Search results for "9/11 museum"

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Architecture Journalism
Left to right: Robin Pogrebin, Rob Lippincott, Steve Cuozzo, Matt Chaban, and Julie Iovine.
Tom Stoelker / AN

On May 3, the second of a four part series on architecture and the media organized by AN, Oculus, and AIANY’s Marketing and PR Committee, focused on media channels outside the design and building industry.

Held at the Center for Architecture and moderated by Julie Iovine, the panel included Robin Pogrebin, culture reporter at The New York Times, Steve Cuozzo, real estate reporter and restaurant critic at The New York Post, Matt Chaban, real estate editor and reporter at The New York Observer, and Rob Lipincott, senior vice president, education, at PBS. Here are some edited and excerpted highlights from the conversation, starting with each of the three print reporters describing their beats:

Robin Pogrebin: I am a reporter on the Culture Desk at the Times where there are actually not that many reporters. A few years ago, when Nicolai [Ourossoff] started as architecture critic, it was decided that there was a need to cover architecture as a story as opposed to as criticism. There had not been a dedicated reporter prior to that so that’s what I became and I have been doing it ever since. I still cover cultural and performing arts issues, the NEA budget, preservation, and a lot of these things intersect but architecture is the main thing.

Steve Cuozzo: As a genetic New Yorker who loves the city with an intense passion, I have since 1999 been covering commercial real estate. It’s only since after 9/11, that I have also been writing on design-related and architecture issues. I am a real-estate reporter only part-time; and architecture is just a sub-set of that.

I have no training, no background, and I don’t even have the proper vocabulary. Still, I believe I can really contribute to the dialog because architecture is this strange art form that’s the most invested in people’s daily lives while it also comes across as the most elitist of the art forms.

I say that, in part, because architecture critics don’t write that much. Imagine if restaurant critics, dance critics, theater critics wrote as infrequently as most architecture critics do. Just look up their by-line counts! I feel that the public is entitled to more of a voice in the realm of architecture and design and urban issues than they are getting from people who really know more about it than I do.

Matt Chaban: I am also a genetic New Yorker, although I happen to have been born in Pittsburgh. I write on real estate for the paper and edit a daily blog aimed at real estate professionals and aficionados. I see my job as explaining how the city works. And as much as I like covering the big new buildings, it’s really the nitty-gritty of how and why projects drag out that is the most interesting to me.

How much interest in, and knowledge of, architecture do you assume there is among your readers?

RP: Since Bilbao and the so-called starchitect phenomenon, there has really been a heightened interest in architecture. That changed coverage in that the general audience now knows names like Rem Koolhaas. Lately, I have found with the downturn that as major projects have fallen off there has definitely been diminished coverage from my standpoint. When I first took the beat, I could go anywhere, cover anything and that was my mandate. Given the finances of the Times, now it only makes sense that the critic go to some places. There also seem to be fewer grand projects to write about now and so the question becomes, what else rises to the level of really needing to be covered?

I get pitched in 100 to 200 emails a day; and I feel terrible about what might be falling through the cracks. I know the bar has become somewhat higher in terms of what we write about. Why should we write about this one? That is a hard question to answer. Ideally, it is a story that has larger implications beyond just the project itself: something about it represents a trend; or there’s a controversy about it (for better or worse); or a window into architecture through another route, say, the controversy about naming of Miami Art Museum.

At what point do you write about a project, and how many times can you return to it?

MC: Since we run a daily blog, it’s as much as I want, and then there’s the weekly paper, too. The upside of the blog is that those stories can be either long or short, whatever the story needs. It’s a judgment call. But the basic line is that the more you write about something, the more you start hearing about it. So for me I cover things as often as I can: right now I write as often as possible on New York University because I think it’s a serious development.

RP: Traditionally we might write about something when a design came out. Increasingly, it became clear that some of these projects were pie in the sky and might never be realized. Writing about fantasies seemed a kind of disservice to the reader. It made more sense to wait for the actual bricks and mortar to happen: then the critic can review it and we can talk to the experience of the building. So now, we’ve been doing more at the tale end than at the beginning.

SC: The important issue is what and when does a project rise to the importance for a broader audience. Frankly, I don’t understand the way the architectural critical establishment works. Theater critics, film critics, book critics review everything; I don’t understand why architecture is placed on such an exulted plane of discourse and appreciation that does not obtain in any of the other art forms. To illustrate, the 9/11 memorial opened in September, it’s now May and unless I missed it, the New York Times architecture critic has yet to weigh in. Never mind that the museum is incomplete, we all know that; the fact is the Times wrote for ten years about the importance of the 9/11 museum and the urgency of the memorial and all the design issues. Now that it has finally opened to the world, they seem to have gone silent. I don’t get it.

RP: At the Times, critics are in a separate world from the reporters. In this case, Steve, I happen to agree and I have raised the question. I thought maybe it happened while we were in the process of changing critics and it had fallen through the cracks. I think Michael Kimmelman has a very different approach to criticism than we have ever had. He’s not, so far, reviewing individual projects as we have in the past. He doesn’t really have an architectural background. We may see some frustration: Not only are we not up to reviewing every thing, we may not review what might be expected of individual projects.

Are you pressured to cover subjects, or projects?

MC: I have been told to be less wonky. I have been told to stop invoking Robert Moses. We write almost not at all about architecture except in terms of development; we do a lot of residential real estate and industry types fighting each other. I have been asked to profile architects—for example Tod Williams and Billie Tsien because of the Barnes Museum opening—but that goes in the culture section. It’s not considered hard news.

SC: I have numerous editors breathing down my neck about  many things but never about architecture and design. I have this truly strange role at the paper that I wish I could share with architecture enthusiasts who are more learned than I am. I can just tell my editors at business or the editorial section that I really have to write this piece, and I have extraordinary freedom to do that. There’s a lot more pressure when it’s about breaking news concerning commercial real estate and that has become an extremely competitive environment only in the last four years.

RP: Opinions are really not my turf. The conventional wisdom now is that there is no such thing as subjectivity if there ever was. And there is certainly more attitude and voice in what you see online, but at the Times, it is the critic’s job to weigh in with opinions, not mine.

What’s your take on starchitecture? Does it make reporting easier?

RP: I have started to want to move away from the usual suspects. We will always write about these guys with the names but it’s nice to expand the circle. That said, it’s not as easy to get at those other stories.

Rob Lippincott: I think we can chock up some of the interest in starchitects to Charlie Rose; he had them all on his show and he really help demystify what current architecture is all about.

SC: On balance, the starchitect phenomenon was a good thing. It drew attention to a subject that too many people did not think about on a regular basis, in the same way that star chefs brought attention to food or the way the American Ballet theater and dancers like Baryshnikov in the 1970s made classical dance popular in a way that had never been done before.

On the other hand, you have something like the Gehry building on Spruce Street that is dammed marvelous. I wonder about all the people who look at it everyday and think, That’s terrific, and if they really even know it’s by Frank Gehry or if they know anything at all about Bilbao. I really don’t know.

What needs to be written about right now?

SC: There’s a lot of residential building going on and I could be missing the boat here, but there really isn’t that much going on in terms of design issues to be discussed and debated. Yes, there are these huge projects like Hudson Yards and Hudson West and Ratner’s site behind the arena where there may, or may not, be some new buildings. But I am not aware that any of these projects are even remotely close to happening in terms of actual development. There are holes in the ground everywhere, but there’s nothing to engage the public’s attention the way the Trade Center did or even Columbus Circle did when it went through its many permutations before it finally got built after ten years. There’s nothing like that right now.

RP: One of the things interesting me right now is the degree to which developers have decided whether name architects were worth the investment in bringing added value. We haven’t checked back, post-recession, to see whether developers feel like those architects were worth the extra cost and the headache.

