Search results for "Brooklyn Cultural District"

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Monumental Gains for Women

Brooklyn is slated to erect two statues in honor of Shirley Chisholm
In a city boasting nearly 150 monuments of different men, pioneering politician Shirley Chisholm is set to get not one, but two statues in her honor. Both Mayor Bill de Blasio’s office and New York City Council Member Robert E. Cornegy, Jr., (D-36) have announced separate efforts to erect public artworks in Brooklyn memorializing the legacy of Chisholm, the first black woman elected to Congress. As a former educator and decades-long state legislator, the Brooklyn-born Chisholm inspired a whole generation of women to seek public office. She served New York’s 12th congressional district in the House of Representatives from 1969 to 1983 and was the first women to seek the Democratic Party’s nomination for president in 1972. The mayor’s effort to celebrate her life is spearheaded by She Built NYC, an initiative developed to honor the trailblazing historic women who’ve made an impact on New York. After being nominated during an open call this summer, Chisholm was chosen as the first woman in the program to be honored with a statue. It will be installed outside the Parkside entrance of Prospect Park in 2020. The artist who will design the project will be unveiled early next year.  Council Member Cornegy’s move to commemorate Chisholm’s work is part of a community cultural initiative aimed at highlighting people of color who’ve specifically influenced the Brooklyn neighborhoods of Bedford Stuyvesant, where Chisholm grew up, and northern Crown Heights. This statue, unveiled in a maquette, will be designed by renowned artist Sterling Brown, Jr., in conjunction with the Crown Heights North Association. It’s set to be installed by July 2019 in Brower Park by the Brooklyn Children’s Museum, a two-mile walk from the larger, Olmsted Vaux–designed Prospect Park. Hers will be one of four statues that honor some of the community’s iconic leaders. Once erected, Chisholm’s monuments will make her the city’s fifth female figure to be memorialized in bronze or stone. The Department of Parks announced in August that suffragette leaders Elizabeth Cady Stanton and Susan B. Anthony will receive a statue together in Central Park next fall.
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Laying Down the Law

D.C.’s newest museum goes underground to explore the American police system
The new National Law Enforcement Museum isn’t easy to find, and that’s a good thing. Tucked beneath Washington, D.C.’s Judiciary Square, the 57,000-square-foot facility, which opened in mid-October, is only visible via two glass pavilions that mark its presence on the street. Driving, walking, or pedaling by, you’d never know that under the asphalt lies a structure that dives deep into the history of the policing profession in the United States. In a recent article, The Washington Post noted that the museum, designed by Davis Buckley Architects and Planners (DBA), “exhibits history with a light touch of controversy.” The architecture goes out of its way to minimize that controversy. An attention-grabbing, large-scale structure would have been a mistake given contemporary anger between local communities and law enforcement agencies. The museum goes underground in an apparent sign of humility, but also largely because of the federal building requirements already in place for that specific site. It’s located under a plaza in front of the historic District of Columbia Courthouse, a striking neoclassical building. The museum's pavilions rise 25-feet above the courthouse square, allowing the landmarked structure to retain clear sight lines of the adjacent National Law Enforcement Officers Memorial, which DBA completed in 1991. In an effort to respect this context and comply with public law, the museum was constructed below-grade, rendering it nearly invisible to the public. Despite this, the space is more rooted in light than shadow. The semi-submerged three-story building boasts ample natural light thanks to the aforementioned above-ground transparent boxes that serve as the entrance and exit. As the sole points of access to the outside world, these portals enliven what would have otherwise been a claustrophobic sunken space. The architects chose to make light a central feature of the design, which is helpful considering the sometimes somber nature of the museum’s content. DBA, a local firm, has plenty of experience with the difficult nature of designing commemorative architecture. Principals Davis Buckley and Tom Striegel have created award-winning designs all over D.C., most notably the National Japanese American MemorialTheir work is thorough and thoughtful, two major reasons why the non-profit organization in charge of the memorial plaza and garden, the National Law Enforcement Officers Memorial Fund, chose them again to build out the major exhibition space. The museum is the result of a near 20-year effort. In 2000, Congress passed a bill supporting the project that President Clinton signed it into law later that year. Though constructed on federal land and supported by the government, the $103 million museum was entirely funded through private donations raised by the Memorial Fund. Nearly a quarter of the money was raised through an annual police bike-riding fundraiser. This allowed the vision for the museum to be dictated solely by its supporters. Based on this timeline, the museum's creation was not intended to be a response to this current political moment, but it's hard to detach from the fact that it came online this year at the height of 21st-century racial tension and police brutality in the U.S. The exhibits, as well as, the building's design, don't explicitly confront these issues. Since the museum opened, it’s maintained a relatively low-profile for smart-but-obvious reasons. According to Rebecca Looney, lead director of exhibits and programs, it isn’t here to address current national politics but to give civilians a “walk in their shoes” experience of what it’s like to be in law enforcement. For all intents and purposes, the museum does just that. With an extensive collection of over 20,000 artifacts from historic moments in our nation’s history, such as the handcuffs used by police to arrest Robert F. Kennedy’s assassin to the bulletproof vest that Al Capone wore, anyone who is remotely interested in crime will be gripped. The curation even caters to pop culture enthusiasts with RoboCop’s full costume and clips of Brooklyn Nine-Nine. When a visitor steps into the facility, they get a sweeping view of almost the entire exhibition space simply from traversing the curved, second-floor walkway. With a sneak peek of what’s to come, people of all ages can zero in on the interactive exhibition they’d like to view first, whether it’s hearing about how cops train search-and-sniff dogs or taking a faux emergency call at a police dispatcher’s console. Many of these exhibits are laid out within a single, spacious room that makes other over-crowded local museums seem even more stifling. Several of the museum’s exhibits look at law enforcement through the lens of heroism, but none more respectfully than the small room known as the “Hall of Remembrance.” Photos of officers who have died this year in the line of duty are displayed in row after row on the room's back wall. It’s a startling view, given the wall is nearly full with well over 300 people. The headshots will rotate each year, according to Looney, and will play a special role in National Police Week every May when officers and their families visit for the first time. Other media exhibits show how law enforcement responded to and worked with communities after September 11, 2001, and the Emanuel 9 massacre, among other recent tragedies. One of the museum’s main offerings is a 20-minute introductory video that details the history of law enforcement and current issues officers face every day in police work. It’s set inside a striking, 111-seat theater with dramatic acoustics. According to Looney, weighty topics like police brutality and corruption within the profession won’t be explored in the museum’s main exhibits but will be part of educational programming and temporary shows when possible. Critics are already calling this a major flaw and a missed opportunity.   The National Law Enforcement Museum's completion comes on the heels of the David Adjayedesigned Smithsonian National Museum of African American History and Culture (NMAAHC), which opened in September of 2016. The two museums are starkly different. While the NMAAHC gives much more space to the Black Lives Matter movement and the relationship between the African American community and the police, the law enforcement museum only dips briefly into those issues, touching on the 2014 shooting and subsequent riots in Ferguson, Missouri. Maybe this will change, maybe it won't.   Regardless, the NMAAHC rightfully stands tall in all the glory that its 100-plus years of planning should produce. The Davis Buckley–designed museum for law enforcement—while hidden—is full of light, exuding a subtle poise, and perhaps providing a much-needed point of connection for the American people who are having trouble relating to or caring for law enforcement today. Only time will tell if it makes an impact on our cultural divide. At the very least, the museum will be a place of solace for friends and family who have lost loved ones in this profession, and for those who serve today. The National Law Enforcement Museum is located at 444 E St. NW in Washington, D.C. It’s open Sunday through Saturday from 10 a.m. to 6 p.m. and until 9 p.m. on Thursdays. Buy tickets here.
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Who Runs the World

