Amidst cost overruns and delays, the Santiago Calatrava–designed Oculus, the visual centerpiece of the $3.7 billion World Trade Center Transportation Hub, has encountered another setback: leaky ceilings. According to the Port Authority, the water comes from the construction of Tower 3 and building crews spraying concrete as they break it up, to reduce dust. The spindly Oculus is a public event space that connects commuters with PATH trains and the subway. The main space is surrounded by two levels of restaurants and retail totaling 635,000 square feet. More than 100 high profile tenants, including Apple, Michael Kors, and Daniel Boulud, have leased space in the building. Barring additional delay, the project should open in the first half of 2016. Though Calatrava bristles when the media points out this project's shortcoming, the architect has had a strong year overall: last month, he was awarded the 2015 European Prize for Architecture. The awards ceremony, coincidentally, will take place at the World Trade Center on November 17. Attendees should bring ponchos, just in case.
Search results for "world trade center transportation hub"
World Trade Center Transportation Hub World Trade Center, Manhattan Downtown Design Partnership; STV, AECOM, and Santiago Calatrava A team from the Port Authority of New York & New Jersey wowed the crowd of lucky Archtober fans this morning with a full-length tour from the Hudson River to the beating heart of the new World Trade Center. Robert Eisenstat, the chief architect at the Port Authority Engineering Department, was joined by Thomas L. Grassi, a program manager on the World Trade Center construction, and a number of others along for the ride. These dedicated people, along with many others, have been working on the site since “the day.” Today was a little reminiscent of that day, over 14 years ago—a crisp sunny day with only wisps of clouds. It is hard to visit the site at all, for some of us. But now because of the sublime poetry of the World Trade Center Transportation Hub—they call it the “oculus”—a brighter future can be imagined. It is a futuristic creature born from the construction chaos that still defines the neighborhood, with white, spiked ribs rising up like the barbs of a chalky peace dove’s feather. Peace is not easy. I kept thinking, we have to tell the crowd how complicated this all was, how many levels, how many logistical nightmares, how many times its seemed like it could never be completed. I have to do my thing about how architects are problem solvers, which of course is true. But some problems are spiritual ones, hard to put in the brief for a nearly $4 billion transit integration project. This is where the architect’s special poetry comes in. Whatever you may say about this project, and there has been a lot of negative press with Santiago Calatrava certainly taking some knocks along the way, it is uplifting. The spirit soars; the room has an ineffable majesty of great architecture that defies easy explanation. While the Port Authority was getting its “network cohesion” out of the tangle of subway lines and trans-Hudson modalities, it also got a cathedral that looks like the waiting room for heaven. Cynthia Phifer Kracauer is the managing director of the Center for Architecture and the festival director for Archtober: Architecture & Design Month NYC. She was previously a partner at Butler Rogers Baskett, and from 1989–2005 at Swanke Hayden Connell. After graduating from Princeton (AB 1975, M.Arch 1979) she worked for Philip Johnson, held faculty appointments at the University of Virginia, NJIT, and her alma mater. Tomorrow: Brooklyn Botanic Garden Visitor Center, Entry Building, and Arch.
After all these years (read: delays), the public will finally be able to check out the grand oculus in Santiago Calatrava's $3.9 billion World Trade Center Transportation Hub—starting next month. The New York Times reported that beginning in June, a north-south passageway with direct views onto the building's main attraction will open to "limited pedestrian traffic." The entire building won't fully open until the end of this year, or early next year so don't get too excited. And you can always walk through an already open portion of the Calatrava station connecting to the Brookfield Place towers. The Times also noted that the World Trade Center redevelopment is set to check off milestone after milestone over the next few weeks and months. —The second of four PATH platforms in the Transportation Hub will open on Thursday. —Soon after that, a floor-to-ceiling barrier will come down as well. This will allow commuters to marvel at the immaculate space set beneath those already-iconic soaring white ribs, or wings, or spikes, or whatever you want to call them. —And on May 29th, the One World Trade Center Observatory will open, offering panoramic views to anyone willing to shell out $32 a ticket. As for 2 World Trade Center, well, we're still waiting to hear if Norman Foster's design will be replaced with something from Bjarke Ingels.
