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A new monument at the 9/11 Memorial will honor those affected by illness born of the attacks. The Memorial Glade, now under construction at Liberty and West Streets in New York City, will feature a pathway lined with six granite slabs pointing to the sky. Meant to symbolize “strength and determination through adversity,” the stone pieces have been specially crafted to look worn, but not beaten, and native to the surrounding landscape. Designed by Michael Arad and Peter Walker, the architects behind the 9/11 Memorial, the Glade will be situated along the pathway that relief workers trod during the years-long cleanup of Ground Zero. Per the architects’ vision, the stone monoliths flanking the new memorial walkway will weigh between 15 and 17.5 tons each. Each piece will incorporate steel fragments from the original World Trade Center, a design move inspired by kintsugi, the Japanese art of repairing broken pottery with powdered gold, silver, or platinum. The New York Post reported the project will open on May 30, but it has been in planning since 2014 when an advocate for WTC first responders first approached the 9/11 Memorial and Museum with the idea. The Memorial Glade will honor not only first responders but also survivors and downtown residents who suffered or died from life-threatening toxins released during the disaster. According to 6sqft, an estimated 400,000 people near Ground Zero were exposed to such airborne threats during the recovery and relief period after 9/11. The World Trade Center Health Program, signed into law by President Obama in 2011, has enrolled 73,000 first responders and over 17,000 survivors since its establishment. As part of the Centers for Disease Control and Prevention, the program is responsible for helping victims find treatment for these specific illnesses. Over $4.8 billion in benefits have been given out, reported the Daily News, but the program is slated to expire at the end of 2020. Construction on the $5 million Memorial Glade started last fall. The project has already received a $500,000 New York State grant, as well as donations from Bloomberg Philanthropies and former Daily Show host Jon Stewart, a member of the museum’s board.
Linking Linear Landscapes
OLIN designing a 400-acre waterfront park for Southern Indiana
OLIN has been tapped to design a 400-acre park along the northern shore of the Ohio River in southern Indiana. Set within a swath of waterfront long-occupied by landfill and industrial facilities, the future park will give local residents a much-needed connection with the river and its history, while boosting the area’s link to Louisville, Kentucky. Though no design details have been released yet, OLIN partner Lucinda Sanders said the plan, spearheaded by the River Heritage Conservancy, will tie into both sides of the Ohio River. In doing this, the park will serve 1.2 million residents within a 30-mile radius, including those living in the adjacent Indiana towns of Jeffersonville, Clarksville, and New Albany. A slew of brownfield sites, landfills, wetlands, and river camps currently encompass the massive parcel of land, which also sits within a FEMA 100-year floodplain and is bounded by a large levee that was built after a devastating flood in 1937. Sanders said OLIN will pay homage to the river and the site’s complex past. “We have a lot to work with here,” she said. “This park is already a 21st-century park in every way, shape, and form due to the conditions that are presently there.” After investigating the entirety of the site, the design team will intervene with a major remediation effort and then integrate a landscape design that will call attention to its unique context, while also acting as a buffer against future flooding. In a statement, Sanders said the park won’t be “just a public amenity, but...a purveyor of resilience. The mighty Ohio River creates the awe of this site. But it also has to be given the respect it deserves.” “You’ve got this amazing quantity of land situated within an urban environment that’s also lying in a severe flood zone,” Sanders told AN. “The fact that it’s also been so highly manipulated through the abuses of human activity, and that it contains a rich history for the region make it incredibly compelling.” When complete, the parkland will tie residents to one another and to the abundant natural and historical resources that populate the region. It will sit downstream from the Falls of the Ohio State Park and the original home of George Rogers Clark, a Revolutionary War hero. It will also be a key element of the new Ohio River Greenway, a seven-mile linear park that’s currently under construction. On a larger scale, the parkland will connect southern Indiana with the Louisville region’s vast park system, much of which was designed by Frederick Law Olmsted. OLIN’s design will link people to the Big Four Bridge, an old railroad truss bridge that reopened to the public as a pedestrian and bicycle throughway in 2013, and allow them to cross over into the River City. According to Sanders, OLIN is eager to dive head-on into the challenging project thanks to such widespread local support. “This community knows great parks, and they know great design,” she said. “We see a tremendous ambition in the expansion of this regional park network and are excited by the possibilities.” OLIN hopes to unveil ideas for the site after conducting a thorough analysis with local collaborators over the next nine months.