How city terrain affects runners at the world’s major marathon sites
Looking ahead to this Sunday’s New York City Marathon where over 50,000 runners will traverse the city’s five boroughs, we’re thinking about the roles that topography and urbanism play in the world’s longest running courses. The Abbott World Marathon Majors is composed of six races in four countries, including three in the United States. Though all the host cities are highly-populated metropolitan areas, they vary in size and density and all feature distinct geographies that change the way runners battle through the race. TCS New York City Marathon In New York, runners cross three major bridges and power through the city’s undulating terrain, some of it flat and some of it extremely hilly due to the Manhattan schist that elevates the northernmost parts of the Big Apple. One of the features of this race, and every race within the World Marathon Majors, is that it gives people—not cars—the chance to take over streets and other major pieces of infrastructure. Now in its 48th year, the marathon starts at the edge of Staten Island. Runners get an initial high over the 13,700-foot-long Verrazzano-Narrows Bridge, a Robert Moses-backed project, and run north up 4th Avenue from southern Brooklyn to Greenpoint. After a brief stint in Long Island City, Queens dotted with shiny, new towering residential properties, runners cross the Queensboro Bridge and begin a six-mile jaunt through Manhattan, the Bronx, and back into Manhattan to the end in Central Park. As one of the world’s most walkable cities, runners will have plenty architectural distractions along the 26-mile route. But with a total ascent of nearly 853 feet and a maximum elevation of 195 above sea level, the long and swelling course in New York is not for the faint of heart.  Tokyo Marathon The youngest race in the World Marathon Majors, the Tokyo Marathon has existed since 2007 and features little change in elevation due to the city’s location on the coast of Japan. Rising to just 134 feet above sea level, but largely maintaining an average of 5 feet above grade, the extensive course zigzags through the heart of the city and across the Sumida River.   The race begins at the Kenzo Tange-designed Tokyo Metropolitan Government Building, a 48-story tower that, though surrounded by other gray-toned architecture, still maintains its identity as a landmark in Tokyo. The building resembles a giant, cathedral-shaped computer chip. The course heads directly east toward downtown Tokyo past the 19th-century Imperial Palace, then loops through Asakusa, home of the famous Buddhist temple, Sensō-ji, down to Koto, through Ginza, and the Shinagawa business district in Tokyo Bay. Runners will end the race by cutting through Hibiya Park and hitting Tokyo Station. It’s the only course in the competition where participants double loop the parts of the route. The Boston Marathon As the world’s oldest annual marathon dating back to 1897, the Boston Marathon is also New England’s largest sporting event, attracting over 50,000 spectators and 30,000 participants. The historic course runs straight through eight cities and towns in the Boston metropolitan area, starting on East Main Street in Hopkinton and following Routes 35, 16, and 30. Finishers cross into downtown Boston and end near the John Hancock Tower in Copley Square after largely descending in elevation from the top of the course. The long route allows runners to explore Boston’s Middlesex County and race by the scenery between each colonial town. Overall, the race is very hilly. The course begins at 450 feet above sea level and drops drastically, eventually resting around the 150- to 200-foot mark from miles 3.5 to 15. From Newtown to Brookline at mile 19, runners will climb the infamous Heartbreak Hill before descending to sea level in the last two miles. Bank of America Chicago Marathon Beginning and ending in Chicago’s own front yard, Grant Park, runners go through 29 neighborhoods in one large loop, with each of the city’s main stadiums set as turning points. As one of the most architecturally revered cities in the U.S., runners have the opportunity to pass by some of Chicago's stand-out structures and get a feel for its physical and cultural diversity. The 45,000 participants start the flat race in downtown Chicago, catching glimpses of Millennium Park, the mid-century Prudential Building, and the Loop. After crossing north up LaSalle Street to Lincoln Park, they’ll hit Wrigley Field at mile 8 before heading south to Old Town, which sports Chicago’s Victorian-era homes, as well as St. Michael’s Church, one of the only buildings still standing from before the Great Chicago Fire of 1871. In the industrial River North neighborhood, runners will fly by Merchandise Mart, home to galleries, as well as residential and design showrooms. On the West Side of Chicago, participants pass by the famous Union Station and St. Patrick’s Church, the city’s oldest public building, before hitting Little Italy, Pilsen, and all its wall murals, as well as Chinatown. Before heading back up Michigan Avenue to Grant Park, runners go by the campus of the Illinois Institute of Technology, which is next to Bronzeville, a place called the “Birthplace of the Blues.” In the historic Gap section of the neighborhood, Frank Lloyd Wright built a set of rowhouses. BMW Berlin Marathon Established in 1974, today’s course for the Berlin Marathon hasn’t always been in place. Before 1990, the race was held solely on the city’s west side. Just months after the fall of the Berlin Wall that June, participants were able to run through East Berlin with tears in their eyes. The course today is configured in a large loop. It starts at 38 meters above sea level and never rises above 53 meters. It’s largely flat and features very few sharp corners, making it one of the fastest long-distance routes in the world.   Runners begin at the neoclassical Brandenburg Gate in the historic Pariser Platz. They then head west through Grober Tiergarten Park before crossing the river Spree. Heading into East Berlin, participants loop through Friedrichshain, Neukölln, Kreuzberg, Schoneberg, and Steglitz, eventually going into Charlottenburg, and downtown Berlin. Because of the city’s stark past, Berlin is relatively young and many major developments are less than 30 years old. Runners will start in an iconic and old part of the city, but eventually stumble upon newer structures such as Norman Foster’s Reichstag building and Potsdamer Platz, the city’s main square with a masterplan by Hilmer & Sattler, and designs by Renzo Piano and Helmut Jahn. Virgin Money London Marathon Following the flow of the River Thames, the relatively flat London Marathon attracts amateurs, charity fundraisers, and serious runners from around the world. It started in 1981 and the slithery course—which begins in Blackheath, passes through Greenwich, and ends in St. James near Buckingham Palace—has barely been altered since the original race 37 years ago. Participants travel through two of London’s major parks, visit dockyards, the Royal Artillery Barracks, and file through the neighborhoods of Deptford, Surrey Quay, and Wapping after crossing Tower Bridge. While the Tube is arguably the fastest way to get around London’s sprawling metropolis, running this annual race gives visitors a chance to see the city at their own pace. Some of the city’s most notable developments are directly on or near the River Thames, such as the near-complete London Bridge Station that’s been in the works for eight years.
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15 Years of The Architect's Newspaper