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 Maki–designed 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.
Today two men took an express ride to the hospital after sustaining injuries on an escalator at the World Trade Center Transportation Hub. DNAinfo reported that the escalator near the Greenwich Street entrance malfunctioned this morning as the two men were onboard. The pair met an ambulance outside that whisked them off to New York-Presbyterian Lower Manhattan Hospital for evaluation. The incident is the second this year that have sent emergency crews to the mall and transit hub in Lower Manhattan. In February, a woman was killed when she fell off an escalator in Santiago Calatrava's creation after reaching too far for her hat.
The Perelman Center
REX to impress with just-released design of the WTC Performing Arts Center
Today, REX’s design for the Ronald O. Perelman Performing Arts Center at the World Trade Center was revealed before an eager audience of architects, press, developers, and New York City patrons of the arts. “Downtown is back as a premier place for business," said Larry Silverstein, co-founder of Silverstein Properties, a major stakeholder in the World Trade Center site. "There is 10 million square feet of office space replacing what was destroyed on 9/11, and there are 25,000 workers in that space. The neighborhood has become a model of what is best and most exciting about New York. Daniel Liebskind's master plan for the area balanced commemorative function with the need to create a vibrant neighborhood. The performing arts center is an integral part of that and will bring a new dynamic to downtown." Maggie Boepple, president and director of the Perelman Center, noted that the group met with over 200 people—artists, neighbors, and critics—to determine what type of performing space the city most wanted. The resulting program translates the need for flexibility into mutable performance spaces that can be endlessly configured, explained Joshua Prince-Ramus, founding principal of REX. His team created a translucent marble box with a creamy amber pattern straight from a grandmother’s snakeskin purse but with all the requisite gravitas for a building on hallowed ground. “The light comes out like a beacon,” the eponymous Perelman gushed. "[The center] is a simple, pure form that creates a mystery box, defying [visitors'] expectations," Prince-Ramus said. At the intersection of Greenwich and Fulton, and perpendicular to Calatrava's PATH station, the three-story building is "an exciting pop" that dialogues with the entry to the 9/11 Memorial and Museum and St. Nicholas Orthodox Church, he noted. The facade is made of the same Vermont marble used for the Jefferson Memorial and the recently-refurbished Beinecke Rare Book & Manuscript Library, but the Perelman Center's stone will be sliced thinly and laminated between two layers of glass to improve the structure's performance. Like a magic show, architects from REX's team lined up to pull the model apart, layer by layer, as Prince-Ramus detailed its functions. Visitors enter the coffered main lobby (level one) through a staircase that spills from a steep cut at the top of a 21-foot plinth. The top floor, the Play Level, is comprised of four main auditoria—with 499, 250, and 99-person capacities, plus a smaller flex space—whose acoustic guillotine walls have “an endless number of permutations [for the artistic director to create] that we can’t even predict, and that’s incredibly exciting.” The renderings and diagrams in the gallery above depict some possible arrangements and circulations. The Performer Level, level two, is the building's support area, with practice spaces, dressing rooms, costume shop, and green rooms for performers. In most theaters, these spaces receive scant light; in REX's design, the translucent marble facade allows natural light in. AN spoke with Sebastian Hofmeister and Vaidas Vaiciulis, two REX architects on the project. The layered model took three or four weeks to make, "and at the end, even Joshua was gluing a few pieces on," they said. This video by David Langford (link here) takes viewers through the site, and inside the model, while the section GIF below shows visitor flow through the building: Brooklyn-based REX is collaborating with Threshold Acoustics consultants from Chicago and theater designer Andy Hales of Charcoalblue (the same firm that collaborated with Marvel Architects on the recently opened St. Ann’s Warehouse in DUMBO). The 90,000-square-foot building's design changed “remarkably little” between concept and execution, Boepple said, except to allow for additional security measures. Due in large part to a $75 million donation from its namesake board member, the Perelman Center has raised $175 million of its $250 million projected cost, with $99 million of the funds coming from HUD regeneration money dispensed through the Lower Manhattan Development Corporation (LMDC). The center is expected to open in 2020. For more images and information, visit theperelman.org.
