Search results for "Rockwell Group"

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il cinema indipendente

The best of AN’s videos from Milan Design Week 2018
As the saying goes, a picture is worth a thousand words. Well, a video, or, if you will, a moving image, is at least double that. And so The Architect's Newspaper (AN) brings you video highlights from Milan Design Week filmed by our editors onsite at Salone del Mobile, the EuroCucina circuit, and other satellite shows. From interviews with designers to panning views of in situ installations to product install shots, we hope this roundup gives a taste of what it’s like to see and experience it all in person. Laufen’s booth installation Onsite at the fairgrounds of Salone del Mobile, our editors enjoyed this bidet toilet fountain installation by the Swiss-bathroom brand Laufen. Floating mobiles at Rossana Orlandi Watch Martens and Visser’s kinetic sculptures spin and float like bubbles at Rossana Orlandi. AN talks to Studio OEO about their new accessories collection for Mutina Thomas Lykke and Anne-Marie Buemann of Danish architectural firm OEO Studio speak about their collaboration with Mutina, a new collection of home accessories that integrate as a system with Italian manufacturer’s ceramic tiles. Hay at Palazzo Clerichi Hay introduced several new products by the Bouroullec brothers, Stefan Diez, GamFratesi, Shane Schneider, and many repeat offenders. The exhibition showcases designs for everyday living as well as everyday working in the ornate ambiance of Palazzo Clerichi. Bellissimo! AN talks to Hella Jongerius about her tapestry collage for Vitra The Dutch industrial designer talks about the new sofa she developed for Vitra. The installation highlights the textiles she created for “textile nerds.” Apparatus’ ACT III The New York-based design studio debuted their new collection, ACT III, in their Milan showroom. The launch featured a series of alabaster and fluted brass lighting that references Berber jewelry. AN talks to Brussels-based designer Alain Gilles about his acoustic lighting designs Alain Gilles discusses his new acoustic lighting collection for BuzziSpace in the Brera district for Milan Design week. Gufram’s club-inspired furniture collection Disco Gufram is an electronic soundscape outfitted with furniture inspired by original 1970s designs by the studio. Loosely interpreted based on the found archival images, the series features sofas, coffee tables, and cabinets complete with Dali-esque melting disco balls based on their predecessors at disco clubs in the 70s. AN talks to Berlin-based Studio 7.5 about their new seating series for Herman Miller Burkhard Schmitz and Roland Zwick of Studio 7.5 talk about their new seating collection “For You Everyone” at the Herman Miller Showroom in Milan. The exhibition showcased the Cosm series, inviting visitors to sit back and recline. Nendo’s exhibition: Forms of Movement Nendo’s self-exploratory exhibition, Forms of Movement, surveys materials and technologies in 10 conceptual iterations of an object’s function, material, or production process. Here we see a series of furnishings articulated by different shapes and formations of plasticized fabric. AN talks to Space Copenhagen about their collection for Stellar Works Danish design duo Signe  Bindslev Henriksen and Peter  Bundgaard Rützou of Space Copenhagen detail the inspiration behind the new series and how similarities in Asian and Scandinavian cultures transpire in their designs. A 1929 tram by Christina Celestino renovated as a traveling saloon AN rode the Corallo tram with designer Christina Celestino to hear about her inspiration behind the exhibition on wheels. Traveling to-and-fro between three stops in the Brera design district, the interior is reminiscent of 1920s art moderne interiors, specifically the cinema and screening rooms. AN talks to Icelandic designer Hlynur V. Atlason about his commercial series for Ercol Icelandic designer Hlynur V. Atlason details his collection of modular furnishings for Ercol, their first venture in commercial design. He explains this new take and his inspiration point that departed from the English brand’s seminal reference, the traditional Windsor chair. The Diner by Rockwell Group The design world crowds into the American-style diner installation inside a railway arch designed by The New York-based firm. Rockwell Group teamed up with Surface magazine, design consultancy 2x4, and Design Within Reach on the American-inspired establishment located beneath the tracks that lead to Milan's Centrale railway station. See more videos and photos on our Instagram @archpaper
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Popular Polymer

A skin for the spectacular? It has to be ETFE.
From biodomes to Disney resorts, "Sheds" and stadiums, ethylene tetrafluoroethylene, better known as ETFE, has become the material of choice for architects designing a venue for the spectacular. Appealing to designers as an affordable, translucent building skin, the material is now the go-to polymer for flamboyant facades. The Architect's Newspaper (AN) spoke to three firms leading the way to get the lowdown.

"When we designed Eden over twenty years ago, this was the largest installation of ETFE, which had principally been used for small sports buildings," said Andrew Whalley, Partner & Deputy Chairman at Grimshaw Architects. Whalley was, of course, referring to the Eden Project in the U.K.'s southwest, the project that put ETFE and its use for buildings on the map. Previously, the material had been used mostly in the aerospace industry, with the odd agricultural project thrown in. Now it was being used for huge, bulbous "biomes" that drew inspiration from Buckminster Fuller.

"I think the Eden project certainly gave it a much higher profile, which led quickly to its use on several high-profile buildings. This rise in popularity has lead to a continual refinement in the product, and with secondary applications," added Whalley.