A brief history of architecture in the 21st century
To celebrate our 15th anniversary, we looked back through the archives for our favorite moments since we started. We found stories that aged well (and some that didn’t), as well as a wide range of interviews, editorials, and other articles that we feel contributed to the broader conversation. We also took a closer look at the most memorable tributes to those we lost, and heard from editors past and present about their time here. Check out this history of architecture in the 21st century through the headlines of The Architect's Newspaper:

2003

Protest: Michael Sorkin on Ground Zero

2004

2005

2006

2007

2008

2009

2010

2011

2012

2013

2014

2015

2016

Crit: AIA Convention (“No more weird architecture in Philadelphia”)
Crit: Spring Street Salt Shed (“In praise of the urban object”)
How institutionalized racism and housing policy segregated our cities
Chinatown residents protest de Blasio rezoning
Roche-Dinkeloo’s Ambassador Grille receives landmark designation
Q&A: Jorge Otero-Pailos: Why the Met Breuer matters
Comment: Ronald Rael on the realities of the U.S.-Mexico border
Detroit Zoo penguin habitat opens
Chicago battles to keep Lucas Museum of Narrative Art from moving
Martino Stierli on the redesign of MoMA’s A+D galleries
WTC Oculus opens
Letter: Phyllis Lambert pleads for Four Seasons preservation
Q&A: Mabel Wilson
#NotmyAIA: Protests erupt over AIA's support of Trump
Snøhetta’s addition to SFMoMA opens
DS+R’s Vagelos Education Center opens
Baltimore’s Brutalist McKeldin Fountain pulverized

2017

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Arctic Addition

New York City’s Pier 17 will transform into a winter wonderland
As summer comes to an end and temperatures begin to drop, the New York City Landmarks Preservation Commission has approved plans to convert the newly revamped Pier 17 into a rooftop winter village during the colder months. The proposal by Rockwell Group will introduce a warming hut, winter marketplace, and ice rink nearly the size of Rockefeller Center's to the city’s waterfront, making the historic South Street Seaport district a year-round attraction. In recent years, the Seaport has transformed into a lively residential and commercial hub, where residents and visitors have been drawn to the area for its top retail, dining, and cultural attractions, as well as its spectacular views of the Brooklyn Bridge and New York City skyline. The winter wonderland idea originated from the urban ice skating rinks at Rockefeller Center and Bryant Park, which have historically been popular seasonal attractions. The design is further inspired by a set of five different materials that the firm wanted to celebrate in connection with the neighborhood’s rich past as a gateway for international shipping and maritime activities. Those materials include bronze, teak, commercial barrels, cargo units, and ice. While only temporary, the installment will cover over 50 percent of the rooftop of Pier 17, a massive 30,000 square feet. The renovation of Pier 17 and its subsequent winter addition are parts of a larger plan to bring new restaurants, shopping centers, and family-friendly public spaces to a neighborhood that is drenched in history. There is no doubt that Pier 17 will achieve this goal, as it has already helped revive the vibrant and effervescent neighborhood, contributing to Lower Manhattan’s recent evolution into a community that never sleeps. Pier 17’s rooftop is known for hosting several sold-out events ranging from comedy shows to concerts. Still awaiting completion are two restaurants by celebrity chefs David Chang and Andrew Carmellini, as well as a 19,000-square-foot ESPN studio.
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Architecture in the Aftermath