Tomorrow, Apple will open their newest stores inside Santiago Calatrava's World Trade Center hub. Currently only Apple employees and construction staff are allowed inside the premises but The Architect's Newspaper (AN) was able to get a sneak peak. The store was designed by Bohlin Cywinski Jackson's San Francisco office. The firm is also behind the Palo Alto (Stanford) Apple Store, as well as six New York City locations: Upper West Side, Fifth Avenue, Soho, West 14th, Upper East Side, and the newest Williamsburg store in Brooklyn. With regards to their Midtown glass box design unveiled in 2006, the cubic creation spurred hysteria among Apple fans and the media, though the furore surrounding their latest Apple outlet has been slightly more subdued. For two years it's been confirmed this Apple Store would be part of the Westfield shopping complex; it will join eight other official Apple Stores across the five boroughs. The closest will be in Soho, a mere one-and-a-half miles away on 103 Prince Street. While Bohlin Cywinski Jackson doesn't specialize in retail design, the firm has established a pedigree of producing a minimalist aesthetic synonymous with Apple Stores across the globe. Here in Calatrava's all-white $4 billion “Oculus”—seemingly taylor-made for an Apple store location—the firm has not bucked this trend. Employing a glass wall that spans the store's frontage, the transparent entrance emulates their two previous designs for Apple outlets in the city. The result is, as always, a light and apparently spacious interior. Two large screens displaying products are placed at either end of the store, while Apple's typical wooden furnishings fill the open space. To the far left, a staircase can be seen heading to a floor above, however as of yet, there are no clues as to where this leads. For now, those dying to know will just have to wait until 12:00 p.m. tomorrow when the store officially opens.
The Port Authority declines to celebrate the grand opening of the world’s most expensive train station
The Port Authority of New York and New Jersey has declined to celebrate the March grand opening of the Santiago Calatrava–designed World Trade Transportation Hub. Why is the agency snubbing its own baby? Because it's monstrously over-budget. The $4 billion taxpayer-financed project cost $1.8 billion more than expected, and construction extended years over schedule. These issues have dogged Calatrava personally and professionally, and cast a shadow on his otherwise bright reputation. Pat Foye, the Port Authority's executive director, told POLITICO New York that the project's been a fiscal fiasco from the start: “Since I arrived here, I have been troubled with the huge cost of the Hub at a time of limited resources for infrastructure so I’m passing on the [now-cancelled opening] event.” The Hub is expected to serve 100,000 daily passengers, far fewer than the Port Authority Bus Terminal (230,000), Grand Central (750,000), and Penn Station (906,708). In a follow up statement, Foye was unequivocal about what New York's newest piece of public infrastructure represents to him: “The thing is a symbol of excess.” In an interview with AN last year, Calatrava delineated the project's design goals and ethos behind the Hub:
I tried from the very beginning to do that whole network of connections extending from the oculus as a single unit. So the character of the structural members you can see with the ribs, and a certain character in the paving, and a certain character in the front of the shops is already delivering a character that a person will see all the way through. So if you are in the oculus or the mezzanine, or in the other corridors to Liberty Street or the other internal streets towards Liberty Plaza, or towards Wall Street or towards Fulton, all these areas are marked with the same character. My goal is to create a space where as soon as I arrive in the transportation hub I know I am in the transportation hub, no matter what corner I enter from. Also, something that the corridor delivers is a sense of quality of spaces. I have built seven of the major transportation hubs in Europe, in Lisbon, in Lyon, in Zurich, in Italy, and so on. Getting out of this experience, it’s very important to create places of quality, because people behave according to that. You see after all the enormous effort to bring all the subways and the trains to this place and see to maintain the service through all the construction—why shouldn’t these places have a certain material and structural quality that you can enjoy in a day-to-day way, not just commuters but visitors who arrive in this place. I think the station will match with the tradition in New York of great infrastructural works, as you see today in Grand Central and in the former Penn Station. If it had not been demolished it would be recognized as one of the greatest stations worldwide. I hope people can see some of these material qualities in the East/West corridor.On the eve of the opening, New York architecture critics are divided on the aesthetic and functional value of the Hub. AN toured the Hub this afternoon, so check back here for our assessment. In the meantime, picture Calatrava riding a Zamboni, polishing the smooth white Italian marble floors world's most expensive train station.
