In Part One of our discussion on the Studio Museum in Harlem, we explore how vision, community trust, and funding complexity come together to build a cultural institution that defines a neighborhood. Jessica Busch is joined by Andy Bast, Jaylen Henderson, and Lakya Roberts to examine why 125th Street was the only location that made sense, how Thelma Golden’s 12-year leadership carried an entire project through approvals and construction, and what it takes to design for public access and community gathering in the heart of Harlem. The conversation reveals how early community engagement transformed potential construction tensions into shared investment, how funding from city, state, private foundations, and tax credits had to be carefully orchestrated month by month, and why the details of design—like the reverse stoop—matter as much as the vision itself. This episode offers owners, project managers, and architects a practical look at how clarity of purpose, community accountability, and intentional design are essential to delivering public projects that actually serve the neighborhoods they’re built in.

Transcription du podcast

[00:00:00] Jessica Busch : We are talking about the Studio Museum in Harlem today.

[00:00:03] Jaylen Henderson: As far as tension-wise, most people in Harlem were excited to see

[00:00:06] Lakya Roberts: this- Yep … building built. So- “

[00:00:08] Andy Bast: Hey, hey, there’s the museum woman” And they say, “Hey, Miss Museum Woman, when are you gonna reopen?”

[00:00:13] Lakya Roberts: Oh.

[00:00:13] Andy Bast: And, and- … and she’s turned to me, she goes, “Andy, well, what’s the answer to that question?”

[00:00:19] Lakya Roberts: We’re meeting with p- someone from the city every month to go over what was being done. And Bal- So no

[00:00:26] Jessica Busch : surprises.

[00:00:27] Lakya Roberts: Yeah. Minimal. I know my part. Minimal. Not in controls.

[00:00:36] Jessica Busch : This is the Construction Insiders podcast.

[00:00:39] Jessica Busch : I’m Jessica Busch, bringing you the newest trends and strategies in construction, essential to anyone in the industry.

[00:00:46] Jessica Busch : Welcome back to the Construction Insiders podcast, the show where we pull back the curtain on projects that shape our cities, our culture, and our communities.

[00:00:56] Jessica Busch : I’m your host, Jessica Busch. Today’s episode is one that I have been genuinely excited about. We are gonna talk about a project that sits at the intersection of history and culture and some seriously complex construction activity. We are talking about the Studio Museum in Harlem today,

[00:01:15] Jessica Busch : it is a purpose-built public-facing institution, the kind of project that doesn’t, it just doesn’t serve a community, it really defines one. And when you look at a project like this, what it took to get it all together and off the ground, from funding and approvals to underpinning a neighbor’s foundation, which we will get to shortly, um, I really wanted to bring the three of you.

[00:01:42] Jessica Busch : We have Andy Bast, senior principal. Um, we have Jaylen Henderson on the project management side. We have Lakya Roberts, project controls. So welcome, and thank you. Um, so for listeners that may not be as familiar with the project as you guys, because you are quite the trio. Um, Andy, would you mind giving a brief history about the Studio Museum in Harlem, why it exists, what it stands for, um, and really why the building on 125th Street came to be?

[00:02:21] Andy Bast: So thank you. Uh, the Studio Museum, uh, was founded in 1968 as a home for Black art and Black artists. It was a critical point in the social development of our country and what was going on And these artists needed a voice. The, uh, it was founded in a location on Fifth Avenue, uh, then moved in 1982 to its, the same spot where we built the new building, uh, in the middle of 125th Street.

[00:02:49] Andy Bast: And because 125th Street is really i- iconic area of, of Harlem, it became a platform that allowed for the development of the essence of Harlem to be demonstrated in the museum and in the building. And, you know, I think they were, they, the museum, were very focused on ensuring that they were representing Harlem in the absolute best way.

[00:03:13] Jessica Busch : So, Lakya, the Studio Museum, for a long time, has been the home to Black artists, um, Black art, as Andy me- m- mentioned. But when we’re talking about the footprint, um, and over all of these years, kind of what has been going on culturally, why was expanding that footprint with the new museum so important?

[00:03:38] Lakya Roberts: That time in the ’60s when the first museum was thought of by these group of artists was a challenging time in Harlem. Um, there was a lot of political activism going on. Uh, there was a lot of pain and hurt from, uh, five months prior to MLK being assassinated.

