The Valentine Renovation

THE VALENTINE has been the city of Richmond’s history museum for more than 100 years. The facility is comprised of four houses of varying periods, including the restored Wickham House, a National Historic Landmark property; the Cecil House; and the Valentine Row Houses. The Owner sought to enliven the primary public spaces on the first and lower levels with a contemporary aesthetic that is sensitive to the historic character of the existing museum.

Glavé & Holmes Architecture (G&HA) successfully altered the interiors to conceal previously exposed infrastructure, thusly creating refined spaces that retain a contextual consciousness to their historic provenance. Exterior windows were reopened to the interior and now boost filtered glazing, which make the entire facility feel more open and inviting. Gallery spaces were expanded and reorganized to include a new community gallery, orientation gallery, and improved permanent and special exhibition galleries. Additionally, the education areas and other public spaces, such as the entry/reception and the museum shop, were completely renovated to embody the new image of The Valentine.

The overall impact of the renovation has been remarkable both for the museum and the surrounding neighborhoods. The Valentine has seen a 30 % increase in visitation since the reopening and a significant rise in the frequency of community-centered events.

Robert H. Smith Center at Montalto

ORIGINALLY DESIGNED in 1903 by Philadelphia architect Charles Barton Keene, Montalto was adapted and expanded by Glavé & Holmes Architecture (G&HA) to provide multiple new functions including a meeting space, teleconferencing center, accommodations for visiting dignitaries, and an event space. The new facility has become the “upper campus” for the Monticello property; it houses the executive Board Room for the Thomas Jefferson Foundation and creates a world-class extension of the Robert H. Smith International Center for Jefferson Studies.

To achieve the ambitious program, Montalto underwent a complete restoration of the interior and exterior and now features the design of two sympathetic additions. The front façade, restored to its historic appearance, showcases the distinctive Ludowici tile roof in its original color, restoration of the original stone masonry, and rehabilitation of
the original historic windows. An entirely new landscape design
has been incorporated to provide parking, outdoor terraces, and event space that blends into the natural splendor of the hilltop site overlooking Charlottesville. A state-of-the-art catering kitchen avails the center to be used for events, lectures, and weddings. New infrastructure and technology systems and the interior design and selection of all furniture, fixtures, and equipment complete the scope.

The project achieved LEED-Silver certification.

Pope Chapel

THE POPE CHAPEL for Christopher Newport University (CNU) was designed and programmed to encourage religious unity and freedom of worship, welcoming people of diverse beliefs by providing a place for meditation and prayer, worship, and meetings. There is a main assembly room and two seminar rooms. The close proximity of the Chapel to the new David Student Union, the Freeman Center, and the Trible Library make this facility convenient for most students, faculty and staff.

The Chapel is executed in the established campus Neo-Georgian style and scale, employing proportional façades with pavilions demarking primary entry. The standard campus brick is used with Doric columns, pilasters, cornice work, and pediments of precast concrete. The dominant use of precast throughout the building lends elegance to the one-story building.

One of the primary features of the building is the main entry portico, which is rendered with one-story fluted Doric columns and a full triglyph and metope pediment. The central lobby, a vast one-and-a-half-story space at the main entry, serves as a gathering space and welcomes visitors into the building. This essential space is framed by paired iconic columns opening up to a paneled arched dome with an oculus that showcases the central cupola. Celebration Hall, a large 325-seat assembly space, is centered on axis from the lobby, and is flanked on both sides by Corinthian columns and pilasters. Two additional seminar rooms allow the building to be used for meetings, weddings, and a variety of assembly uses.

Brody Jewish Center

The Brody Jewish Center is a Hillel House located in the Rugby Road-University Corner historical district near the University of Virginia grounds.  It was founded in 1941 and provides social programs, community service opportunities, educational seminars, and religious offerings for the University’s Jewish students. The historic building, named the Larry W. Berman Student Center, was originally a residence built in 1913-14 with an addition later built in 2011. Glavé & Holmes Architecture and Martin Horn were engaged to renovate a portion of the existing facility and provide improvements to the surrounding site.