Foster + Partners revealed renderings of the much-anticipated Lusail Iconic Stadium, an 80,000-seat soccer venue that will house the opening and final games of the 2022 FIFA World Cup in Qatar. The project, commissioned by Qatar’s Supreme Committee for Delivery & Legacy, will be situated within the center of the up-and-coming Lusail City, an under-construction modern metropolis set nine miles north of Doha. The British firm designed the centerpiece structure to mirror the ancient Arab craft of bowl weaving. It will feature a shimmery, gold palette wrapped around a slightly undulating exterior and a saddle-form retractable roof that will float above a concrete seating bowl. According to the architects, the stadium will boast a highly-efficient energy saving system, a requirement for FIFA World Cup constructions. Since Qatar’s climate is so intense, the building will help cool players and fans. Solar canopies will also hover over the parking and service areas to produce energy for the stadium and power the surrounding buildings. With Lusail Iconic Stadium, Foster + Partners joins the star-studded roster of studios that have designed projects for the tournament, including Zaha Hadid Architects and its controversial stadium in Al-Wakrah, which is near completion. Fenwick Iribarren Architects, a Spanish firm, is building a modular, 40,000-seat stadium made of repurposed steel shipping containers. After the tournament, the arenas are expected to be reused by the cities in which they’re built. The seats within Lusail Iconic Stadium, for example, will be removed and the structure will be used as a community space with room for shops, cafés, athletic and education facilities, as well as a health clinic. The project is slated for completion in 2020.
In 2014, a year after I graduated from architecture school, I read Karrie Jacobs’s Fast Company piece on Nicole Dosso, “The Tallest Tower in the U.S. is Being Built by a Woman.” A perfect title, a perfect piece. In it, Jacobs wasn’t describing Dosso as a “female architect” or as a “woman in architecture.” She simply stated that the tallest tower is being built by a woman, period. As a 23-year-old female starting out in her career, I was energized and in awe of Dosso, and my peers who weren’t in architecture were too. It was a breath of fresh air, a moment of strength. Another example is a recent New York Times article titled, “Architecture is No Longer Just a Gentlemen’s Profession.” Precisely. These are the types of headlines and stories we need. Last Saturday’s New York Times op-ed, “Where Are All the Female Architects?” was not titled to advance our cause. The piece did talk about redefining success since there’s often a limited view of what being an architect means. But its headline, along with a slew of others lately asking where are the female architects, adds to the misleading narrative that there are none out there. It’s a negative story to suggest because there are truly so many. It’s time to change this narrative. I no longer want to hear people asking, “Where are all the women architects?” or saying, “I can’t name five female architects.” I’ve published interviews with 50 women on my platform Madame Architect who build, design, or otherwise advance the practice of architecture, and I’ve spoken to even more. We need to listen to them, write about them, amplify them, and support them in combating the issues our industry faces in order to change this situation.
Instead of asking “Where are these women?” start writing about them and telling their unique stories.Yes, we need to call out the systemic issues in the industry that are perpetuated time and time again and prevent many women from rising through the ranks. They need to be discussed and approached thoughtfully. But why not show what the redefinition of success looks like by writing about the myriad women who are doing exceptional, sensitive, and important work while simultaneously running businesses, acting as caregivers, and making time to mentor? To me, that is the beginning of change. Instead of asking “Where are these women?” start writing about them and telling their unique stories. Show their successes, their reinventions of practices, and how they forged their own paths. Take Andrea Simitch, who leads the nation’s top-ranked undergraduate architecture program, or Nina Freedman, the former “secret wing” to Shigeru Ban and founder of Dreamland Creative Projects. There is also Sylvia Smith, senior partner at FXCollaborative, who started and oversees the firm’s award-winning cultural and educational practice, as well as Sandra McKee, who spearheaded Rafael Viñoly’s Tokyo International Forum but now owns her own international studio and hosts ArchiteXX’s mentorship sessions. Younger women are also emerging as leaders in the field. Elyse Marks, a restoration architect, rope-access technician, and marathoner, defies gender norms every day while hanging hundreds of feet in the air, while Alda Ly, one of the co-founders of MASS Design Group, runs her own practice working with entrepreneurs and startups like The Wing. Danei Cesario is raising two girls while traveling to speak on industry equity and diversity, while Isabel Oyuela-Bonzani introduces architecture to high school students.
