floor below. The top floor includes a spectacular 80’ x 64’ space that is crowned with a series of north-facing saw-tooth skylights creating a premier exhibition venue or a spectacular design studio.

• Status

  Unbuilt, Competition

• Type

  Art Gallery

• Size

  60,000 sf

• Client

  Weinberg Properties

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Gluckman Tang was selected to participate in a limited design competition for a new Contemporary Art Wing. Our design creates a vibrant venue for the display and presentation of modern and contemporary art. We sought to increase the visibility of the collection and enhance connections to other collections of the encyclopedic museum, to engage a new audience and inspire existing patrons, and to harness the museum’s unique location within an urban park.

Our design introduces daylight into a majority of the galleries, reestablishes and reinforces axial relationships within the institution, introduces legible vertical circulation, and creates spaces that engage the park, thus highlighting the art and enhancing the visitor’s experience.

The landscape of the park folds down to meet the new wing. A planted, stepped amphitheater frames a changing exhibition gallery, visible through a continuous glass wall, and directs the visitor to a new entry. A progression of landscaped terraces on the roof provides outdoor galleries for sculpture and new media and reinforces the wing’s privileged location in an urban park.

• Status

  Unbuilt, Competition

• Type

  Art Museum

• Size

  240,000 sf

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This three year renovation and expansion project increases exhibition space by 60 percent in the museum’s landmark Carnegie Mansion and enhances the visitor experience through new, versatile exhibition spaces, simplified circulation routes, and a proper art handling path. The design relocates the National Design Library and other administrative functions from the mansion’s third floor into two adjacent townhouses and creates 6,000 square feet of new galleries in their place. Visitor circulation is greatly improved through a new day-lit stair that connects all four levels of exhibition space, while an enlarged and relocated freight elevator better accommodates large-scale installations. Careful detailing seamlessly integrates improved mechanical systems into the historic frame of the mansion. Gluckman Tang Architects served as design architect, working in conjunction with executive architect, Beyer Blinder Belle. In 2015, the mansion and Cooper Hewitt campus earned LEED Silver certification from the United States Green Building Council.

• Status

  Built

• Type

  Design Museum

• Size

  131,000 sf

• Client

  Smithsonian Institution

• Collaborators

  Executive Architect: Beyer Blinder Belle

• Scope

  Pre-Design through Contract Administration

• Recognition

  2015 MASterworks Award, Best Restoration, The Municipal Arts Society of New York

  2015 Lucy G. Moses Preservation Project Award: The New York Landmarks Conservancy

  LEED Silver

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Housing sculpture and drawings by Walter De Maria, the pavilion is the firm’s second single-artist exhibition pavilion on the site. This second pavilion is set within a walled cutting garden, part of an informal art walk that links several contemporary sculptures set on a unique, 11-acre estate. Within this walls, the design inverts the typical formal garden by reintroducing a mix of indigenous plantings: red cedars, bayberry, swamp white oaks and meadow grasses.

The brick facades of the pavilion reference the 1920s garden wall, but its color is related to the dark granite of “Large Sphere,” a 32-ton sculpture set in the landscape. Composed of twenty-four inch long, dark grey bricks, the east and west faces are set in a random bond pattern with alternating courses corbeled to create shadow lines that emphasize the bricks’ horizontality. The brick at the north and south ends is split and set in a header-only random bond, resulting in a coarse, seemingly random texture. This strategy is a reference to the earlier pavilion where every wood structural member was oriented in the same direction.

A board-formed, concrete interior frames the art, and is day-lit by a large skylight and window-wall. Light levels are modulated by motorized translucent and blackout shades mounted above a fixed linen scrim.Lighting for evening use is concealed above the scrim, with the exception of two down-lights that highlight the floor-mounted sculpture, “Equal Areas”.

• Status

  Built

• Type

  Gallery Pavilion

• Size

  1,680 sf

• Client

  Private

• Collaborators

  Structural / MEP / Lighting: Arup
  Concrete: Reg Hough
  Landscape Architect: LaGuardia Design Group

• Recognition

  2017 Architizer A+ Award, 2017 AIANY Design Awards

• Photo Credit

  Nikolas Koenig: 1-7

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This renovation and conversion of a Chelsea warehouse into a 40,000-square-foot, four-story exhibition facility was designed to accommodate extended exhibitions of a variety of types of art from the Dia Foundation’s collection. Dia Center for the Arts has become a model for exhibition facilities of this type. The design’s rigorous approach to space and structure emphasizes the sympathetic presentation of contemporary art. Since opening, the building underwent additional renovations.

• Type

  Exhibition Facility

• Size

  40,000 sf

• Client

  Dia Center for the Arts

• Collaborators

  Structural: Ross Dalland
  M/E/P: Ambrosino, DePinto & Schmeider

• Recognition

  AIA New York, Honor Award (1988)
  International Association of Lighting Designers, Citation (1988)

• Photo Credit

  Florian Holzherr: 1
  Bill Jacobson: 2
  Dan Cornish / Esto: 5-7

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Dineen Hall is the new home of the Syracuse University College of Law. It anchors the University’s West Campus expansion with a state-of-the-art, 200,000-square-foot, LEED Gold certified facility. A sky-lit atrium beneath a green-roof terrace provides daylight to the major spaces of the building, and visibly links the library, celebratory space, and ceremonial courtroom. The iconic Ceremonial Courtroom is visible both inside and outside the building, signaling the school’s transparency and accessibility. Classrooms, offices, and a cafe are carefully arranged with casual spaces for informal meetings interspersed throughout the facility. Adjacent to the building, a new 60-foot-wide green path will enhance circulation from the West campus to the Main campus.

• Status

  Built

• Type

  Academic Facility

• Size

  200,000 sf

• Cost

  $67 million

• Client

  Syracuse University

• Scope

  Pre-design through Contract Administration

• Recognition

  LEED Gold

• Photo Credit

  Ty Cole: 1-11

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Gluckman Tang designed a new, 85,000 sf building including a museum and administrative space for a world-wide association. The facility was to be located in the Cultural District of Fort Worth, adjacent to the Will Rogers Memorial Complex.

The 5-story facility included two levels of museum and three floors of administrative space. The Museum contains a lobby, exhibition space, a large-scale, double height event space, library, and small theater. The third level includes a planted roof terrace that will be shared by the visitors to the museum and the staff of the Association and will accommodate events overlooking the Will Rogers complex and downtown Ft. Worth. The upper two floors contain a mix of open offices, collaboration areas, meeting rooms, and private offices, tailored to the short term needs and long-term flexibility desired by the association.

The building is clad in a perforated, copper-tone anodized aluminum rain screen over glazing and opaque aluminum panels, which will act as a sun screen and animate the façade with a dynamic interplay of light and shadow. The innovative concrete structure uses ‘band beams’ to minimize structural depth and volume of concrete, allowing for efficient floor-to-floor heights in both the exhibition floors and offices.

• Status

  Design Development

• Type

  Museum

• Size

  85,000

• Cost

  Witheld

• Client

  Private

• Collaborators

  The Projects Group Fort Worth Linbeck Construction Kendall/Heaton Associates Michael Boucher Landscape Architects Guy Nordenson Associates / IMEG Corporation Altieri Front 2x4 Tillotson Design Associates Curtainwall Design and Consulting Venue Dunaway & Associates Shen Milsome Wilke Reg Hough Associates Jensen Hughes Persohn/Hahn Associates Lerch Bates HMA Intertek-PSI

• Scope

  Executive & Design Architect

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This 5,200-square-foot art exhibition venue occupies the 9th and 10th floors of a new tower in the Chelsea arts district of Manhattan. The lower floor accomodates reception and administrative functions, gallery space and a large terrace; the upper floor is used for additional exhibition space, while also providing spaces for hospitality and entertaining.

• Status

  Built

• Size

  5,200 sf

• Cost

  withheld at client's request

• Client

  FLAG Art Foundation

• Scope

  Full Architectural Services: Schematic Design - Contract Administration (Construction)

• Photo Credit

  David Heald: 1-5

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This project complements a larger gallery three blocks away. The clear-span gallery features six skylights that introduce diffused natural light into the exhibition space. Reception and support functions are located along the front of the building, with a distinctive clerestory running the length of the facade.

• Status

  Built

• Type

  Art Gallery

• Size

  9,200 sf

• Cost

  $2.8 million

• Client

  Larry Gagosian

• Collaborators

  Structural: Ross Dalland, PE
  M/E/P/FP: Lilker Associates Subsurface Analysis: V.N. Engineering
  Code: JAM Consultants
  General Contractor: Eurostruct, Inc.