Grimshaw has since gone on to be a pioneer of the polymer in architecture. Their U.K. National Space Center in Leicester was another landmark project, and, more recently, the firm has stepped it up a level, with the dazzling Disney resort, "Tomorrowland," in Shanghai. Whalley continued, "Current ETFE is much more transparent than its earlier version, is available in a range of color tints. It can be fritted, and combining this with variable air pressures can change the amount of light passing through the envelope." Light and colour certainly abound at Tomorrowland. David Dennis, Associate Principal at Grimshaw explained how this was achieved through a double-layered ETFE cushion that spans 164 feet across a complicated twin-gridshell canopy. This is then held in place by custom-formed aluminum clamps that respond to the tight bending and twisting of the structure. "ETFE’s inherent flexibility permitted spanning these complex forms. Meanwhile, advancements in imbedded color and custom-applied ‘frit’ patterns enabled a backdrop suitable for both daytime and nighttime light shows," elaborated Dennis. "The canopy structure required a lightweight cladding that could keep guests dry and comfortable in Shanghai’s wet summers. At the same time, it also needed to be an expressive and iconic canvas for lighting effects and projections that celebrate Disney’s stories and capture the Tomorrowland theme of an optimistic future," he added. "ETFE met these needs, providing flexibility of form and advanced capacity for showcase." But how is ETFE being used on U.S. shores? Alloy Kemp, a Senior Project Engineer at Thornton Tomasetti's New York office, was on hand. The engineering firm has already worked on numerous ETFE facades, including Banc of California Stadium (for the Los Angeles Football Club, MLS), the U.S. Bank Stadium (for the Minnesota Vikings) and the Hard Rock Stadium (for the Miami Dolphins) in Florida. Right now, Thornton Tomasetti is working with Diller Scofidio + Renfro (DS+R) and the Rockwell Group on The Shed at Hudson Yards which, yes, you guessed it, has an ETFE facade. According to Kemp, The Shed uses a pneumatic system, whereby three foils made into a panel are inflated with air. "The air is not structural; it serves to stabilize the foils," said Kemp. "The outer foil is fritted (printed with silver ink in a dot pattern) to reduce the light transmission of the panel into the space." The middle foil, meanwhile, is clear, and the inner foil is white, with 20 percent opacity. Kemp remarked that the "overall effect is to diffuse and scatter the direct sunlight into the space." ETFE is also representing the U.S. on foreign soil, too. Back in the U.K., Philly-based studio KieranTimberlake Architects recently used the material to clad the U.S. Embassy in London. Partner at studio Matthew Krissell told AN how the "single layer tensioned membrane," arranged in an array of sails on three sides of the building, optimized natural daylighting with a high level of transparency. Meanwhile, the scrim also provided a second air gap to give further resistance to thermal transfer.
And so what of the future of ETFE? Whalley shared that Grimshaw is currently looking at new versions that integrate high-efficiency photovoltaic cells and low-emission coatings. He, along with Dennis, Kemp, and Krissell, will be talking about ETFE (and the projects mentioned here) in greater detail at the Facades+ NYC conference this April 19. Whalley is the event's co-chair while the rest will form a panel specifically on the material.
For more information and tickets please visit www.facadesplus.com. Seating is limited.
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Top of the Yard

Hudson Yards’ first residential tower by DS+R and Rockwell Group tops out
The sprint to finish the first phase of the Hudson Yards megaproject is on, as the Diller Scofidio + Renfro and Rockwell Group-designed 15 Hudson Yards (Ismael Leyva Architects is serving as the architect of record and handling the interiors) topped out today. The 917-foot-tall condo tower will be the first residential building to open in the new neighborhood, and if construction finishes at the end of 2018 as planned, then the first phase of the new neighborhood will be on track for its March 2019 opening. The 285-unit 15 Hudson Yards is one of the last pieces of the project’s first phase, including the recently completed, bronzed stepwell Vessel nearby, and represents a culmination of five years of work at the site. Although the tower features a glass curtain wall similar to the other buildings on the site, 15 Hudson Yards gradually splits and rounds as it rises, resembling a set of conjoined smokestacks emerging from a square base. The LEED Gold-certified tower will also recycle stormwater, and use capture runoff to support the cooling systems. Once completed, residents will have 40,000 square feet of amenity space, including a 75-foot-long swimming pool in a full “aquatics center,” a fitness club, golf lounge, wine storage and tasting room, and a co-working space for residents. The lucky buyers get to look down on The Shed, as 15 Hudson looms over the extendable cultural venue, also designed by Diller Scofidio + Renfro and Rockwell Group. As the first phase of the 28-acre, 18-million-foot mixed-use development winds to a close, speculation is heating up over who developers Related Companies and Oxford Properties Group will tap to design the largely residential second phase of Hudson Yards. As AN reported earlier this month, architects Santiago Calatrava and Frank Gehry are both in the running to design residential towers on the western half of the site. Hudson Yards will contain about 4,000 residential units once it’s fully complete in 2024. Check out a time-lapse video of 15 Hudson’s construction below.
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Designed by NLÉ

The Shed kicks off programming in a smaller shed
While Diller Scofidio + Renfro and Rockwell Group's The Shed might not open until spring 2019, its creative team will be hosting nearly two weeks of free arts events this May to build anticipation for the ribbon-cutting. A Prelude to The Shed, held on a vacant lot at 10th Avenue and 30th Street in Manhattan, will feature live concerts, dance battles, art-focused political panels, and experimental classes that foreshadow offerings of the under-construction telescoping arts venue in Hudson Yards. From May 1 until May 13, visitors can experience Prelude in and around a reconfigured steel shed designed by architect Kunlé Adeyemi of NLÉ Works and artist Tino Sehgal. Prelude’s smaller shed will echo its larger counterpart by being fluid and transformable, with elements of the building able to move in response to the dancers within. “Using simple technologies, we made the structure so that it can be moved and transformed by people, enabling its participation in different formats of art, education, events, and public life,” said Adeyemi, in a press release. Each day of Prelude will bring a different program, though everything will be connected through Sehgal’s curation. Every morning, artist Asad Raza will lead experimental classes, based on his ongoing “Schema for a school” work, while panels on art’s role in social connectivity and the politics of ritualized gatherings will be hosted every other evening. Bolstering the series’ connection to The Shed, Prelude will host reproduced ephemera from architect Cedric Price’s Fun Palace, an unrealized moveable and multi-purpose venue that heavily influenced The Shed. Mobile exhibition carts stocked with artifacts from the Fun Palace will move around the temporary space to encourage public interaction. “Like The Fun Palace, Prelude is a hybridization of exhibition and performance, functionally structured to encourage open engagement with audiences and fresh, collaborative approaches from artists,” said Hans Ulrich Obrist, The Shed's artistic advisor. “It is emblematic of our own era in that it lends itself to the choreography of 21st-century time-based exhibitions.” A full schedule of Prelude’s programming can be found here, including a lineup for the concert series.
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Capitol Cluster