In late 2005, Norman Foster unveiled his design for Two World Trade Center—an 88-story tower capped in four diamonds to direct the eye down toward the 9/11 Memorial, which, at the time, was still years from completion. Then, the World Trade Center site was still in the design phase, and Bjarke Ingels was a little-known architect from Denmark. But in the decade since, Ingels' rise has been nothing short of meteoric. Now, Wired has the story that proves what has been reported for months: the Bjarke Ingels Group (BIG) will replace Foster + Partners at Two World Trade Center, the second-tallest of the cluster of towers in Lower Manhattan. The 1,340-foot-tall skyscraper is being developed by Silverstein Properties and will serve as the joint headquarters for Rupert Murdoch's News Corporation and 21st Century Fox. If BIG’s building does, in fact, rise, then the final tower at the 16-acre site will have been designed by a firm that did not even exist when rebuilding began. With BIG’s growing portfolio of push-the-envelope architecture, the easy assumption for Two World Trade was that the building would step into the complicated—and politically fraught—site and loosen its buttoned-up, corporate aesthetic. If the redesigned tower accomplishes that, then it certainly does so gently. From the memorial, the 80-story tower takes cues from its neighbors, Three World Trade and Four World Trade, with an uninterrupted glass curtain wall. (Santiago Calatrava’s soaring Transportation Hub creates a brief stylistic rift along the crystalline campus.) But from every other vantage point, the tower appears like a staircase—or a classic mid-20th century Manhattan ziggurat-style building. The structure's massing appears as a series of seven, 12-story boxes that climb upward, stepping toward SOM's One World Trade next door. “On one hand it’s about being respectful and about completing the frame around the memorial, and on the other hand it’s about revitalizing downtown Manhattan and making it a lively place to live and work,” Ingels told Wired. "From Tribeca, the home of lofts and roof gardens, [Two World Trade] will appear like a vertical village of singular buildings stacked on top of each other to create parks and plazas in the sky," Ingels said in a statement. "From the World Trade Center, the individual towers will appear unified, completing the colonnade of towers framing the 9/11 Memorial.” BIG's involvement with the project came about after James Murdoch, Rupert’s 42-year-old son and a 21st Century Fox executive, reportedly expressed concerns over Foster’s design. James Murdoch was looking to create a more open-plan work environment. And BIG has experience doing just that—the firm recently presented designs with Heatherwick Studio for a sprawling Google headquarters complex comprising a series of glass canopies. At the World Trade Center site, BIG's main assignment was to take the spirit of a Silicon Valley, open-air campus and squeeze it into a Manhattan skyscraper. On a practical level, that's no easy assignment. But through generous setbacks, the building offers space for heavily planted gardens that at least serve as a nod toward the corporate campuses on the West Coast. Or so it would seem; Wired reported that the gardens are “supposed to evoke varying climates, from tropical to arctic.” But this is New York, not California, so by December all the gardens might lean toward the latter. Underneath these gardens, on the tower's cantilever reveals, are digital news tickers that will display headlines from the news giant operating inside. https://vimeo.com/130120622 Among the other challenges for BIG in redesigning Two World Trade was working within existing realities of the World Trade Center site—and a foundation structure that had already begun construction. The tower’s foundation is already set according to Foster's plan and includes air vents from the neighboring transportation hub. The new tower is also aligned along the axis laid out in Daniel Libeskind's master plan. When it came time to sell BIG's new design to the developer and client, Silverstein and Murdoch were initially skeptical. “I hadn’t seen a building like this beforehand, I hadn’t considered a building like this before, and certainly there was nothing down at the Trade Center to indicate that this would be a trend for tomorrow,” developer Larry Silverstein told Wired. Rupert Murdoch apparently agreed, but after the philosophy of the building was explained—and Ingels is a talented storyteller—Silverstein and Murdoch were on board. The architects behind the World Trade Center’s other three towers—David Childs, Richard Rogers, and Fumihiko Maki—all gave their blessing as well. News Corp. and 21st Century Fox recently signed a non-binding letter of intent to build Two World Trade, which brings the project closer to reality. And if all goes according to plan, Murdoch’s media empire should be setting up shop in Lower Manhattan as soon as 2020.