2001–2018: Looking at the architectural history of the World Trade Center
In the early aftermath of September 11, 2001, New York City showed incredible resilience as people banded together to support those who were affected by the tragedy. The fateful day's horrific events took thousands of lives with the collapse of the two tallest towers in the United States, leaving rubble and wreckage at Ground Zero. In an effort to reclaim the site as a powerful and beautiful place to work, gather, and reflect, an unprecedented wave of downtown development began 17 years ago. We've all watched the city build—from scratch—a new complex that doesn’t replace history, but strengthens it. The new World Trade Center stands today as a place of remembrance and as an architectural marvel of the early 21st century—one that was built at an extraordinarily aggressive schedule and isn’t done yet. With a master plan designed by Studio Libeskind, the 16-acre site includes a handful of office towers, cultural facilities, commercial spaces, and parkland all conceived by world-class architects working within the confines of a nationally significant property. One of the most-anticipated upcoming projects, a performing arts center by Brooklyn-based studio REX, is now under construction with an estimated completion date between 2020 and 2022. In honor of the anniversary of 9/11 and what’s to come for the booming site, here’s a look back at the history of the structures that now populate the grounds and the few that remain to be built. 7 World Trade Center Designed by SOM’s David Childs, this 52-story tower was the first completed building to open on the site in 2006. The award-winning structure was also the first office building in New York to be LEED Gold–certified. Its reflective skin features floor-to-ceiling glass panels that reflect the tone of the sky, allowing its westward-facing facade to seemingly disappear from sight. At night, LED installations line the base of the tower with text art from artist Jenny Holzer. 4 World Trade Center Finished in 2013, this Fumihiko Makidesigned office tower stands 72 stories tall with 140,000 square feet of retail on its first five floors. Home to Eataly, H&M, and Banana Republic, it’s part of the Westfield World Trade Center shopping mall, which extends into the adjacent transit hub designed by Santiago Calatrava. Maki and Associates’ minimalist design includes a glazed exterior with colored silver glass that achieves a metallic quality as the light changes throughout the day. The southwest and northeast corners are also drastically indented to provide views for the office space inside.   National September 11 Memorial and Museum The 9/11 Memorial is the heart of the area's redevelopment. Conceived by Michael Arad and Peter Walker in 2003, the memorial design features two recessed pools set within the footprints of the original Twin Towers. These large black voids receive continuous streams of water, with the names of victims etched in the black stone’s edge. The National September 11 Memorial Museum, created by Davis Brody Bond in collaboration with Arad and Walker, houses the physical building blocks of the former WTC campus as well as found artifacts, written articles, and gathered anecdotes from the day of the attacks. Completed in 2014, the 110,000-square-foot museum features an above-ground glass pavilion designed by Snøhetta that welcomes visitors into a light-filled space before descending 70 feet below into the cavernous Foundation Hall, built around one of the original towers' retaining walls. One World Trade Center Designed by SOM’s David Childs, One WTC rises 1,776 feet to the top of the New York City skyline. The 104-story structure opened in spring 2014 with its first tenant, Condé Nast, moving in later that year. The iconic building's form is shaped by eight isosceles triangles that interlock in such a way that the floorplans, square at both top and bottom, are octagonal in the middle. The base of the structure features 2,000 pieces of prismatic glass that refract the changing light throughout the day. Oculus The $4-billion architectural object housing the revamped World Trade Center Transportation Hub features the winged design of Santiago Calatrava. Designed to resemble a bird in flight, the striking structure opened in May 2016 after years of construction delays and budget overruns. Now, it’s the site of the aforementioned Westfield Mall, situated inside a pristinely-white, soaring interior with a ribbed roof. Each year on September 11, the overhead window panels fully retract to reveal an open skylight that stretches the length of the building. The “Way of Light” annually shines through at 10:28 a.m. when the second tower fell. Liberty Park Designed by AECOM’s landscape studio, the 64,000-square-foot Liberty Park is set atop the World Trade Center’s vehicle screening center, providing unmatched views of the memorial and surrounding office complex. It opened in 2016 to rave reviews as the only public part of the site that’s easily walkable, providing a simple pedestrian pathway from east to west. The one-acre open space features ample seating, 19 planters, and a 300-foot-long green wall. Also situated within the park is the Calatrava-designed St. Nicholas Greek Orthodox Church, currently under construction but stalled due to fundraising issues. 3 World Trade Center Richard Rogers’s design for 3 WTC was completed earlier this summer as the 1,079-foot tower welcomed its first tenants in June. Designed with a stepped profile, the tower’s corners are accentuated by stainless steel load-sharing trusses that allow for column-free interiors and unobstructed panoramic views of the city. The building also features a 5-story podium and three large-scale terraces. 2 World Trade Center Originally planned with a design by Norman Foster, 2 WTC is the last remaining tower to be built on the campus, now featuring a proposal by Bjarke Ingels Group. The 90-story tower will be made up of seven cuboid volumes stacked atop one another, allowing for green terraces within each setback. Currently, colorful murals wrap around the construction site of 2 WTC as well as the bottom of 3 WTC, showcasing the breadth of new creative talent that’s moved to the Financial District since the new campus opened. Ronald O. Perelman Performing Arts Center Having broken ground just months ago on the northeast side of the WTC campus, the new REX-designed performing arts center will be housed within a translucent, marble-clad box. Through its thin exterior walls, daylight will seamlessly filter into the 90,000-square-foot structure while at night, the white-veined cuboid will serve as a beacon for the site. The building will be divided into three levels with performances spaces and back-of-house support areas. REX unveiled their design for the center in 2016 and construction is expected to be finished within the next two to four years.
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Landmarks Lost

What does the future hold for the leaderless Landmarks Commission?
Though it’s one of the smaller departments in New York City’s large municipal government, the Landmarks Preservation Commission’s impact is as vast as the five boroughs. The regulatory body that identifies and protects the integrity of the city’s most significant structures is an important shaper of its present, future, and the understanding of the past. Yet the LPC finds itself rudderless. On June 1, Commission chairwoman Meenakshi Srinivasan served her last day, having given public notice six weeks before. Mayor Bill de Blasio has not put forward a replacement–and he only filled the vacant vice-chair position last week. (The job went to Commissioner Fred Bland, a prominent architect accused of having conflicts of interest.) The four years of Srinivasan’s tenure marked a significant break, in both substance and style, from her predecessors. To preservationists, Srinivasan has been the most overt supporter yet of the Real Estate Board of New York (REBNY), one of New York City and State’s most powerful interest groups, and preservationists’ most reliable opponent. Because the next appointee will be chosen by De Blasio, as was Srinivasan, preservationists see little cause for hope that her departure will be any more helpful to the Landmarks cause. Just past the halfway mark between De Blasio’s two terms as mayor, it’s an inflection point for his land use program overall. De Blasio has made his affordable housing plan central to the mayoralty, and observers say that it can seem like other elements of land use fall into place around that, rather than being guided by a holistic urban planning agenda. Another recent political move illustrates the dynamic of influence: a move at the state level to eradicate NYC’s longstanding floor area ratio (FAR) zoning requirements has no support from city representatives, but plenty from upstate legislators who are courted by REBNY for votes. “This mayor seems not to have a personal opinion about preservation,” said Anthony C. Wood, a preservation activist and historian. “It appears he needs REBNY to advance his priorities in affordable housing, so he’s willing to facilitate their priorities when it comes to landmarking.” REBNY tends to oppose landmarking protections as obstacles to new development. Under Srinivasan, Wood said, “The philosophy appears to have been a constrained view of what the Commission can and should do. The strategy seems to have been operationally rewriting the law rather than legislatively.” The ways that Srinivasan’s tenure broke with precedent are many. Based on interviews with LPC staff, commissioners, and preservation advocates, top complaints include: pressure from the chair on staffers to provide certain action recommendations, and on commissioners to vote certain ways; sudden campaigns by the chair to make major overhauls (a rush to clear a decades-long backlog between 2014 and 2015, and a push for rules changes this year are just two examples); moving some business from the portfolio of the Commission to that of the staff, thus removing these items from public deliberation; a lack of interest in maintaining high standards for historically congruous building envelopes and materials; a demoralized and overworked staff with higher-than-normal turnover and open positions that go unfilled, and a commitment to outer-borough landmark designations, even when they come before at the cost of more-deserving Manhattan locations. One such example is the designation of the Coney Island Boardwalk–which is no longer all-wood, nor in its original location–as a feel-good photo-op, while the history-drenched Bowery between Cooper Square and Chatham Square, recognized by the National Register of Historic Places, has been rebuffed by LPC and is being redeveloped day by day. Other sources of preservationist angst include the potential razing of iconic Lower East Side tenements that served as a crucible of American immigration, as well as Sunset Park, Brooklyn, where a historic district desired by residents has not been embraced by the LPC, among many examples. But the Mayor’s office points to a variety of Srinivasan’s actions as meaningful achievements, and anticipates nominating her replacement this summer. Not only did the LPC designate over 3,800 buildings and sites across the five boroughs during her tenure (including 67 individual landmarks, 3 interior landmarks, 1 scenic landmark, and 9 historic districts); it ruled up or down on the many “calendared” properties that had never had hearings; enhanced the consideration of cultural, not just architectural, significance for designations, and created new online databases, such as this website about NYC archaeology, among other initiatives. Asked for specific comment on several questions, REBNY, for its part, supplied a positive review of Srinivasan, who previously chaired the city board that reviews requests from property owners for zoning variances. REBNY President John H. Banks said: "As she did at the Board of Standards and Appeals, Meenakshi effectively balanced competing interests for the public good. She did a terrific job of fairly administering the Landmarks Law, protecting our city's architectural and historic resources, and professionalizing the operations of the agency to benefit all New Yorkers.” Michael Devonshire, a LPC commissioner and the body’s most outspoken preservationist, isn’t so sure. Devonshire has held the unpaid volunteer post since 2010, while working as director of conservation at the architecture and preservation firm Jan Hird Pokorny Associates, and as a teacher at Columbia University. He worries about the Commission’s recent turn toward approving more ahistorical modifications to landmarks. “We have been given a legacy in this city of buildings that are culturally and architecturally significant, and we have the ability to recognize that and designate buildings and districts,” said Devonshire. “My fear is that the incremental loss of the significant sites and buildings results in an aggregate loss for the generations to come. You can’t recreate them.” On its best day, the LPC faces an uphill battle because adding new landmarks and historic districts means continually increasing its own regulatory workload. It remains to be seen whether the Commission can regain its footing under a new chairperson. Advocates say they are not optimistic about a “true preservationist” being appointed under Mayor De Blasio, and they’re wary of naming favorite candidates for fear of jinxing their chances. (REBNY also declined to name a shortlist.) Instead, Simeon Bankoff, executive director of the Historic Districts Council, said it’s not about who, but what. Bankoff says the mayor should instruct the new chair to do three things: “Respect their promises to neighborhoods who want to be landmarked (e.g. Sunset Park). Make preservation an actual part of the municipal planning process (e.g. in Gowanus, East Harlem, the Bronx, etc.). Stop signing away the farm to every plush bottom with a fat wallet.” Soon he’ll find out whether, in De Blasio’s New York, that’s too much to ask. Karen Loew is a writer in New York. She worked at the Greenwich Village Society for Historic Preservation from 2013-2015.
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AN Exclusive