The Wharf, D.C.’s massive waterfront development, is now open
The Wharf–a $2 billion new development on a former industrial stretch of the D.C. waterfront–has finally opened. The developers are Madison Marquette and PN Hoffman, and the master architect and planner is Perkins Eastman. Previously the site was a mile-long stretch of boat storage, industrial space, and some back-door barbecue joints. At its northern end, it also includes the oldest fish market in the United States. Before the Wharf could be built, the existing seawall and promenade were torn up and replaced by an underground, two-story parking garage spanning the length of the development. The garages connect from below into an array of luxury residential structures with ground-level commercial space–restaurants, yoga studios, and other amenities. Last week all of these opened to the public–in total, 1.2 million square feet of mixed-use space including office structures, luxury and affordable residential space, a marina, and waterfront parks. The fish market was the only structure preserved as-is. The Anthem, a new 6,000-person theatre venue, is a cornerstone development of the Wharf. Designed by New York-based Rockwell Group, the venue is essentially a concrete volume hedged in by two L-shaped residential structures. The Anthem has a warehouse-like interior and two levels of balconies split into smaller, drawer-like extrusions. Massive steel panels flank the stage, laser cut and illuminated with the pattern of two enormous curtains drawn back, resembling the velvet drapery of Baroque theaters. The space is managed by a 30-year old staple organization in D.C. entertainment–the 9:30 Club–to whom the Wharf reached out in the initial stages. The building’s board-form concrete paneling and industrial facade are intended as a nod to the Club’s famed punk-laden lineups. In the lobby, one can look up through an installation of floating cymbals to four rectangular skylights three floors up. If you look closely, the skylights ripple with water–the underbelly of a pool for a residential structure stacked above. A key design challenge for the Anthem was its siting between two residential structures. To address the noise issue, Rockwell spent several million dollars designing a multi-layered sound barrier between the structures, which are reportedly so effective that amplified concerts are inaudible from the interiors of apartments less than a hundred feet away. Supposedly, a resident could sleep soundly while Dave Grohl shredded away on opening night. The Anthem's neighboring structures include designs by FOX Architects, Kohn Pedersen Fox, Perkins Eastman, Parcel 3A, Cunningham Quill Architects, BBG_BBGM, Handel Architects, WDG Architecture, Studio MB, SmithGroup JJR, MTFA Architecture, SK&I, and Moffatt & Nichol. Only Phase One has opened. Phase Two will add an additional 1.2 million square feet to the overall site footprint, mostly extending south. The roster of new structures will include designs by firms such as SHoP Architects, Rafael Viñoly, Morris Adjmi Architects, Hollwich Kushner (HWKN), ODA, WDG Architecture, and Michael Van Valkenburgh Associates (MVVA). The expansion will include increased office and residential space, an additional pier and marina, as well as increased park space. Phase One is notably without much public greenery. The construction of Phase Two is slated to begin in 2018, with a projected opening of 2021.
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London Calling

Diller Scofidio + Renfro announced as designers of London’s Centre For Music
Diller Scofidio + Renfro have bested a shortlist that included Frank Gehry, Renzo Piano, Snøhetta and Foster + Partners, winning the commission to design the Centre For Music, the new home for the London Symphony Orchestra and the Guildhall School of Music and Drama.  The Centre will be located near the Barbican complex in the City of London (where the Symphony currently performs), on a site now occupied by the Museum of London—which will move to a new home a half-mile west in West Smithfield. The Brutalist museum was designed in 1976 by Philip Powell and Hidalgo Moya, 1974 winners of the Royal Gold Medal For Architecture. DS+R's Centre is set to contain a concert hall with up to 2,000 seats, as well as classrooms and training spaces. Its cost, which reports estimate at between £200 and £250 million, is to be funded largely through private donations, although the City of London earlier this year chipped in £2.5 million for a business plan. Explaining their choice in a statement, the Centre's architect selection panel said they felt DS+R "most clearly met the vision and ambition of this project, utilising their experience of creating inspiring new spaces for culture to present a proposal that delivers a world-class concert hall in an outstanding new building, as part of the re-imagination of a key area of the City of London within Culture Mile.” Other members of the design team will include Buro Happold (civil and structural engineer and building services engineer), Nagata Acoustics (acoustician), Charcoalblue (theater consultant), and AECOM (cost consultant). According to DS+R, a concept design will be submitted to the City of London Corporation by December 2018. The building will not just be a permanent home for the London Symphony, but will also host performances from the Barbican's family of orchestras and ensembles and from touring orchestras and artists. It will be a vital piece of The City's "Culture Mile," a conglomeration of nearby arts facilities also including the Barbican, Milton Court Concert Hall, and more.
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Breaking News

U.S. Pavilion announces design teams for 2018 Venice Architecture Biennale
Seven design teams have been selected to represent the United States in the U.S. Pavilion at the 2018 Venice Architecture Biennale.  The pavilion's curators, Niall Atkinson, from the University of Chicago; Ann Lui of the School of the Art Institute of Chicago, and Los Angeles–based critic and curator Mimi Zeiger, selected Dimensions of Citizenship as the theme of this year's exhibition, to engage architecture in the timely question of what it means to be a citizen. According to the curators, the selected teams represent a range of design practices, from the technical to the speculative, but "are united by researched-based methodologies and the drive to use that research to push boundaries—formal, disciplinary, and political.” Each team will examine a different dimension of design and citizenship. Their projects will be placed in dialogue with existing projects by architects and other practitioners, who will be announced later. The selected exhibitors are: Amanda Williams + Andres L. Hernandez (Chicago, IL) This duo brings an artistic and political bent to the Pavilion: both Williams and Hernandez have training in architecture and explore themes related to race, vacancy, and blight in urban landscapes. Williams is most widely known for her work Color(ed) Theoryshown in the 2015 Chicago Architecture Biennale; Hernandez is co-founder of the Revival Arts Collective as well as the founder and director of the Urban Vacancy Research Initiative. DESIGN EARTH (Cambridge, MA) Headed by MIT's Rania Ghosn and El Hadi Jazairy, this design research practice works on the geographies of technological systems from speculation into the problems posed by waste management to the fate of oil-rich landscapes. They're currently at work on an exhibition titled Geostoriesa "manifesto [...] on the environmental imagination presented in architectural projects that engage the planetary scale with a commitment to the drawing as a medium." Diller Scofidio + Renfro (Cambridge, MA) This heavy-hitting firm will already be familiar to many. Best known for their work on the High Line in New York City, The Broad in Los Angeles, and the Institute of Contemporary Art in Chicago, DS+R brings a seasoned, interdisciplinary team to the task. Estudio Teddy Cruz + Fonna Forman (San Diego, CA) This research-based political and architectural practice is comprised of two professors from the University of California, San Diego (USCD): Teddy Cruz and Fonna Forman. Over the years, the two have examined issues of informal urbanization, civic infrastructure, and public culture, mostly focused on Latin American cities. They also co-head USCD's Cross-Border initiative, whose mission is "to promote interdisciplinary poverty research and practice in the San Diego-Tijuana border region." Keller Easterling (New Haven, CT) Easterling is a professor at Yale University's School of Architecture and a prolific author of eight books and countless articles. Her most recent publication through Verso, Extrastatecraft: The Power of Infrastructure Spaceslooks at global infrastructure with the angle that "emerging governmental and corporate forces [are] buried within the concrete and fiber-optics of our modern habitat." SCAPE (New York, NY) Founded and directed by Columbia GSAPP professor Kate Orff, SCAPE is a landscape architecture firm with an eye on large-scale ecological resilience. In its winning entry to the 2014 Rebuild by Design competition, Living BreakwatersSCAPE employed multiple lines of storm surge defense including artificial reefs promoting biodiversity in New York City's heavily polluted harbor. Orff has also published an examination of the chemical corridor between New Orleans and Baton Rouge, Louisiana, in partnership with photographer Richard Misrach – Petrochemical America – and more recently, Toward an Urban Ecology. Studio Gang (Chicago, IL) Architect and MacArthur fellow Jeanne Gang is also well-known for her designs, from her undulating Aqua Tower to her Women's March-inspired exhibit Hive at the National Building Museum. Studio Gang's international work centers on a design principle of "actionable idealism" – the capacity for design to push public awareness of different issues (whether climate change, inequity, or urban decay) and encourage change – which will lend itself well to this year's theme.