There are clearly many women who are architects, but the yardstick for evaluating good architecture and success is shortsighted.There are also countless women I’ve met who may not build, but advance the practice and advocate for the value of architecture and architects, like critic Alexandra Lange, public relations expert Tami Hausman, strategist Ashley Bryan, and activist Jessica Myers. These women show there are different types of success at all levels that deserve to be celebrated and talked about. There are clearly many women who are architects, but the yardstick for evaluating good architecture and success is shortsighted. Good architecture now has a broader definition, and we can be more inclusive in showcasing the architecture that addresses the issues facing society today. I should also note that the women I’ve called out in this article are all based in New York. Since I live and work full-time here, these are the architects with whom I can have meaningful, intimate, face-to-face conversations. Of course, I am trying to profile more women located elsewhere in the country and around the world. But just imagine: If there are so many unique stories held within a singular city, there must be countless architects out there doing fascinating work that we need to acknowledge. In last week’s New York Times op-ed, writer Allison Arieff quoted Caroline James, a graduate of Harvard’s architecture program and founder of the advocacy group Design for Equality. James told Arieff that it’s “time to ID the problem and what we need to do moving forward” by giving women the tools they can use to succeed, such as mentorship and access to information. This is exactly my goal for Madame Architect, and the same spirit drives other organizations like ArchiteXX, Rebel Architette, Equity by Design, and Girl Uninterrupted. We should also start early by speaking and listening to students, asking them what questions they have, what resources they’ll need, and what kinds of mentors they want. When I was studying at Cornell, I read Toshiko Mori’s newly-released monograph and remember focusing on the following words which have since fueled my attitude toward my career: “Architects cannot be defeated by disappointments. The profession requires mental strength, good health, and especially a strong stomach. An unlimited amount of optimism, a healthy dose of idealism, and high energy and high spirits help us to persevere through difficult circumstances.” This industry is tough and we need to infuse it with this kind of motivation. We need a strong start in 2019 where we can mobilize, spread knowledge, build community, and support men and women alike within architecture. I don’t believe this is the only solution, but this moment is a new beginning. So let’s write about these women—these architects—in the way that Karrie wrote about Nicole. We are not missing and we will no longer be hidden. Julia Gamolina is the founder and editor of Madame Architect. She also currently handles business development at FXCollaborative.
Amale Andraos and WORKac reveal design for the Beirut Museum of Art
It was announced this week that Lebanese-born architect Amale Andraos and her associated firm, WORKac, are the new designers for the future Beirut Museum of Art (BeMA). WORKac had previously lost the project to Lebanese and French architect Hala Wardé and her studio HW Architecture, which won a competition for the building in 2016. Situated in central Beirut, the BeMA will symbolize Lebanon’s transition from a country plagued by civil war to a unified republic celebrated for its ethnic, religious, and cultural diversity. The museum, which occupies a site owned by Saint Joseph University, will feature various exhibition spaces as well as a sculptural, six-story promenade that encircles the facade of the building. The innovative walkway, which will connect the museum’s interior spaces to the surrounding city, is WORKac’s modern twist on traditional balcony styles. The symbolic design is intended to break down the barriers of the museum and allow members of the community open views and access. The “open museum” idea is especially significant when considering the building’s location on a site known for its history of religious segregation and conflict. With the building’s glass facade and encompassing outdoor balconies, the galleries and artworks within seem to welcome and invite in the surrounding community. The BeMA, which is slated to open in 2023, will boast a permanent collection of modern artworks from Lebanon, the Lebanese diaspora, and the broader region.
More Than Skin Deep
2018 Best of Design Awards winners for Interior — Healthcare
2018 Best of Design Award for Interior — Healthcare: NYDG Integral Health & Wellness Designer: Brandon Haw Architecture Location: New York Situated in Manhattan’s Ladies’ Mile historic district, the NYDG Integral Health & Wellness is the new, 7,000-square-foot flagship facility for the New York Dermatology Group. Eight blood work and nutrition treatment rooms, two cryotherapy suites, and a shop are integrated within a single loft space. Brandon Haw Architecture developed the interior project as a space within a space. A central, freestanding enclosure—clad in wave-pattern fiberglass panels—contains all facilities while making room for a perimeter walkway, allowing patients and staff to circulate alongside magnificent, light-filled windows. Treatment-room walls were custom-built in Italy using yacht hull technology. Small details like bronze trims, door pulls, and cabinetry were introduced to complement dark reclaimed wood block floors. Honorable Mention Project Name: Studio Dental II Designer: Montalba Architects Location: San Francisco
Going Greener for the Greater Good
Roche Dinkeloo’s Ford Foundation Building reopens for the 21st century