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WTC Update: One World Trade to Pass Empire State, Plus a Shuttle Flyover!
It wasn't a usual trip to the World Trade Center site today as AN segued over to the river to get a glimpse of the Space Shuttle Enterprise's flyover.  We caught the shuttle on its second loop at 10:55 on the dot. The pristine prototype shuttle skimmed south over New Jersey on its way round the Statue of Liberty. In all, a very uplifting day when combined with news that the One World Trade will likely surpass the Empire State Building as the city's tallest building by this Monday. Come summer the shuttle will make a barge trip up the river to its new home at the Intrepid Museum. No news yet on speculation that new building across the street from the museum might house the shuttle. Back at the WTC site, construction is humming, with the exception of the 9/11 Museum which stopped after legal wrangling ensued between the museum and the Port Authority over money. Last week, capitalnewyork.com reported subcontractors were slated to be paid by the Port, hinting that an agreement over the disputed $150 million might soon be reached. Since AN last report in February, several developments have appeared. Fumihiko Maki's Tower 4 continues to climb, and the triangular volume at the top has asserted itself above its rhombus base. The pedestal for Richard Rogers Tower 3 now looms over Church Street, though an anchor tenant has yet to be announced. The WTC overlook of the site at Brookfield's World Financial Center is shuttered as work begins  on a $250 million retail renovation. The oculus at the Fulton Street Transit Center is now fully formed. Next to Seven World Trade, CUNY's Fitterman Hall by Pei Cobb Freed slapped its brick paneled curtain wall together in what seemed like weeks. The panelized red-brick face provides a disjointed contrast to WTC's valley of glass and steel at its doorstep.
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Port Authority Confessional: Audit Reveals Dysfunction
The long-expected audit of the Port Authority of New York and New Jersey is available, and—apart from the opaque bureaucratese—it reads just like the dysfunctional family memoir you might expect. In fact, the word dysfunctional is at the top of the summary letter sent to Governors Chris Christie of NJ and Andrew Cuomo of NY. To wit, the Navigant Consulting assessment concluded that the PA is “a challenged and dysfunctional organization suffering from lack of consistent leadership, a siloed underlying bureaucracy, poorly coordinated capital planning processes, insufficient cost controls, and a lack of transparent and effective oversight of the World Trade Center program.” Some highlights: The WTC balloon effect with estimated construction costs launched at approximately $8 billion in 2006 rising to $11 billion in November 2011 (blamed largely on getting ready for the tenth anniversary) and now floating past $14.8 billion—the $3 billion increase of recent months due to “changes in scope and the evolution of design” including foundation site work for the Performing Arts Center to the tune of $200 million, even though the new board claimed at the New year that a site has not yet be decided. The PA “may elect to curtail development” of elements that owe them money, meaning the 9/11 Memorial. When the memorial was to cost $500 million the port was in for $195 million; now that it may top a billion, the PA is not so sure it wants to pony up $300 million. As a result, “The Port Authority has elected to significantly reduce the construction personnel deployed on the museum portion of the Memorial project and limit the agency’s exposure, ensuring that only certain construction continues prior to the resolution of the cost reimbursement dispute.” Further, the PA wants to buffer its exposure by “value engineering all possible aspects of the World Trade Center project.” But there is no specific mention of further cutting off the wings at Calatrava’s teradactyl transportation hub. To further deal with an anticipated debt by the end of 2012 to the tune of $20.8 billion, the PA is turning to employees to start paying for their own healthcare, cut back on overtime and take less vacation time. Quote the drag for police sergeants with a base salary of $103,964 and an overtime add-on of $132, 286.
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Slideshow> Revamped Seaport Museum Opens: Old Salts Meet Occupy Wall St.
A revamped South Street Seaport Museum shook off the dust last night to reopen after a three-month renovation overseen by the Museum of the City of New York. The exhibits were both a departure from and an embrace of the old collection.  The design team, particularly Wendy Evans Joseph and Chris Cooper of Cooper Joseph Studio, turned what could have been a cramped exhibition arrangement into a free-flowing multi-leveled space. Some of the contemporary elements might strike a design-conscious audience as familiar. A very large segment of the exhibition space is devoted to contemporary furnishings designed and "Made in New York," feeling a bit like an ICFF satellite. A fashion component adds a dash of Fifth Avenue flair. MCNY's curator of architecture and design Donald Albrecht noted that the port was always about moving goods and "making." Much of the work assembled in the show is manufactured in Brooklyn warehouses that once serviced the maritime trade but have since been repurposed for an ever-expanding design industry. A few standouts were Daniel Michalik's recycled cork chaise lounge from 2006 and designer David Nosanchuk's multi-faceted Plexiglas lamp, the NR1.  Nosanchuk's piece represents a rarity these days in that it was both designed and manufactured in Manhattan.  With all the ship-making tools painstakingly arranged on angled white plane in the gallery next door, the "making" tradition becomes abundantly clear.  Less clear is whether the inclusion of contemporary fashion makes the same seamless leap. Still, fashion designer Jordon Betten's installation of a lost waif in a part of the museum building that originally housed the Sweet's Hotel (1870-1920) provides a stirring contrast to the decayed rafters. Some older exhibits from MCNY made the trip downtown, including Eric Sanderson's Manahatta, which includes a three dimensional map of Mahattan with an overhead projector that digitally morphs the terrain from natural wetlands and forests of 1650 to today's dense street grid. There's also a tight ensemble of Edward Burtynsky photographs. Burtynsky's images of Bangladeshi shipbreakers dismantling once powerful ships for scrap metal provide an unexpected smack of mortality. Another gallery calls attention to "The New Port" with a time-lapse video by digital artist Ben Rubin called Terminal 8 that focuses on of arrivals and departures of American Airlines jets at JFK. But as the gallery prominently features American Airlines corporate brand it's difficult to see the artistic forest through the commercial trees, a fact made all the more jarring by the Occupy Wall Street photo exhibition just two galleries away. The Occupy segment of the exhibit is perhaps the biggest stroke of marketing smarts on the part of MCNY that might just distract tourists from the ghoulish "Bodies" exhibit across the street and bring them back into a New York state of mind. The Occupy gallery was packed on opening night. It added a cool factor that can't be quantified.  The exhibit itself recalls the Here is New York show that opened in Soho about a month after the 9/11 attacks and later toured around the world. The photos celebrate, engage, and provoke, much like the demonstrations. Not a bad metaphor for the city at large or the new management.
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The Inner Circle
Milstein Hall, Cornell University by OMA.
Philippe Ruault

AN’s annual resource list may be published every year but it is never the same. Painstakingly drawn from extensive interviews by our editors with the architects and builders of the best architecture of 2011, these names are the too-often unacknowledged cornerstones that guarantee the quality and excellence of today’s architecture. We both herald and share them with you.

General Contractor / Project Manager

 

Arroyo Contracting Corp.
12 Desbrosses St.,
New York;
516-639-7618

Balfour Beatty/Barnhill
2311 North Main St.,
Tarboro, NC;
252-823-1021

Barr & Barr
460 West 34th St.,
New York;
212-563-2330

Bernsohn & Fetner
625 West 51st St.,
New York;
212-315-4330

F.J. Sciame Construction Co.
14 Wall St.,
New York;
212-232-2200

Graciano
18-73 43rd St.,
Astoria, NY;
718-932-7867

Jacobs
2 Penn Plaza, Ste. 0603,
New York;
212-944-2000

Keating Building Corporation
1600 Arch St.,
Philadelphia;
610-668-4100

Kreisler Borg Florman
97 Montgomery St.,
Scarsdale, NJ;
914-725-4600

L.F. Driscoll
9 Presidential Blvd.,
Bala Cynwyd, PA;
610-668-0950

 

Lavada
499 Van Brunt St.,
New York;
347-948-8894

Lettire Construction Corporation
336 East 110th St.,
New York;
212-996-6640

MG & Co
230 West 17th St.,
New York;
212-691-4001

Mascaro Construction Company
1720 Metropolitan St.,
Pittsburgh, PA;
412-321-4901

MJE Contracting
109-10 34th Ave.,
Corona, NY;
708-507-8661

Noble Construction
675 Garfield Ave.,
Jersey City, NJ;
201-721-6581

Plaza Construction
877-767-5292

Procida Realty & Construction
456 East 173rd St.,
Bronx, NY;
718-299-7000

RC Dolner Construction
15-17 East 16th St.,
New York;
212-645-2190

Saunders Construction
6950 South Jordan Rd.,
Centennial, CO;
303-699-9000

 

Schimenti
650 Danbury Rd.,
Ridgefield, CT;
914-244-9100

SoHo Restoration
104 Calyer St.,
Brooklyn, NY;
718-389-3550

Structure Tone
770 Broadway,
New York;
212-481-6100

Tishman Construction
666 5th Ave.,
New York;
212-399-3600

United American Builders
205 Arch St.,
Philadelphia;
215-551-5534

VCD Construction
35 Carroll St.,
Brooklyn, NY;
718-643-3775

Welliver
250 North Genesee St.,
Montour Falls, NY;
607-535-5400

Yorke Construction Corp.
140 West 31st St.,
New York;
212-564-8467

 
Penn Medicine / L.F. Driscoll / Rafael Viñoly (left); Film Society / Yorke Construction / Rockwell Group (right).
Brad Feinkopf (left) AND Albert Vecerka/Esto (right)
 

Arroyo Contracting did a good job on the Sunshine Bronx Business Incubator. It was a complicated project with many angled walls and corners. They looked into new ways of working, moving from their background in traditional design to contemporary design.”

Harel Edery
Mosza
 

Graciano has experienced masons that know how to work with terracotta and its reinstallation, using pieces that were reconditioned and some that were brand new.”

Joe Coppola
Dattner Architects
 
 

“We were fortunate to have RC Dolner build the Atrium. They had just finished the Greek and Roman galleries at the Met; we were confident they could make elegant and refined traditional detailing. At the Atrium they were able to apply their same high standards in a modern setting.”

Tod Williams
Tod Williams + Billie Tsien Architects
 

Yorke’s level of service was outstanding. The site superintendent in particular was exemplary and always in contact with us about how the construction was affecting the design. That attitude then filtered down to the contractor and subcontractors.”

