Poetry Foundation | John Ronan Architects

Poetry Foundation

Walls of oxidized zinc define the building’s site boundary and are perforated around the interior garden, allowing light in and views out.

Poetry Foundation

The building is raised slightly above the street plane.

Poetry Foundation

A cut in the facade invites visitors behind the scrim into the garden and building.

Poetry Foundation

In the evening, the foundation transforms into a glowing event space.

Poetry Foundation

Rather than tucking away the library in a hidden corner, the foundation displays its collection. Visitors encounter double-height shelves of books before even passing through the main entry.

Poetry Foundation

The garden’s American hornbeam and sweetbay magnolia trees will eventually grow into a soaring canopy.

Poetry Foundation

Just beyond the entry vestibule the main stair leads to second-floor offices.

Poetry Foundation

Daylight floods into the building through skylights and a north-facing glass facade. Inside, each vantage point presents unique views through and out of the building. Beyond the garden and perforated screen, cars pass silently through West Superior Street.

Poetry Foundation

A 44-foot long study table occupies the library, and the diminutive cork stools define the children’s reading area. A loungelike stair landing floats above the entry.

Poetry Foundation

The 125-seat poetry reading room connects to the garden and street with floor-to-ceiling windows and combats noise with interior glass walls and a stretched fabric ceiling and wall, among other acoustic strategies.

Poetry Foundation

Open offices look down onto the garden and into the gallery, watched over by a vinyl transfer portrait of Poetry magazine founder Harriet Monroe.

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Poetry Foundation

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Poetry Foundation

Poetry Foundation

all above photos & images:

Photos by Beth Broome | Images courtesy John Ronan Architects | Photos © Steve Hall/Hedrich Blessing

Open Verse: At once opaque and transparent, an understated new poetry center offers a place of quiet study while inviting the outside in.

By Beth Broome

In the romantic version of the story, creative genius endures poverty in pursuit of a higher calling. Rodolfo and Mimì’s story would not have been La Bohème without the famously shabby garret, from which Rodolfo’s poetry flowed. But as Chicago’s new center for the Poetry Foundation by John Ronan Architects shows, a windfall of cold cash certainly can help when trying to make concrete an architectural idea.

The building, which opened in June, has its origins in a classic rags-to-riches story. Poetry magazine, founded by Harriet Monroe and published continuously since 1912, lurched along on a shoestring budget for most of its history. The magazine’s life was turned upside down in 2002 when Indianapolis pharmaceutical heiress Ruth Lilly bequeathed about $200 million to the little publication. Soon after, the Poetry Foundation (which grew out of the Modern Poetry Association) was formed. One of its early decisions was to build a permanent home for Poetry, which had long housed its collection of books, manuscripts, and recordings in the basement of Chicago’s Newberry Library and hosted readings in borrowed spaces around the city. Predictable controversy erupted when some of the foundation’s trustees opposed the decision, decrying the hubristic palace they believed would result.

John Ronan says he steered clear of the internal politics, keeping his sights on the task at hand. Initial visioning sessions revolved around the question “What is a building for poetry?” “There’s no paradigm for this building,” the architect points out. In any case, what he has created is not trophy architecture. In keeping with the art form it serves, the new Poetry Foundation is a respectful, restrained building that employs an economy of means and methods, just as a good poem employs an economy of language.

While giving physical presence to the foundation, the new 22,000-square-foot building also had to reflect its mission: to help poets pursue their art, and to raise poetry’s profile and bring it to the public by making it visible and accessible. The choice of this urban site—a corner lot in Chicago’s North River neighborhood surrounded by residential towers—and the decision to make transparency central to the building design address these desires. In addition to offices, the client requested a library to house its 30,000 noncirculating volumes, a dedicated space for readings, and a gallery for related exhibitions. One of the more unusual requirements was for a garden that could be used to host events. Exploring this element drove the initial design investigation and resulted in a 4,000-square-foot courtyard carved out of the site’s north side.

To define the site’s boundary—without rendering the building opaque or fortresslike—Ronan wrapped the perimeter with a corrugated, oxidized zinc wall, which, around the garden, becomes perforated and veil-like, blurring the lines between inside and out.

As you pass through a narrow corridor formed by the metal screen and the glass front of the performance space, you reach the garden and, through double-height windows, see the library’s colorful patchwork of book spines lining shelves on two levels. Baltic birch plywood embraces the interior by forming the shelves as well as paneling. The building is conceived as layers of materials—zinc, glass, and wood—that compress and then separate to create different spaces. “The idea is that this spatial narrative unfolds as visitors move through and between these layers,” says Ronan. “We were trying to achieve a transcendent materiality where we take very humble materials and then ennoble them in some way—not unlike what a poet would do with words.” For example, the team spent months developing the sandblasted concrete (for the ground-level floors that extend out into the garden), which incorporates white silica and cement and specks of slag, lending it a warmth and complexity.

Inside, public spaces occupy the ground floor while the offices upstairs are organized according to operations: administrative, magazine and website, and programs. The north, garden-facing glass, which jogs in and out, admits abundant, diffuse light, even on an inclement day, and helps to visually connect the different spaces. To balance the conflicting demands of a building that celebrates its urban surroundings while functioning as a center of quiet work, the team employed a host of acoustic strategies, such as varied surface materials and an interior glass wall in the performance space, where poets read without amplification. During the day the foundation hums with the hushed business of the staff and visitors. At night, when it hosts readings, the building transforms into an elegant, diaphanous event space, as light and activity spill out into the garden and the street beyond.