Upon stepping inside the new, light-filled Ford Foundation for Social Justice, you’d never know the crisp and clean, 415,000-square-foot building felt darker and smaller just four years ago. The landmark headquarters of the formerly-named Ford Foundation was designed by Kevin Roche John Dinkeloo and Associates in 1967 and has long been considered one of New York’s greatest architectural treasures. Its 12-story, corten steel structure featuring textured granite walls and floor-to-ceiling glass windows were emblematic of groundbreaking mid-century modern design, but in recent years the prized building has fallen behind the times. This month, Gensler’s New York office completed an extensive renovation effort to redesign and rebrand the organization’s Midtown East facility as a sustainable hub for social justice–oriented groups to commune and collaborate. The 51-year-old building was reconstructed in compliance with updated city safety codes with an increased attention to energy efficiency and accessibility. Where rays of daylight used to only trickle into the structure’s iconic, glass-clad atrium, they now sweep through the office areas and out the other side of the building. It’s arguably one of the sunniest spaces in the neighborhood and now boasts near-complete transparency. “People used to walk by here and have no idea what was going on inside,” said Darren Walker, the Foundation’s current president. “It sat here like a mammoth, making a statement of discretion and tranquility. But now, while you can see so much of the original vocabulary of the building in things like its 6-foot planning grid and innovative use of brass, it’s much more transparent and energetic.” Central to Gensler’s revamp was expanding the amount of public and meeting spaces for outside organizations from 53,600 square feet to a whopping 81,000 square feet. With more room to host global groups committed to human equity and achievement, the Foundation aims to bolster its outreach efforts while also promoting its own themes of transparency, fairness, and dignity through an inviting design. Gensler also added extra lifts, subtle wheelchair ramps, gender-inclusive signage, and updated workplace furniture to meet ADA standards—all in order to encourage diversity within the Foundation’s four walls. This idea of displaying human value through design also translates to the new open office plan that nurtures collaboration and gives employees access to coveted daylight and ample views of the lush Dan Kiley–designed garden atrium. Jungles Studio, in collaboration with SiteWorks, rehabilitated the space to align with Kiley’s simple original vision. To combat years of overgrowth and erosion, they deepened the tree holes, improved irrigation, and restored the garden’s reflecting pool as well as the brick pavers throughout. This indoor greenhouse is visible from the workspace above now that the closed-door private offices that once lined the atrium walls have been opened up as laneways on each floor. Ed Wood, design director and principal at Gensler, said the overall design intent for the project was to create a feeling of the “new, but familiar.” Perhaps the most impressive part of the Foundation’s renovation signifies just that. During the project, over 1,500 pieces of furniture were meticulously restored while over half of the original Warren Platner–designed wood pieces were refinished to match their original stain. Each legacy lighting fixture, bronze accent, leather-laid item, piece of millwork, as well as the carpet and wood flooring was either refurbished or reimagined using extremely similar materials or pieces salvaged from the Foundation’s storage. The updated interior successfully transports visitors back to a time when Mad Men era-design dominated New York’s office towers without making it look cheesy and out of date. It’s actually refreshing. When the Ford Foundation first opened, it was a design marvel and a nod to the Foundation’s claim to be the wealthiest organization of its kind in the world. With this update, Gensler brought the building back to life and advanced its architectural status by not only making it a prime example of a 21st-century renovation project but by intelligently piecing back together all the iconic elements that made the interior so irresistible decades ago. The public spaces inside the Ford Foundation for Social Justice will officially open to the public in January. Its grantees and affiliate organizations will be welcomed into the new convening spaces starting then as well. The project is pursuing LEED Platinum certification. In addition to the staff, the building permanently houses Philanthropy New York, the United Nations Foundation, and the Nonprofit Coordinating Committee of New York.
Because I'm Happy
Studio Cadena’s shimmery holiday installation takes over Flatiron Plaza
Studio Cadena’s ultra-bright holiday sculpture in Flatiron Plaza made its debut during New York’s first snowfall of the season. Though it was officially unveiled last night, Happy was set up late last week and photography captured the flurry of moments when it was first discovered by the public. Happy is the winner of the fifth annual Flatiron Public Plaza Holiday Competition, a partnership between the New York Department of Transportation Art, Van Alen Institute, and the Flatiron/23rd Street Partnership Business Improvement District. Its installation signals the start of programming for BID’s “23 Days of Flatiron Cheer.” The project was created by Studio Cadena, a Brooklyn-based firm that was chosen out of seven other invited design teams. Their winning proposal features a series of translucent yellow screens draped from an open frame that are meant to add a spark of joy to everyone who passes by. It also doubles as a filter for people to see the city in a different light, according to Benjamin Cadena, Studio Cadena’s founder and principal.