Landmarks chair shares exclusive details on her resignation
After less than four years, Meenakshi Srinivasan announced yesterday that she is leaving her post as chair of the Landmarks Preservation Commission (LPC), the city agency that stewards New York City’s historic built environment. During her time at the agency, the LPC designated 3,800 buildings, a total that includes 67 individual landmarks, nine historic districts, and three interior landmarks. On June 1, Srinivasan is trading government work for a job in the private sector after an almost three decade career in public service. Before she joined the LPC in 2014, Srinivasan chaired the Board of Standards and Appeals (BSA) for ten years, and prior to that, she worked in the Department of City Planning (DCP). The Architect’s Newspaper (AN) sat down with the outgoing chair to talk about her tenure, her next steps, and the (sometimes controversial) decisions she presided over. AN: Why are you leaving the LPC? Meenakshi Srinivasan: I’ve been very fortunate to have been at three land use agencies and also very fortunate to have chaired two commissions, the Board of Standards and Appeals as well as Landmarks. It’s been incredible, but it’s been 28 years. It really seems like the right time to move to the private sector and use my skills elsewhere. I feel emotional about the fact that I’m leaving government, but I think we’ve achieved a lot in the last four years. What have you accomplished as Chair? There are three areas I’m very proud of. I’m very, very proud of our designation agenda. I’m proud of our transparency initiatives, and I’m proud of our ability to reorganize the agency to be much more efficient and [move] the agency forward through the lens of equity and diversity, transparency and efficiency. Within that agenda, our strategic plan has been faithful. It has been to be more efficient within the designation process, [particularly with regards] to the backlog.* The second thing is just for me as a planner, personally, is to really allow preservation to be a critical part of the planning process. And the third is, we want to continue to look at areas that are not represented by designations, but there are stories to tell that really speak to histories of all New Yorkers. The agency has this wealth of knowledge and scholarship that people should have access to, and we have all this information about our regulatory process and that should be transparent and accessible, too. The first thing we did is we put all the information that comes before the commission on our website. In the last four years, we have put all our designation reports on our website so people can access them. We’ve created this interactive map, which includes all our designations and has the ability to connect and links to designation reports. Most recently, we’ve created a very, very robust database which provides data on each individual building that has been designated. We created a database that allows people to access information on staff level approvals as well, so you can find out the status of your project. This kind of information is very important to community groups who want to know what’s happening, what these buildings are about, but also to homeowners and property owners, so they can understand the basis for designations. Where are you landing next? I’m doing some work with New York Law School in their Center for New York City Law and working with the dean and founder of the center to develop curricula, and I’ll continue from there. Do you know who’s going to replace you at Landmarks? The vice chair position is vacant. I don’t, but I’ve been working with this administration and internally on the transition. I’m here for another five weeks. How would you assess the state of historic preservation in the city right now versus four years ago when you became Chair? You know, historic preservation is very critical for New York. I think it’s what makes the city diverse, dynamic, so I think that will continue. I think there’s always an issue of balance. The city should grow as well and we continue to survey areas that should be designated and should be protected. I think the other thing is that when we think about landmarking, it doesn’t really mean that nothing can change. I think the Commission, historically, has allowed for change within historic districts, and our role is really to ensure that those changes are consistent and compatible with the prevailing historic character. I think that will continue. One of your initiatives you alluded to earlier was a push for historic districts outside of Manhattan. How is that going? How will that initiative be continued under the next Chair? We have done some pretty significant historic districts outside of Manhattan, but I just would say that it’s not only outside Manhattan, it’s also areas that may not be as well-represented in Manhattan. We did a really interesting one in Ridgewood, Queens and a portion of Brooklyn, which is really a working class neighborhood that actually has a very strong architectural character to it and very uniform. We did Crown Heights North, I think it’s the third extension as well as the Bedford Historic District, which [overlaps with] one of the largest African American community in the nation. More recently, we did Mount Morris Park Historic District [Extension] in Harlem, and currently we are looking at Central Harlem Historic District, which is between 130th and 132nd Street—a microcosm of the Harlem Renaissance in the early part of the 20th century, that also includes the civil rights activities there. Even without me, I think we’ve got various things in the works that will be continued. The Commission often hears from passionate stakeholders on all sides. In March, Human-scale NYC, a coalition of preservation and neighborhood groups, wrote a letter that called for your replacement and claimed that you “serve the interests of big real estate.” How would you respond to those who believe the LPC placed real estate interests ahead of historic preservation during your tenure as Chair? I think there’s no truth in it at all. People have opinions—they may not like everything that I do, but I stand by all the decisions we’ve made. I think my agency has been very thorough and so has the Commission; I don’t see any radical shifts in the way we have regulated our historic districts. The Commission has always been open to modern buildings and contemporary buildings in historic districts. That hasn’t changed. If you actually go back and look at the projects that we’ve done, you’ll see that the scale of these buildings are very much consistent with the surrounding context and there’s a lot of rigor in how we evaluate these decisions. I would say that a group may come up and identify a whole series of reasons why I’m unpopular, but I think if you go beyond that and see for yourself, there’s nothing really there. Many people were upset, for example, at the way the changes to the Sasaki plaza at Citicorp were regulated, and about the approval of the demolition permits for the AT&T Building lobby, and the designation of the Ambassador Grill and Lounge that excluded a sunken lounge and connecting hallway. I know preservationists have made their concerns about these and other issues known to the LPC loud and clear. How would you respond to those who say there needs to be more transparency around changes to major buildings? Right, well I think that it’s interesting. There is transparency. The reality is that we do receive requests to designate buildings. Our research team evaluates them. We then bring them to the Commission. The basis of why we think they should be designated or what areas we’re considering is explained. We have standards and we want to apply them consistently. In the end, the reality is we did do Ambassador Grill. For AT&T, we calendared the building, so the issue over there was really about the lobby. That was discussed and there were reasons why the lobby was not considered meritorious. I just want to go back to one thing because you raised this issue about this letter. People can try and dovetail these things together, but I’ll just be very upfront with you. I’ve been thinking about [leaving] for some time, probably the end of December, early January. As a public figure, people will say things and [they] may disagree with you. I’ve been a public figure for 14 years. I don’t know if those things necessarily would make me back down, just in case you’re thinking that there could be something like that, but I’ve been doing this for 28 years and I think we’ve done great things here, but there are other things to do. In a different letter, leading preservation groups that the LPC consulted with on its proposed rules changes recently wrote a letter to you asking for those changes to be withdrawn. How will preservationists’ concerns be addressed as discussion around the proposed changes continues? We allowed the comment period to go on until May 8, but the outreach process that we’ve done many times before involves us summarizing these comments and bringing [them] before the Commission. The staff does that. Since the [March] hearing, we’ve continued to do outreach and explain to people why we believe the rules are beneficial and why they’re beneficial for preservation. What are you most proud of in your work here? One of the things that I’m very proud of is that we’ve put more emphasis on cultural landmarks. That’s been very important to me, because it has given us the ability to talk about more abstract things that are not necessarily related just to buildings, but are really important to the history of New York. The Stonewall Inn, for example, is a very modest building, but it propelled the LGBT movement. The Stonewall Inn is indicative of New York’s progressive values of tolerance and inclusivity. That means a lot to me. When we think about cultural history, we did two buildings on Broadway which are cast iron buildings. You see these in Noho and you see them in Soho, but what made them unique is that it had this amazing [tie to] the abstract expressionist Willem de Kooning. And more recently, the historic district that we’re bringing forward in May in Central Harlem speaks to the Harlem Renaissance, but also about civil rights and social justice. And finally, Coney Island, which has changed over time, but it [remains] one of the most recognizable places in New York. I mean, everybody goes there. Cultural landmarks have always been a complicated issue, but I think we’ve been very—I wouldn’t say aggressive, but—I think we really wanted to advance that as a part of how we think about preservation in New York. Do you plan to stay involved in preservation in any way? My thoughts are really to go back to planning and zoning. That’s what my background is, but when you think about cities in general, preservation is just part of it. I think I’ve just been lucky to have this preservation experience as well, because I think it rounds off something for me. At City Planning and at the BSA, we were dealing with preservation issues all the time. It’s just part and parcel of New York. Any advice you’d give to the next Chair? It’s a great place to be. Enjoy the experience. We have an incredible staff that you can rely on. Just be prepared because it’s definitely a field which, as you’ve pointed out, stakeholders are very passionate about. So, have your eyes and ears open to listen to all that, as well. This interview has been edited and condensed for clarity. *The LPC prioritized 26 properties out of 95 for designation that had languished on a list of potential landmarks for years, sometimes decades. This was completed over an 18-month period between 2015 and 2016.
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Introducing...