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Additionally, Iker Gil – a professor at the School of the Art Institute of Chicago (SAIC), Director of MAS Studio, and founder of its design journal MAS Context – has been selected as associate curator of the exhibition to join the curatorial team of Atkinson, Lui and Zeiger.
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Getting There

Miami’s infrastructure woes run deep, but the city has its eyes set on “huge cultural change”

This article appears in The Architect’s Newspaper’s April 2017 issue, which takes a deep dive into Florida to coincide with the upcoming AIA Conference on Architecture in Orlando (April 27 to 29). We’re publishing the issue online as the Conference approaches—click here to see the latest articles to be uploaded.

Talk of “infrastructure” may be one of the few things—if not the only thing—that comes close to uniting Democrats and Republicans at the moment. It was transit infrastructure, of course, that literally united the states of America: originally with railroads in the 19th century and later with interstates and automobiles in the 20th. Today, however, some cities’ prevailing love affairs with the car have become rather one-sided.

Polluting air and clogging roads, vehicles choke our cities. Miami ranks fifth nationally and tenth globally for congestion, as residents spend 65 hours in traffic per year on average, according to INRIX, a global traffic researcher that uses big data. Adding real injury to insult, the state’s stretch of the I-95 is America’s most deadly, according to statistics from the National Highway Traffic Safety Administration.

There is a financial burden to excessive traffic too. INRIX estimates that congestion costs Miami drivers $3.6 billion per year (remember that figure). Additionally, drivers pay out an average of $628,000 every day in tolls, just for the privilege of using the Miami-Dade Expressway.

Cars aren’t cheap, but what is the alternative in an auto-dependent city like Miami? Director of the Department of Transportation and Public Works (DTPW) for Miami-Dade County Alice Bravo said that she wanted to make Miami a “car-optional community,” where people can get to “all the different regions within the county using reliable public transit that’s convenient and helps people save time.”

A plethora of schemes and projects are now occurring in and around the city, such as high-speed regional rail, local rail, bus, bicycle, and pedestrian routes, water travel, and carpooling. Miami has gone from having nothing concrete in the pipeline for years to everything happening at once, and this coincides with a development boom that is more tuned for urban living than previous waves of development.

Bravo said that the backbone of the infrastructure surge is the Brightline, a completely private, approximately $3 billion scheme by All Aboard Florida. The “higher-speed” (Note: not high-speed) rail service runs the 235-mile stretch from the Orlando airport to Downtown Miami. The new line will reduce travel between Orlando and Miami from four hours to two and a half, for about the same cost as driving.

Such a commuter-rail service may sound familiar: In the late 19th century, the Florida East Coast Railway (FEC) was developed by Henry Flagler. Flagler’s railway ran from Jacksonville and was dubbed the “eighth wonder of the world.” The commuter rail prevailed until the 1960s when the line was used to transport freight only, which it still does to this day. Unsurprisingly, then, All Aboard Florida is a sister company of the FEC and the new tracks will be laid along the existing lines.

Designing the Miami station, as well as those in Fort Lauderdale and West Palm Beach is Skidmore, Owings & Merrill (SOM) who are working with Miami-based Zyscovich Architects. Design principal Roger Duffy explained how the stations would work with the existing infrastructure around them: “At Fort Lauderdale, we’re looking to link up with a bus service that will connect the cruise port and the station.” The city is also pressing on with plans for a streetcar system called “The Wave” that would connect with the station as well.

Meanwhile, at West Palm Beach, the 60,000-square-foot station is located at the center of downtown and will connect with the existing trolley network as well as Tri-Rail and Amtrak. In Miami, the station inhabits a similar location. A zoning override that turned the area into a special transit district was required to build the station, and tracks here are elevated 50 feet into the air so that the 11,000-foot-long station can bridge roads and pedestrian pathways.

Like any contemporary train terminus, the station will offer a ton of retail space, with room for a food court too. Duffy, however, stressed that the station was “not like duty-free at an airport,” where you have to weave through shops to get anywhere. Amenities will also cater to the area outside the building. Space for food trucks—a hit in Florida—has been provided, while skylights where the station bridges the streets offer daylight.

The Brightline train itself was designed by the LAB at Rockwell Group—an in-house strategy and technology studio at the New York architecture and design studio. The LAB at Rockwell Group worked with All Aboard Florida to conceive the Brightline name, brand platform, visual identity, and designed the train’s interiors as well as the exterior graphics. In addition to this, one of Rockwell Group’s architectural studios designed the interior check-in areas, food and beverage areas, and lounge experiences for all four Brightline stations.

Using the Brightline project as a springboard, Bravo is embarking on a $3.6 billion (remember that number?) transport scheme. Part of “Strategic Miami Area Rapid Transit,” otherwise known as the S.M.A.R.T. plan, 82 miles of track will be laid along six transportation corridors that involve local services, including the suburban Metrorail and the elevated monorail Metromover.

In addition to new tracks, existing tracks are also finding a new lease on life as a haven for pedestrians and cyclists. Known as the “Underline,” the rails-to-trails scheme, comes from James Corner Field Operations (JCFO)—the same firm who developed New York’s hugely popular High Line.