David van der Leer, exiting director of Van Alen Institute, noted the impact that Happy could have on people's’ daily lives during a cold and colorless time of year. “By expressing a positive emotion in a public space, Studio Cadena’s delightful installation invites people to take a moment to consider the joy of being in the big, busy city during the holiday season.” Happy was selected by a jury of experts in design and public art including the Corcoran Group’s Nick Athanail, Michael Bierut, partner at Pentagram, Emily Colasacco, event director of NYC Summer Streets, as well as V. Mitch McEwan, partner at A(n) Office, and Aleksey Lukyanov-Cherny of SITU Studio. The installation will be on view through January 1, 2019.
The new Calgary Central Library opened its doors to the public on November 1, a joint project between Snøhetta and Canadian studio DIALOG. The crystallized, aluminum-and-fritted-glass facade of the building’s upper portion belies a warm wood interior, and the entire library rises over an active Light Rail Transit Line that runs from below ground and up to the street level. The six-story, 240,000-square-foot library is expected to welcome twice as many visitors as the previous Central Library, no small feat in a city where more than half of the 1.2 million residents have an active library card. Patrons are welcomed by a massive wood archway at the entrance (made from western red cedar sourced from British Columbia, as with the rest of the wood in the building) shaped in reference to the region’s distinct Chinook arch cloud formations. Inside, past the lobby and atrium, an 85-foot-tall gap was carved that runs all of the way up to an oculus in the roof. According to Snøhetta, each floor was organized on a scale of “fun to serious,” with the livelier programming, such as the Children’s Library, arranged at the bottom of the building, and quieter study areas at the top. Visitors can ascend a sinuous central staircase below the oculus, and peer into the open floors and the stacks at each level. Vertically-striated wood slats were used to clad the edges at each section, extending and refining the woodwork seen in the entrance arch. At the very top is the Grand Reading Room, which, although unenclosed like the rest of the library, is meant to be the most intimate space in the building. Although faced with a difficult site, the design team chose to accentuate the necessary train tunnel at the Central Library’s northern corner. This is where the building’s curved sides join together to form a prominent “prow,” and where an inviting “living room” has been situated. The facade is made up of scattered, rhombus and triangle-shaped panels and windows. The density of the panels has been modulated depending on the level of privacy and sunlight required for each area, and openings carve out views for the spaces that look out over the city. Those strategic cuts also allow curious pedestrians to look into the library, which Snøhetta hopes will entice community members inside.
It’s October, and that can only mean one thing: New York–based architecture teams congregating to carve pumpkins at the Center for Architecture. During this year’s Pumpkitecture! competition, 20 teams battled it out for a chance to take home the coveted Pritzkerpumpkin and People’s Pumpkin Award. Of course, despite the full range of talent on display, not every team could take home 2018’s top honors. The jury, consisting of Laila Gohar, chef and conceptual artist, Jing Liu, principal and co-founder of SO-IL, Harry Parr, director of Bompas & Parr Studio, and Omar Sosa, founder of Apartamento Magazine, ultimately awarded the Pritzkerpumpkin to Alloy for their high-concept “Jack-in-the-box”, and the People’s Pumpkin to SITU’s “Pretentioulicious desiccated pumpkin strands.” Teams entered pumpkins that ranged from high-brow—see SOFTlab’s quartered and reflected pumpkin, or SITU’s aforementioned popular vote-winning spiralized vegetable strings—to more classic takes on the jack o’lantern typology. Much like the first Hat Party on the High Line earlier this year, each firm brought a taste of their distinctive design philosophy to their entry.