AN profiles the 2018 Emerging Voices winners
The Architectural League of New York’s Emerging Voices award and lecture series highlights individuals and firms with distinct design “voices,” singling out those with the potential to go on to even greater heights. 2018 saw two rounds of judging; first by a panel of past Emerging Voices winners, and a second to pick the winners. The first-round jury included Virginia San Fratello, Sebastian Schmaling, Wonne Ickx, Lola Sheppard, Marcelo Spina, Carlos Jimenez, and Marlon Blackwell, as well as members of the second-round jury, Sunil Bald, Lisa Gray, Stella Betts, Jing Liu, Paul Makovsky, Tom Phifer, Chris Reed, and Billie Tsien. Selected architects this year ranged in size and scope, but all of the firms presented a clear vision throughout their projects. There was a definite focus on the innovative designs coming out of the south and southwest this year, as three of the eight winners are based in Mexico; only two studios from the East Coast made the cut. AN profiled all of the firms below in our February print issue. Interested readers can catch the in-person lecture series from this year’s crop of winners at the SVA Theatre on 333 West 23rd Street in Manhattan, on March 1, 8, 15, and 22. Luis Aldrete’s collaborative practice elevates the quotidian Luis Aldrete’s Guadalajara, Mexico-based practice, founded in 2007, works across a variety of scales and types, from small public facilities to housing towers. “We like to work directly with those executing our designs to create what would otherwise be impossible,” architect Luis Aldrete explained, describing the hand-in-glove relationship his elemental practice has with the workers who build his projects. “What we can achieve using mostly our hands is incredible.” AGENCY uses deep research to push architectural boundaries Ersela Kripa and Stephen Mueller started AGENCY to consider the margins of the world. “We use our architectural training to uncover the shrinking of individual agency in public space and the reduction of human rights or potential human rights violations,” Kripa said. Working out of El Paso, Texas, the pair deploys words, maps, wearables, and installations to uncover contradictions in liminal spaces like military training sites, refugee camps, and borders—especially the one between the United States and Mexico. Comunal: Taller de Arquitectura deploys vernacular construction in Mexico’s traditional communities Since establishing their practice in 2015, Jesica Amescua and Mariana Ordóñez Grajales of Mexico City-based Comunal: Taller de Arquitectura, have continually worked to push the limits of their socially guided architectural practice and the architecture and building that result from it. Through built projects and academic research, the office also works to stave off the modernizing—and standardizing—effects of market forces and government regulation, which can produce alienating, short-lived structures and can often disincentivize the use of trusted materials like bamboo and thatch. Brooklyn’s Future Green wants to change the way we think about weeds For the Brooklyn, New York-based landscape architecture firm Future Green, “spontaneous urban plants” are part of a patchwork ecology that has the potential to transform our cities. Future Green’s work is another part of that ecology. A picturesque quality pervades Future Green designs, particularly architectural collaborations like the Atlantic Plumbing residences in Washington, D.C., with Morris Adjmi Architects, and 41 Bond Street in New York, with DDG. At Atlantic Plumbing, the 300-foot-long planted window boxes contribute to the building’s postindustrial character, while the plants climbing up from 41 Bond’s facade were inspired by a visit to the quarry that provided the building’s stone. Future Green will sometimes maintain these types of projects for years after their completion to learn how the plants respond and evolve.   In Buffalo, Davidson Rafailidis tackles big challenges with unique sensibility In Buffalo, Davidson Rafailidis tackles big challenges with unique sensibility">Spatial planning is king at Davidson Rafailidis. It has to be, because the small husband-and wife-run studio is focused on designing tight projects with equally tight budgets that can be adapted for long-term use. “In the end, the realized projects are very similar to essays,” explained Davidson. “When the project is inhabited and really comes alive, we always try to keep tabs, even on private projects, to see how they’re used and what changes and what needs to be adapted. We see that as ongoing research, to see how people respond to our ongoing spatial interventions.” For Mexico City-based Fernanda Canales, uncertainty is part of architecture For Mexico City–based Fernanda Canales, uncertainty is part of architecture">After studying architecture at prestigious schools in Spain and Mexico, Fernanda Canales quickly discovered that the rigorous techniques she had learned had little relevance in the real world. Since starting her firm, in 2002, she has opted for a more flexible, thoughtful, personal approach. LA-Más’s vibrant, socially conscious architecture sweeps L.A. For LA-Más, architecture does nothing if it doesn’t address a need. Guided by co-executive directors Elizabeth Timme and Helen Leung, the nonprofit urban design organization believes that too many young architects have become disconnected from this fundamental aspect of the discipline. By combining expertise in both design and policy, and by forming productive partnerships with other nonprofits, community groups, and local governments, the duo is creating street-level strategies for empowering communities that are often overlooked or threatened by demographic shifts. Modus Studio gets ahead by sticking to its Arkansas roots Modus Studio might have started in 2008 as a two-man operation in cofounder Chris Baribeau’s back office, but the firm’s expansion to 24 people and a full fabrication shop shouldn’t have come as a surprise. The office’s intensive focus on the surrounding Arkansas environment and their hands-on approach have drawn attention both inside and outside of the state.
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BOD #23