• Scope

  Full Architectural Services: Schematic Design - Contract Administration (Construction)

• Photo Credit

  David Heald: 1-5

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This 25,000-square-foot gallery has the scale of a small museum and the spatial versatility to meet a variety of gallery requirements. The program consists of a 2,400-square-foot Main Gallery, two smaller sky-lit galleries, a Special Purpose Gallery, a Small Prints and Video Showroom, a Private Showroom with 23-foot-high viewing walls, as well as office and art handling space. The raised roof of the Long Term Installation Gallery provides a 6,000-square-foot, column-free space capable of accommodating large-scale sculpture installations. During the day, a polycarbonate clerestory bathes the space in natural light, while at night it serves as a beacon in the Chelsea gallery district.

• Status

  Built

• Type

  Gallery

• Size

  25,000 sf

• Cost

  $6.3 million

• Client

  Larry Gagosian

• Collaborators

  Structural: Leslie E. Robertson Associates Mechanical: Cosentini Associates, LLP
  Geotech: Langan Engineering
  General Contractor: Eurostruct, Inc.

• Scope

  Full Architectural Services: Schematic Design - Contract Administration (Construction)
  Interior Design Services

• Photo Credit

  Harry Zernike: 1-2, 5
  Roger Casas: 3-4

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Deep within a heavy granite office building by Armas Lindgren is a tall, daylight-filled space that is the core of the 7,300-square-foot Galerie Forsblom. Additional offices, windowed galleries and storage spaces surround the sky-lit gallery, unified throughout by a continuous floor of wide, solid Douglas Fir planks nearly 50 feet long. All custom cabinetry is of the same wood, lending a light, Nordic feeling to the spaces. The latest in LED lighting technology was incorporated with consequent energy savings.

• Status

  Built

• Type

  Gallery

• Size

  7,300 sf

• Cost

  withheld at client's request

• Client

  Galerie Forsblom

• Collaborators

  Architect-of-Record: Davidsson Tarkela Oy

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This $15 million addition and renovation to the existing 1996 museum building results in a new 82,400-square-foot facility. Gluckman Tang’s design consists of three main points of intervention, including an addition of a new gallery wing to the south, a glazed connector linking the existing building and the new wing, and an expansion of the existing building to the north that greatly increased art storage, back-of-house and office space. Additionally, the project included internal renovation of most spaces, galleries and HVAC systems in the existing building. Stanley Beaman & Sears served as architect-of-record for this project.

• Status

  Built

• Type

  Art Museum

• Size

  82,400 sf

• Cost

  $15,000,000

• Client

  University of Georgia

• Collaborators

  Architect-of-Record: Stanley Beaman & Sears
  Structural: Uzun & Case Engineers, LLC
  MEP/FP/FA: Newcomb & Boyd
  Lighting: George Balle
  Construction Manager: Holder Construction Company

• Recognition

  LEED Gold

• Photo Credit

  David Heald: 1-7

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Located a short distance from the historic Plaza in downtown Santa Fe, the museum houses the artwork of Georgia O'Keeffe. This project involved the expansion and renovation of an existing building providing 7,000 square feet of exhibition and additional museum support space. By utilizing traditional materials from the American southwest and selectively introducing natural light to the galleries, spaces are created that subtly reinforce the topological environment captured by the artwork.

• Status

  Built

• Type

  Art Museum

• Size

  12,400 sf

• Cost

  $2.8 million

• Collaborators

  Associate Architect: Greg Allegretti
  Structural/Mechanical: Arup
  Electrical/Plumbing/Fire Protection: M+E Engineering
  General Contractor: Wolf Corporation

• Scope

  Full Architectural Services: Schematic Design - Contract Administration (Construction)
  Interior Design Services

• Photo Credit

  Robert Reck: 1-5

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Over the course of 25 years, Gluckman Tang Architects was engaged by the Georgia O’Keeffe Museum on multiple projects, beginning with design of the inaugural museum in 1997, and including the Georgia O’Keeffe Research Center & Library, opened in 2001, and a Campus Master Plan that was adopted by the Museum. The Campus Master Plan led to this schematic design for a new 54,000 SF exhibition building.

The new exhibition building sets back from the street to provide a generous landscaped entrance facing the city. The lobby is designed with an expansive window wall overlooking a new garden that connects to the Research Center and to the city streetscape and offers outdoor program area for the Museum.

The stucco exterior of the new building responds to the historic fabric of downtown Santa Fe, while the subtle canting of the surfaces changes their perception in the sunlight and breaks down the scale of the walls. Wooden screens are introduced to provide sun control and soften reflections of glass on the exterior.

Galleries are infused with controlled daylight through skylights, clerestories, and windows, providing exhibition spaces sympathetic to the landscape and light within which the artwork was produced. Flexible education space is designed adjacent to the lobby and garden and allows the Museum to expand its education programming for school children and the general public.

This building triples the Museum’s exhibition area and includes a dedicated changing exhibition gallery. The project provides much-needed collections management space, including art handling, collections storage, conservation lab, and digital photography studio.

GTA completed Schematic Design for the project in 2020, working with Reed Hildebrand on landscape design. The team conducted a series of community engagement sessions and garnered community and Historic Review Board support. The project has been handed off to a local architect for completion based on the GTA schematic design.

• Status

  Design

• Type

  Museum

• Size

  54,000 SF

• Cost

  not disclosed

• Client

  The Georgia O'Keeffe Museum

• Collaborators

  Landscape: Reed Hildebrand S/MEP Engineers: ARUP Local Associate Architect: Lorn Tryk Architects Exhibition Design: Thinc Design

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Located in downtown Santa Fe, the 9,000 square-foot Georgia O’Keeffe Museum Research Center provides an Archive, Library and Administrative offices for visiting scholars. The program is divided into two parts: The landmarked, late-19th Century adobe Bergere House, which was restored to provide administrative and study space for scholars; and the new 5,000 square-foot archival wing, which provides a museum quality environment for the Archive/Vault, Research Offices and the Library Reading Room.

• Status

  Complete

• Type

  Research Center

• Size

  9,000 SF

• Client

  Georgia O'Keeffe Museum

• Collaborators

  Greg Allegretti – Associate Architect Ove Arup and Partners - Structural and Mechanical Engineers Mechanical &Electrical Engineering - Electrical and Plumbing Engineers

• Photo Credit

  Melissa Cicetti

This 165,000-square-foot exhibition and art storage facility for contemporary art adapts the economical and flexible building system of industrial sheds and the scale, massing, and form of early industrial mill buildings, such as those seen at the nearby Mass MoCA. Its goal is to be the “least expensive museum in the world” with a budget of less than $200/sf, or one tenth of the cost of typical “world-class” contemporary museum construction today.

To this end, a repeating, prefabricated steel structure and envelope create series of long, linear bays, providing the large-scale, flexible space required for changing exhibitions of contemporary art. The steel structure rests on a slab-on-grade foundation, typical of big-box stores. Each bay includes a north-facing translucent skylight-monitor to provide daylight and reduce lighting energy consumption, a major operational expense for museums. The insulated panel building roof is left exposed from the interior, and mechanical distribution is routed through open-web truss roof structure, concealed by translucent scrims.

The building is punctuated by a 140’ x140’ column-free gallery and a series of courtyards. These elements enable orientation, circulation and provide moments of relief within the larger, repetitive structure of the building. The project is divided into two structures, a 35,000-square-foot art storage wing that reaches to the road, and the main 130,000-square-foot exhibition facility.

Located at the intersection of the Appalachian Trail and Massachusetts State Route 2, the building is part of an active municipal airport complex. The client demanded that the building’s footprint extend to be as large as possible, while avoiding site setbacks, wetlands, and right-of-ways. The building is split into two volumes to allow a proposed North Adams-Williamstown Bike path to pass through the site.

• Status

  Unbuilt

• Type

  Art Museum

• Size

  165,000 sf

• Client

  Private

• Recognition

  2017 Chicago Athenaeum American Architecture Award

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Perched on the edge of a limestone bluff, this 5,500-square-foot home was designed for a young father of three. An art lover with a deep interest in Buddhist culture, the Client provided inspiration for both the form and serene aesthetic of the structure. A koi pond at the front and a lap pool at the back of the house are key features, ensuring that water is visible from any of the interior spaces. Exterior views to the city center, foreground views to a lake formed by the damming of the Colorado River, and abundant natural light further the sense of the house as a peaceful suburban retreat. All of the main living spaces in the house are open and informal. The living room was envisioned by the Client not as a formal sitting area, but as a space to be used and enjoyed by the family on a daily basis. Interiors are designed to flow seamlessly out through large glass doors and windows. All furnishings and key artworks in the home were designed or selected by Gluckman Mayner with functional elegance in mind.