Parks Without Borders
NYC Parks Commissioner talks policy, parks, and breaking down barriers
Over the next three months, The Architect’s Newspaper will feature a series interviews with Susannah Drake, founding principal of DLANDstudio, and leading public space advocates about the meaning, design, and development of public space. Up first, New York City Parks and Recreation Commissioner Mitchell Silver will discuss New York's Parks Without Borders initiative to make parks and open space more accessible. Borders are a hot topic in our current politically volcanic world. Some are geographic, most are political, and many have to do with resources and strategic control. Robert Frost’s poem titled Good Fences Make Good Neighbors is often misinterpreted as suggesting that defined boundaries between people or societies are positive. In practice, defined borders can lead to violence, social isolation, inefficiency, and habitat loss. The classic phrase, “living on the other side of the tracks,” was taken to the extreme in the United States after World War II as new highway systems, elevated transportation structures, slum clearance, and dehumanized public housing towers transformed cities across the United States. Today, cities including Cleveland, New York, Philadelphia, and St. Louis are working to break down physical and perceived boundaries to make a healthier living environment for all. In New York City, the efforts of three groups, one public and two nonprofit, demonstrate how smart urban planning and design can make the city healthier, safer, and more democratic by improving underutilized public lands. Mitchell Silver, commissioner of the New York City Department of Parks and Recreation, is the visionary behind the city’s Parks Without Borders program. As a native New Yorker who spent his formative years in the city before traveling the country and the world as a planner and thought leader, his vision as head of the public parks agency has been to expand the availability of park space by breaking down physical barriers, jurisdictional boundaries, and site lines into city parks. AN: What is the origin of the Parks without Borders program? MS: The origins came from two sources. Growing up in New York, I was always bothered by the big berm that separated Flatbush Avenue from Prospect Park. The road seemed like a raceway defined with so many fences and barriers. Through professional and personal experience, I encountered different forms of public space around the world and saw far fewer barriers. Public space was seamlessly connected to the city. Of course, fences are needed for sports and steep slopes but in many cases, they are unnecessary. When I became commissioner of the Parks Department, I remembered something that Frederick Law Olmsted said about parks: “The sidewalk adjacent to the park should be considered the outer park.” What I recognized was that the sidewalks around parks, such as Fort Greene Park and Prospect Park, were under the jurisdiction of the Parks Department but felt separate. The land from the park to the curb should feel like part of the park. The public realm should be seamless. The public doesn’t know or care who owns the land. The New York City Police Department needed to own the idea of crime prevention through community design. I submitted the idea to the Mayor as part of OneNYC and through a partnership between City Planning, the Department of Transportation, the Department of Environmental Protection, and our agency, and a $50 million pilot was launched. There were two components: $40 million was dedicated to eight showcase projects, determined through the extensive public process that received over 6,000 nominations. In addition, $10 million was dedicated to parks and playgrounds across the city already under development to enhance the park design. The key principles are to make a seamless public realm by rethinking the edges, entrances, and adjacent spaces of parks across the city. Open space should be open. Growing dense urban centers need vital public space for all races, genders, and ages across the board. What barriers have you met in implementing the project? Resistance encountered? As with all projects of this nature, we met with all of the community boards via borough board meetings and held public meetings in each of the five boroughs to explain the program and ask the public to nominate a park for the program. We communicated our theory that good uses tend to push out bad uses. In other words, plan for what you want to see and not what you don’t want to see. Feedback was split along demographic lines. Older people perceived fences as safeguards and that reducing the height of fences and opening up parks invited crime and homelessness to take over. But we have had early success. At McDonald Playground in Staten Island where Parks Without Borders money was dedicated to a Community Parks Initiative project, the community was initially concerned about lowering fences. The park feels so open now that people ask if we added more land. And, while the plan for Fort Greene Park in Brooklyn is greatly supported by the community, there has been resistance related to the planned removal of some large, invasive, non-native trees, and the mounds constructed in the 1970s as part of the project. What is the schedule of implementation? Over 20 parks are in the pipeline. The showcase projects will be completed by 2020. They include Prospect Park, Seward Park, Jackie Robinson Park, Corona Park, Fort Greene Park, Faber Park, Van Cortlandt Park, and Hugh Grant Circle. How does the program align with other DPR/Administration initiatives? NYC Parks is advocating for Equity, Access, Placemaking, and Healthy Living. One of the programs, Walk to a Park, is intended to reduce the time it takes to get to a park. Reducing barriers and moving entrances helps increase access to parks. DPR planners conducted a thorough planning process examining the location and attributes of parks across the city and determined where residents might be underserved. Using GIS, they mapped a five-minute walk from parks, playgrounds, and trails across New York City and then used the analysis to prioritize capital expenditures. Does the DPR Parks without Borders program impact all communities across NYC