Michael Fischer
Rockwell Group

https://cdn.archpaper.com/wp-content/uploads/2016/04/2012_best_of_11.jpgCentra at Metropark / DeSimone / KPF.
Michael Moran
 

Engineers

 

Civil/Environmental


Langan Engineering and Environmental Services
360 West 31st St.,
New York;
212-479-5400

Leonard J. Strandberg and Associates
One Edgewater Plz.,
Staten Island;
718-420-9693

Pennoni Associates
3001 Market St.,
Philadelphia;
215-222-3000

Geotechnical


Geodesign
224 West 35th St.,
New York;
212-221-6651

Mueser Rutledge Consulting Engineers
225 West 34th St.,
New York;
917-339-9300

P.W. Grosser Consulting
630 Johnson Ave.,
Bohemia, NY;
631-589-6353

Pillori Associates
71 Route 35,
Laurence Harbor, NJ;
732-335-0059

MEP


AKF
1501 Broadway,
New York;
212-354-5656

AltieriSeborWieber
31 Knight St.,
Norwalk, CT;
230-866-5538

AMA Consulting Engineers
250 West 39th St.,
New York;
212-944-7722

Ambrosino, DePinto & Schmieder
275 7th Ave.,
New York;
212-645-6060

Ballinger
833 Chestnut St.,
Philadelphia;
215-446-0900

Ettinger Engineering ASSOCIATES
505 8th Ave.,
New York;
212-244-2410

 

Fiskaa Engineering
589 8th Ave.,
New York;
212-736-9600

ICOR Associates
256 West 38th St.,
New York;
212-994-9593

Jaros Baum & Bolles
80 Pine St.,
New York;
212-530-9300

Joseph R. Loring and Associates
360 West 31st St.,
New York;
212-563-7400

P.A. Collins
15 West 26th St.,
New York;
212-696-5294

Rubiano Associates
64 Fulton St.,
New York;
212-732-7842

Multidisciplinary


Arup
155 6th AVE.,
New York;
212-229-2669

Birdsall Services Group
2100 Highway 35,
Sea Girt, NJ;
732-681-1165

Buro Happold
100 Broadway,
New York;
212-334-2025

DeSimone
18 West 18th St.,
New York;
212-532-2211

HDR
500 7th Ave.,
New York;
212-542-6000

ME Engineers
29 West 38th St.,
New York;
212-447-6770

Rosini Engineering
142 West 36th St.,
New York;
212-904-0422

Thornton Tomasetti
51 Madison Ave.,
New York;
917-661-7800

Watts Engineering
95 Perry St.,
Buffalo, NY;
716-206-5100

 

Weidlinger Associates
375 Hudson St.,
New York;
212-367-3000

WSP Flack + Kurtz
512 7th Ave.,
New York;
212-532-9600

Structural


Eipel Barbieri Marschhausen
224 West 35th St.,
New York;
212-695-5120

Gilsanz Murray Steficek
129 West 27th St.,
New York;
212-254-0030

Hage Engineering
560 Broadway,
New York;
212-358-7778

KPFF
180 Varick St.,
New York;
212-973-3748

Macintosh Engineering
21133 Sterling Ave.,
Georgetown, DE;
302-448-2000

Mulhern Kulp
20 South Maple St.,
Ambler, PA;
215-646-8001

Murray Engineering
307 7th Ave.,
New York;
212-741-1102

Office of Structural Design
9 Revere Rd.,
Belle Mead, NJ;
908-359-8977

Robert Silman Associates
88 University Pl.,
New York;
212-620-7970

Severud Associates
469 7th Ave.,
New York;
212-986-3700

WSP Cantor Seinuk
228 East 45th St.,
New York;
212-687-9888


Milstein Hall, Cornell University / Robert Silman Associates / OMA.
Philippe Ruault
 

“John Riner of PW Grosser is one of the handful of consultants in this area who has substantial experience with open loop wells.”

Michael Tucker
Beyer Blinder BellE

 

“We have worked on several historic buildings in New York, but when they are as high profile or popular as the Puck Building, you need a consultant who understands these types of spaces. EBM Structural Engineers is one of the preeminent firms in New York with vast experience in adaptive reuse in a historic context. We worked with Ken Eipel and Rich Grabowski on the REI Soho project and their expertise as historians on New York architecture made them valuable partners for Callison.”

David Curtis
Callison
 

Joseph R. Loring and Associates anticipated issues at NYU SCPS and worked creatively with the design team to insert contemporary mechanical systems into an existing building with a complex new program.”

Carol Loewenson
Mitchell/Giurgola Architects

 

Cantor Seinuk developed a core outrigger wall design that eliminated a lot of sheer walls, which helped a lot with the very complicated unit layouts at 8 Spruce. We just find them to be the best when it comes to structural engineers.”

Joe Recchichi
Forest City Ratner Companies
 

“Edward Messina at Severud Associates is known as ‘Fast Eddie’ around our business because you call him up and he’s right over.”

Henry Smith-Miller
Smith-Miller + Hawkinson Architects

 

DeSimone designed the tree column and the big spans for Centra. It was a big effort to make that happen. They’re a really great engineering firm, and one thing that they’re great at is keeping the design team and client comfortable with very complicated things and also working with the construction team, while keeping everything on schedule.”

Lloyd Sigal and Hugh Trumbull
KPF
 

“The North Carolina Museum of Art is really all about daylight, and Arup did an extraordinary job calculating the amount of natural and artificial light and how it combined throughout the space.”

Thomas Phifer
Thomas Phifer and Partners

 

“At Clyfford Still, everything you see is structure. So KPFF's role was very key, especially in translating the structural design so it would be read in the perforated ceilings where the tolerances were very tricky, combined with reinforcing with rebar to maintain a crack-free finish.”

Chris Bixby
Allied Works Architecture

Facade & curtain wall

 

Consultants


Dewhurst Macfarlane and Partners
45 East 20th St.,
New York;
212-375-1600

Front
186 Varick St.,
New York;
212-242-2220

Gordon H. Smith Corporation
200 Madison Ave.,
New York;
212-696-0600

Heitmann & Associates
14500 South Outer Forty Rd.,
Chesterfield, MO;
314-439-1944

R.A. Heintges & Associates
126 5th Ave.,
New York;
212-652-2963

Simpson Gumpertz & Heger
19 West 34th St.,
New York;
212-271-7000

 

Manufacturers/ Installers


Airflex
937 Conklin St.,
Farmingdale, NY;
631-752-1309

APG International
70 Sewell St.,
Glassboro, NJ;
856-863-8034

Architectural Metal Fabricators
314 48th St.,
Brooklyn, NY;
718-765-0722

ASI Limited
4485 South Perry Worth Rd.,
Whitestown, IN;
317-769-7170

Cladding Corp.
215 South Hwy. 101,
Solana Beach, CA;
888-826-8453

EFCO
1000 County Rd.,
Monett, MO;
417-235-3193

GKD Metal Fabrics
825 Chesapeake Dr.,
Cambridge, MD;
410-221-0542

greenscreen
1743 South La Cienega Blvd.,
Los Angeles;
310-837-0526

 

Island International Exterior Fabricators
101 Scott Ave.,
Calverton, NY;
631-208-3500

Jakob/MMA Architectural Systems
Westfield Industrial Estate,
Midsomer Norton,
Somerset, United Kingdom;
+44-0845-1300-135

Jordan Panel Systems
196 Laurel Rd.,
East Northport, NY;
631-754-4900

Kwaneer
500 East 12th St.,
Bloomsburg, PA;
570-784-8000

Permasteelisa
123 Day Hill Rd.,
Windsor, CT;
860-298-2000

Schüco
240 Pane Rd.,
Newington, CT;
877-472-4826

W&W Glass
300 Airport Executive Park,
Nanuet, NY;
845-425-4000

 
Buffalo Courthouse / Dewhurst Macfarlane / KPF (left); Via Verde / FRONT / Grimshaw/Dattner Architects (right).
david seide (left) AND Robert Garneau (right)
 

Gordon Smith is a tried and true Manhattan curtain wall consultant. He kept us out of trouble and found good value for the wall at Centra. We could barely afford a curtain wall for this building and he helped us sneak it in and detail it really well so we can sleep at night.”

Lloyd Sigal and Hugh Trumbull
KPF
 

“There’s a learning curve on installing a European curtain wall system. Architectural Metal Fabricators took a real interest in jumping in and getting a technical understanding of the system.”

Henry Smith-Miller
Smith-Miller + Hawkinson Architects

 

Front was the key to unlocking the prefab facade at Via Verde. It cost a bit more, but it was faster to put together on site. They helped us translate that.”

Robert Garneau
Grimshaw Architects
 

“They protected me! At 8 Spruce, the extremely unique wall was largely aesthetically driven but it's just as advanced in performance and Heitmann took care of everything behind the wall in terms of feasibility, budget and schedule.”

Joe Recchichi
Forest City Ratner Companies

 

Island Fabrications knows how to bring all the components together; they ordered material globally and fabricated them locally.”