• Status

  Built

• Type

  Residential, New Construction

• Size

  5,500 sf

• Photo Credit

  Lydia Gould Bessler: 1-5, 7-10 John Bessler: 6

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This conversion of a ground-floor loft space into a clothing boutique for the designer challenges traditional retail planning to create a unique customer experience. The store consists of three distinct, yet integrated spaces. A reception room, visible from the street, is an enigmatic space not dedicated to the display of merchandise. The merchandising area is located towards the rear of the store, past an installation by the artist Jenny Holzer. The customer is drawn into the spare room by a back-lit, full-height, translucent glass wall that conceals a series of generous changing rooms situated beneath a continuous skylight. A series of large, monolithic black cabinets only reveal the designer's clothing upon passing.

• Status

  No longer exists

• Type

  Retail Store

• Size

  3,500

• Cost

  $500,000

• Client

  Helmut Lang

• Collaborators

  Structural: ARUP New York
  Mechanical: ARUP New York
  Contractor: Eurostruct

• Scope

  Full Architectural Services: SD - CA

• Recognition

  Business Week/Architectural Record Award (1999)
  I.D. Magazine, Design Distinction Award (1998)

• Photo Credit

  Paul Warchol: 1-4

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The store, dedicated to the designer's fragrance line, was conceived as a modern interpretation of an old-world apothecary and traditional European parfumerie. The narrow entry is emphasized by a Jenny Holzer installation integrated into the top of a white, enameled-steel wall along which the customer moves into the main retail space. The space is defined by three elements drawn from the original concept developed for the flagship store: a full-height, luminous glass wall that conceals a private consultation area; a monolithic black cabinet for the display and storage of the singular product; and a long horizontal fixture with integrated cash wrap to facilitate exchange between customer and the fragrance consultant. A mirror-image, double stair descends along with enameled-steel wall to the lower level, leading to the product development offices.

• Status

  No longer exists

• Type

  Retail Store

• Size

  3,100 sf

• Client

  Helmut Lang

• Collaborators

  Engineer: ARUP New York
  Contractor: Eurostruct

• Scope

  Full Architectural Services: SD-CA

• Photo Credit

  Lydia Gould Bessler: 1, 3 Elfie Semotan: 2

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Gluckman Mayner was invited to design twenty-eight standard rooms and two suites in this concept hotel, which features twelve floors, each by a different designer. The initial architectural concept derived from the capsule hotel notion of a "box within a box." This concept is used to organize the approach to the different kinds of activities that take place within the small space of the hotel room. Each room features "rich" materials -- such as luxurious fabrics in metallic tones -- juxtaposed with "poor" materials such as cement board. In addition, natural substances like mica-flecked cement, felted-wool, and Spanish granite are used alongside artificial ones like acrylic and recycled plastic.

• Status

  Built

• Type

  Hotel

• Client

  Grupo Urvasco S.A.

• Collaborators

  Building Architect: SGA estudio
  Contractor Architect: Ferrovial
  Contractor: Ferrovial
  Lighting Consultant: Isometrix

• Photo Credit

  Diephotodesigner.de: 1, 4, 9
  Rafael Vargas: 2-3, 5-8

This 150,000 SF museum is designed as the gateway to a new production and visitor campus for a major entertainment company, Hunan Broadcasting System. The museum’s collection contains internationally-sourced contemporary art, with a focus on media art. To support the new institution, we designed gallery spaces that will allow for a broad range of art types, media, and scale to be exhibited in well-lit, well-proportioned environments, with different levels of enclosure and views to the outside.

Clad in an iconic fritted glass facade, the five levels of galleries are linked with a light-filled, concrete clad atrium, crossed by glass bridges, creating a dynamic and memorable visitor experience, that orients visitors. Unique galleries include a "Big Box" with doors that open to an adjacent terrace and sky-lit top floor galleries.

• Status

  Complete

• Type

  Museum

• Size

  150,000 SF

• Cost

  $70,000,000

• Client

  Hunan Broadcasting System

• Collaborators

  Tongji University Architectural Design Institute (Core/Shell ADI) , Hunan Province Architectural Design Institute (Interior LDI), Arup Shanghai (Design MEP Engineer).

• Scope

  Design Architect

• Photo Credit

  Ye Zhang

A new 9,400-square-foot facility for a growing Methodist congregation in the Bronx is prominently located on a corner site adjacent to Co-op City near the intersection of two major roadways. The building includes a narthex, sanctuary and chapel as well as a large meeting room and support spaces for educational and community programs. Due to its location in a flood plain, the building is raised and provides for parking below. The sanctuary, which is designed to hold over two hundred people, takes advantage of extensive natural lighting through large clerestory windows.

• Status

  Built

• Type

  Religious Building

• Size

  9,400 sf

• Cost

  $2.85 million

• Client

  Iglesia Evangelica de Co-op City Metodista Unida

• Photo Credit

  Lydia Gould Bessler: 1-7

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Our work on Kenyon Hall encompasses the renovation and expansion of an antiquated campus fieldhouse, now totaling 75,000 square feet. The project's scheme creates a multi-use program that provides academic, arts and athletic facilities. In what was previously a locker room area, six new state of the art general purpose classrooms have been organized on two levels with the addition of a second floor. A dance theater takes the place of the existing swimming hall. Lastly, obsolete handball courts have been replaced such that the athletics facilities are now comprised of a gymnasium, squash courts and locker rooms. Existing spaces have been upgraded with new mechanical systems and accessibility features.

• Status

  Built

• Type

  Academic Facility

• Size

  75,000 sf

• Cost

  $15 million

• Client

  Vassar College

• Photo Credit

  Tim Street-Porter: 1-5

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This addition and renovation to the 1958 University Library transforms and extends the current Computer lab and classroom building into a new student center that re-invigorates the Academic Quad at the heart of the Drexel University campus.

A terra cotta screen gives the Korman Center a new identity by creating a “front porch” that engages the Quad and the indoor ‘living room’ for the students. The screen is cantilevered off the face of the building shading the ‘porch’ and the south-east façade. The double height facade bifurcates the double height space of the porch and interior volume, emphasizing the transparent and accessible relationship of the Center to the Quad.

The entrance is marked by a floating box, which projects out to the face of the screen and houses a multi-purpose event space. Greater transparency of this space allows a direct engagement with the activity of the Quad.

On the interior, the double-height space of the living room completes the volume defined by the porch. Lounge spaces are arranged on the first floor with study spaces on the second floor overlooking the double-height space and the front porch below. Private meeting rooms are housed in glass boxes on the second floor.

A neutral palette of materials and finishes is complemented by a more colorful palette of furnishings. Continuity is achieved in floor finishes that transition from precast pavers to flamed granite to terrazzo on the first floor, to sheet vinyl on the second floor – a continuous palette of speckled grey. A continuous wood ceiling wraps the guardrail of the second floor and folds down the back wall of the space.

• Status

  Built

• Type

  Academic Facility

• Size

  10,000 SF

• Client

  Drexel University

• Collaborators

  MEP Engineer: Dimitri J. Ververelli, Inc. Structural Engineer: Keast & Hood Curtain wall Consultant: Simpson Gumpertz & Heger Lighting Design: Flux Studio Elevator Consultant: Lerch Bates & Associates

• Photo Credit

  William McKeown: 1 Graham Hebel: 2-10

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Situated on a lot with an existing spec-house, this cast-in-place concrete Guest House serves as a pool pavilion and guest quarters. Its simple form and basic materials – concrete and wood – juxtapose with and complement the main house.

A floating concrete stair and a series of retaining walls link the main house with the guest house and adjacent pool deck, which are situated several feet below the existing house. In the process of creating this new connection, a rock ledge was exposed to form an organic edge to the concrete pool deck. Other concrete elements include an outdoor kitchen counter, concrete table, fire pits, and retaining walls that double as benches.

The form of the Guest House is conceived as two concrete “boxes” linked by a slatted wood roof and trellis. The concrete boxes contain a bedroom and bathroom on the east and a mudroom, laundry and bathroom on the west. They frame a large open space that houses a living area, dining table and kitchenette. Glazed pocket doors on the north and south facades frame views to the landscape and allow the space to be opened entirely to the outdoors, connecting the guest house to the pool deck and a terraced patio carved into the slope of the site.