regardless of demographics? Yes, with multigenerational, ADA access. At McDonald Playground, a woman hugged me suggesting that I changed her life because she can now sit with her daughter in a quieter area of the park and watch the kids play ball. She said I extended her life. Beyond physical fences and walls, what other kinds of borders have you seen in your time as commissioner? Rules create barriers. We don’t want to engage in anti-planning which can exclude rather than include people. Including more people in more existing parks is one example. Anti-planning, or planning to prohibit a certain group is not fair. For example, some of our playgrounds have a sign that states: “Adults prohibited unless accompanied by a child.” That means a senior citizen is prohibited from using a public space or must walk to another park that doesn’t have that rule. To address this inequity, NYC Parks in 2017 evaluated all city playgrounds and installed new signs at locations that would allow adults in a park or playground, but only prohibited adults in fenced off areas where children’s play units were located, like swings, slides and climbing structures. This one change allows more adult New Yorkers and visitors to enjoy green space like sitting under a tree or using a comfort station. As a planner what is your perspective on borders that might exist because of climate or geographic lines that are mapped but not always perceived by the public? Rockaways? In places where public safety is an issue such as around water, clearly there need to be rules and physical barriers to keep people safe. Environmental conditions can also require limited access. For instance, the habitat for piping plovers needs to be protected by limiting beach access. This reduced the walk score but was an important trade-off. In natural areas, controlling beach erosion is important. Sometimes these barriers are jurisdictional, particularly in coastal areas. New York City is doing a better job than in the past. What is your perspective on urban and transportation design decisions in the direct post-war period, in the '60s and today in relation to race, demographics, and urban living? White flight of the '60s, urban renewal with its characteristic superblocks, and highways dividing neighborhoods were not the highlight of good planning. Cities were perceived as unsafe and as a result, many parks were surrounded with high walls to create defensible space. Now Parks Without Borders is changing this situation by moving from defensible space to open and inclusive space. Prospect Park is a great example. Programming by the Alliance activated the park. They designed for what we want to see rather than what we don’t want to see. There are so many users in our parks that space needs to be very inclusive. Our parks are our outdoor living rooms and reflect those that use them. While DPR does not have purview over public housing, it would be great to get your perspective on the landscape of housing projects in New York City as well as their overall relationship to the city. The “tower in the park” model is somewhat right. The park part is not right. Residents assume that the landscape is off limits because it is fenced off. Design organizations are now engaging NYCHA Tenant Associations about opening-up the green space within the NYCHA housing campus. For example, some NYCHA Houses have converted open space to community gardens, so the trend of better using NYCHA green space is moving into the right direction. Digital access to information creates places where people collect in the city. Beyond these spheres are dead zones that might be considered another form of border. Are there any efforts by DPR to expand digital access? I’d love to see WiFi in parks. We currently have charging stations at some beaches and WiFi in some parks. Lack of funding for maintenance and operations is an ongoing issue for public space. How will Parks Without Borders impact maintenance needs of parks? Maintenance practice of 21st-century parks warrants reexamination. More funding and more staff are welcome but aren’t the answer. We need to be innovative with resources. The agency is now using a zone approach with analytics to optimize the work of maintenance crews. We are also employing new design approaches and adding horticultural staff. One example is having park cleaning seven days per week. This seems like an addition, but the change is cutting down Monday absences because those crews were not unfairly burdened with the weekend trash. This created a better team ethos. Utilization of staff is as important as getting more staff. Working smarter with specialized teams with more training that can troubleshoot issues system-wide (catch basin team, green infrastructure team) is helping. Any final words? With limited resources we are forced to think about what is important and how to be innovative, which I base of the 3 S’s of management: You must have the right organizational structure to achieve your vision and mission. You must have the right systems in place to be successful. You must have strong management and operation standards across the five boroughs to function as one agency.
Like Chilean Miners...
AN interviews six emerging designers to watch
Who are the names you need to know? Who are the designers to watch? These six up-and-coming talents in architecture and design should be on your radar. Alda Ly New York City Alda Ly likes a good piece of custom millwork. “I like to think about the purposefulness of each cut,” she says. Her namesake practice is built around a similar mission. “We’re pursuing end-user research to develop a more human-centered approach with our designs.” For Ly, both qualitative and quantitative data are imperative to design spaces that break the molds of conventional architectural programs. She designed the Wing’s private women-only professional clubs for flexibility, knowing that users might be recording a podcast on one day, and on another, working solo on their laptops. In this way, she sees herself beholden not only to the client, but also to the client’s stakeholders. Ly has made a name for herself by designing shared spaces, from incubators to offices and apartments. Most recently, the firm designed Bulletin, a store merchandising products from female-led brands that features a social area and a venue for live programming. “There are an infinite amount of situations you have to plan for, but a key point is knowing how to make people feel comfortable.” –Jordan Hruska Brian Thoreen LA/Mexico City “I didn’t really know what I was doing,” said Brian Thoreen. Reflecting on the first show where he unveiled his namesake furniture company at the Sight Unseen outpost during Collective Design in 2015, he admitted: “I was thrown in the deep end—I didn’t even know how to price the pieces.” Since then, Thoreen has gone on to show his works several times at Design Miami, create custom commissions, and be the subject of the first solo exhibit at Patrick Parrish. All of this was born out of his new focus on furniture and a recent move to Mexico City—both of which he was able to fully commit to after leaving his L.A.