Bill Stein
Dattner Architects

Fittings & Furniture

 

Carpet & Textile


Bentley Prince Street
91 5th Ave.,
New York;
212-463-0606

Dune
156 Wooster St.,
New York;
212-925-6171

Gallery Seventeen Interiors
PO Box 549,
Nanuet, NY;
888-827-1182

Interface
404 Park Ave. South,
New York;
212-994-9994

Maharem
251 Park Ave. South,
New York;
212-319-4789

Re:Source of New Jersey
66 Ford Rd.,
Denville, NJ;
973-625-0715

Rose Brand East
4 Emerson Ln.,
Secaucus, NJ;
201-809-1730

Custom Fixtures & Signage


Artitalia Group
11755 Rodolphe Forget,
Montreal, QC,
Canada;
514-643-0114

Fleetwood
225 Peach St.,
Leesport, PA;
484-248-5271

REEVE Store Equipment
9131 Bermudez St.,
Pico Rivera, CA;
562-949-2535

Doors & Frames


Dynamic Architectural Windows & Doors
30440 Progressive Way,
Abbotsford, BC,
Canada;
800-661-8111

Goldbrecht USA
1512 11th St.,
Santa Monica, CA;
310-393-5540

 

PK-30 System
3607 Atwood Rd.,
Stone Ridge, NY;
212-473-8050

Furniture


Figueras International Seating

Fproduct
250 Saint Marks Ave.,
Brooklyn, NY;
917-202-2349

Greystone Seating
7900 Logistic Dr.,
Zeeland, MI;
616-931-1114

Haworth
125 Park Ave.,
New York;
212-977-5350

Irwin Telescopic Seating Company
610 East Cumberland Rd.,
Altamont, IL;
618-483-6157

Martela
384 Forest Ave.,
Laguna Beach, CA;
866-627-8352

Moroso
146 Greene St.,
New York;
212-334-7222

Resource Furniture
969 Third Ave., New York;
212-753-2039

Series Seating
20900 NE 30th Ave.,
Miami, FL;
305-932-4626

Tomas Osinski Design
4240 Glenmuir Ave.,
Los Angeles;
323-226-0576

Hardware


Assa Abloy
110 Sargent Dr.,
New Haven, CT;
800-377-3948

Häfele
25 East 26th St.,
New York;
800-423-3531

 

Kitchen & Bath


AF Supply
22 West 21st St.,
New York;
212-243-5400

Axor Hansgrohe
29 9th Ave.,
New York;
212-463-5790

Davis and Warshow
57-22 49th St.,
Maspeth, NY;
888-900-1392

Dornbracht
1700 Executive Dr. South,
Duluth, MN;
770-564-3599

Drimmers
1608 Coney Island Ave.,
Brooklyn, NY;
877-338-3500

Purekitchen
66 North 11th St.,
Brooklyn, NY;
718-715-0843

SieMatic New York
150 East 58th St.,
New York;
212-752-7900

Valcucine
66 Crosby St.,
New York;
212-253-5969

Zucchetti Rubinetteria
Via Molini di Resiga, 29,
Gozzano, Italy;
+39-0322-954700

Laboratory Casework


Thermo Fisher Scientific
1316 18th St.,
Two Rivers, WI;
920-793-1121

Vintage Furniture


RePop
68 Washington Ave.,
Brooklyn, NY;
718-260-8032

 
Louise Nevelson Plaza / John Lewis Glass / Smith-miller + Hawkinson Architects (left); 8 Spruce / Gehry Partners (right).
Michael Moran (left) AND Courtesy Forest City Ratner (right)
 

Glass

 

3form
520 8th Ave.,
New York;
212-627-0883

A-Val Architectural Metal Corp.
240 Washington St.,
Mount Vernon, NY;
914-662-0300

CBO Glass
13595 Broadway,
Alden, NY;
716-824-5000

Colory Metal & Glass
2522 State Rd.,
Bensalem, PA

EFCO
1000 County Rd.,
Monett, MO;
417-235-3193

Galaxy Glass & Stone
277 Fairfield Rd.,
Fairfield, NJ;
973-575-5235

J.E. Berkowitz
856-456-7800

John Lewis Glass
10229 Pearmain St.,
Oakland, CA;
510-635-4607

 

Lhotsky
Pelechov 17,
elezný Brod,
Czech Republic;
+420-483-389-334

Moduline Window Systems
930 Single Ave.,
Wausau, WI;
800-869-4567

National Glass & Metal Company
1424 Easton Rd.,
Horsham, PA;
215-938-8880

Oldcastle Glass
1350 6th Ave.,
New York;
212-957-5400

PPG Industries
One PPG Pl.,
Pittsburgh, PA;
412-434-3131

Prelco
94 Blvd. Cartier,
Rivière-du-Loup Québec;
418-862-2274

 

Skyline Sky-Lites
2925 Delta Dr.,
Colorado Springs, CO;
866-625-1330

Viracon
800 Park Dr.,
Owatonna, MN;
800-922-5374

Vitrocsa USA
5741 Buckingham Pkwy.,
Culver City, CA;
300-988-4455

Walch Windows
Zementwerkstraße 42,
Ludesch, Austria;
+43-0-5550-20290-0

Windsorsky
78 Joes Hill Rd.,
Brewster, NY
888-397-3330

Zecca Mirror & Glass
1829 Boone Ave.,
Bronx, NY;
718-589-3222

“Interior glass subcontractor A-Val worked creatively to ensure design intent in extremely complex conditions including the three-story open elliptical stair at the NYU SCPS.”

Carol Loewenson
Mitchell/Giurgola Architects
 

“You can get good window R-value in the United States but you can’t get the quality of high solar heat gain as you can with Walch. The combination is unmatched.”

Sam Bargetz
Loadingdock 5
 

CBO out of Buffalo did the glass veil and other curtain wall systems for the Buffalo Courthouse. The most difficult part was printing the Constitution on the glass with ceramic fritting. It took a lot of editing and laying it out and a very long time on our side and theirs.”

Bill Pedersen
KPF
 

John Lewis Glass would work closely with Tony Dominski at West Edge Metal. Even though it was a custom bench, it was even more custom because of the collaboration of the two firms.”

Scot Teti
Smith-Miller + Hawkinson Architects

Sustainability

 

Airside Solutions


Aircuity
39 Chapel St.,
Newton, MA;
866-602-0700

Brownfield Consultant


D.I.R.T.
473 West Broadway,
New York;
917-972-3478

Consultants


7group
183 West Main St.,
Kutztown, PA;
610-683-0890

Association for Energy Affordability
505 Eighth Ave.,
New York;
212-279-3902

Atelier Ten
45 East 20th St.,
New York;
212-254-4500

Bright Power
11 Hanover Sq.,
New York;
212-803-5868

 

BVM Engineering
834 Inman Village Pkwy.,
Atlanta, GA;
404-806-2018

Crescent Consulting
80 Broad St.,
New York;
646-419-4900

Natural Logic
1250 Addison St.,
Berkeley, CA;
510-248-4940

Steven Winter Associates
307 7th Ave.,
New York;
212-564-5800

TRC Environmental Corp.
1430 Broadway,
New York;
212-221-7822

Veridian
21 West 38th St.,
New York;
212-704-9920

 

Green Roofs


Emery Knoll Farms
3410 Ady Rd.,
Street, MD;
410-452-5880

ZinCo Green Roofs
Grabenstraße 33,
Unterensingen, Germany;
+49-7022-6003-540

Solar


Namasté Solar
4571 Broadway St.,
Boulder, CO;
303-447-0300

Sunpower
800-786-7693

SOLAR SHADING


Mechoshade Systems, Inc.
42-03 35th St.,
Long Island City, NY;
212-254-4500


David Rubenstein Atrium / steven winter associates / Tod Williams Billie Tsien Architects.
NIC LEHOUX
 

Aircuity did the recovery wheels and air handlers at Penn Medicine. Their system helped the owner meet their energy goals. It monitors the occupancy and the amount of CO2 in a space and optimizes the number of air changes so you wind up saving energy and money.”

Jim Herr
Rafael Viñoly Architects
 

Crescent was good in assisting the contractor in LEED complience during construction and helped focus the team on elements that really mattered.”

Michael Tucker
Beyer Blinder Bell

 

Bright Power did a great job of administering and coordinating the LEED application and they were responsible for designing the photovotaic system which was an important part of the building's design.”

Bill Stein
Dattner Architects
 

“We used Veridian as the sustainability consultant on Centra. Originally, we were just aiming for LEED certification. Now the numbers are coming in and they're very good. It looks like we're going to get Platinum.”

Lloyd Sigal and Hugh Trumbull
KPF

“Julie Bargmann of D.I.R.T.’s knowledge of brown fields, Navy Yards, and their detritus, was a really nice fit.”

Matt Berman
workshop/apd

Metal

 

AccuFab
232 Cherry St.,
Ithaca, NY;
607-273-3706

Alcoa
50 Industrial Blvd.,
Eastman, GA;
478-374-4746

Armstrong World Industries
2500 Columbia Ave.,
Lancaster, PA
888-207-2321

Belzona New York
79 Hazel St.,
Glen Cove, NY;
516-656-0220

Canatal Industries
2885, Boul. Frontenac Est.,
Thetford Mines, Quebec, Canada;
418-338-6044

CCR Sheet Metal
513 Porter Ave.,
Brooklyn, NY;
718-387-2473

Doralco
5919 West 118th St.,
Alsip, IL;
708-388-9324

Eliou
19 Frost St.,
Brooklyn, NY;
718-387-4716

Ferra Design
63 Flushing Ave.,
Brooklyn, NY;
718-852-8629

 

Firestone
1001 Lund Blvd.,
Anoka, MN;
800-426-7737

GageMetal
803 South Black River St.,
Sparta, WI;
800-786-4243

KC Fabrications
39 Steves Ln.,
Gardiner, NY;
845-255-0097

Lamcel
80 Montana Dr.,
Plattsburgh, NY;
514-457-4760

Lecapife Corp.
283 Liberty Ave.,
Brooklyn, NY;
718-342-3305

Maloya Laser
65A Mall Dr.,
Commack, NY;
631-543-2327

Metalman
110 Troutman St.,
Brooklyn, NY;
718-456-8759

Millenium Steel
344 West 38th St.,
New York;
212-268-1755

Nelson Industrial
1155 Squires Beach Rd.,
Pickering, ON, Canada;
905-428-2240

 

Paul C. Steck
25 Brown Ave.,
Springfield NJ;
973-376-1830

Precision Shape Solutions
243 East Blackwell St.,
Dover, NJ;
973-989-7199

Robinson Iron
1856 Robinson Rd.,
Alexandra City, AL;
800-824-2157

Veyko Design
216 Fairmount Ave.,
Philadelphia;
215-928-1349

West Edge Metal
25064 Viking St.,
Hayward, CA;
510-782-2050

 
NItehawk cinema / Maloya Laser / Caliper Studio (left); Brooklyn Navy Yard / Ferra Design / workshop/APD and Beyer Blinder Belle (right).
Ty Cole / OTTO (left) AND Robert Garneau (right)
 

Armstrong worked closely with us in providing customized, perforated metal ceiling panels that met the design intent of the Frick Chemistry Laboratory. Additionally, they did a excellent job field coordinating the installation of those panels with adjacent elements.”