The board-formed concrete walls of the Guest House are tinted to correlate with the warm stucco of the existing main house. The inverted hipped roof is a nod to the hipped roofs of the main house, and its low profile minimizes its visual impact on the site. The slatted wood ceiling extends out to form a continuous trellis to the south, under which is housed an outdoor kitchen and lounge with fireplace. A matching wood trellis, installed at a new concrete patio adjacent to the main house, completes a continuous sequence of outdoor spaces.

• Status

  Built

• Size

  1,200 SF

• Client

  Private

• Collaborators

  Landscape Design: Carson Douglas Landscape Architecture Interior Furnishings: Eric Alch Design General Contractor: RGB Group Inc. Concrete: GSC Concrete Trellis: Philco Woodworking

• Photo Credit

  Paul Rivera: 1-3, 6 Joe Dodd: 3-4

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This 3,700-square-foot gallery in Chelsea complements the client's uptown gallery, designed by the firm in 1996. In the exhibition space, modern finishes and materials are juxtaposed with the historic wood trusses and decking of the exposed ceiling. The dramatic volume of the Main Gallery is accentuated by the lower, finished ceilings of the adjacent reception, office and showroom areas. A translucent skylight extends the length of the Main Gallery wall, introducing daylight into the interior.

• Status

  Built

• Type

  Art Gallery

• Size

  3,750 sf

• Cost

  $1.5 million

• Client

  Mary Boone Gallery

• Collaborators

  Structural: ARUP/New York
  M/E/P/FP: ARUP/New York
  Code: JAM Consultants
  General Contractor: Clark Construction

• Photo Credit

  Lydia Gould Bessler: 1-4

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Mary Boone's 3,700-square-foot midtown gallery is a departure from the ubiquitous white-walled space. All exhibition surfaces are a very light grey and have similar finishes, producing an effect that blurs the distinction between floor, wall, and ceiling planes.

• Status

  Built

• Size

  3,700 sf

• Client

  Mary Boone Gallery

• Scope

  Full Architectural Services: Schematic Design - Contract Administration (Construction)

• Photo Credit

  Zindman/Fremont: 1, 3 Paul Warchol: 2

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This weekend house for an urban family maximizes the surrounding wetland environment's relative calm. The home's elevated living spaces frame particular views, bedrooms and bathrooms are stacked, and interiors open onto porches and decks that cool the house. The master suite on the upper floor extends into an enclosed outdoor space that emphasizes the relationship with the sky and horizon.

• Status

  Built

• Type

  House

• Cost

  N/A

• Client

  Richard Gluckman and Tiffany Bell

• Recognition

  PA Awards, Citation (1997)

• Photo Credit

  Eric Boman: 1-5 Graham Hebel: 6

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Philbrook Downtown is a satellite expansion of Philbrook Museum, an important Tulsa cultural institution and a distinguished Midwest art destination. This project was an integral part of the revitalization of City of Tulsa’s Brady Arts District. Two historically contributing early 20th Century warehouses were renovated to provide 28,000 SF of space for exhibition, study and storage of art for the Museum’s unique collection of Native American Art and Contemporary Art.

Gluckman Tang’s contemporary intervention is balanced with a holistic understanding of the structure, scale, and material that characterizes the buildings' historic fabric. The design incorporates the programmatic requirements while pursuing a layout of spaces and building systems that provides clarity of experience and economy of design through a sequence of well proportioned spaces.

• Status

  Built

• Size

  28,000 sf

• Photo Credit

  Jeremy Charles: 1-8

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This 34,000-square-foot spa complex is comprised of a main treatment building and six freestanding guest "casitas." The main building is organized along a 172-foot-long horizontal spine. Along this spine are five adobe brick towers that house private treatment rooms lit by corner windows and skylights. On the ground level, amid bathing pools and courtyards, the Crystal Grotto, a skylit room with an earthen floor, serves as the focal point of the spa experience. In deference to the stunning beauty of Boynton Canyon, the buildings are designed as a series of shifting volumes, clad in earth-toned stucco with natural accents of brick and stone.

• Status

  Built

• Type

  Hospitality

• Size

  34,000 sf

• Cost

  N/A

• Client

  Sedona Resort Management

• Scope

  Programming, Concept Design - Contract Administration (Construction)

• Recognition

  Travel + Leisure World's Best Awards 2014 - One of the world's best Destination Spas

• Photo Credit

  Lonna Tucker: 1 Herry Zernike: 2-10

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Nestled in the red rocks of Sedona’s Boynton Canyon, Mii amo has set the standard for US wellness retreats since 2001. Now, the destination spa has emerged from its own journey of renewal and expansion. The design celebrates place and holistic well-being.

We refreshed and expanded the building, designed by our firm in 2001, staying true to the original intent. The experience of the natural surroundings – the tones and shapes of the canyon, the unique quality of light and sky, and the texture of the landscape informed the design. The building frames the natural surroundings with simple forms, natural materials, and a vivid, earthy palette. Decoration is artfully restrained. Organic materials and textures create a dialogue with the canyon’s red rocks and soft green hues. Our goal was to enrich mind, body, and spirit and connect to the place.

A sunken living room replaces a former indoor pool with sumptuous, tufted lounge seating. Daybed niches line the perimeter of the room, with skylights and windows offering connections to the sky and sun.

The updated spa is warm and luxurious. In the pre-treatment lounge, upholstered “bancos” in local Alder wood offer personal space in a group setting. Skylights gently illuminate spas, steam rooms, and saunas. Post-treatment, guests are provided with their own space to recline with a view of the canyon. The journey lounge, with a stunning metallic-tile-clad fireplace, is a place for contemplation or gatherings.

Hummingbird, the resort’s new restaurant, is airy and luminous. Dining banquettes invite a social experience, while cozy, u-shaped booths, nestled between textured fin walls, allow for privacy. Custom wallpaper, designed by a local Yavapai artist, represents the wings of a hummingbird. A coffered wood ceiling celebrates the volume of the room. Low furnishings, a restrained palette, and an operable glass wall draw the eye to the view up the canyon.

• Status

  Complete

• Type

  Spa Resort

• Size

  48,000 SF

• Client

  Enchantment Group

• Collaborators

  Colwell Schelor Landscape Architects, EDG (FF&E), Rudow + Berry, Inc. (Structural), Associated Mechanical Engineers, PLC, Woodward Engineering (Electrical/Lighting), Shephard Wesnitzer, Inc. (Civil), EJ Engineering Group, Inc. (Sprinkler), The Hidi Group (LV), Veneklassen Associates (Acoustics), Construction Specifications, Inc.

• Scope

  Architecture, Interior Design

• Recognition

  Interior Design Cover, October 2023, Hospitality Issue 2023 SARA National Honor Award

• Photo Credit

  Douglas Friedman

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This 108,000-square-foot museum is part of the Minhang District’s Qibao Culture Park Development. As the anchor to the culture park, the museum will be a forum for civic engagement. Designed as a spiral rising out of the ground, the museum’s roof is an extension of the park’s landscape.

The landscaped roof provides a public space from which to view the park. The museum experience includes a series of linked outdoor spaces - an entry plaza, a sculpture courtyard, and a rooftop garden. Three exhibition spaces, arranged around a vertical lobby, showcase Ma Qiao cultural artifacts, traditional musical instruments, and Minhang history.

• Status

  Under Construction

• Type

  Museum

• Size

  108,000 sf

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The Model Art Pavilion is a simple, elegant structure to experience art in any location - from a beach to a roof deck to a global art fair. It is a sculptural object and a frame for the dynamic presentation of art.

The pavilion features a pre-fabricated, hinged construction. This design, comprised of comb-like panels, allows the pavilion to be unfolded from its shipping container, hinged, and simply bolted into place to form a larger enclosure at its permanent site. It is constructed from lacquered solid wood, plywood, and translucent polycarbonate. The interior is a clean white box, while the exterior is available in a range of colors. Slots at the edges of the space introduce reflected, diffuse daylight; access is through a sliding door.

Elegantly mediating the relationship between the space, the viewer, and the art object, this compact pavilion comfortably accommodates several paintings or sculptures and a small group of people. Its potential uses extend beyond the art world; it can be used as an intimate music room, meditation space, or work studio.

• Status

  Built

• Type

  Cultural / Gallery / Art Display

• Size

  348 sf

• Client

  Revolution

• Collaborators

  Developer: Robbie Antonio

• Photo Credit

  Mike Butler: 1-4

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The bookstore on the second floor of the museum overlooks the atrium of Tanaguchi's 2004 expansion. A series of free-standing, custom-built blackened steel shelves are set perpendicular to the expansive window wall looking onto 53rd Street. A long table with chairs encourages people to linger and peruse the many books and publications available for sale.