[00:04:03] Jessica Busch : Was when this, the first museum-

[00:04:06] Lakya Roberts: The first museum-

[00:04:06] Lakya Roberts: opened up … on Fifth Avenue. Um, and that source of Black pride, you know, stricken. So if you think about all that, you know, hurt and pain that was happening, kind of had to give a visual voice to it. How will you express it? Uh, also, Black artists were excluded from many of the major New York City museums and galleries.

[00:04:32] Jessica Busch : Interesting.

[00:04:32] Lakya Roberts: So had to build their own.

[00:04:35] Jessica Busch : But what a time- Yes … to do

[00:04:37] Lakya Roberts: so. What a time. Uh, a lot of, like I said, political activism. There was also a lot of Black pride.

[00:04:43] Jessica Busch : Uh-huh.

[00:04:43] Lakya Roberts: Uh, but from the political aspect of it, from the segregation and the poverty, there had to be a way to express that. Whether it’s through voice, through art, uh, through music, we had to create our own place, and that was the time of the Black artist movement.

[00:05:08] Jessica Busch : So Thelma, let’s, let’s, let’s jump to Thelma on that, on that note. Thelma Golden has been a transformative director- Mm-hmm … um, for the Studio Museum, and you’re all nodding your heads, so.

[00:05:19] Andy Bast: Absolument.

[00:05:20] Jessica Busch : Everyone agrees, great. Um, how did her vision and leadership influence where we’re at now and the direction of the project from the beginning?

[00:05:31] Jessica Busch : Um- What did, what did it mean for the ov- overall building?

[00:05:36] Andy Bast: So I, I mean, it’s very interesting. I mean, one of the things that when you work on projects like this, they become really passions and part of who you are as an individual in your life. I mean, we’ve worked on this project for more than 12 years.

[00:05:49] Andy Bast: And, you know, the one thing that Thelma brought to the table, who if you haven’t met her, I mean, she’s a, she’s just a tremendous person. Mm-hmm. But, you know, so much energy and leadership put into a, a small being. Mm. So but her presence is 100 times of w- what her stature is. Mm.

[00:06:07] Lakya Roberts: That smile.

[00:06:09] Andy Bast: And I think that, you know, part of what she had this vision.

[00:06:12] Andy Bast: She didn’t know exactly what the design of the project was- going to be, but she had a vision of who she wanted the Studio Museum in Harlem to be. Mm. And that was the mantra that she carried through for the entire creation of the, of the institution, through fundraising, through approvals, through design, through construction.

[00:06:35] Andy Bast: And she had tremendous partners in the board and other members of the staff that just followed her. I mean, she was became, in essence, the Pied Piper- Mm … of for the Studio Museum, in that this is where she wanted to take the project. Mm-hmm. And everyone followed along. And they, and as I mentioned earlier, the leadership from the, the chair of the board, a gentleman by the name of Ray McGuire, who if you’re from New York, everyone knows Ray.

[00:07:02] Andy Bast: But that, that essence and that leadership is what really carried this project through. And it, it’s a, it’s a, a perfect example of tenacity, of perseverance and not giving up. Well,

[00:07:14] Jessica Busch : because there are gonna be challenges on any construction project.

[00:07:17] Andy Bast: D'accord.

[00:07:17] Jessica Busch : For sure. And we’re gonna get into those. But, but it’s the leadership that keeps it moving to a successful-

[00:07:24] Andy Bast: And it’s, it, it’s, it’s so important when you’re doing these public projects where you’re creating bespoke elements and you’re not, you’re not doing something that someone else has done.

[00:07:35] Andy Bast: And, and that’s really the essence of the Studio Museum in Harlem, but, you know, many of these major public, you know, and institutional buildings.

[00:07:43] Jessica Busch : So let’s talk about the location because if you’re from New York, you know, but if you’re not from New York, you might not know. Um, 125th Street in Harlem, it’s about as loaded as you can get.

[00:07:55] Lakya Roberts: Ouais.

[00:07:56] Jessica Busch : So trying to build a museum-

[00:07:59] Lakya Roberts: Right …

[00:08:00] Jessica Busch : on 125th can’t be the easiest thing in the world. But why was the site so important? Why was it worth the difficulties? Um, and how did Harlem and that location shape the design and where, you know, how everything ended up to be?

[00:08:20] Lakya Roberts: Right. So if you think about Harlem and you think of, you know, the Harlem Renaissance- And how all of that culture, and that, and I think that’s the most important thing about Harlem is the culture.