As one might guess, the scheme involves area underneath the Metrorail being turned into a landscaped oasis filled with pedestrian paths, cycle lanes, and native planting. The 10-mile stretch is planned to run from Brickell Station down to Dadeland South Station. Phase one is occurring in Brickell, where work is due for completion in 2019, set to cost netween $7 million and $9 million. “Brickell has grown explosively in the past 10 to 15 years,” said Meg Daly, president of Friends of the Underline, the group leading the project. “We really believe that this trail-cum-park will offer incredible amenities and green spaces to offset the vertical growth and increased density in the area.”

Expanding on this, Isabel Castilla of JCFO listed amenities such as a dog park, an outdoor gym, a basketball court that doubles up as a space for yoga classes and similar activities, as well as a 150-capacity bicycle garage (Miami-Dade’s first) and a bike repair station. Art will also line the trail, and amenities will be site-specific: In the University of Miami area, a beach volleyball court will be installed.

According to Irene Hegedus of the DTPW, providing safe bicycle routes is a high priority. Castilla added that the shade provided by the Metrorail is “critical” for a project where people are encouraged to “walk, run, and cycle to stations and along the path.” “Working with the existing infrastructure,” she continued, “we hope this leads to the rezoning and re-visioning of areas along the Metrorail as transit-orientated development sites and areas where, as Miami continues to grow, it hopefully grows in a denser way near transit stations rather than continuing urban sprawl that is very dependent on highways and cars.”

Bravo, too, is aware of the interwoven relationship between transit development and the densification of urban areas. Another tool she discussed to further assist Hegedus’s and her ambitions was the possibility of Uber and Lyft entering the fray of her transport plans, acting as the “first and last miles” for journeys.

Now operating in Miami (after three years of lobbying for service legalization), Uber and Lyft previously found success in other parts of Florida, notably in Pinellas Park and Altamonte Springs where rides are subsidized and saving the cities considerable money. Altamonte Springs City Manager Frank Martz described the pilot partnership as “going very well,” but said the scheme is due to end in July.

The low-cost nature of services such as Uber and Lyft is a key to their success. Already able to outprice traditional taxi drivers, ridesharing services Uber Pool and Lyft Line are looking to compete with bus service, too. Uber has gone further than mere carpooling by introducing pickup points optimized by algorithms that essentially create Uber bus stops.

Uber is also losing money—approximately $3 billion per year. In December, economist Justin Wolfers commented that “prices will rise once they’ve succeeded at monopolizing the industry.” If he is correct, the governmental embracing of Uber and Lyft long-term will prove to be shortsighted. Evidence of what happens when alternative public transit routes become unavailable can be seen in London. During a tube strike earlier this year, Uber fares surged by 450 percent; one rider was reportedly charged $138 for a five-mile trip.

It should be noted, though, that Altamonte Springs and Pinellas Park went with car sharing due to other circumstances not going their way. The Altamonte Springs city government set aside $500,000 (of which only a fraction has been needed) for private-hire subsidies after it was denied funding for a $1.5 million pilot “FlexBus” program. At Pinellas Park, the program emerged in response to a 2014 referendum in which local voters declined to adopt a one-cent sales tax to aid transit in the area.

In Miami, however, residents appear to be more enthusiastic about public transport. The “People’s Transportation Plan,” a half-penny charter county sales surtax is helping to fund the S.M.A.R.T. project, something the public voted in favor of back in 2002.

All this, too, shouldn’t suggest that Miami is waging all-out war against the automobile. Getting around by car is being made easier by what Bravo calls “smart signals”—traffic signals that adapt to current states of congestion. Using cameras, they monitor intersections and use AI to optimize traffic flow. Miami-Dade County is investing $40 million this year for the implementation of the traffic signals along major corridors, part of a five-year, $160 million effort. Other smart-city services include 300 soon-to-be-installed wi-fi transit hotspots from CIVIQ Smartscapes.

With all the proposed infrastructural plans, varying in scale, Bravo is under no illusions about the difficulty of the task. “This is a huge cultural change,” she said. However, Bravo is optimistic about how future generations will take to the changes. “New millennials are cool about public transportation,” she added. Such unprecedented growth seldom comes around often, and the chance to invest off the back of hefty tax receipts may be fleeting. Miami’s public transit system is dire, but if it continues to ride the wave of public support and enact its plans, change in the form of mobility lies ahead.

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SVA MA Way

Virginia Heffernan joins the SVA’s Design Research & Writing Summer Intensive
Journalist, writer, and media critic Virginia Heffernan has joined the School of Visual Art's 2017 Design Writing and Research Summer Intensive, a two-week course organized by the school's MA Design Research program. The Summer Intensive, which aims to help participants improve their writing skills and research methods, includes seminars, lectures, behind-the-scenes access to new projects and exhibitions, and studio visits. (The 2016's Summer Intensive studio visits included the likes of MOS Architects, Pentagram, The Lab at Rockwell Group, and Bjarke Ingels Group.) Participants are furnished with a desk at the SVA MA Design Research's space at 136 W 21st St. and can explore a range of subjects, from graphic design to industrial design, architecture, and cities. This year's instructors include architecture writer and critic Karrie Jacobs; BBC director-producer Adam Harrison Levy; New York Times Senior Culture Reporter Robin Pogrebin; The Weeklings co-founder Jennifer Kabat; and design and business columnist Rob Walker. According to the SVA, Heffernan's course is "about design that defines itself against digital culture. Not Luddite design, or analog, nothing nostalgic; but something that only exists as a response to culture's saturation with software and digital hardware." The application deadline is April 15; click here for more details.  
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Blue Crush