• Status

  Built

• Size

  1,600 sf

• Client

  The Museum of Modern Art

• Photo Credit

  Thomas Loof and Pernille Pedersen: 1-5

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The retail spaces for the new Museum of Modern Art consist of two main areas: the 6,400-square-foot Design and Book Store on 53rd Street and the 1,600-square-foot bookstore on the second floor of the museum. In addition, an open retail area was created on the sixth floor adjacent to the temporary exhibition galleries. Working closely with the museum staff and retail specialists, Gluckman Mayner Architects designed each of the separate stores with a distinctive palette of materials while demonstrating extraordinary attention to the functional requirements of storage and display.

• Status

  Built

• Size

  6,400 sf

• Client

  The Museum of Modern Art

• Photo Credit

  Thomas Loof and Pernille Pedersen: 1-4

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The design for the museum's first retail store located outside of the United States is notable for the clever use of movable display fixtures that allows for a variety of configurations. Responding to the 'swirl' concept of the base building (designed by MVRDV) both display elements and lighting align with the shifting geometry of the building. Perimeter steel display walls frame two main areas: one defined by a series of tall fixtures; the other by a field of low fixtures. The low fixtures are mounted on tracks set flush with the floor. By moving them to one side, informal lectures and performances can be held in the store. The cash-wrap station is formed by a bold gesture of bent steel. The environmental graphics of the store were designed in conjunction with 2x4, and consist of a moiré graphic scheme printed onto glass.

• Status

  Built

• Type

  Retail Store

• Size

  4,700 sf

• Client

  MoMA Design Store, Tokyo

• Collaborators

  Environmental Graphics: 2x4
  Contractor: Nomura Co., Ltd.

• Photo Credit

  Yasuhito Yagi: 1-6

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The Mori Arts Museum occupies the top two floors of a 53-story office tower designed by Kohn Pedersen Fox. The project totals 100,000 square feet and encompasses the five-story Atrium Lobby, Art Museum, and Tokyo City View, an observation deck and promenade with panoramic views of the city. The Museum comprises 32,000 square feet of exhibition space, as well as a museum shop, restaurant-cafe, administrative offices and art handling spaces. A separate structure at the base of the tower provides a distinct and iconic entrance to the Museum.

• Status

  Built

• Type

  Art Museum

• Size

  100,000 sf

• Cost

  N/A

• Client

  Mori Building Company

• Collaborators

  Associate Architect: Irie Miyake Architects & Engineers
  Structural: Dewhurst McFarlane and Partners
  Mechanical: Altieri Sebor Wiebor
  Lighting Designers: Kilt Planning, Isometrix Lighting & Design
  Graphic Designers: 2x4
  Structural (Local): Kozo Keikaku Engineering Inc
  Mechanical (Local): Inuzuka Engineering Consultants, Kenchiku Setsubi Engineers
  Contractor (Local): Obayashi Corporation, Kajima Corporation (joint venture)

• Photo Credit

  Hiroshi Ueda: 1-5, 8
  Kudo Photo: 6, 10
  Sakurai Tadahisa: 7
  Taro Narahara: 9, 11

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Gluckman Tang’s design for the Salón de Reinos competition would allow the Museo Nacional del Prado to re-contextualize its collections within a building of historic and cultural importance. Our intervention distinguishes the new and respects the old; it inserts contemporary uses and improves building performance to accommodate an expanded curatorial imperative. As the role of museums continues to evolve, our design privileges the primary experience of any exhibition venue: the fundamental relationship between the viewer, the art object and the space they occupy.

Our project uncovers the courtyard façade of the 17th C. Palace, and creates a new public space. The intervention is not only a frame for the Salón de Reinos but also a lens that reveals the relationship between art and the culture that nurtures it. Our design is a transformation that celebrates the past, animates the present, and anticipates the future of this renowned institution.

• Status

  Unbuilt, Competition

• Type

  Art Museum

• Size

  55,000 sf

• Cost

  N/A

• Client

  Museo Nacional del Prado

• Collaborators

  Estudio Alvarez-Sala Enguita & Lasso de la Vega

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This museum is located in the historic city center of Málaga, birthplace of Pablo Picasso. A 17th-century palace was fully restored to house the Main Entry and Permanent Collection galleries. Six new buildings were carefully inserted into the urban fabric to house the ambitious program, totaling 80,000 square feet. A large building, containing the Special Exhibition galleries, and a series of smaller buildings, containing ancillary program, create the boundaries of a new public plaza. The new structures respect the scale, texture and articulation of the existing built context, while their simple geometric forms, rendered in white plaster, clearly announce a sympathetic modern intervention.

• Status

  Built

• Type

  Art Museum

• Size

  80,000 sf

• Cost

  N/A

• Client

  Fundacion Museo Picasso Malaga

• Collaborators

  Associate Architect: Camara / Martin Delgado Arquitectos
  Structural/MEP: ARUP/Madrid
  Lighting: Isometrix
  Landscape: Maria Medina
  Graphic Designers: 2x4
  Construction Manager: Ferrovial Agroman

• Recognition

  Institute Honor Award for Architecture: AIA
  American Architecture Award: The Chicago Athenaeum: Museum of Architecture and Design
  Design Award for Architecture: AIA New York Chapter

• Photo Credit

  MRW Fotografia Aerea: 1 David Heald: 2-6, 8-14 Bleda y Rosa: 7

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The Museum of Contemporary Art San Diego has expanded its Downtown presence by creating exhibition spaces in the newly renovated Baggage Building of the Santa Fe Depot and by adding an adjoining three-story structure on the site of the former Railway Express Agency Building. Gluckman Tang Architects has designed the 13,750-square-foot addition as a contemporary, contextual response to the surrounding historic structures, while converting the 13,680-square-foot Baggage Building into a Kunsthalle-type exhibition venue. The Depot continues to function as a transportation hub, with ongoing use for local and regional rail service, as well as for Amtrak. The project also includes site-specific commissions by artists Roman de Salvo, Jenny Holzer and Richard Serra.

• Status

  Built

• Type

  Art Museum

• Size

  27,430 sf

• Cost

  $10.8 million

• Client

  Museum of Contemporary Art San Diego

• Collaborators

  Associate Architect: Heritage Architecture & Planning
  MEP/FP & Structural: Arup
  Civil: Lintvedt, McColl & Associates
  Construction Manager: H.R. Weatherford Co.
  General Contractor: Rudolph & Sletten

• Scope

  Full Architectural Services: Schematic Design - Contract Administration (Construction)

• Recognition

  AIA San Diego Merit Award (2008)

• Photo Credit

  David Heald: 1-8

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Inspired by the Grand Shrine of Ise in Japan, the pavilion is a small open-air structure built on a unique piece of residential property. Spread over eleven acres, the site features an art walk, made up of a large, private collection of contemporary sculpture. In this setting, a new garden has been created for a special group of eleven Noguchi sculptures. The garden is adjacent to the main house – a minimal, contemplative space with Japanese maple trees, gravel ground cover and a small pond. The pavilion serves as the key structure uniting these outdoor art spaces, creating a gateway to the garden and housing two of the sculptures. Constructed of select Alaskan yellow cedar and assembled using traditional Japanese joinery techniques, the structure sits atop a cantilevered, ground-concrete slab.

• Status

  Built

• Type

  Art Pavilion

• Size

  680 sf

• Collaborators

  Structural and Electrical: Arup
  Carpenter: Thomas Matthews Woodworking Ltd.
  Lighting: Office For Visual Interaction Inc
  Landscape Designer: Edwina Von Gal
  Landscape Architect: Christopher Laguardia PC
  General Contractor: Wright & Company

• Photo Credit

  Nikolas Koenig; 1-5

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Located at the east end of Delancey Street, the main thoroughfare leading from the Williamsburg Bridge into Manhattan, this mixed- use residential building acts as the terminus of the view corridor from the Williamsburg Bridge. Sited on a flag-shaped lot, the 86,000-square-foot project consists of two buildings, an 11-story building on Lafayette Street and a 6-story building on Crosby Street. Seventy-three residential apartments are accommodated on the upper floors with 7,600 square feet of retail space on the ground level. Derived from the banded masonry façades of early 20th-century warehouse construction, the undulating facade animates the continuous street wall along Lafayette Street. Large ribbon windows provide generous light and unobstructed views for the apartments.