Chris Stansfield
Payette Architects

“The project involved finishing hundreds of custom fabricated steel elements—KC Fabrications was extremely flexible with the schedule and was able to turn around material on short notice. They are always willing to do what is necessary to achieve the highest quality finish work.”

Charles Wolf
Dean/Wolf Architects
 

“For custom metal work that requires demanding precision and meticulous crafting, Metalman is an invaluable resource. If you can't find the right piece of hardware from a manufacturer, he will design and fabricate a custom piece to fit the requirement.”

Charles Wolf
Dean/Wolf Architects

 

“Mani from Millenium Steel is very accurate, and very budget-oriented. We worked with him before. He was able to make big steel pivot pieces.”

Jeremy Edmiston
SYSTEMarchitects
 

“We sent our drawings of pleated metal panels to a few people and got the impression that something custom would be too expensive. But a rep introduced us to Gage, who worked with our contractors to make our designs for the panels in a cost competitive way.”

Michael Fischer
Rockwell Group


Americano / Propylaea Millwork / ten arquitectos.
courtesy ten arquitectos
 

Wood

 

Custom Fabrication/ Carpentry


B & V Contracting Enterprises
590 Tuckahoe Rd.,
Yonkers, NY;
914-337-1086

Bauerschmidt & Sons
119-120 Merrick Blvd.,
Jamaica, NY

Benchcraft Concepts
A-427, Ghitorni, MG Rd.,
New Delhi, India;
+91-989-903-8395

DKDI
1021 Meyerside Rd.,
Mississaugua, ON, Canada;
416-732-8819

George Nakashima Woodworker
1847 Aquetong Rd.,
New Hope, PA;
215-862-2272

 

Ivory Build
67 35th St.,
Brooklyn, NY;
718-369-2482

JB Millworks
383 Bandy Ln.,
Ringgold, GA;
706-965-6940

Minzner & Co.
2100 Liberty St.,
Easton, PA;
610-258-5449

Monarch Industries
99 Main St.,
Warren, RI;
401-247-5200

Propylaea Millwork
795 East 135th St.,
Bronx, NY;
718-401-9393

Seetin Design
57 Grand St.,
Brooklyn, NY;
718-486-5610

ShoreTech Manufacturing
757-999-5592

 

Tom Kozlowski
347-403-3859

Suppliers


Armstrong World Industries
2500 Columbia Ave.,
Lancaster, PA
888-207-2321

J.Padin
243 Parkhurst St.,
Newark, NJ;
973-642-0550

Siberian Floors
145 Hudson St.,
New York;
212-343-1510

Terra Mai
205 North Mt. Shasta Blvd.,
Shasta, CA;
530-925-1937


aA Shelter / ShoreTech Manufacturing/Tom Kozlowski / SYSTEMarchitects.
systemarchitects/tony jin
 

“The careful execution of the FSC certified teak screens and planters at Carnegie Hill House resulted from the close collaboration between our design team and Ivory Build. Their skill and rigorous approach to craft enabled us to unify this sequence of outdoor spaces through the meticulous stacking and subtle articulation of teak slats.”

Thomas Woltz
Nelson, Byrd and Woltz
 

Bob Seetin is irrepressible and has a 'bring it on' attitude. He created the metal tables, wine racks, and counters we needed for the Film Society cafe quickly and even joyfully, turning everything around within a few weeks.”

Michael Fischer
Rockwell Group
 

Tom Kozlowski is an exceptional carpenter. He was able to think around unpredicted problems. He comes up with very straightforward and quick solutions. It no longer looks like construction work, it starts to resemble millwork.”

Jeremy Edmiston
SYSTEMarchitects
 

“A pivotal design goal for REI Soho was the adaptive reuse of the materials from the existing historic Puck Building and its subsequent transformation into a retail space. Callison’s vision from the outset was to bring the space back to its original context, from the wood cladding that was repurposed from the interior brick piers to the timber from the ceiling above the ground floor that was remilled and reused for the monumental staircase treads. Terra Mai was a collaborative partner through the entire reuse process providing expert guidance and advice.”

David Curtis
Callison

Lighting

 

Designers


Amber Lite Electric Corporation
443 Wild Ave.,
Staten Island, NY;
718-761-4323

Auerbach Pollock Friedlander
266 West 37th St.,
New York;
212-764-5630

Claude R. Engle, Lighting Consultant
2 Wisconsin Cir.,
Chevy Chase, MD;
301-654-5502

Clinard Design Studio
228 Park Ave.,
New York;
646-580-5344

Davis Mackiernan Lighting
180 Varick St.,
New York;
212-431-8675

Fisher Marantz Stone
22 West 19th St.,
New York;
212-691-3020

George Sexton Associates
242 West 30th St.,
New York;
212-736-4842

Grenald Waldron
260 Haverford Ave.,
Narberth, PA;
610-667-6330

 

Kugler Ning
48 West 38th St.,
New York;
212-382-2100

L'Observatoire International
414 West 14th St.,
New York;
212-255-4463

Leni Schwendinger Light Projects
336 West 37th St.,
New York;
212-947-6282

Lumen Arch
214 West 29th St.,
New York;
212-564-6469

Peridot Lighting
419 Lafayette St.,
New York;
212-360-2339

Tillett Lighting Design
172 North 11th St.,
Brooklyn, NY;
718-218-6578

Tillotson Design Associates
40 Worth St.,
New York;
212-675-7760

Fixtures


Amerlux
23 Daniel Rd. East,
Fairfield, NJ;
973-882-5010

Artemide
46 Greene St.,
New York;
212-925-1588

 

BEGA
1000 BEGA Way,
Carpinteria, CA;
805-684-0599

Flos
152 Greene St.,
New York;
212-941-4760

Holly Solar
1340-D Industrial Ave.,
Petaluma, CA;
707-763-6173

Lighting By Gregory
158 Bowery, New York;
212-226-4156

Lithonia Lighting
Conyers, GA;
770-922-9000

Lutron
7200 Suter Rd.,
Coopersburg, PA;
888-588-7661

Rambusch
160 Cornelison Ave.,
Jersey City, NJ;
201-333-2525

Selux
5 Lumen Ln.,
Highland, NY;
845-691-7723

Sistemalux
5455 de Gaspé,
Montréal, Quebec, Canada;
514-523-1339

Zumtobel Lighting
44 West 18th St., New York;
212-243-0460

   
North Carolina Museum of Art / Fisher Marantz stone / Thomas Phifer and Partners/Pierce Brinkley Cease + Lee (left); Buffalo Courthouse / Tillotson / KPF (center); Sunshine Incubator / Lighting by Gregory / Studio Mosza (right).
Iwan Baan (left); david seide (center); AND Ori Dubow (right)
 

Paul Marantz's lighting design is one of the most mesmerizing aspects of the 9/11 Memorial and plaza.”

Matthew Donham
PWP Landscape Architecture

 

“A company in California called Holly Solar fabricated the LED lights in the facade of the Nitehawk Cinema. It’s a small little company, but they do custom light fixtures. They’re good.”

Stephen Lynch
Caliper Studio
 

Kugler Ning is on board with understanding the world architects work in—working with tectonics—to create the right effect. Sometimes lighting designers can be more interested in the fixtures than the final effect. Kugler Ning helped to make the lighting fixtures disappear.”

Scot Teti
Smith-Miller + Hawkinson Architects
 

“We worked with Lumen Arch on the lighting design of Penn Medicine. They just did a fabulous job. We implemented a lot of lighting controls, occupancy sensors, daylight sensors, and things of that nature in the labs to bring down the energy usage and Lumen really knew their way around those systems.”

Jim Herr
Rafael Viñoly Architects
 

“We worked with Lighting By Gregory who helped us get the most energy efficient fixtures for the Sunshine Bronx Business Incubator. We as architects know what’s out there, but Lighting By Gregory opened our eyes to more LED opportunities.”