NYC’s Collective Design fair announces major partners and installations
May is around the corner, and with it comes the fifth edition of the Collective Design fair, occurring May 3 through May 7 as part of NYCxDESIGN. The event will be at The High Line’s former southernmost terminal, Skylight Clarkson Sq, a “horizontal skyscraper” spanning three city blocks in West SoHo. As if the venue wasn’t interesting enough, Collective Design has now announced several installations to christen the space. Following in the footsteps of last year’s Glacial Drift by Brooklyn-based The Principals, The LAB at Rockwell Group has designed a 40-foot-long “blue carpet” that passes through a glittering tunnel as the fair's entrance. The in-house design innovation studio found inspiration for the experience in the red carpets of Hollywood and their choreography and their promises of excitement. “Our goal was to create an entry experience that plays with the theatrical moment of the red carpet, and also blurs digital technology with a physical structure,” said Melissa Hoffman, studio leader at The LAB, Rockwell Group’s in-house design innovation studio. “We ended up transforming the typical entry experience into a shimmering, seductive structure immersed in Collective’s signature blue color.” The tunnel will be fabricated by Brooklyn-based The Factory NYC, built from plywood ribs cut on a CNC router. The structure will then be clad entirely in mylar foil fringe, which will give the tunnel its glamorous shimmer. The passage will also expand and contract, giving it the illusion that it is breathing and adding a touch of other-worldliness to the grand entrance. After traipsing through the breathing blue tunnel, visitors will experience another kind of living corridor: an indoor classical garden designed by Brook Klausing of Brook Landscape. The installation will feature raw timbers from the Rockaway Boardwalk, salvaged in the aftermath of Hurricane Sandy, and select pieces from Natural Workshop, a collaboration of Klausing and Brian Green, who is launching a new product line this spring. Other installations include The Noguchi Museum’s Waiting Room: Noguchi/Stadler, an exhibition of Isamu Noguchi’s work alongside designer Robert Stadler, which mimics the strangeness of waiting spaces and “public and private forms of standing-by.” Huniford Design Studio, led by James Huniford, will be furnishing the VIP Lounge for the fair, showcasing furniture from the Huniford Collection, a luxury furniture line from the designer launching this spring. Also making an appearance is Stickbulb, a handmade lighting brand that utilizes sustainably sourced and reclaimed wood. They will be installing a limited-edition piece made from reclaimed redwood planks salvaged during the demolition of New York City water towers. Alongside the announcements of these exciting installations, Collective Design also announced the addition of several major partners for 2017: The Museum of Arts and Design, Cooper Hewitt, Smithsonian Design Museum, Storefront for Art and Architecture, Open House New York, The Architectural League of New York, Royal Academy of Art (RCA) in London, New York School of Interior Design (NYSID), School of Visual Art (SVA), and Bard Graduate Center (BCG). With the announcement of these installations and additions to the fair, May is shaping up to be an inspiring and exciting month for the New York City design community. You can find more information about the Collective Design fair here and more information regarding NYCxDESIGN’s many festivities here.
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Dear Mr. President,