Foundation president John Barr says that since the building’s opening, use of the library and attendance at readings and functions have increased exponentially—and that, including its website, the foundation now reaches about 19 million people compared with just 10,000 Poetry subscribers previously. “A good poem has something indefinable, or magical, about it that keeps you coming back to experience it again,” he says. “And our hope is that this building does that in architecture—it keeps people returning.”

 

Cost: $10.2 million (construction)

Completion date: June 2011

Location: 61 West Superior Street, Chicago, Illinois 60654

Architect
John Ronan Architects
420 West Huron Street
Chicago, Illinois 60654
Phone: 312.951.6600
Fax: 312.951.6544
ronan@jrarch.com
http://www.jrarch.com

People

Owner: Poetry Foundation

Gross square footage: 26,000 sq. ft. (including garden)

Total construction cost: $10.2 million

Architect:
John Ronan Architects
420 West Huron Street
Chicago, Illinois 60654
Phone: 312.951.6600
Fax: 312.951.6544
ronan@jrarch.com
http://www.jrarch.com

Personnel in architect’s firm who should receive special credit:
John Ronan AIA, Lead Designer (registered architect)
Tom Lee, Project Architect
Evan Menk, Senior Technical Coordinator
John Trocke (design team)
Marcin Szef (design team)
Wonwoo Park (design team)

Interior designer and Graphic Designer:John Ronan Architects

Engineer(s):
Structural:
Arup
35 East Wacker Drive
Chicago, Illinois 60601
Phone: 312.849.5610

MEPFP:
dbHMS
303 West Erie Street
Chicago, Illinois 60654
Phone: 312.915.0557

Civil:
Terra Engineering, Ltd.
225 West Ohio Street, 4th floor
Chicago, Illinois 60654
Phone: 312.467.0123

Consultant(s):
Landscape: 
Reed Hilderbrand Associate, Inc.
741 Mount Auburn Street
Watertown, Massachusetts 02472
Phone: 617.923.2422

Lighting:
Charter Sills
420 West Huron Street
Chicago, Illinois 60654
Phone: 312.759.5909

Acoustical: 
Threshold Acoustics LLC
53 West Jackson Boulevard, Suite 815
Chicago, Illinois 60604
Phone: 312.386.1400

General contractor: 
Norcon, Inc.
661 West Ohio Street
Chicago, Illinois 60654
Phone: 312.715.9200

Program Manager:
U.S. Equities Realty
20 N. Michigan Ave.
Chicago IL 60602

Photographer(s):
Steve Hall
Hedrich Blessing
400 North Peoria Street
Chicago, Illinois 60642
Phone: 312.491.1101

CAD system, project management, or other software used:
AutoCAD 2010
AutoDesk VIZ 2007
Adobe Photoshop CS3
Adobe Illustrator CS3
Adobe InDesign CS3

Products

Structural system
Steel frame with composite upper floors, reinforced concrete slab on grade and foundation.

Exterior cladding
Metal Panels: Umicore Building Products USA Inc, VM Zinc

Metal/glass curtain wall: Glass Solutions, Inc.

EIFS, ACM, or other: ACM: Mitsubishi Alpolic

Moisture barrier: Henry Company

Curtain wall: CMI Architectural Products, Inc.

Other cladding unique to this project: Screenwall aluminum mullions and cladding: Architectural Systems, Inc.

Roofing
Other: Fully-adhered single-ply membrane roof: Carlisle SynTec Incorporated, Sure-Weld

Windows
Aluminum metal frame: Wausau Window and Wall Systems

Glazing
Glass: Viracon, Inc.

Skylights: LinEl Signature

Doors
Entrances: Ellison Bronze

Metal doors: Pioneer Industries

Wood doors: custom by millworker

Special doors: Acoustic: Krieger Specialty Products Company

Hardware
Locksets: FSB North America

Closers: LCN, Rixson, Dorma

Exit devices: Von Duprin

Pulls: Ironmonger d line, FSB, Rockwood

Interior finishes
Acoustical ceilings: Armstrong

Suspension grid: Chicago Metallic

Cabinetwork and custom woodwork: custom by millworker

Paints and stains: Benjamin Moore

Wall coverings: Walltalkers

Plastic laminate: Pionite

Solid surfacing: Formica

Floor and wall tile: Wall tile: American Olean (toilet rooms)

Resilient flooring: Johnsonite, Armstrong

Carpet: Bentley Prince Street

Special interior finishes unique to this project:Stretched fabric ceiling: TexStyle Ceiling System;Stretched fabric wall: Clipso

Furnishings
Office furniture: Herman Miller

Reception furniture: Herman Miller. Custom sandblasted stainless steel bench by John Ronan Architects

Chairs: Herman Miller task chairs and conference chairs, Republic of Fritz Hansen (stair landing lounge chairs), Cappellini (open office lounge chairs), Alias (multi-purpose room chairs), Living Divani (library sofa), Moooi (cork stools)

Tables: Nienkamper Vox conference tables

Lighting
Interior ambient lighting: Delray, Focal Point, Erco (lobby track lighting), Elliptipar (lobby wall washers)

Downlights: Portfolio

Task lighting: Herman Miller, Alkco

Exterior: Louis Poulsen, Bega

Dimming System or other lighting controls: Lutron, Creston

Conveyance
Elevators/Escalators: Otis Elevator Company

Plumbing
American Standard (urinals)
Toto (toilets)
Sloan (flush valves)
Chicago Faucets (faucets)
Kohler, American Standard, Elkay (sinks)
Elkay (water fountains)
Franke (filtered water dispenser)

Other unique products that contribute to sustainability: Green Grid Modular Green Roof system

http://archrecord.construction.com/projects/portfolio/2011/11/poetry-foundation.asp

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