Archtober Building of the Day #23: Downtown Brooklyn Cultural District
This story is part of a monthlong series of guests posts by AIA New York that feature Archtober Building of the Day tours. See the full 2017 schedule here. Though it might be easy to mistake 300 Ashland for another trendy tower dotting the Brooklyn skyline, upon closer inspection it’s anything but ordinary. The sensitivity and vision of its design is remarkable, particularly when it comes to the way the tower interacts with its surroundings. 300 Ashland is centrally located at a unique triangular intersection in the heart of the Downtown Brooklyn Cultural District, at the intersection of Flatbush, Ashland, and Lafayette Avenues. The mixed-use building will feature 379 apartment units, first floor retail space, and will also become the new home of a number of cultural tenants, including MoCADA, Brooklyn Academy of Music cinemas, and a new branch of the Brooklyn Public Library. 50,000 square feet of performance, gallery, archive, and program space will be integrated into the building for these organizations, effectively extending the BAM campus and creating a cultural hub for the community. This is part of the reason that the architects view 300 Ashland as a civic proposal, despite it being a residential building. As such, much attention was given to the way the building interacts with the street and the community. The success of the project relies on TEN Arquitectos' belief that all architecture is on some level public, regardless of program, and the architects prioritized the creation of public space around the project. The result is an open, inviting, terraced public plaza that acts as a civic space and welcoming area for visitors to the cultural organizations within. As Andrea Steele of TEN Arquitectos explained, “We could have built to the property line, which is the street, and we could have made the tower taller.” Yet instead of maximizing square footage, the architects worked with the developer to “give a piece of this project back to Brooklyn.” And by designing to take up less of the overall site footprint, 15,000 square feet were indeed given back to the city in the form of public space. Of course, the architects acknowledged that the project is a business and needs to make money—and with a clever tweak that moves the cultural spaces to the second floor while preserving street level entrances, the space for retail was maximized. At the time of its conception 14 years ago, there were no other towers in the area; the iconic Barclays Center had not even yet been planned. What was there, of course, was the historic 1 Hanson Place, better known to most as the Williamsburg Savings Bank tower. Since the historic tower was completed just prior to the Great Depression, it stood alone for more than half a century in an area that had been planned to support large–scale building projects. For TEN Arquitectos, respecting that building and its residents became a driving force behind the design of 300 Ashland. The façade shifts back to not only provide an additional terrace, but in doing so preserves the uninterrupted view corridor of the historic tower. Archtober did tour some of the small but bright and immaculately finished apartments, and take in some of the incredible views from the tower’s 33rd floor. We may not all be able to live there, but thanks to an inviting plaza and cutting–edge cultural space integrated in the project, we can all enjoy a piece of 300 Ashland. Join us Sunday at the Morris Jumel Mansion!
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OHNY the Good Stuff