The house was renovated to accommodate the current staff in a more functional office setting, attract students for studying and socializing, and increase student and staff interaction. The design is in compliance with the Secretary of Interior’s Standards and is expected to receive state historic tax credits.

Paul and Phyllis Galanti Education Center

THE VIRGINIA WAR MEMORIAL FOUNDATION sought to expand the existing memorial facility to accommodate the Foundation’s educational initiatives as well as their current activities. An Education Center was added to the Memorial’s Visitor Center, Hall of Honor Auditorium, and Shrine of Memory. The new Center houses research, artifacts, and exhibits to honor the Commonwealth’s fallen heroes.

The architecture of the Paul & Phyllis Galanti Education Center carries the language of the existing Shrine and building. In order to preserve the prominence of the Shrine, a subterranean level was designed with a green roof and plaza at the Shrine level thusly retaining the open pastoral feeling and view of the James River. There is a quiet and inviting collection of building pavilion façades that frame the existing Shrine. Each façade is influenced by the existing materials. The fieldstone found in the original walls around the Shrine and in its patios informed the material for the lower level façade. The striated texture of the Tennessee Marble, which graces the Shrine, is complimented by a soft mottled granite in a color that accents the pink hue of the extant buildings. A new outdoor amphitheater takes advantage of the panoramic view from the Memorial’s location. Previously under-utilized, the site now offers significant and integrated indoor and outdoor programming.

The new wing provides space for large and small groups to tour the Memorial simultaneously. Educational programs may be viewed in three class-sized theaters and exhibits of battlefield artifacts may be examined. The Memorial also offers the opportunity to learn about the differences in uniforms, weapons, flags, and individual military equipment. In addition, the new wing houses the necessary archival storage to preserve the collections and administrative spaces to operate the Memorial and its educational programs.

Nelson Byrd Woltz designed the landscape.

Mississippi Museum of Art

GLAVÉ & HOLMES ARCHITECTURE (G&HA) served as the museum consultant and design architect for the Mississippi Museum of Art (MMA). The museum wished to become a demonstrable leader in the international trend of museums becoming more accessible, participatory, and relevant in their communities. The new building, in accord with the MMA’s commitment to community interaction and personal experience, serves as a model for mid-sized museums whose architecture embodies their mission to engage the community in and through the visual arts.

The result includes new exhibit areas, gift shop, a café, studio school, collections area, and administrative spaces. From jazz programs in the café to performances and presentations in the galleries and the sculpture garden, the MMA attracts people to downtown Jackson and plays a vital role in its revitalization.

The Mississippi Museum of Art was designed in association with Madge Bemiss Architect of Richmond, Virginia, and Dale and Associates of Jackson, Mississippi.

Lewis Ginter Botanical Garden

GLAVÉ & HOLMES ARCHITECTURE (G&HA) designed the Education & Library Complex at the Lewis Ginter Botanical Garden. The Complex serves as a public resource for continuing education and research in the botanical fields. State-of-the-art classrooms host a variety of courses and workshops. A library housing 25,000 volumes provides computerized links with other institutions. The Herbarium maintains a collection of approximately 50,000 plates of preserved plant presses. The facility is also an operations center for administration, programming, and educational activities provided by the Garden, and include reception areas, meeting spaces, and a 300-seat auditorium.

The Garden Conservatory is the jewel in the campus of buildings and gardens at the Lewis Ginter Botanical Garden. The steel and glass building is comprised of a center block with an entry portico and a 62-foot-high glass dome and two glazed wings. The exhibition area of approximately 7,800 square feet is divided into three climate zones. A large covered terrace overlooking the lake and gardens below is used for entertaining. G&HA collaborated with Rough Brothers, conservatory systems designers; Rodney Robinson Landscape Architect; and structural and mechanical engineers experienced in the design and construction of glass houses.