[00:08:33] Jessica Busch : Hum hum.

[00:08:34] Lakya Roberts: It is loud. It is bright. It is unapologetic. And people are gonna be how they’re going to be. Mm-hmm. And I think that’s the most important reason to have that museum in that location. That is where Black pride is. That is where having a block party, which was a significant part of Harlem-

[00:08:55] Jaylen Henderson: Mm-hmm …

[00:08:56] Lakya Roberts: to have creators and dancers and roller skaters.

[00:09:00] Lakya Roberts: There is so much going on in terms of culture- Mm-hmm … in Harlem. Where else would you put it?

[00:09:06] Jessica Busch : Yeah. Yeah. Yeah, yeah,

[00:09:07] Andy Bast: yeah. I, I actually have a funny story real quick that I just thought about. Um, so I’ve been, a, a, uh, I’ve lived in Harlem for over 20 years. I mean, so, uh, my wife and I moved up there in early 2000s, and while the project was going on, which again, as I said earlier, was, has been years-

[00:09:26] Jessica Busch : Which your whole family has-

[00:09:27] Andy Bast: My, my whole family has grown up-

[00:09:28] Andy Bast: now

[00:09:28] Jessica Busch : evolved with as well, yes …

[00:09:30] Andy Bast: with this project. But we were, I was walking my dog in the park about 6:30, 6:45 in the morning, and I saw Thelma, who lives like four or five blocks up from me, walking in the park. She was exercising, so she was moving pretty quickly, and I just said, “Hey, Thelma, good morning. How are you?” She’s great.

[00:09:48] Jessica Busch : So you’re chasing her at this point- Well,

[00:09:50] Andy Bast: I, well, I’m just- … in the park. I didn’t wanna bother her. I bother her enough during the week. I said, “This is Saturday. This is her time.” But there were two guys who were setting up for a barbecue at 7:00 in the morning, and they yell, “Hey. Hey, there’s the museum woman.”

[00:10:03] Andy Bast: And they say, “Hey, Miss Museum Woman, when are you gonna reopen?” And, she’s turned to me. She goes, “Andy, well, what’s the answer to that question?”

[00:10:11] Jessica Busch : And you’re like, “I shouldn’t have walked my dog in here.”

[00:10:13] Andy Bast: Well, I just said, “I’m gonna, it’s gonna be soon. I promise. It’s gonna be soon.”

[00:10:16] Jessica Busch : Wow.

[00:10:16] Andy Bast: So, so I mean, to go back to what Lakya was saying-

[00:10:19] Jessica Busch : It’s family

[00:10:19] Andy Bast: there was, it, that’s what Harlem is. It is family. It’s neighborhood. It’s people looking out for one another. And, like, the sense of pride that this is what they have in their backyard, I think was, it- it’s palpable, and, you know, and it’s really, it, it re- it emanates everywhere. So it was just a story to kinda just reinforce.

[00:10:38] Andy Bast: I, I, I did hurry up and run inside. I was like, “I better get to work today,” even though that was a Saturday.

[00:10:44] Lakya Roberts: That’s that community where, you know, uh, from long ago, everyone knew everyone. And as big as Harlem is and how it’s spread out, it’s still very tight. It’s still very close. Those brownstones mean a lot.

[00:11:00] Jessica Busch : Hum hum.

[00:11:00] Lakya Roberts: So, you know, Harlem, in essence, is that epicenter of Black culture, Black pride.

[00:11:08] Jessica Busch : It, it’s just wonderful because while we joke about it, accountability and close-knit is not a bad thing, right?

[00:11:14] Lakya Roberts: Right. Right.

[00:11:15] Jessica Busch : The studio opened. It’s beautiful. Um, and when we talk about public buildings- We hear it a lot, it gets thrown around.

[00:11:23] Jessica Busch : But in this case, what does it really mean, the idea of having this public, the public access to it, community gatherings? How does that translate into the physical space and the importance of it? Jaylen, I know you and I have talked about this- Yeah … briefly, but, um, what does that look like, and what does that mean?

[00:11:41] Jaylen Henderson: Yeah, to go to Andy’s and Lakya’s point, 125th Street is the liveliness, it is the life of Harlem. So what better place to have the Studio Museum than on 125th Street when you have the likes of the Apollo Theater, you have the, Black Theater. All of these staples of the community- are in that same location.