Harel Edery
Mosza

 
Inverted Warehouse Townhouse / Paul Warchol Photography / Dean/Wolf Architects (left); Museum of the Moving Image / Peter Aaron/Esto / Leeser Architecture (right).
Paul Warchol Photography (left) AND peter aaron/esto (right)
 

Photography

 

Esto Photographics
222 Valley Pl.,
Mamaroneck, NY;
914-698-4060

Halkin Architectural Photography
915 Spring Garden St.,
Philadelphia;
215-236-3922

Iwan Baan
Schippersgracht 7-1,
Amsterdam;
+31-06-54-630468

Jock Pottle Photography
259 West 30th St.,
New York;
212-760-1466

 

JoPo Photography
504 East 12th St.,
New York;
212-614-3122

Michael Moran Photography
98 4th St.,
Brooklyn, NY;
718-237-8830

Nic Lehoux
604-874-0918

Paul Warchol Photography
224 Centre St.,
New York;
212-431-3461

 

Scott Frances
79 Broadway,
New York;
212-777-0099

T.G. Olcott Photography
2 Greglen Ave.,
Nantucket, MA;
508-360-6312

Ty Cole Photography
332 Bleeker St.,
New York;
212-777-0075


 
City Center Facade Restoation / Boston Valley / Terra Cotta  / dattner architects (left); Tashan / Stone Source / Archi-tectonics (right).
Aislinn Weidele/Ennead Architects (left) AND don pearse photopgraphers (right)
 

Concrete, Masonry, Stone, & Tile

 

ADM Concrete Construction
9726 99th St.,
Ozone Park, NY;
718-738-1186

American Orlean

American Precast Concrete
PO Box 328,
Floresville, TX;
830-393-7731

Art In Construction
55 Washington St.,
Brooklyn, NY;
718-222-3874

Blenko Glass Company
P.O. Box 67, Milton, WV;
877-425-3656

Boston Valley Terra Cotta
6860 South Abbott Rd.,
Orchard Park, NY;
716-649-7490

Cathedral Stone Products
7266 Park Circle Dr.,
Hanover, MD;
410-782-9150

Commodore
230 South 5th Ave.,
Mt. Vernon, NY;
914-297-3000

Extech Industries
87 Bowne St.,
Brooklyn, NY;
718-852-7090

Fusion Floors
Buford, GA;
704-775-1050

Get Real Surfaces
143 West 29th St.,
New York;
212-414-1620

 

Helical Line Products
659 Miller Rd.,
Avon Lake, OH;
440-933-9263

James J. Totaro & Associates
95-1047 Ala'oki St.,
Mililani, HI;
808-626-9500

Kings County Waterproofing and Masonry
1200 Utica Ave.,
Brooklyn, NY;
718-629-6300

L&L Stone & Tile
900 South Oyster Bay Rd.,
Hicksville, NY;
516-349-1900

Masonry Solutions
PO Box 1036,
Sparks, MD;
410-771-1922

Modern Mosaic
8620 Oakwood Dr.,
Niagara Falls, ON, Canada;
905-356-3045

North Carolina Granite Corporation
P.O. Box 151,
Mount Airy, NC;
336-786-5141

Pavestone
18 Cowan Dr.,
Middleboro, MA;
508-947-6001

Porcelanosa
600 Route 17 North,
Ramsey, NJ;
201-995-1310

Port Morris Tile & Marble
1285 Oakpoint Ave.,
Bronx, New York;
718-378-6100

 

Reginald D. Hough Concrete Construction
115 Montgomery St.,
Rhinebeck, NY;
845-876-1048

RNC Industries
770-368-8453

Roman Mosaic and Tile Company
1105 Saunders Ct.,
West Chester, PA;
610-692-3100

Savema
Via Aurelia 24-55045,
Pietrasanta, Italy;
+39-0584-794407

Sheldon Slate
143 Fox Rd.,
Middle Granville, NY;
518-642-1280

Speranza Brickwork
15 High St.,
Whitehouse Station, NJ;
908-534-2176

Stepstone
800-572-9029

Stone Source
215 Park Ave. South,
New York;
212-979-6400

The Pike Company
One Circle St.,
Rochester, NY;
585-271-5256

Vermont Structural Slate Company
3 Prospect St.,
Fair Haven, VT;
800-343-1900

Zanaglia
Via Longobarda 19,
Massa, Italy;
+39-0585-834566


Milstein Hall / Reginald Hough/The Pike Company / OMA.
Philippe Ruault
 

“Peter Dagostino at ADM Concrete made it possible to get the building up. He coordinated everything. ADM is a very smart company and did a quick job.”

Werner Morath
Loadingdock 5
 

Boston Valley is one of the premier companies to go to for very careful matching of terracotta.”

Joe Coppola
Dattner Architects
 

“The excellent stone work by Port Morris Tile & Marble helped us make this a place of permanence and beauty. They worked with our vision and found the spectacular green marble for the benches.”

Tod Williams
Tod Williams Billie Tsien

 

“The slate siding from Vermont Structural Slate was naturally resistant to spray paint.”

Amy Yang
Toshiko Mori
 

“We used Reginald Hough as a concrete consultant for Milstein Hall. They came in during construction process to facilitate the subcontractor, Pike, and help us to decide on some of the materials to test and techniques to use. The lower levels have a smooth concrete dome ceiling with integrated lighting. Because it is both architecture and structure, it required a very precise installation method. Hough was invaluable in achieving that.”

Ziad Shehab
OMA


DiMenna Center for Classical Music / Akustiks / H3/Hardy Collaboration Architecture.
francis dzikowski/esto
 

Consultants

 

A/V & Acoustics


Acentech
33 Moulton St.,
Cambridge, MA;
617-499-8000

Acoustic Dimensions
145 Huguenot St.,
New Rochelle, NY;
914-712-1300

Akustiks
93 North Main St.,
South Norwalk, CT;
203-299-1904

Clarity Custom
1792 West 11th St.,
Brooklyn, NY;
718-787-9699

DHV
Laan 1914 no 35, 3818 EX
Amersfoort, The Netherlands;
+31-33-468-2000

Electrosonic
318 West 39th St.,
New York;
212-206-7711

Jaffe Holden Acoustics
114–A Washington St.,
Norwalk, CT;
203-838-4167

Kirkegaard Associates
801 W. Adams St.,
Chicago;
312-441-1980

Polysonics
405 Belle Air Ln.,
Warrenton, VA;
540-341-4988

Scharff/Weisberg
36-36 33rd St.,
Long Island City, NY;
212-582-2345

Blast Consultant


RSA Protective Technologies
1573 Mimosa Ct.,
Upland, CA;
909-946-0964

Commissioning


Strategic Building Solutions
708 3rd Ave., New York;
212-209-1037

Cost Estimator


VJ Associates
100 Duffy Ave.,
Hicksville, NY;
516-932-1010

Fire Protection/ Code Consulting


Code Consultants Professional Engineers
215 West 40th St.,
New York;
212-216-9596

JAM Consultants
104 West 29th St.,
New York;
212-627-1050

 

Montroy Andersen DeMarco
99 Madison Ave.,
New York;
212-481-5900

Property Intervention Consultants
72 Reade St.,
New York;
212-267-4666

Food Facility Planning


JGL Foodservice Consultants
224 Cleveland Ln.,
Princeton NJ;
732-274-1694

Green Wall


Vertical Garden Technology
954 Lexington Ave.,
New York;
646-339-6222

Historic Preservation


Building Conservation Associates
44 East 32nd St.,
New York;
212-777-1300

Office for Metropolitan History
11 West 20th St.,
New York;
212-799-0520

Powers and Company
211 North 13th St.,
Philadelphia;
215-636-0192

PreCon LogStrat
PO Box 417,
Mastic Beach, NY;
631-772-9540

IT/Telecommunications


Archi-Technology
115 Metro Park,
Rochester, NY;
585-424-1952

TM Technology Partners
250 West 39th St.,
New York;
212-398-2424

Laboratory Planning


Jacobs Consultancy
70 Wood Ave., Iselin, NJ;
732-452-9200

Landmarks


Higgins Quasebarth & Partners
11 Hanover Sq.,
New York;
212-274-9468

 

Owners Representative


Levien & Company
570 Lexington Ave.,
New York;
212-702-0888

Radiant Consulting Services


The Stone House
1111 Route 9,
Garrison, NY;
845-788-3620

Security


Ducibella Venter & Santore
250 State St.,
North Haven, CT;
203-288-6490

The Clarient Group
630 9th Ave.,
New York;
212-586-5840

Tritech Communications
28-30 West 36th St.,
New York;
212-695-1880

Specifications


Heller & Metzger
11 Dupont Cr. NW,
Washington, DC;
202-364-2222

Theatrical


Fischer Dachs Associates
22 West 19th St.,
New York;
212-691-3020

North American Theatrix
60 Industrial Dr.,
Southington, CT;
860-863-4112

Turf and Sports Regulations


Stantec
1735 Market St.,
Philadelphia;
215-751-2900

Vertical Transportation


Van Deusen & Associates
7 Penn Plz.,
New York;
212-868-9090

Wind Analysis


CPP
1415 Blue Spruce Dr.,
Fort Collins, CO;
970-221-3371


Penn Park / Stantec / michael van valkenburgh associates.
Courtesy UPenn
 

Acoustic Dimensions was great. They were really hands on, heavily involved in the Nitehawk. We have apartments above the movie theater so acoustic isolation is a big part of this project. They designed the second floor’s ceiling to hang on springs. They also tested the sound transmission when it was all done and you can’t hear a thing.”

Stephen Lynch
Caliper Studio

 

Richard Demarco is the most informed architect in New York City about building code and law. This guy is a joy to work with.”