The E. Claiborne Robins Visitor Center is designed to serve as a welcome center to orient, inform, and provide support services to individuals and groups visiting the gardens. The structure houses ticketing facilities, meeting and orientation spaces, a garden information area, gift shop, food service and catering, restrooms and lockers, and exhibit and office space. Located on a stunning historic estate, the garden offers extensive collections and ever-changing displays of seasonal flowers, grasses, trees and shrubs. A gateway building for a series of future facilities planned for the garden, the Visitor Center required a welcoming, “garden-esque” character, which was accomplished by bringing outdoor elements indoors. Skylights, slate and quarry tile floors, wood latticework, soothing paint colors, floral carpeting, and exterior-style light fixtures all reinforce the garden environment. G&HA and Cooper Robertson & Partners collaborated on the realization of this project.

Jamestown Settlement Visitor Center

IN PREPARATION for the 400th anniversary of the birth of America, the Jamestown-Yorktown Foundation desired a master plan to replace the existing 1957 buildings with a new, larger visitor center, and a museum and education center. The master plan envisioned five phases to conceive each new building on the approximate sites of the originals.

In 1998, Glavé & Holmes Architecture (G&HA) was selected to design the Jamestown Visitor Center. The Visitor Center serves as a gateway and orientation center for the Jamestown Festival Park. The design sets up a logical circulation system, creating a strong link with the future buildings. The 32,000-square-foot facility includes administrative space, ticket and orientation areas, a café, and a gift shop organized around a central lobby with a dramatic, two-story wood and glass entry pavilion.

Subsequently, in 1999, G&HA designed the Theater, Exhibition Hall, and Galleries. The ground floor includes a 250-seat auditorium while the second floor, accessed from a grand stair within the rotunda, houses the museum’s exhibition galleries and a 100-seat multimedia room. Museum support spaces exist on both floors.

G&HA also designed space to house 30,000 square feet of permanent collection galleries. The organizing concept for this building is a series of linear connected halls called the “super highway.” These spaces make it easy for museum patrons to reorient themselves as they move through the galleries. The structure features pavilions with connecting, slope-roofed halls. Each pavilion utilizes a diaper pattern brick to reinforce a reference to Jacobean architecture. Wood supported canopies over the doorways relate to the wood structure of the Visitor’s Center.

Outdoor terracing and landscaping provide visitors ample vantage points from which to view the historic meadow and tower preserved from the 1957 development.

Civil War Interpretive Center at Blenheim

THE INTERPRETIVE CENTER at Historic Blenheim is tasked with interpreting the history of the site, the original Blenheim farmhouse, and the Civil War in the greater Fairfax area. The Center is the primary gathering place for visitors to the property and includes an exhibition gallery, a multi-purpose classroom, a gift shop, and visitor facilities. Housed within the Center is a full scale replica of the Blenheim House historic attic, which contains evidence of the signatures and graffiti of occupying soldiers from the Civil War period. The Center and surrounding grounds are also the site of Living History demonstrations, lectures, classes, and tours. In addition to the interpretive roles, the Center is available for weddings and other social functions.

CenterStage

THE CENTERSTAGE FOUNDATION, formerly known as the Virginia Performing Arts Foundation, was created to provide the Richmond area with superior performing arts facilities. Glavé & Holmes Architecture (G&HA) is part of a team, along with Wilson Butler Architects, Inc., and BAM Architects, selected to renovate a series of historic downtown buildings for the envisioned performing arts complex.

The first phase of the project, known as CenterStage, consists of the renovation and expansion of the Carpenter Center. It also includes the renovation of the old Thalhimers department store building for which G&HA was responsible. The transformation of both buildings both retained existing features and updated the original façades to house a 200-seat Community Playhouse, rehearsal spaces, an education center, and modernized support spaces for the Carpenter Center.

Mimi Sadler of Sadler & Whitehead Architects provided tax credit consulting services for the Virginia Performing Arts Foundation in Richmond, resulting in Part 2 approval for nearly $8 million in eligible state and federal tax credits.