[00:12:04] Jaylen Henderson: So to have the opportunity to not only invite the public into a space like the, the Studio Museum in Harlem, it also allows the design to, uh, to flow with that. Um, in this case you have the design aspect of the building, which has a reverse stoop. So like the, uh, brownstones, um, which I grew up in in Brooklyn, like it’s still relative.

[00:12:27] Jaylen Henderson: I still have that same sense of pride. You have that feeling, you have that opportunity when you enter the building to essentially come off the street, walk down a few steps, and the building has these doors that can open up and allows you to walk down into the cellar, which actually creates a stoop, an assembly space where you can have that public access, you can have the public programs, and you can have that community gathering space.

[00:12:52] Jaylen Henderson: And, um, it also allows the museum the opportunity to be that cultural icon, um, and really shape the fabric of the Harlem space when you also have programs that, um, allow the public to, uh, to fit in. You have like educational spaces where the museum puts on public programs, where you have students who can come in.

[00:13:14] Jaylen Henderson: So all of those things went into the design, and it made it deliberate in this case.

[00:13:19] Jessica Busch : And I was gonna ask you, so when I hear something about a cultural institution and a community anchor, community spaces, I immediately think tension in terms of construction and planning. Was there tension? How were these spaces balanced?

[00:13:36] Jessica Busch : What does that look like from a construction standpoint?

[00:13:38] Jaylen Henderson: Well, I think in this case, the tension of being on 125th Street, it’s a busy corridor. Mm-hmm. So, uh, you have neighbors, you have all of these, uh, DOT stipulations or other, uh, things that prevent you from building in typical, uh, construction ways. But it’s New York City, those are things you have to deal with.

[00:14:02] Jaylen Henderson: Um, but I also think the museum- And, uh, the, the staff and everyone involved, they made sure the community was very involved in this- Mm-hmm … um, made sure they were aware of everything that was happening. So although there were many challenges, like any project, I think as far as tension-wise, most people in Harlem were excited to see this- Yep

[00:14:22] Jaylen Henderson: building built. So I think, um, at that point they wanted to, to, they wanted to see it built. So, um, they were well aware, and I think they were receptive to the museum being-

[00:14:33] Jessica Busch : So even with a, a dual personality building-

[00:14:36] Jaylen Henderson: Yeah …

[00:14:36] Jessica Busch : there were, there was the support.

[00:14:38] Lakya Roberts: There- I remember early on- Yep … we had those community events- Yes.

[00:14:42] Lakya Roberts: Yep … where we had people come out and talk about what was being done, what was being built, how that would affect the community. Mm-hmm. They had large turnouts. Yeah. People wanted to know what was going on. Yeah.

[00:14:54] Jaylen Henderson: And then just putting those designs, like being purposeful and making sure that the design of the building was built for the community, it helped ease a lot of those tensions.

[00:15:03] Lakya Roberts: Nice.

[00:15:03] Andy Bast: Yeah, I mean, we, we were in front of the community board, uh, more, dozens of times, I mean, during design and during approvals, just so that people were comfortable. Mm-hmm. And therefore, when we got into the actual logistics of construction, uh, they became… There was a lot of excitement rather, and rather than focusing on the negatives of the impact, it was more about, “Well, we know that this is, in essence, short-term pain for long-term gain.”

[00:15:28] Lakya Roberts: Mm.

[00:15:28] Andy Bast: And- Well,

[00:15:29] Jessica Busch : their wants were heard-

[00:15:30] Andy Bast: D'accord.

[00:15:31] Jessica Busch : Right … takes out any sort of confusion or uncertainty about what’s going to be very transparent.

[00:15:37] Andy Bast: And that process is, can be very successful in the development of these public-facing buildings because you’re, you’re creating the vision of the long-term excitement so that therefore the discussion of the, the interim construction conditions can be more minimized because people know that this is only short-term.

[00:15:55] Andy Bast: Yeah. And we know what we’re getting.

[00:15:56] Jessica Busch : Yeah. Mm-hmm. So know what we’re getting, let’s talk about funding. Let’s talk about money, right? Um, it is never simple. I have not heard of a single project like this that has ever been a straight line. So, uh- I’m assuming- multiple sources of funding. Um, city dollars, private.

[00:16:23] Jessica Busch : How does the budget, how does that structure around this?