• Status

  Built

• Type

  Apartment Building

• Size

  70,000 sf

• Collaborators

  Executive Architect: HTO Architect, PLLC

• Photo Credit

  Nikolas Koenig: 1-2, 5, 8 Lydia Gould Bessler: 3-4, 6-7

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This adaptive re-use project converts a former munitions facility to house a commercial art gallery in Beijing’s Factory 798 arts district. The intervention into the existing building takes advantage of the industrial scale and structural bays to create a new exhibition space for the display of contemporary art.

• Type

  Art Gallery

• Size

  22,000 sf

• Client

  Pace Gallery

• Photo Credit

  John Gollings: 1-6

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In this renovation of a single-story, 19th-century warehouse, new structure was inserted into the front section of the building to create an upper level mezzanine. The entry, a small gallery which looks onto the street, and receiving area are situated on the ground floor; while the showroom, library and offices are located upstairs. In the main gallery, two pairs of trusses replaced two columns, creating a large, column-free space measuring 50 feet x 50 feet. The interiors and details are sympathetic to the heavy timber construction of the original structures.

• Type

  Gallery

• Size

  6,500 sf

• Cost

  $900,000

• Collaborators

  Structural: Ross Dalland
  Mechanical: Marcy Ramos
  Electrical: Bob Walsh
  Plumbing: Frank Gerety
  General Contractor: Eurostruct

• Scope

  Full Architectural Services: SD through CA

• Recognition

  AIA New York, Interiors Award (1997)

• Photo Credit

  Lydia Gould Bessler: 1-2

The renovation and expansion of this landmark, 100,000-square-foot Art Deco building with a new 60,000-square-foot addition forms an integrated complex to house the Museum's collections of Prints, Drawings and Photographs, Costumes and Textiles, and Twentieth-Century Design, as well as its library, archives, and the majority of its administrative spaces. The design takes advantage of the existing building's well-proportioned spaces and abundant natural light to accommodate a diverse program with a variety of demands. Prior to commencement of the actual design, Gluckman Tang Architects conducted an exhaustive pre-design and planning study to translate master plan requirements into a full building program.

• Status

  Built

• Type

  Art Museum

• Size

  160,000 sf

• Cost

  $90 million

• Client

  Philadelphia Museum of Art

• Collaborators

  Structural: Keast and Hood Co.
  MEP/FP: ARUP/New York
  Preservation: Kelly/Maiello
  Construction Manager: L.F. Driscoll Co.

• Recognition

  Preservation Alliance for Greater Philadelphia
  Grand Jury Award
  Exterior Restoration and Adaptive Reuse of a Prominent Historic Building

• Photo Credit

  David S. Allee: 1,4 David Heald: 2-3, 5-10

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As part of its L!brary Initiative with the New York City Department of Education, the Robin Hood Foundation commissioned Gluckman Tang Architects to design an elementary school library for PS.192 in Harlem. The renovation incorporates sustainable and child-friendly materials as well as custom casework into a bright, playful and inviting space for reading.

• Status

  Built

• Type

  Library

• Size

  2,400 SF

• Client

  NY Department of Education

• Photo Credit

  Peter Mauss

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A collaboration with Rem Koolhaas for the renovation and conversion of an existing 20,000-square-foot bank building in the Times Square area to a 299-seat performing arts theater with fly stage, rehearsal space, dressing rooms, offices and public lobby. The architects sought to exploit the unique condition of the windowed wall with a moving curtain that emphasizes the transformative experience of the theater. The seating "wedge" is conceived as an object in the auditorium space and creates the acoustic vestibule between the auditorium and the lobby.

• Status

  Built

• Type

  Theater

• Size

  20,000 sf

• Cost

  $4.5 million

• Client

  Second Stage Theatre

• Collaborators

  Rem Koolhaas
  MEP: Ambrosino DePinto & Schmeider
  Structural: Robert Silman & Associates
  Theater Consultant: Fisher Dachs Associates
  Acoustic: Jaffe Holden Scarborough
  General Contractor: Yorke Construction

• Photo Credit

  Tom Powell: 1-6

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The Shanghai Regional Art Museum is a new 15,000-square-meter facility within the Minhang District’s new Qibao Culture Park. Situated adjacent to the Minhang Museum, on a prominent lake-front site within the Culture Park, the Shanghai Regional Art Museum forms the gateway between the park’s various cultural components and the business district to the west.

The museum enlists its architecture to forge a dialogue with the park’s surrounding water and landscape and the Minhang Museum. Its angular form and cladding were designed to evoke zhezhi, the Chinese art of paper folding – giving the museum a distinct presence and identity within the park. The museum interacts formally and functionally with the adjacent Minhang Museum by creating a new public plaza between the two facilities, and linking the institutions for an expanded exhibition venue.

The Shanghai Regional Art Museum is organized as two main volumes – with public celebratory spaces to the west and exhibition galleries to the east, oriented around a day-lit central courtyard. The interior circulation is initiated by the main lobby space and circulates around a central courtyard that provides an orientation device as well as light deep in to the center of the structure.

• Status

  Complete

• Type

  Museum

• Size

  150,000 SF

• Client

  Minhang District

• Collaborators

  Tongji University Architectural Design Institute

• Scope

  Design Architect

• Photo Credit

  Terrance Zhang

The transformation of an 18,000-square-foot, single-story warehouse on the outskirts of Santa Fe into a kunsthalle for contemporary art installations. It was of primary importance to design flexible spaces that meet the diverse and evolving installation requirements of living artists. Modifications included converting three formerly refrigerated rooms into exhibition galleries and integrating mechanical, lighting and climate control systems into the new building.

• Status

  Built

• Type

  Gallery

• Size

  18,000 sf

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Situated in a protected-oak meadow in the hills above the city of Sonoma, this 5,800-square-foot residence overlooks the owners' vineyard with panoramic bay views to the south. The house consists of three separate single-story pavilions, interconnected by a series of terraces that descend down toward the lap pool and valley beyond. Monolithic board-formed concrete walls and Alaskan yellow cedar trellises provide protection from the summer sun; cement board rain-screen exterior cladding further blends the house into the surrounding arid landscape. A large skylight aligned to the main house's central axis brings abundant light into the living area, while floor-to-ceiling glazing creates uninhibited views.

• Status

  Built

• Type

  Residential

• Size

  5,800 sf

• Cost

  N/A

• Collaborators

  Structural: Berkeley Structural Design
  Mechanical: Hanington Engineering
  Civil: Lescure Engineers
  Geotechnical: BACE Geotechnical
  Sustainability: Eric Corey Freed
  General Contractor: Ryan Associates

• Photo Credit

  Bruce Damonte: 1-6

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Originally a warehouse for Kodak Corporation, six new stories were added to Sotheby’s four-story building on York Avenue on the Upper East Side of Manhattan. Totaling 18,000 square-feet, the Tenth Floor Exhibition Galleries are museum quality gallery spaces for the auction house. The Entrance Gallery has a full height window wall in its 18’-6” ceiling height which allows city views and generous natural daylight. Six large skylights bring natural light into the two Main Galleries.

• Status

  Built

• Type

  Art Gallery

• Size

  18,000 sf

• Client

  Sotheby's

• Collaborators

  Interior Architects: Swanke Hayden Connell
  Structural: Severud
  Mechanical: Cosentini Associates
  Lighting: Hillman DiBernardo and Associates
  General Contractor: Barney Skanska Construction
  Construction Manager: Barney Skanska Construction Company

• Scope

  Full Architectural Services: Schematic Design - Contract Administration (Construction)

• Photo Credit

  Harry Zernike: 1-3

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A new 4,000 square-foot exhibition space in Sotheby's York Avenue headquarters, S2 contains two private selling rooms and an open gallery and reception area.

• Status

  Built

• Type

  Private Treaty Suite

• Size

  4,700 sf

• Cost

  $1.8 million

• Client

  Sotheby's

• Collaborators

  Structural: Severud Associates
  M/E/P/FP: Cosentini Associates
  Lighting: Balle Lighting Design
  Code: The Metropolitan Group
  General Contractor: J.T. Magen & Company

• Photo Credit

  David Heald: 1-5

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• Status

  Built

• Type

  Private Residence

• Client

  Private

• Photo Credit

  Graham Hebel: 1-5

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One of five connected historic buildings at Snug Harbor, Building A is a former sailor’s dormitory that was renovated to provide a new home for New York City’s only general collection museum. The galleries display works, objects and artifacts from the Museum’s art, natural science and history collections.

