by Russell Boniface
Associate Editor

How do you . . . design an outpost to the famed Rock and Roll Hall of Fame?

Summary: New York City-based Montroy, Anderson, DeMarco designed the new 25,000-square-foot Rock and Roll Annex, the first outpost of the famed Cleveland Rock and Roll Hall of Fame. The Annex opened last November, houses artifacts from Cleveland, and traces the history of the music genre in New York City. The Annex is located in the SoHo section of the city and follows an “industrial grunge” theme in the cellar of an 80-year-old cast-iron building. There are aspirations by the nonprofit Rock and Roll Hall of Fame to brand itself worldwide in additional cities; however, the Annex and additional outposts will be profit ventures. The client for the project is Running Subway, a production company.

Rock on
The Rock and Roll Annex’s “industrial grunge” theme evokes the old days of New York rock and roll while still offering high-tech exhibits and operations in a three-part space that features artifacts from Cleveland and the origins of New York rock and roll plus a spotlight on a different rock artist each month. The intent of Montroy, Anderson, DeMarco and its client, Running Subway, was to honor the “New York vibe” dating back to the Andy Warhol days. SoHo was deemed a fitting place for the Annex because of its club history and also for its central destination location.

Partner Daniel Montroy, AIA, says the firm also intended the Annex be a functional space that serves as a backdrop to the rock and roll exhibitions. “We put in a black box ceiling and stripped it back to the raw structure to expose the mechanicals; we mounted lights and exposed elements of the original building, such as brick walls. We wanted to make the space raw, but beautiful and finished—a first-class tourist Mecca.” The industrial columns in the space were also restored.

Visitors begin in a high-tech holding entrance area of state-of-the art audio and visual components, with flat screen videos of rock artists and a wall that lights up the names of Hall of Fame inductees in rapid fire. There are accompanying music soundtracks. Next is a multimedia theater-in-the-round featuring screen projections of various artists. Visitors then enter the tripartite exhibit: The first part offers a permanent show that Montroy calls a mini-version of Cleveland. The second part is the New York underground exhibit that includes artifacts such as the piano that John Lennon used to record his final album. The third part showcases a different New York artist each month. January’s spotlight was The Clash; February will honor John Lennon. Bruce Springsteen is upcoming soon.

The flat-screen projections, rock and roll artifacts, and lighting are underscored with hi-tech audio. “Visitors wear headsets tuned to proximity sensors beneath the carpet that allow them to hear music and discussions in any quadrant they are viewing,” says Richard DeMarco, AIA, partner. Circulation coils through a tight space without feeling tight. The entrance and exit are close to each other so as not to run from one extreme corner of the facility to the other. The Annex can hold up to 750 people at any given moment and process 100 people every 15-20 minutes.

Facilities upgrade; the big model of Manhattan
Curator, maintenance, and storage spaces needed to be in place with all-new building systems. New air-conditioning and humidification are in place, and restored centralized steam radiators add to the industrial grunge look. “It required a sophisticated humidification system for the curatorial demands of artifacts,” notes Montroy, “such as for the paper and notebooks that songs were written on, which include the notebook used for Bob Dylan’s first album. Plus, there are pianos, guitars, and Bruce Springsteen’s ’57 Chevy.” Montroy and DeMarco note they worked with New York’s Con Edison for maximum power for a compacted space. “Temperature, electricity, lighting—each had its own challenge, true of any renovation of an historic building,” says Montroy. Adds DeMarco: “We reacted to the client’s needs within the space by supporting them with the proper cooling loads, temperature, and heat dissipation for their equipment.”

A rockin’ feature of the Annex is an interactive, 30-foot-long model of Manhattan. Visitors touch screens that light up iconic buildings of New York rock and roll history. “It’s awe-inspiring,” Montroy enthuses.

What about Rock and Roll Annexes in cities worldwide? Montroy and DeMarco are on board. Says Montroy: “We would like to have permission to do them all over the place.”

It’s only rock and roll, but the architects like it.