Over 250 architects sign open letter to Donald Trump
A letter written by the grassroots coalition Architects Advocate has been signed by 276 architecture and design firms and sent to President-elect Donald Trump. The letter focuses on three specific actions addressing climate change, a clean and competitive U.S. economy using renewable energy, and standing up against special interest money in politics. “The President-elect has pledged to create jobs in urban and rural communities. We believe the best way to achieve this is to take decisive action on climate change by investing in a low-carbon US economy because it is a win-win for businesses, people, and the environment alike” said Tom Jacobs with Krueck+Sexton Architects, one of the letter signatories. “The consensus about needed action on climate change among design industry professionals is overwhelming, and the general public supports such actions with significant majorities across party lines as well. We are not being political by speaking out—we are acting in the best interest of every American, present and future, and are inviting the President-elect to join us moving forward.” The letter is copied below: President-elect Trump, As American architects, we are dedicated to creating healthy, productive, and safe communities for all. We are committed to doing so in a way that is economically viable, socially equitable, and environmentally sustainable. In these communities, families and businesses thrive. Throughout our great history we have always depended on the natural environment. It has nurtured us and has enabled vast freedom, growth, innovation, and profit. Today we are already experiencing the potentially irreversible negative impacts of climate change and biodiversity loss. American prosperity is at risk. Our children and grandchildren face the real possibility of our country and world in turmoil. Because buildings alone account for almost 40% of total U.S. energy use and 72% percent of U.S. electricity use, America’s architects are on the front line addressing climate change in a meaningful way. Action on climate change is supported across party lines by significant majorities of Americans, including the military and leaders of industry, faith, science, and education. By taking decisive action now we all can be remembered as historic and courageous actors who helped secure humanity’s future. We can turn our climate challenge into an unrivaled economic opportunity that creates desirable and healthy jobs in rural and urban communities alike. All Americans win if:
  • We invest in a clean and competitive U.S. economy that is powered by renewable energy through cost-effective and innovative solutions. This creates jobs and lowers the costs of living and doing business.
  • We stand up to the influence of special interest money in politics to create a truly level playing field. Subsidies for renewable energy technologies should be equal to the many hidden and costly subsidies that support fossil fuels and nuclear energy. Alternatively, all subsidies across all energy sources should be removed in their entirety.
  • We re-affirm America’s commitment to addressing climate change through the continued participation in the historic Paris Climate Agreement.
We invite you to join our commitment to developing healthy and prosperous communities, and to designing and building the great America that future generations deserve. Together, we can ensure our children and grandchildren will remember us with pride. Signed, 229 Architecture Firms 24 Landscape Architecture Firms 21 Design + Consulting Industry Firms 2 Organizations see following pages for all signatories Architecture Firms: agps architecture, Los Angeles CA AIM Associates, Petaluma CA Alchemy Architects, St. Paul MN Alima Silverman Architect, Santa Rosa CA AltusWorks, Chicago IL Anderson Krygier, Inc., Portland OR Angela Klein Architect, Alameda CA Ankrom Moisan Architects, Portland OR Anthony Belluschi FAIA Consulting Architect, Portland OR Antunovich Associates, Chicago IL Archimage Architects, Ltd., Chicago IL archimania, Memphis TN architect’s office, San Francisco CA Architecture Is Fun, Inc., Chicago IL architecture+, Troy NY ARExA, New York NY Bailey Edward Design, Inc., Chicago IL Bassetti Architects, Seattle WA Bauer Latoza Studio, Chicago IL beta-field, Charlottesville VA Bisbee Architecture + Design, Santa Rosa CA bKL Architecture, Chicago IL Blue Truck, Inc., San Francisco CA BNIM, Des Moines IA Booth Hansen, Chicago IL Bora Architects, Portland OR Boyer Architects LLC, Evanston IL Brewer Studio Architects, Sebastopol CA Brininstool + Lynch, Ltd., Chicago IL Brooks + Scarpa, Los Angeles CA Brubaker Design, Chicago IL Brush Architects, LLC, Chicago IL building Lab, Emeryville CA Burhani Design Architects, Chicago IL CAMESgibson, Chicago IL Caples Jefferson Architects, Long Island City NY Carlo Parente Architect, Chicago IL CaVA Architects, LLP, Philadelphia PA Charles Pipal, AIA, Riverside IL Chen & Associates, A+E, Sebastopol CA Chris Binger Architect, San Diego CA Christoper Strom Architects, St Louis Park MN Circle West Architects, Phoenix AZ Circo Architects, Inc., Riverside IL Constantine D. Vasilios & Associates Ltd, Chicago IL Cook Architectural Design Studio, Chicago IL Cordogan Clark & Associates, Chicago IL Dan Miller Architects Ltd., Chicago IL David Crabbe Architect, San Carlos CA David Fleener Architects, Chicago IL Deam + Dine, Sausalito CA Deanna Berman Design Alternatives, Chicago IL Deborah Berke Partners, New York NY Design Smak, Evanston IL Design Team, LLC, Highland Park IL Design2 LAST, Inc., Edmonds WA Dev Architects, Woodside CA Dilworth Eliot Studio, San Francisco CA Dirk Denison Architects, Chicago IL DOES Architecture, San Francisco CA Dragani Martone Studio, LLP, Philadelphia PA DRIFT-Design, Oakland CA DSGN Associates, Dallas TX Duvivier Architects, Venice CA Dwyer/Oglesbay, Minneapolis MN Eastlake Studio, Chicago IL Eckenhoff Saunders Architects, Chicago IL Ellipsis Architecture, Chicago IL emar Studio for Public Architecture, Culver City CA Environ Architecture, Inc., Long Beach CA Equinox Design, Sebastopol CA EQUINOX Design and Development, Windsor CA Eskew+Dumez+Ripple, New Orleans LA Farr Associates, Chicago IL Feldman Architecture, San Francisco CA Fiona E. O’Neill, Architect, The Sea Ranch CA Fletcher Studio, San Francisco CA Fougeron Architecture, San Francisco CA Frank Zilm & Associates, Inc., Kansas City MO GEMMILL DESIGN Architectural Studio, San Francisco CA General Architecture Collaborative, Syracuse NY Gerhard Zinserling Architects, Chicago IL Gray Organschi Architecture, New Haven CT Greater Good Studio, Chicago IL Green Building Architects, Petaluma CA Hacker Architects, Portland OR Handel Architects LLP, New York NY Harboe Architects, Chicago IL Hartshorne Plunkard Architecture, Chicago IL Heidrun Hoppe Associates, Evanston IL Heitzman Architects, Oak Park IL Herman Coliver Locus Architecture, San Francisco CA Holbert and Associates, Architects, Chicago IL HouseHaus, Chicago IL HPZS, Chicago IL husARchitecture Inc., Chicago IL Huth Architects, Newton MA Ibañez Architecture, Fort Worth TX Imai Keller Moore Architects, Watertown MA INVISION planning | architecture | interiors, Waterloo IA JAHN, LLC, Chicago IL JAMTGÅRDESIGN, San Francisco CA JDD-Architects, Chicago IL JGMA, Chicago IL Jones Design Studio, PLLC, Tulsa OK jones | haydu, San Francisco CA Jones Studio, Tempe AZ Jurassic Studio, Chicago IL Kaplan Architects, San Francisco CA Katherine Austin, AIA, Architect, Bend OR Kathleen Hallahan, Architect, San Diego CA Kathryn Quinn Architects, Ltd., Chicago IL Kipnis Architecture + Planning, Chicago IL Klara Valent Interiors, Tucson AZ Klopf Architecture, San Francisco CA Klopfer Martin Design Group, Boston MA Krueck+Sexton Architects, Chicago IL Kuklinski+Rappe Architects, Chicago IL Kupiec Architects PC, Santa Barbara CA Kuth Ranieri Architects, San Francisco CA lab practices, Syracuse NY Lake|Flato Architects, San Antonio TX Lance Jay Brown Architecture + Urban Design, New York NY Landon Bone Baker Architects Ltd., Chicago IL Latent Design, Chicago IL Lawton Stanley Architects, Chicago IL LEDDY MAYTUM STACY Architects, San Francisco CA Leers Weinzapfel Associates, Boston MA Legat Architects, Chicago IL Liv Companies, Burr Ridge IL Lorcan O’Herlihy Architects, Los Angeles CA Lucy C. Williams, Architect, St. Louis MO Lundberg Design, San Francisco CA Marble Fairbanks Architects, Brooklyn NY Marilyn Standley, Architect, Sebastopol CA Mark English Architects, San Francisco CA Marlon Blackwell Architects, Fayetteville AR MAS Studio, Chicago IL Merryman Barnes Architects, Inc., Portland OR Michael Hennessey Architecture, San Francisco CA Mitchell Garman Architects, Dallas TX Mithun, San Francisco CA Morgante Wilson Architects, Evanston IL Morse and Cleaver Architects, Sebastopol CA moss, Chicago IL MRSA Architects, Chicago IL MSR Design, Minneapolis MN MW Steele Group Inc., San Diego CA MX3 ARCHITECTS, Chicago IL NADAAA, Boston MA NEEDBASED, Santa Fe NM Nicholas Design Collaborative, Chicago IL Norman Kelley, Chicago IL Northlight Architects LLC, Chicago IL Nushu, LLC, Chicago IL OKW Architects, Inc., Chicago IL Opsis Architecture, Portland OR Page, Austin TX Pappageorge Haymes Partners, Chicago IL Patricia K. Emmons Architecture & Fine Art, Seattle WA Paul Preissner Architects, Chicago IL Paulett Taggart Architects, San Francisco CA Payette, Boston MA PLACE, Portland OR Propel Studio, Portland OR Public Design Architects, Oak Park IL RATIO Architects, Indianapolis IN (r)evolution architecture, LaGrange IL Risinger + Associates, Inc., Chicago IL River Architects, Cold Spring NY RL Dooley Architect, PLLC, Bremerton WA RNT Architects, San Diego CA Rockford Architects Inc., Rockford IL Rockwell Associates Architects, Evanston IL Ross Barney Architects, Chicago IL Rubiostudio, Chicago IL Ruland Design Group, San Diego CA Conger Architects, Chicago IL Salus Architecture Inc., Seattle WA Sam Marts Architects & Planners, Ltd., Chicago IL Sanders Pace Architecture, Knoxville TN Sarah Deeds Architect, Berkeley CA Scott / Edwards Architecture, Portland OR scrafano architects, Chicago IL Searl Lamaster Howe Architects, Chicago IL Serena Sturm Architects, Chicago IL Shands Studio, San Anselmo CA SHED Studio, Chicago IL Siegel & Strain Architects, Emeryville CA SKJN Architekten Corp., Chicago IL Smith-Miller+Hawkinson Architects, LLP, New York NY SMNG A Ltd., Chicago IL Snøhetta, New York NY Snow Kreilich Architects, Minneapolis MN SPACE Architects + Planners, Chicago IL SRG Partnership, Portland OR Stefan Helgeson Associates, LLC, Edina MN Stephen J. Wierzbowski, AIA, Chicago IL STL Architects, Chicago IL Strawn + Sierralta, Honolulu HI Strening Architects, Santa Rosa CA Studio Dwell Architects, Chicago IL Studio KDA, Berkeley CA studio M MERGE, Oakland CA Studio Ma, Phoenix AZ Studio Nigro Architecture + Design, Chicago IL Studio VK, New York NY Suski Design, Inc. Architects, Chicago IL TannerHecht Architecture, San Francisco CA TEF Design, San Francisco CA Thomas Roszak Architecture, Chicago IL Tilton, Kelly + Bell, LLC, Chicago IL Troyer Group, Mishawaka IN UrbanWorks, Ltd., Chicago IL Van Meter Williams Pollack LLP, San Francisco CA Vinci | Hamp Architects, Inc., Chicago IL Vladimir Radutny Architects, Chicago IL von Oeyen Architects, Los Angeles CA von Weise Associates, Chicago IL Walter Street ARCHITECTURE, Chicago IL Whitney Inc., Oak Brook IL Will Bruder Architects, Phoenix AZ Worn Jerabek Wiltse Architects P.C., Chicago IL Wrap Architecture, Chicago IL WRNS Studio, San Francisco CA ZGF Architects LLP, Portland OR 2 Point Perspective: Architecture + Interiors, Chicago IL 2rz Architecture, Chicago IL 34-Ten, LLC, Chicago IL Landscape Architecture Firms: Andrea Cochran Landscape Architecture, San Francisco CA Coen + Partners, Minneapolis MN Fieldwork Design Group, Chicago IL GLS Landscape/Architecture, San Francisco CA Ground Inc. Landscape Architecture, Somerville MA Hargreaves Associates, San Francisco CA Hargreaves Jones, New York NY Hinterlands Urbanism and Landscape, LLC, Chicago IL Lenet, Crestani, Tallman Land Design, LLC, Chicago IL LENS Landscape Architecture, LLC, Bend OR Mark Tessier Landscape Architecture, Inc., Santa Monica CA Mathews Nielsen Landscape Architects, New York NY Mauro Crestani & Associates, Landscape Architects, Chicago IL McKay Landscape Architects, Chicago IL Mia Lehrer + Associates, Los Angeles CA Prassas Landscape Studio LLC, Chicago IL Reed Hilderbrand, Cambridge MA Rinda West Landscape Designs, Chicago IL site, Chicago IL Terry Guen Design Associates, Chicago IL The Organic Garden Coach, Downers Grove IL Topiarius, Inc., Chicago IL Ulrich Bachand Landscape Architecture, LLC, Dedham MA Wenk Associates, Denver CO Design + Consulting Industry Firms: Atelier Ten, Environmental Design, New Haven CT Corey Gaffer Photography, Minneapolis MN Development Management Associates, LLC, Chicago IL EHT Traceries, Inc., Washington DC Green Dinosaur, Inc., Culver City CA HJKessler Associates, Chicago IL Interface, Atlanta GA Jaros, Baum & Bolles Consulting Engineers, New York NY jozeph forakis...design, Brooklyn NY Lee Bey Architectural Photography, Chicago IL Lightswitch Architectural, Chicago IL Medical Facility Innovations Ltd., Leavenworth WA New Voodou, Santa Fe NM Paul Hydzik Photography, Chicago IL Spirit of Space, Milwaukee WI Talentstar, Inc., Petaluma CA The Walker Group NW, Seattle WA Thirst, Chicago IL Threshold Acoustics LLC, Chicago IL Tom Harris Architectural Photography, Chicago IL visualizedconcepts inc., Chicago IL Organizations: Archeworks, Chicago IL Architects Advocate for Action on Climate Change, Chicago IL
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Armchair Planning Association