Henry Smith-Miller
Smith-Miller + Hawkinson Architects
 

Clarity Custom is a terrific 'full system' provider and installer who took the lead on specifying A/V equipment and lighting control systems. There was an excellent interface with the general contractor and architect to minimize coordination issues. Clarity did a great job of integrating hardware, wiring and controls in a project where every detail matters.”

Charles Wolf
Dean/Wolf Architects

 

Building Conservation Associates have areas of expertise that bring refinement and an ability to find the resources.”

Joe Coppola
Dattner Architects
 

“At the Museum of the Moving Image, Scharff/ Weisberg and Jaffe Holden had a real hand in setting the stage to accommodate different uses in terms of all the data and audio visual systems that allow the museum to be a plug + play environment.”

Simon Arnold
Leeser Architecture

 

Bob Powers is very keen in navigating the historic restoration tax break. He's tech savvy and politically savvy, which helps get city, state, and federal approvals.”

Frank Grauman
Bohlin Cywinski Jackson
 

“Laurent Corradi of Vertical Garden Technology has created two grand and beautiful green walls that are loved by all. His knowledge of the botany and technical aspects of plant walls will insure that these features will thrive for generations to come.”

Tod Williams
Tod Williams + Billie Tsien

 

“The Musuem of the Moving Image faced a lot of challenges not to mention being a publicly-funded project in hard economic times. Levien took it all in stride and helped us meet the extra demands on budget cutting without sacrificing quality.”

Simon Arnold
Leeser Architecture

Other Services & Suppliers

 

Arborist


Paul Cowie Associates
11 Beverwyck Rd.,
Lake Hiawatha, NJ;
973-263-4801

Art Restoration


Rustin Levenson Art Conservation
212-594-8862

Artist


Michael Singer

Casework


Lab Crafters
2085 5th Ave.,
Ronkonkoma, NY;
631-471-7755

Curtain Design


Inside Outside Petra Blaisse
Erste Nassaustraat 5, 1052 BD
Amsterdam, The Netherlands;
+31-20-6810-801

Custom Fabrication


Associated Fabrication
72 North 15th St.,
Brooklyn, NY;
718-387-4530

Custom Materials


Panelite
5835 Adams Blvd.,
Culver City, CA;
212-947-8292

Electrical


Arthur Metzler and Associates
47 Hillside Ave.,
Manhasset, NY;
516-365-6966

Graphic Design/Signage & Wayfinding


2 X 4
180 Varick St.,
New York;
212-647-1170

Amuneal Manufacturing Corp.
4737 Darrah St.,
Philadelphia;
215-743-1715

C & G Partners
116 East 16th St.,
New York;
212-532-4460

Duggal
29 West 23rd St.,
New York;
212-242-7000

Entro Communications
122 Parliament St.,
Toronto, Ontario, Canada;
416-368-6988

Karlssonwilker
36 6th Ave.,
New York;
212-929-8064

Pentagram Design
204 Fifth Ave.,
New York;

Enclosure Testing / Facade Maintenance


Architectural Testing
130 Derry Ct.,
York, PA;
717-764-7700

 

Entek Engineering
166 Ames St.,
Hackensack, NJ;
201-820-2802

Epoxy Specialists and Supply


Aspen Supply Corp.
888-866-5757

Felt artist


Claudy Jongstra

Finishes and Coatings


Creative Finishes
27 West 20th St.,
New York;
212-929-6920

Fountain Consultant


Dan Euser Waterarchitecture
58 Major Mackenize Dr. West,
Richmond Hill, ON, Canada;
905-884-4176

Heat Recovery Ventilator


Zehnder
540 Portsmouth Ave.,
Greenland, NH;
603-422-6700

Interior Decoration


Pamela Banker Associates
136 East 57th St.,
New York;
212-308-5030

Irrigation Distributor


Storr Tacktor
175 13th Ave.,
Ronkonkoma, NY;
631-588-5222

Landscaping


Capri Landscaping
4005 Victory Blvd.,
Staten Island, NY;
718-494-8973

Plant Specialists
42-45 Vernon Blvd.,
Queens;
718-392-9404

Light Fixture Restoration


Robert True Ogden
3311 Broadway St. NE,
Minneapolis, MN;
612-524-3432

Modular Units


Capsys
63 Flushing Ave.,
Brooklyn, NY;
718-403-0050

Murals


Stingray Studios
2144 Citygate Dr.,
Columbus, OH;
614-220-8878

 

Nursery


Shemin Nurseries
42 Old Ridgebury Rd.,
Danbury, CT;
203-207-5000

Painting & Epoxy Installation


Anton Berisaj
917-440-4262

Plastic Lumber


Tangent Technologies
1001 Sullivan Rd.,
Aurora, IL
630-264-1110

Plastics


E&T Plastics
45-45 37th St.,
Long Island City, NY;
800-221-9555

Radiant Systems


Barcol-Air
115 Hurley Rd.,
Oxford, CT;
203-262 9900

Riggers to the Arts


Dun-Rite
1561 Southern Blvd.,
Bronx, NY;
718-991-1100

Security


S.O.S. Advanced Security
197 7th Ave.,
New York;
212-206-7777

Security Bollards/ Traffic Barriers


Delta Scientific
40355 Delta La.,
Palmdale, CA;
661-575-1100

Moli Metal
8380 Rue Lafrenaie
Montreal, QC;
514-326-6839

Theatrical Equipment


Gerriets International
130 Winterwood Ave.,
Ewing, NJ;
609-771-8111

Vertical Transportation


Persohn / Hahn Associates
908 Town & Country Blvd.,
Houston, TX;
713-467-4440

Waterproofing Systems


Sika Sarnafil
100 Dan Rd.,
Canton, MA;
781-828-5400

 
museum of the moving image / karlssonwilker / leeser architecture (left); Metrotech / Delta Scientific / WXY (right).
peter aaron/esto (left) AND courtesy wxy (right)
 

“At Queens Plaza, we collaborated with Michael Singer, an artist whose commitment to the public realm complements Margie Ruddick's environmental sensibility for landscape. He designed and produced special pre-cast components integrated into the architecture of new social spaces that withstand the site's powerful infrastructural presence.”

Linda Pollak
Marpillero Pollak Architects
 

Claudy Jongtstra’s artistry is present in two monumental tapestries that cover both long walls of the Atrium. These extraordinary artworks were made possible by her artistic vision as much as her involvement in the technical aspect, managing all from Europe.”

Tod Williams
Tod Williams + Billie Tsien Architects

 

“Fountain consultant Dan Euser is really familiar with the potentials and limits of water dynamics. He's visionary in terms of creating things of beauty and simplicity.”

Matthew Donham
PWP Landscape Architecture
 

“When the graphic designers Karlssonwilker joined the team, the design of the Museum of the Moving Image was fairly well resolved, but they were able to complement and add to its strength in a way that carried through the branding of the entire institution”

Simon Arnold
Leeser Architecture

 

“The reception desk at the Sunshine Bronx Business Incubator is custom designed and Panelite made it easy for me because they built a model on site for approval and I was able to see our 3-D computer drawings in real life before the desk was fabricated.”

Harel Edery
Mosza
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East Coast Editors’ Picks
Thomas Leeser's addition to the Museum of the Moving Image.
Peter Aaron / Esto

This year we welcomed foreign firms to US shores, marked memorial milestones, tracked the reinvention of abandoned infrastructure, and reported on universities as key players in urban development. Here are a few of our favorite articles from AN's East Coast edition that offer a snapshot of the issues and voices that made news in 2011.

Courtesy Foster + Partners
 
 

01.24.2011

Crit> Museum of Fine Arts Boston

Foster + Partners brings neo-modern seriousness to museum addition, but is it enough? Fame isn’t always glory. That’s one lesson of the career of I.M. Pei, that most underrated of overexposed architects. Though best known for later baubles like the Louvre’s glass entrance pyramid, in the ‘70s and ‘80s he produced buildings of remarkable (yet all-too-often unremarked) competence and diligence. Many of these are to be found in Boston, a city whose small size, long history, and hub-of-the-universe aspirations complemented Pei’s sense of scale and proportion, his balance of deference and showbiz, and his capacity to complement old sites with new interventions. His works in that city, such as the 1974 Christian Science complex and 1971 Harbor Towers, evince monumentality without grandiosity, modernity without brutality, and the acknowledgement of historical neighbors without maudlin imitation of their forms.
 

COURTESY BIG
 
 

01.26.2011

BJARKE INGELS MAKES NO LITTLE PLANS

Danish architect ready to leave his footprints in Manhattan and beyond: Danish architect Bjarke Ingels, principal of Bjarke Ingels Group (BIG), has set his sights on the Big Apple. Since September, he has been jet-setting back and forth between his Copenhagen headquarters and his new Manhattan office in preparation for a closely-watched mystery debut. Already an established member of the young architectural vanguard (with an icon of his own in the shape of a figure-eight-shaped housing complex in Copenhagen), Ingels told AN that he is prepared to take American real-estate development head-on: “Everyone has been warning us that it’s impossible to work with American developers—that they’re too profit-driven,” Ingels said. “But it’s really exactly the same with developers everywhere.”
 