[00:16:27] Lakya Roberts: Hum hum.

[00:16:27] Jessica Busch : Um, Lakya?

[00:16:29] Lakya Roberts: Ouais.

[00:16:30] Jessica Busch : I’m gonna hand this question to you.

[00:16:31] Lakya Roberts: You

[00:16:32] Jessica Busch : know what- What did it mean-

[00:16:33] Lakya Roberts: Yeah …

[00:16:33] Jessica Busch : to you managing this from day one from a funding standpoint?

[00:16:35] Lakya Roberts: Well, you know, we came in as we do, um, prepared, overly prepared to, you know, show

[00:16:43] Jessica Busch : that we have- And knowing you-

[00:16:44] Jessica Busch : I know that’s true.

[00:16:45] Andy Bast: Absolument.

[00:16:46] Lakya Roberts: Showing, showing that we have everything ready. And, you know, uh, starting off with the city funding aspect of it and working with the city, um, that was also a monthly process. We’re meeting with someone from the city every month to go over what was being done. And so- But no

[00:17:06] Jessica Busch : surprises.

[00:17:07] Lakya Roberts: Yeah. Minimal I know my part.

[00:17:09] Jessica Busch : Minimal.

[00:17:10] Lakya Roberts: Not in controls. But yeah, you know, we came in with the city and showing them what our monthly budget structure looked like, and it was just, “No, change it all around.” And that for us was a manual process.

[00:17:26] Jessica Busch : Mm.

[00:17:26] Lakya Roberts: And there were, you know, how we structure our budget had to tailor to the city as we were, you know, showing the city what was being spent.

[00:17:35] Lakya Roberts: And then there was a sit-down with Studio Mu- Museum and the city to say what was not going to be included in the city budget- Mm … and what we can. And usually it’s structurally when it comes to the city is what they’re going to pay for. Um, so everything else has to be, you know, on Studio Museum’s dollar.

[00:17:56] Lakya Roberts: So that’s when the funding came in, the private funding, which was exceedingly amazing. Going to one of the galas and seeing how much was raised for private funding, you sh- you saw the love.

[00:18:11] Jessica Busch : Ouais.

[00:18:11] Lakya Roberts: You saw how much people cared about the project.

[00:18:13] Jessica Busch : Ouais.

[00:18:14] Lakya Roberts: Um, but also dealing on a month-to-month basis with the CM and making sure they had the list of requirements for the city, it was a lot.

[00:18:27] Lakya Roberts: Mm-hmm. We dealt with it. You know, we dealt with the punches of it and getting them on board and making sure that they understood this is monthly, and I’m a little strict- … with how I am with my projects, and if you don’t have it, then, you know, let’s take a pause. But, you know, it was a lot to handle, and eventually it was streamlined.

[00:18:48] Lakya Roberts: Eventually we got it done, and we got this building done.

[00:18:53] Andy Bast: And I think part of it, though, that process was not only with the city, but it was with … We, there was state support.

[00:18:59] Lakya Roberts: Ouais.

[00:18:59] Andy Bast: There was tax credits that were involved in the project, uh, and then there were also requirements of certain private foundations as well.

[00:19:06] Andy Bast: So, you know, that, I mean, Lakya’s a master at sort of l- laying all of that out and understanding sort of how the, the cake is gonna come together with all of the right ingredients. And that’s, you know, part of that process early on, so then therefore you’re not playing catch-up. So she’s- Right … more in control of it than anybody.

[00:19:25] Jessica Busch : Well, when you have to start counting the funding sources like this- Yes, right … it’s- Yeah … this does not mean easy. And

[00:19:32] Lakya Roberts: it makes the spreadsheet a lot bigger.

[00:19:35] Jessica Busch : Wow, okay. So I, I might have to take a pause here before we jump in- to a few more questions, um, about location and getting into those construction challenges.

[00:19:46] Jessica Busch : If you don’t mind, we’ll just take a quick pause. Um, for our viewers and listeners, if you want more, like, subscribe, stick with us. We’re gonna do part two in just a few. Thank you.

[00:19:58] Brad Ducey : Check back in a few weeks as we continue our conversation on the Studio Museum in Harlem, exploring the vision, history, and community impact behind this cultural project.

[00:20:07] Brad Ducey : And don’t forget to subscribe to the Construction Insiders Podcast so you’re notified as soon as new episodes go live.