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Old coastal cities all over the U.S. have them: Rows of defunct fishing piers within walking distance to former warehouses where trade used to flow, once supplying millions of people with food and goods. Bostons Faneuil Hall (restored by Goody Clancy) fits this bill, and so does Pike Place Market in Seattle. New York Governor Al Smith, when asked where he went to college (he didnt), liked to flippantly reply FFM, short for Fulton Fish Market, as noted in Robert Caros The Powerbroker. Smith worked there as a boy, just like his father, before entering Tammany Hall, and passing some of the most progressive legislation in New York history, laying the groundwork for the New Deal which came next, transforming the entire U.S. Indeed, much of New York City below the Brooklyn Bridge went by way of the wrecking ball, sadly erasing this history, famously depicted by photographer Danny Lyon in his 1969 book, The Destruction of Lower Manhattan, published around the same time Richard Haas was making his murals in Soho to tell the story of what came before, and when Caro was doing his research that would earn him a Pulitzer. In Lower Manhattan, a few blocks remain, however, where the cobblestone pavers are preserved and bricks still tarred by Smiths cigar smoke.Aerial view of South Street Seaport Museum District circa 1976 (Courtesy South Street Seaport Museum)A masterplan 45 years in the making by Beyer Blinder Belle to conserve the area where Smith cut his teeth (or at least what was left of them) is now finished. The New York office has successfully adaptively reused the A. A. Thomson & Co. Warehouse, an 1868 loft building on Water Street held up by masonry side walls and heavy timber floors and columns. The 5-story building was the last remaining vestige to be fortified from the 1980 South Street Seaport Historic District Master Plan. This process entailed preserving nine blocks of land sandwiched between the Brooklyn Bridge to the north, Fulton Street to the South; and Pearl Street to the West, and FDR Drive to the east. The Seaport: Then and NowThe A. A. Thomson & Co. Warehouse is home to the South Street Seaport Museum, an institution tasked with telling its neighborhoods multivalent history, and that of New York City more broadly: How did Manahatta (Munsee Lenape for Hilly Island) become New Amsterdam, and overtime the global culture and economic capital it is today? Beyer Blinder Belle (BBB) worked alongside structural engineering firm TYLin to fortify the 19th-century building, while Marvel Architects provided exhibition design services. The masterplan itself for the 9-block area was commissioned in 1980 by the South Street Seaport Museum and New York City Economic Development Corporation, and was guided by Benjamin Thompson & Associates. This delivered preservation projects like the Bogardus Building by BBB, which sits across Fulton Street from the beloved McNally Jackson bookstore, and the Tin Building restored by SHoP and Roman & Williams.BBB successfully conserved most of the 1868 buildings original elements. (Courtesy South Street Seaport Museum)Visitors enter the South Street Seaport Museum from Water Street into a light-filled lobby, with a welcome desk. From there, they enter a tall space with exposed, original timber columns, and nautical ephemera which tells the Seaports history (think: schooner ship wheels, anchors, photographs of longshoremen smoking cigarettes, etc.) The ground level can easily be reconfigured thanks to Marvels design for future exhibitions, but also lectures, book talks, and parties. The second and third floors of the South Street Seaport Museum are more densely packed with permanent cases for display. South Street Seaport Museums inaugural exhibition, Maritime City, gives visitors a look at 540 artifacts from the institutions vast collection of over 80,000 items. The building itself is hurricane proof, because it has to be. Hurricane Sandy did a number on the Thomson Warehouse in 2012, causing water damage and structural problems. In anticipation of future natural disasters, to ensure climate resiliency, all mechanical equipment at the South Street Seaport Museum is placed on the buildings second floor. A new elevator, two new fire stairs, and a new exterior lift provide optimal accessibility throughout the entire building to ensure safe egress, no matter the predicament. Floors four and five are meant for flexible, future uses, like temporary exhibitions, programming spaces, and administration, so those are left open without any fixtures planted to the ground. The design team deliberately left traces of what was once there, such as ink stains on the ground from a former printing press, graffiti on the walls, and old mechanical artifacts (pulleys, leather belts, cogs), harkening back to the scenes from Lyons photography book.The ground floor has cases fixed to the walls and moveable furniture, which is ideal for quick spatial reconfiguration. (Richard Bowditch)The upper levels have cases fixed to the ground. (Richard Bowditch)Jonathan Boulware, president and CEO of the South Street Seaport Museum, said the revitalization project was essential for helping the institution welcome its 90,000 annual visitors, many of which are New York City public school students. Richard Southwick, a partner at BBB, joined the firm in 1984, so the South Street Seaport Museums overall completion marks a major milestone. Weve come full circle by completing this project. After all the changes the district has gone through, it is immensely gratifying to watch it become a stronger and stronger destination, and the Thomson Warehouse will continue to play a role in that evolution, he said. The inaugural exhibition features 540 artifacts from the museums collection of 80,000 items. (Richard Bowditch)Dennis Vermeulen and Justine Ala led the exhibition design team at Marvel, which resulted in beautiful, bespoke cases that display large, and oftentimes very heavy objects. These vitrines were fabricated by Object Mounts, a Greenpoint, Brooklyn studio. Duggal Visual Solutions, Full Point Graphics, GK Framing, Renfro Design Group, and UOVO were also on the exhibition design team. Over the years, Marvel has worked closely with the South Street Seaport Museum to protect and revitalize spaces, Vermeulen shared.This re-emergence from a decade in storage provides an opportunity to reposition the Museums collection alongside the history of industry, craft, and the movement of goods and people, Vermeulen added. Placement of objects within a system of modular oak boxes, inside cabinets, on top of pallets, and within immersive videos provides multiple points of view and invites fresh perspectives. The design encourages visitors to connect to the textures, stories, and functions of artifacts to their respective containersshipping crates, trunks, sea-going vessels, and warehousesand affirms our fascination with unpackingeverything from internet merch to our ever-evolving relationship to history.