The neo-classical building is listed on the National Historic Register as well as those of New York City and New York State. Because of the listings, significant changes to the building’s exterior were not permitted. To achieve the environmental conditions established by the AAM, we upgraded the building envelope by installing a new liner inside the exterior walls constructed of brick masonry and Tuckahoe marble. New interior windows with thermally-broken frames and insulated glass units maintain the integrity of the liner’s thermal and moisture barriers, while preserving views of the historic wood windows whose wood surrounds with integral shutters were restored. Scrim shades along with the shutters are used to control the amount of daylight in the galleries.

The cross-axial diagram that characterized the historic interior was retained, but our structural intervention allowed for large, generous galleries to be created at both ends of the building. The cruciform hallway at the center of the building reinforces its axial layout. The historic stair, new fire stair, elevator, and restrooms are located in the four corners that define the hallway. The installation of fire-rated glass entrances to the adjacent galleries allows the cast-iron stair to remain open while also serving as an egress stair, preserving valuable space for exhibition.

A geothermal well field provides cooling and heating for the building and was a critical component to the project being certified LEED Gold. The location and installation of the wells required coordination with the city’s Parks Department which oversees the grounds and landscape of the Snug Harbor campus.

• Status

  Built

• Type

  Art, Science, and History Museum

• Size

  30,000 sf

• Cost

  $31,000,000

• Client

  Staten Island Museum

• Collaborators

  General Contractor: C&L Contracting Corp
  Historical Restoration: Bone/Levine Architects
  MEP + Structural: Arup
  Exhibition Design: Ralph Appelbaum Associates

• Recognition

  Building Award for Excellence in Exterior, Interior, Craftsmanship, Natural Beauty & Interior Decorating: Staten Island Chamber of Commerce

  Building Award for Excellence in Craftsmanship, Green Building & Art: Staten Island Chamber of Commerce

  Best in Green Building Award: TD Bank

  LEED Gold

• Photo Credit

  Bruce Damonte: 1-2, 4, 6, 8

  Graham Hebel: 3, 5, 7

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This project for Syracuse University is part of the Chancellor's initiative to help revitalize the city center by creating a dynamic downtown presence for the University. The 140,000-square -foot renovation of a 1920s warehouse building is a temporary home for the School of Architecture, and the permanent downtown location for several School of Visual and Performing Arts programs. The building houses a 125-seat lecture hall, reading room, community and student gallery spaces, cafe, community and arts incubator spaces, administrative offices, library storage, and studio and classroom space. Driven by an extremely aggressive one-year fast-track schedule and a $50/sf budget, the facility has been fully renovated with new mechanical, electrical, plumbing, and fire protection systems, and the installation of new elevators. A significant portion of the existing building skin was removed in order to create transparent, lively interior spaces open to the historic urban center.

• Status

  Built

• Type

  Academic Facility

• Size

  140,000 sf

• Cost

  $7.7 million

• Client

  Syracuse University

• Collaborators

  Associate Architect: V.I.P. Structures
  Construction Manager: V.I.P. Structures
  MEPFP: Sack & Associates
  Structural: John P. Stopen Engineering Partnership
  Civil: Environmental Design and Research

• Scope

  Full Architectural Services: Schematic Design - Contract Administration (Construction)

• Photo Credit

  David Heald: 1-10

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As one of three finalists shortlisted for the restoration of this historic sandstone ruin, Gluckman Tang allowed 110-years of built-in history, Telluride’s unique community needs, and the alpine mountain environment to guide our design approach.

GTA’s intervention preserves and celebrates the stone walls, using “a box within a box” strategy to maintain the integrity and character of the existing space, while creating two distinct spatial experiences for the visitor. Concrete was selected as the primary building material, quarried locally to generate a sympathetic but lighter color that relates closely to the stone walls. For the skylights, ceilings, and exposed roof assembly, slightly greyed wood complements and softens the concrete structures.

Telluride Arts’ eclectic programming schedule required multipurpose spaces that varied in terms of scale, dimension, enclosure, and lighting. Both the ‘Great Hall’ and ‘Amphitheater’ feature movable design elements that allow for dynamic shifts in layout. Seating retracts in the Amphitheater to create a dramatic double height gallery, with the option to extend an overhead platform that lengthens the Great Hall. ‘Stables’ gallery and ‘Table’ workspace are easily converted into catering and lounge space to host special events, with the adjacent ‘Café’ repurposed for bar service.

Without a roof since 1979, significant importance was placed on maintaining fluency between built and natural environment. Roof redesign orients visitors around an east facing fire pit with views of the box canyon, or a west facing terrace overlooking the gondola. Extensive skylights segment the deck, washing the enclosed ‘Loft’ exhibition space and ‘Office’ amenities in natural light.

• Status

  Unbuilt

• Type

  Gallery / Event Space

• Size

  12,000 SF

• Client

  Telluride Arts

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This eight-level, 85,000-square-foot renovation is the largest single artist museum in the United States. Exhibition space comprises approximately 35,000 square feet of the building, with 10,000 square feet for archives and collection storage. The balance of the building contains an archival study center, administrative offices, an education department, a store, a cafe, and a 110-seat theater.

The renovation to this brick and terra-cotta building of 1911-17 employs a clear strategy toward orientation and circulation to enhance the museological experience. The experience is modulated by different architectural events, in particular the removal of floor structure and one column to create a cubed space at the metaphoric heart of the building. At the entry, the walls, floor, ceiling, and doors converge on the self-portrait on the opposite wall.

• Status

  Built

• Type

  Art Museum

• Size

  85,000 sf

• Cost

  $11 million

• Client

  The Andy Warhol Foundation

• Collaborators

  Associate Architect: UDA Architects
  Structural: Dotter Engineering, Inc.
  M/P/FP: Dodson Engineering, Inc.
  Electrical: Hornfeck Engineering, Inc.

• Scope

  Full Architectural Services: Schematic Design - Contract Administration (Construction)

• Recognition

  Record Award (1994) Architectural Record
  Honorable Mention (1998): XI Bienal de Arquitectura de Quito

• Photo Credit

  Paul Rocheleau: 1-8

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This two-phase project intended to increase exhibition space within Breuer's 1966 architectural landmark. The first phase converted two adjacent townhouses into museum offices, a library and support spaces while creating a new link to the existing museum on three levels. The second phase transformed the museum's original office and library floors into 12,000 square feet of exhibition space dedicated to the display of the Whitney's permanent collection. An earlier project for the museum involved the renovation of the museum's lobby and included new signage, a custom display for the lobby store and a new desk consolidating Information and Ticketing.

• Status

  Built

• Type

  Art Museum

• Size

  37,000 sf

• Cost

  $15 million

• Client

  Whintey Museum of American Art

• Collaborators

  Structural/Mechanical: Ove Arup & Partners
  Construction Manager: AJ Contracting (Phase 1 - Offices)
  Construction Manager: York Hunter Interiors (Phase 2 - Galleries)

• Scope

  Full Architectural Services: Schematic Design - Contract Administration (Construction)

• Photo Credit

  Gluckman Tang: 1 Dan Cornish: 2-5

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Trail House is a 4,000 SF activity center that serves as the gathering point for resort guests who are interested in exploring the trails and taking in the red rock vistas that are unique to Boynton Canyon and Sedona.

Trail House features a pair of brick-and-stucco clad boxes flanking either side of a trellised circulation spine. To one side, is a pro-bike shop and activity-focused retail. To the other is a unique 500 SF skylit Map Room, an interpretive center that educates visitors about the canyon's local trails and unique flora, fauna and history. Highlights of the Map Room include a four-foot-diameter topographic map table and a 10’x6’ video wall that features GoPro footage of local trails.

The curated materials palette of pigmented terrazzo ground concrete floors, adobe brick and red rock inspired stucco walls anchors Trail House in the landscape and integrates it within the Resort. A silver-weathered red cedar and corten steel trellis, topped with hand-peeled pine latillas, provides shade along the main circulation spine as it weaves the interior and exterior together. Two exterior seating areas, one at the entrance and the other adjacent to the bike shop, are furnished with custom-designed and locally crafted tables & benches made from blue beetle kill pine.

• Status

  Completed

• Size

  4,000 SF

• Client

  Enchantment Group

• Photo Credit

  1,4,6 - Matt Winquist Photography; 2,3 - Enchantment Group

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This renovation of a loft apartment in Tribeca for a family of four included a complete re-configuration of the plan. The new plan includes an Entry/Mudroom and Powder Room, a large Living Room, and a windowed Kitchen with dining area.

The Living Room runs the length of the north wall and includes an accordion paper Molo partition, cleverly concealed within custom cabinetry, that can divide the space into two. Custom walnut millwork houses a work space and AV equipment.