With the recent opening of One World Trade Center, the folks over at EarthCam have reshared their 2013 timelapse of the tower's 1,776 foot rise. There's not too much else to say about the video, other than that it sure makes the building's very long and arduous climb seem pretty quick and easy. It's also set to some very Game of Thrones-y music, so it has that going for it too. https://www.youtube.com/watch?v=Nn11DWH_LEA You can check out the video above to see One World Trade, and some other pieces of the World Trade Center site (hello, Four World Trade!), take shape over what has been a very fraught time frame. And, hey, maybe in another year or so, we'll be back here watching a timelapse of Calatrava's Transportation Hub. And after that, how about the rise of (maybe) Bjarke Ingels' 2 World Trade Center?
The World Trade Center Transportation Hub—or as its designer Santiago Calatrava likes to think of it, the "bird in flight"—is just blocks from AN's office, so we get to walk by and watch it try to take off regularly. But in the weeks before the holidays, odd “struts” started to be welded between the structure’s giant fins or blades. Not only do these lateral supports detract from the elegance of its long thin blades, I don’t remember seeing them in the renderings of the station. So I went back through every image I could find online and none show these connectors. In many of the renderings, the overlapping of the transit hub's fins obscures where the connectors would have been located. The renderings fades into solid white, obscuring those areas from clear view. Could it be that these were added later in the design process or did Mr. Calatrava know all along that these were needed to help support the weight of the fins? What do you think? Do they compromise the design?
When the new Fulton Center opened this weekend—after seven years of delays and cost overruns that lifted the project’s price tag from $750 million to $1.4 billion—New York City got two things: a modern upgrade to its transportation network and an iconic piece of architecture. With new well-lit concourses, pedestrian tunnels, escalators and elevators, and more intuitive transfer points between nine subway lines, Fulton Center will drastically improve the transit experience for the 300,000 people who pass through it every day. But even with these significant improvements, all anyone is talking about is the center's eye-catching glass oculus and its hyperboloid Sky Reflector-Net installation. Step inside the station, and you'll understand why. The 53-foot-diameter structure was commissioned by the MTA Arts & Design program and created by James Carpenter Associates with Grimshaw Architects, Enclos, TriPyramid Structures, and ARUP. It is comprised of 952 aluminum panels, 224 high-strength rods, 112 tension cables, and 10,000 stainless-steel components that work in tandem to fill the station with natural light. The full effect of the design can only be experienced from within the station—standing across the street from Fulton Center, which appears as a steel and glass headhouse, the oculus and Sky Reflector-Net could be mistaken for a massive vent. The upper floors of the rotunda, which are set directly underneath the oculus, will soon be ringed by shops and restaurants. The 66,000 square feet of commercial space is connected to the station through a prominent glass elevator that is wrapped in a spiral staircase. But as dramatic as all of these large gestures are, the center is completed with the MTA's standard-issue, black and gray finishes. The handrails, doors, flooring, and even garbage cans are what you would find at any other station. The station's subdued color scheme, though, is broken up slightly with the light blue glass tiles that clad the station’s below-grade corridors. In these subterranean spaces, the choice of tile, and the decision to set overheard fluorescent bulbs at an angle, shows the impact that designers can have when deviating—however slightly—from the norm. Spread throughout the new Fulton Center are over 50 digital screens that make up the MTA’s “largest state-of-the-art digital signage media program.” When AN visited the Fulton Center, some of those screens were quickly switching between video art and ads for Burberry. And then back again. The completion of the Fulton Center also comes with the $59 million renovation of the adjacent, 125-year-old Corbin Building. The refurbished space, which boasts a stately exterior, is incorporated into the circulation of the center. Exiting through the Corbin Building–side exit, you can see the wings of the nearly $4 billion, Calatrava-designed World Trade Center Transit Hub. When that station opens next year, it will connect to the Fulton Center, and quite likely overshadow it. The bulk of the funding for this project ($847 million) came from a Congressional appropriation which was aimed at rebuilding transit networks in Lower Manhattan after September 11. An additional $423 million came from President Obama's stimulus act. The MTA also provided $130 million in funds.