-based architecture practice, Thoreen+Ritter. In the context of “being somewhere else,” Thoreen now finds himself collaborating with local artists, including Hector Esrawe and Emiliano Godoy on a sculptural series of metal furnishings accentuated by hand-blown amorphous orbs of glass. The material will continue to be at the heart of his future work in a new studio, which he formed with Esrawe and Godoy to continue to collaborate their collaboration on glass and metal projects. As for his own studio, Thoreen also plans to design installations, spaces, and architecture where he can continue work with local artists. –Gabrielle Golenda CAMESgibson Chicago CAMESgibson is a Chicago-based partnership between Grant Gibson and the fictitious late T.E. Cames. Gibson, also a professor at the University of Illinois at Chicago (UIC) School of Architecture, works at multiple scales, from small residential rehabs to a popular community arts center. The practice is not limited to conventional built work. Some of the office’s exhibition work includes a 20-foot-tall quilted column installed in the Graham Foundation foyer and a skyscraper design in collaboration with Skidmore, Owings & Merrill at the 2015 Chicago Architecture Biennial. In each of its projects, a playful sensibility fills spaces with color and soft forms. A recent project involved converting a laundry room into a cool ethereal lounge for the UIC basketball team. Deep blue tones and carefully controlled lighting brand the space instead of the typical kitschy, logo-laden locker rooms of most teams. It is this approach to cleverly transforming spaces, whether they are institutional or private, that sets CAMESgibson apart from the average small practice. –Matthew Messner Material Lust New York City Partners in life and partners in practice, Lauren Larson and Christian Lopez Swafford are indifferent to mass production timelines and trends. Together, they work with artisans to conjure otherworldly objects that cross the boundary between sculpture and decorative art, producing a series of furniture with true grit. Known as Material Lust, their Lower East Side-based company was officially established in 2014 but began long before that. It has been producing works that reflect the historical context of design, including the Alchemy Altar Candelabra inspired by pagan and alchemical symbolism; and the Fictional Furniture Collection of gender-neutral, monochromatic children’s furniture inspired by surrealism. Now the pair is venturing into lighting with their new sister company, Orphan Work. As the story goes, it began when they found lost designs from the Material Lust archive and after they visited Venice’s Olivetti Shop, by Carlo Scarpa. The result? A collection that is somewhere between Scarpa’s richly layered forms and the couple’s unapologetically “metal” aesthetic, with nods to both the musical genre and the material itself. –GG MILLIØNS Los Angeles Los Angeles–based MILLIØNS dubs itself an “experimental architectural practice” that liberally explores space-making as a “speculative medium” that can be manifested in any number of objects, structures, or experiences. Founded by Zeina Koreitem and John May, the growing practice recently designed a communal wash basin that aims to reintroduce shared social interactions into the act of bathing for an exhibition at Friedman Benda gallery in New York City. In the show, a 3-D printed mass reveals itself as a fluted drum containing a sink and a slender, brass spigot that is approachable from all sides. Though better known for writing heady treatises and engineering glitchy, digital media works that use televisions and closed-circuit cameras to create new spatial dimensions, MILLIØNS has some more grounded works on the way. A forthcoming, Graham Foundation–supported exhibition designed and curated by the duo that aims to revitalize the experimental spirit of modernist housing, for example, is headed to L.A.’s A+D Museum early next year. MILLIØNS also has several brick-and-mortar projects on the way, including a retail storefront in Manhattan and a lake house in upstate New York. –Antonio Pacheco Savvy Studio NYC/Mexico City Savvy Studio, an interiors and branding firm with offices in New York City and Mexico City, has been busy this summer with an array of projects popping up in New York. It has just launched a Tribeca seafood restaurant (A Summer Day Cafe) which features a beachy interior with light woods, primary-colored metal accents, and of course, nautical stripes. The studio also redesigned Alphabet City mainstay Mast Books using plywood to elevate the space, making it a “gallery of books, rather than simply another bookstore.” And by combining interior architecture with visuals befitting a fashion campaign, Savvy Studio developed branding language, communications, and interiors of the rental offices and showrooms for the Mercedes House, a Hell’s Kitchen luxury condo designed by TEN Arquitectos. Founder and creative director Rafael Prieto points out that there are “no specific boundaries” between branding and interior design. “The reason we do both is based on our interest in creating and designing experiences, and being able to make an impact in every interaction.” For Savvy Studio, their multifaceted practice is about making sure each space or branded element is simultaneously “emotional, aesthetic, and functional.” –Drew Zieba