The Kitchen, the main hub of the apartment, was re-located to the perimeter to maximize views and daylight. It includes a 12’ long island with a honed Caesarstone countertop and a high gloss finish on the cabinetry, which reflects the light throughout the space. Cabinetry was designed to align across the length of the room.

A narrow hall was expanded to create a children’s study area, adjacent to the Kitchen, which includes a custom resin-topped desk with pin-up board and book shelves. A custom upholstered headboard and shelves frame the bed in the Master Bedroom. The two children’s bedrooms can be opened up with a large sliding wall.

The Master Bathroom fixtures were re-configured. The floor and tub surround are clad in a vein-cut marble, and the walls are covered with glass mosaic tiles.

• Status

  Built

• Type

  Residence, Apartment

• Size

  2,700 sf

• Client

  Private

• Collaborators

  MEP: Bob Divilio Jr
  Structural: Ross Dalland
  Building Architect: Bone Levine Architects

• Photo Credit

  Bruce Damonte

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This loft, designed to showcase the Client's extensive art collection, is organized by moveable and fixed elements. The moveable elements are aluminum-framed sliding walls - two large art walls, covered in raw canvas - and two translucent plastic walls. Both sets can be re-positioned to change the function of the space, creating a multitude of possibilities for formal and informal settings for entertaining, dining, work and sleep. The fixed elements include the bathrooms and closets. Enclosed in dark brown, engineered-veneer wood panels, the bathrooms are clad in full-height, back-painted glass. The vibrant colors of the glass contrast with the simple, monochromatic palate of the rest of the loft. A variety of modern materials were combined to evoke efficiency, preserve clean lines and highlight the luxury of open loft space.

• Status

  Built

• Type

  Private Residence

• Size

  2,950 sf

• Client

  Private

• Collaborators

  Interior Design: Nina Seirafi
  MEP: M.A. Rubiano
  AV: Audio Video Craft
  General Contractor: Eurostruct

• Photo Credit

  Harry Zernike: 1-5

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We are transforming the Penn Museum's landmark building to improve the visitor experience and upgrading the Guastavino-designed galleries to 21st century museum standards.

The Penn Museum is a century-old Museum of Archaeology and Anthropology. We are restoring and renovating the Harrison and Coxe Wings, which house the Near East, Egypt, and Asia collections. The goal of the three-phase, 82,000 SF project is to reinvigorate the museum as a destination for the public, school groups, visiting scholars, and Penn students. The first phase was completed in 2019 and achieved LEED Silver.

The recently completed first phase improved the visitor experience and circulation, for the first time enabling accessible access and a clear, sequential gallery sequence of the galleries dedicated to the museum's Egyptian and Asian artifacts.

Our redesign included the removal of a central stair in the Harrison wing, allowing for the relocation of the museum’s treasured, 12.5 ton granite sphinx to the Lobby. This enabled curators to foreground the museum’s collection so visitors are immediately immersed into the collection, transforming a formerly cramped and dark gallery into an expansive, day-lit space.

The second major intervention into the building's fabric introduced a new, glazed hallway provides views into an landscaped courtyard and leads to a new stair and elevator that ensures barrier-free access to all levels of the Coxe Wing galleries.

Finally, a new garden at the northeast corner of the museum replaced a former loading dock with a dedicated entrance into the restored Auditorium, distinguished by its restored Guastavino-tiled domed ceiling and new lighting, air conditioning, acoustic, and audiovisual upgrades. This entrance allows for after-hours use and makes auditorium more accessible to the entire University.

• Status

  Phase 1 / Completed

• Type

  Museum

• Size

  82,000 (Harrison & Coxe wings)

• Client

  University of Pennsylvania

• Photo Credit

  Jeffrey Totaro

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Western Gateway Heritage State Park (HSP) was opened in 1985 as part of a state-wide program to preserve historic industrial sites, in this case a depot for the Troy and Greenfield Railroad. However, HSP has remained underutilized for the past 30 years. Completed in 2017, this master plan addresses improvements to the site, proposes infrastructure to better connect the park with Main Street to the Northeast, a restored Hoosac Riverfront to the Southeast and proposed “Extreme Model Railroad and Contemporary Architecture Museum” on a site across the Hoosac River to the East. The masterplan also includes schematic designs for adaptive re-use and selective additions to six historic buildings re-proposed on the site to contain the “Mt Greylock Distillery” and “Museum of Time.” Part of a broader “Cultural Corridor” effort spearheaded by Thomas Krens and the City of North Adams, the WGHSP Masterplan joins several other proposed building projects in the region, including the Global Contemporary Art Museum, also by Gluckman Tang, the Extreme Model Railroad and Contemporary Architecture Museum by Frank Gehry, and a hotel by Jean Nouvel.

• Status

  Unbuilt

• Type

  Master Plan

• Size

  60,000 SF

• Client

  City of North Adams

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This West Village renovation project combines two separate apartments into an expansive 4,200-square-foot duplex penthouse unit. Gluckman Tang was challenged with concealing structural columns remaining between apartments from the original 1920s garage floorplan, utilizing a large storage wall to segment the public spaces from the more private ones, while leaving open spaces on both floors that extend across the full width of the space. All public spaces were planned for upstairs, with a master suite and guest quarters filling out the downstairs, intersected by a staircase connecting the two levels and the roof terrace.

Creating a refuge from busy city streets was central to the client's vision. Retractable partitions were layered in to establish a series of private spaces. Panels of stainless-steel mesh can slide across the front of the kitchen, demarcating an airy dining area juxtaposing the bold rigidity of the kitchen. Other variable spaces include a mirrored screen separating sitting and sleeping areas in the master bedroom, and painted battens enclosing a serene staircase and intimate library area. Greyed tones were selected over stark whites traditionally found in art collector homes, softening the feel of hard surfaces. Art from Yves Klein, Yayoi Kusama, and Matthias Bitzer adorn the walls, complimented by a collection of mostly custom mid-century furniture defined by clean lines and tailored upholstery.

• Status

  Built

• Type

  Apartment

• Size

  4,180 sf

• Collaborators

  Structural: Ross Dalland MEP: Hanington Engineering Interior Design: Nina Seirafi
  Contractor: Dutchman Contracting

• Scope

  Full Architectural Services: Schematic Design - Contract Administration (Construction)

• Photo Credit

  Bruce Damonte: 1-7

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In 2001, Gluckman Tang was invited to participate in a closed competition to design a major expansion to the Whitney Museum of American Art. The proposed solution, which introduces natural light into every new gallery in the addition, is extruded from the south wall of the Breuer Building. It complements the weight of the Breuer building with a glass enclosed cantilevered structure. Gluckman Tang Architects completed an earlier two-phase expansion to the Whitney in 1997.

• Status

  Unbuilt, Competition

• Type

  Museum

• Client

  Whitney Museum

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Zhejiang University, one of the oldest and most prestigious universities in China, inaugurated the School of Art and Archaeology in 2019. Zhejiang University Museum of Art and Archaeology (ZJUMAA) is the first teaching museum in China.

Located in Hangzhou, ZJUMAA is sited along one of the city’s many waterways and connects the city to the University. It is the first building constructed as part of the West Zijingang Campus expansion. The program includes a 16,500-sm museum with exhibition galleries, art storage and conservation labs, café and bookstore; an 8,400-sm academic wing with classrooms, offices, library and labs; and a 300-seat auditorium shared by the museum and school.

The building design, inspired by flat-perspective traditional Chinese landscape painting, reflects the juxtaposition between old and new. Solid forms, clad in masonry block inspired by traditional local brick, house galleries, art storage, conservation, and educational spaces, while a transparent, light-weight steel and glass structure allows lobby, circulation and gathering spaces to open to the landscape and the public.

The long low volume of the Museum lobby, and a smaller-scale entrance portal, mediates the scale of this very large building, and the glass façade provides transparent entrance for the public. The galleries, café, and store are arranged directly off the lobby. Exhibition spaces include two galleries for small art and objects, a 6m high, sky-lit gallery for large-scale artifacts and installations, and a large-scale, black box gallery. The Museum is punctuated by courtyards that help orient patrons and provide natural light.

The academic wing is housed in a four-story bar facing the campus. Classrooms and conservation spaces face north to allow for ample indirect daylight. The academic wing has a dedicated entry in the northeast corner of the building, adjacent to bike parking, with circulation and gathering space offering southerly views.

• Status

  Completed

• Type

  Teaching Museum

• Size

  272,000 sf

• Photo Credit

  Terrence Zhang

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