BRIDGES In
the News
Local architects find places for contemporary design
Originally appeared in the February 18 – 24, 2005 edition of
the Memphis Business Journal
By Jennifer Guarino
Passersby may be captivated by the large glass windows and
exposed steel trusses of the Bridges building on Auction
Avenue.
This ecologically sustainable building in Uptown that houses
the nonprofit organization is proof that good design doesn't
have to be cost preventative, says Ken Goff, president of
Memphis American Institute of Architects.
But it also makes a bigger statement that contemporary
architecture blends nicely in this traditionalist city.
The Bridges building officially opened October 2004 and was
designed by Coleman Coker, principal of buildingstudio in
Memphis. It is one of a handful of buildings being built or
renovated applying modernist principals in Memphis.
"It says something about our city when we do something modern.
It says we are a progressive, foward-thinking city," says Todd
Walker, principal of Archimania.
Farther up Auction Avenue, a trapezoid-shaped commercial and
apartment building, also designed by buildingstudio, makes a
bold statement with its vertical alternating brick patterns.
Coker says this building was Bluff City Group's first
development project, and they wanted to make a bold statement
with the architecture of the building that stands in the
shadow of the Pyramid. But the design is also a result of the
lot size, the requirement of 28 parking spaces and Uptown area
design guidelines.
Goff says that modernism is often misunderstood.
"Modernism is looking at how people live and work and creating
buildings that make it easier, and making people happy while
they're there," he says.
And the Bridges staff does seem happy with their building and
love showing off the new space.
Evelyn Baker, Bridges vice president of administration, says
the organization wanted to make a statement with the building.
"We wanted a building that says we love kids, we love this
neighborhood in Memphis, and we love the environment."
The organization selected buildingstudio because "Coleman got
it," Baker says.
The 51,000-square-foot building is a teaching tool for
teenagers. It has a 30-foot climbing wall and high ropes
course, classrooms and meeting spaces.
It's also an environmental lesson. Solar panels on the roof
warm the water used inside. Courtyards are filled with
indigenous plants, and rain water drains back into the earth
instead of the street.
Walker says the Bridges building is distinctive landmark.
"It's a place that speaks to what it is. But what's more
important is that people ask questions. Good architecture
makes you ask questions," Walker says.
Architects says it's the client's vision that makes
nontraditional architecture possible.
"A good client makes a good building," Coker says. "Jim [Boyd,
president of Bridges] is case in point. He was very attentive
in the process of design. He knew what he wanted, not
specifically, and gave us the opportunity to nurture that
design."
Modern architecture has come in and out of favor in Memphis.
Its roots go back to Al Aydelott, who came to Memphis in the
'50s and was responsible for encouraging the spread of modern
architecture. Aydelott brought many talented designers to the
city who've designed the city's contemporary residences and
government and commercial buildings.
There was a push in the artistic and Jewish communities to
embrace the modern principals. Many homes built during the
'50s -'70s can be found surrounding area synagogues, Goff
says.
Several buildings, such as Memphis International Airport,
Memphis Publishing Co. and the Southern College of Optometry,
represent the growth of modernism in the city through the
1970s. Then development pushed toward East Memphis, and
contemporary architecture began to decline.
While contemporary buildings pop up here and there around the
city, overcoming the traditional mindset of the city is
difficult for architects.
"Memphis is a hard place to do contemporary work because it is
such a conservative city," says Jeff Blackledge, of Blackledge
Architecture.
He says he hopes the bold move Bridges made with their
building will be good for business.
"Bridges is going to open eyes to potential clients and the
general public to what architecture can be. It doesn't have to
be a brick box with columns; it can be an expressive place,"
he says.
Coker says his firm is talking with people who are considering
creating contemporary buildings in the city but doesn't have a
project slated. The fact that the Bridges and trapezoid
building are located in the Uptown area may just be
serendipitous. The area lent itself to the construction
because there were open lots available.
But Memphians may be seeing a revival of modern architecture
in the city, especially Downtown, Goff says. Beyond the
structures in the Uptown area, homes in Harbor Town and South
Bluffs have blended the contemporary and transitional styles
beautifully.
Architects are also updating historical buildings with
contemporary interiors. Walker says transforming old spaces
into progressive work environments says a lot about the people
who work there.
"Just because the building is old, it doesn't mean your image
has to stay that way," Walker says.
Staying true to the interior of a historical building can be
expensive because it's hard to craft the old details, Walker
says. Contemporary architecture can expose some of those
distinctive interior elements without replicating the original
look. Walker says he's seeing more people who are interested
in modern buildings Downtown, and he's excited about the
progressive, urban growth that comes along with that.
Blackledge says, "When I look at Bridges, it makes me feel
good about what I'm doing. It makes me feel that there are
clients who are progressive."
CONTACT editorial intern Jennifer Guarino at 259-1732 or
jguarino@bizjournals.com
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Rights Reserved.
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