A new online planning platform lets residents shape a neighborhood from the comfort of their smartphones
In a creative digital shift, the City of New York has residents of one Brooklyn neighborhood tagging up a storm on a new urban planning platform designed to affect neighborhood change IRL. With the help of coUrbanize, a Boston-based city planning and community engagement startup, the New York City Department of Housing Preservation and Development (HPD) is testing its new toolkit of neighborhood planning ideas in Brownsville, Brooklyn. Building on community input gathered in The Brownsville Hundred Days to Progress Initiative and the department's guidelines for neighborhood planning, HPD is using coUrbanize's platform to aid the Brownsville Neighborhood Planning Process, a community planning initiative that seeks to increase the neighborhood's supply of affordable housing; add retail along Livonia Avenue, a main commercial artery; and enhance public safety with vacant lot revitalization, among other measures. Instead of convening residents in a church or a rec center basement, coUrbanize brings neighborhood planning meetings online, distilling the often-complex studies and terms that planners throw around with impunity (ULURP? CEQR?) into an easy-to-understand format and tag-able map that solicits residents' ideas. Founded in 2013 by graduates of MIT's School of Architecture and Planning, the site is geared towards people who want to participate in their community's planning but may not have time or schedule flexibility to attend a meeting. In Brownsville, a neighborhood where many have limited access to the internet and 37 percent of households live below the poverty line, HPD uses coUrbanize's platform to encourage residents text in feedback on areas the city has identified as sites for improvement. "We're committed to reaching voices not often heard, traditionally," said Karin Brandt, coUrbanize founder and CEO. The text messaging service also has a general line where people can voice ideas that aren't on the city's radar. In a welcome display of constructive feedback and civility—two attributes generally not reserved for online comments sections—Brownsville residents are using coUrbanize's platform to map places of interest in their neighborhood that they love, those that are just okay, and ideas for what could be better or built anew. Amid endorsements of spaces like the Osborn Street park and mural and the (Rockwell Group–designed) Imagination Playground at Betsy Head Park, many commenters called for more extracurricular activities for neighborhood youth, sit-down restaurants, and better amenities in parks. The Brownsville planning project is in the second stage of its four-stage timeline right now, with a final plan expected by February 2017. Right now, the coUrbanize toolkit is used mainly by municipalities in Massachusetts, but cities farther afield (Atlanta, San Antonio) are signing up. The City of Boston is using the platform to widen its community engagement for Imagine Boston 2030, the city's multi-pronged planning effort that comes with a stellar city nerd reading list. Check out the platform here.