Here are some top picks for this year’s Open House New York Weekend
As part of Archtober, New York City's architecture and design month, Open House New York (OHNY) is presenting the 15th annual edition of Open House New York Weekend, a two day–long tour series that celebrates architecture and urban design in the five boroughs. The event, which runs from October 14 to 15 this year, lets New Yorkers be tourists in their own city. Along with old OHNY Weekend favorites like the Pantheon-inspired Gould Memorial Library at Bronx Community College and the Masonic Hall in the Flatiron District, visitors can step onto the skybridge at SHoP's American Copper towers on Manhattan's East Side, or see Jacques Garcia's interiors for the Cultural Services of the French Embassy, a group within the French Embassy's U.S. outpost that encourages arts-based cultural exchange between the two countries. For those willing to hop aboard the tram or ferry, there will be tours of The Bridge at Cornell Tech, Weiss/Manfredi's R&D incubator on Cornell's new Roosevelt Island campus. On Governors Island, Liggett Hall, a brightly trussed gymnasium, will be open to the public for the first time. This year, OHNY partnered with the New York City Department of Design and Construction to show off some of the structures built under the agency's Design and Construction Excellence Program, an initiative that allows select firms to bid on city projects. On Staten Island, OHNYers can tour Sage and Coombe Architects' Ocean Breeze Track and Field House, while in Brooklyn, Selldorf Architects' Sims Sunset Park Material Recovery Facility will be open to the public. In collaboration with AIA New York's New Practices committee, OHNY is showcasing work by the city's emerging architects. Design enthusiasts can peek at Family New York's Fool's Gold Records store (pictured above), G TECTS' Bridge Golf Learning Center, WORKac's Kew Gardens Hills Library, Young Projects' Gerken Residence in Tribeca, as well as Büro Koray Duman's Design Within Reach Flagship Store. Thanks to OHNY's partnership with over 400 arts organizations, cultural groups, architects, city leaders and others, there are over 200 sites across New York City. All site visits are free, except for ones that require advance registration. Starting October 4, information on all sites and tours will be available at ohny.org, while advance reservations begin October 5 at 11 a.m.
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Hot BODs

AN will bring you a building every day for Archtober 2017
Get ready New York City, the month of Archtober is almost upon us. While October heralds the return of chunky knits and PSLs, New York City's architecture and design community knows that the tenth month of the year is really Archtober, AIA New York's celebration of the built environment. In collaboration with the city's cultural institutions, Archtober (also known as Architecture and Design Month) fosters awareness of architecture's role in everyday life through exhibitions, conferences, films, lectures, and the Building of the Day tours – architect-led visits to the city's best-loved structures and landscapes. The first site this year is the Woolworth Tower Residences, apartments by SLCE Architects in Cass Gilbert's classic neo-Gothic skyscraper. In partnership with AIA New York, The Architect's Newspaper (AN) is pleased to be the one-and-only source for Building of the Day blogs. For all of October, we'll bring you on-the-ground stories and tour highlights, so you can ride on WXY's SeaGlass Carousel, step inside LOT-EK's shipping container Carroll House, or explore Paul Rudolph's Modulightor Building, all without leaving your office. But if you do decide to leave (and you should), tickets for all tours are now available at the Archtober website. Here is the complete schedule:
Oct. 1 The Woolworth Tower Residences Architect: Cass Gilbert (the Woolworth Building's original architect); SLCE Architects (Woolworth Tower Residences architect of record): SLCE Architects; The Office of Thierry W. Despont (interior design) Oct. 2 Empire Stores Architect: S9Architecture Oct. 3 Brooklyn Grange Rooftop Farm Architect: Bromley Caldari Architects Oct. 4 The Noguchi Museum Architect: Isamu Noguchi and Shoji Sadao (original architects); Sage and Coombe Architects (rneovation architect) Oct. 5 SeaGlass Carousel Architect: WXY architecture + urban design Oct. 6 Modulightor Building Architect: Paul Rudolph Oct. 7 Cary Leeds Center for Tennis & Learning Architect: GLUCK+ Oct. 8 Project Farmhouse Architect: ORE Design Oct. 9 The Residences at PS186 & Boys and Girls Club of Harlem Architect: Dattner Architects Oct. 10 Naval Cemetery Landscape Architect: Nelson Byrd Woltz Landscape Architects Oct. 11 Cathedral Church of St. John the Divine Architect: Heins & LaFarge/Cram & Ferguson (1899) Oct. 12 Alexander Hamilton U.S. Custom House Architect: Cass Gilbert Oct. 13 New Lab, Brooklyn Navy Yard Architect: Marvel Architects Oct. 14 Open House New York Weekend Oct. 15 Open House New York Weekend Oct. 16 iHeartMedia Architect: A+I with Beneville Studios Oct. 17 56 Leonard Street Architect: Herzog & De Meuron Oct. 18 Staten Island Courthouse, St. George Architect: Ennead Architects Oct. 19 Carroll House Architect: LOT-EK Oct. 20 Columbia University – Lenfest Center for the Arts Architect: Renzo Piano Building Workshop (design architect); Davis Brody Bond (executive architect); Body-Lawson Associates (associate architect) Oct. 21 Museum of Chinese in America (MOCA) Architect: Maya Lin Studio (Designer); Bialosky + Partners Architects Oct. 22 Freshkills Park Architect: NYC Parks/James Corner Field Operations Oct. 23 The George Washington Bridge Bus Station Architect: STV – Program Architect/Architect of Record/Design Architect for Retail Development; PANYNJ Architectural Unit – Design Architect for Bus Station Oct. 24 Governors Island – The Hills Architect: West 8 Urban Design & Landscape Architecture Oct. 25 Bronx River House Architect: Kiss + Cathcart, Architects Oct. 26 ISSUE Project Room Architect: McKim, Mead & White (original architect); Conversion to ISSUE Project Room: WORKac in collaboration with ARUP (ongoing) Oct. 27 Downtown Brooklyn Cultural District Architect: TEN Arquitectos Oct. 28 Morris Jumel Mansion Architect: Original Architect Unknown Oct. 29 Roy and Diana Vagelos Education Center Architect: Diller Scofidio + Renfro in collaboration with Gensler Oct. 30 Cornell Tech Architect: Handel Architects; Morphosis; WEISS/MANFREDI Architecture/Landscape/Urbanism Oct. 31 The William Vale Hotel Architect: Albo Liberis
If your number-one-can't-miss tour is sold out, don't despair: There are more than enough events for everyone. Archtober has a new series called Workplace Wednesdays where firms like SHoP, Snøhetta, and others will open up their offices to ticketed members of the public for workshops, presentations, and talks. On October 29, AN Contributing Editor Sam Lubell will give a talk on Never Built New York, the exhibition he co-curated at the Queens Museum.