Peter Aaron / Esto
 
 

02.22.2011

Crit> Museum of the Moving Image

Thomas Leeser's intricately-paneled architecture recalls the experience of film itself: Oh, to live in the unbuilt world of Thomas Leeser! While most architects have by mid-career accumulated a village of unrealized projects, all offering glimpses of unbuildable wonders or cancelled near-misses, Leeser’s exceptional collection features unbuilt buildings that seem at once otherworldly and down-to-earth. With a long-refined vocabulary of tessellated-panel cladding, continuous-curve surfacing, laconically sculptural massing, knife-sharp edging, and a certain icy taste for sparkle, his practice has produced an evanescent architecture for a counterfactual world, more exciting and exacting than our own: For Yakutsk, Russia, a wooly mammoth museum whose facade tessellations extrude into leggy permafrost-foundation piles, all with the irresistible creaturely charisma of the animal it exhibits; for Abu Dhabi, a hotel whose voluptuous curves manifest as Wright’s Guggenheim in full ballroom spin; for Heidelberg, Germany, there’s a solid-looking museum that, at least seemingly, melts into air.
 

COURTESY GROUNDLAB
 
 

03.26.2011

FEATURE> CONTESTED GROUND

Landscape architecture continues to experience a professional flowering based on the growing significance of sustainability and ecological issues as they relate to planning the broader built environment. But awareness is also growing among architects that they are no longer kings of the mountain. Gwen Webber scouts the perimeter of a possible turf war in the making.
 

FERNANDO GUERRA FG+SG
 
 

04.21.2011

COMMENT> EDUARDO SOUTO DE MOURA

Vera Sacchetti discusses the 2011 Pritzker laureate: In Porto, a small, gray city in the north of Portugal, you grow accustomed to sixteenth- and seventeenth-century weathered granite buildings that seem to rise from the ground as naturally as mountains. This is the foggy, damp place that has shaped the life and work of Eduardo Souto de Moura, the 2011 Pritzker Prize laureate, and he, in turn, has helped bring the city into modernity over the past thirty years. “In Porto, you have the beautiful historical city,” the architect has said, “the monuments and buildings trying to find—like cats when they go to sleep—their natural place and positioning, and then they become almost natural, all made with the same stone… And that gives them an immense serenity.”
 

COURTESY WAGGONNER & BALL ARCHITECTS/SMART MOBILITY
 
 

06.23.2011

FEATURE> GO DOWN, MOSES

Today cities are putting people before cars, replacing highways with green boulevards: Remember highways, those ribbons of concrete that in the 1940s and 50s looped together cities, states, and regions in much the same way as ocean liners connected America to Europe in the 20s and 30s? Once highways represented the country’s proudest infrastructure. Those days are over, as are the urban policies that allowed New York’s ultimate powerbroker Robert Moses, late in his heyday in the 60s, to ram roads (the bigger, the wider, the busier the better) through fragile communities, ripping the urban fabric to shreds for decades to come. Today’s urban thinking puts pedestrians before cars.
 

THE ARCHITECT'S NEWSPAPER
 
 

07.28.2011

FEATURE> CLASS STRUGGLE

Mapping higher education as a potent force of development across the city, now and in the future. Essay by Mitchell Moss: In spite of the recent economic slowdown, New York City’s colleges and universities are on a building spree, providing planners, land use lawyers, architects, and construction workers with well-paying and stable employment. Once a sleeping giant, the city’s colleges and universities have long been active in acquiring individual parcels, modernizing outmoded structures, and building “as-of-right” by taking advantage of the city’s permissive zoning that falls under the heading of “community facilities.” But today, the city’s higher education industry is playing hardball as it seeks to build classrooms, labs, residence halls, student centers, and administrative palaces in order to attract students and faculty in the 21st century. And the leaders of the city’s colleges and universities are anything but shy when it comes to expanding their campuses. In fact, they are using every possible planning and zoning tool: eminent domain, rezoning, leasing, trading air rights, public-private partnerships, strategic acquisitions, and, of course, contributing space for public purposes, as they negotiate the treacherous minefield of land use planning in New York City.
 

COURTESY SILVERSTEIN
 
 

09.07.2011

FEATURE> MAKING MEANING

Drawn largely from stories in our own pages, this selective timeline recalls key design moments, revisions, and decisions leading up to the tenth anniversary opening of the 9/11 Memorial.
 

JESSICA EDWARDS
 
 

09.19.2011

Q+A> GARY HUSTWIT

The director of Helvetica and Objectified talks about his new film on cities, Urbanized: This month Urbanized, the latest film by Gary Hustwit, premieres in selected cities around the U.S. after making its debut at the Toronto Film Festival. Coming on the heels of his odes to typography (Helvetica, 2007) and product design (Objectifed, 2009), Hustwit has now turned his lens on the design of cities. AN met up with the filmmaker to talk about how the key players in urban planning and design and make their ideas comprehensible to a wider public.
 

PHIPPS ROSE DATTNER GRIMSHAW
 
 

09.26.2011

ROAD TO GREEN

Dattner Grimshaw Bronx partnership yields model sustainable housing: Via Verde, the affordable housing complex designed by Dattner Architects in partnership with Grimshaw, would fit with any of the sexy newcomers on Manhattan’s West Side Highway. Built atop a former rail yard in the Melrose section of the South Bronx, the triangular site sits directly across from some featureless low-income housing in uninspiring old-school red brick.
 

Tom Stoelker / AN
 
 

10.12.2011

Comment> Jerold S. Kayden

Occupying Wall Street at the public-private frontier: In future years, people will remember 2011 as the year in which physical public space reclaimed its lofty status in the public sphere thanks to the audacious actions of engaged individuals. From Tahrir Square to Zuccotti Park, physical public space has aggressively reminded the world of its centrality in accommodating and nurturing political debate and protest. Public spaces come in many flavors. They include city-owned streets, sidewalks, and parks. In New York and other cities, they also include a zoning-created variety known as privately owned public space. Through a technique known as incentive zoning, New York since 1961 has encouraged developers of office and residential skyscrapers to provide a now-substantial array of more than 500 plazas, arcades, and indoor spaces in return for valuable zoning concessions. The most valuable concession of all has been bonus floor area, and the City has thus granted more than 20 million square feet of extra building area for developers. Although the spaces differ in terms of the legal specifics that created them, the signature requirement is that they be usable by the public.
 

KIYONORI KIKUTAKE
 
 

10.27.2011

Q+A> REM KOOLHAAS

High on Metabolism, Rem talks about his latest book Project Japan: Sounding weary with focusing on his own positions and prominence and energized by researching Japan in the 60s and 70s, Rem Koolhaas came down for coffee at the Carlyle Hotel to talk to AN about his new book Project Japan: Metabolism Talks (Taschen), a six-year project undertaken with Swiss critic and historian Hans Ulrich Obrist to interview the founders and thinkers of what the architect calls “the first non-Western avant-garde movement in architecture” and the Dutch architect’s search for a more meaningful engagement between architecture and societies.
 

MONTAGE BASED ON PHOTO BY PETER MAUSS / ESTO
 
 

11.08.2011

FEATURE> CULTURAL OUTLETS

What does it mean when museums position themselves as engines of social change...powered by luxury car companies? Stephen Zacks considers new claims on the urban environment: This fall, BMW funded a Guggenheim lab on the Lower East Side that will travel—along with a lot of forward-thinking programs and events—to nine cities around the world for the next six years. Earlier this year, Audi funded the New Museum’s Festival Ideas for the New City on the Bowery which the museum plans on staging every other year. And in May, Volkswagen announced a two-year partnership with MoMA to fund online educational programming, on-site “labs,” and an exhibition of socially conscious international work at PS1.
 

Courtesy BHA
 
 

12.15.2011

Rolling Out

Philly's elevated railway is struggling to become a High Line: The Reading Viaduct, a grass and tree-covered stretch of historically rich yet defunct industrial rail line in Philadelphia, has opened up a lively dialogue about its potential as an urban connector. With a location ripe for redevelopment, the mile-long viaduct runs north from the edge of Center City to Callowhill, a former manufacturing neighborhood. However, as in most public projects where budgets are tight, the realization of an elevated park has a long way to go.
 

COURTESY U.S. COMMISSION OF FINE ARTS
 
 

12.20.2011

PORTFOLIO> UNBUILT WASHINGTON

The National Building Museum presents the nation's capital as it might have been: More and more, the National Mall is living up to its moniker “America’s front yard”: patchy turf, puddles, and cracked sidewalks give it an air of foreclosure. The National Mall Design Competition, now under way, will surely produce ambitious proposals to mend the Mall, but getting them approved and funded could take years and is far from guaranteed.
 

 

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Tracking the Origins of MVRDV’s Cloud
Urban design historian Grahame Shane weighs in on the controversial project tracing MVRDV’s explosive imagery to its source in research. When Ole Scheeren departed from OMA Beijing with the MahaNakhon Bangkok tower to found his own office in 2010, he had the idea to connect tower and urban village, marking a key moment in a very Dutch delirium that moved beyond OMA's CCTV tower. In the Bangkok tower the developer’s website claims this skyscraper "melds with the city by gradually 'dissolving' the mass as it moves vertically between ground and sky." MVRDV pursued this same research and logic in their Cloud twin tower development in Libeskind's masterplan for the ex-US base in downtown Seoul. The firm had earlier developed the Sky Village project in Copenhagen in 2008, similar in concept to the MahaNakon project with its spiral upwards. Indeed, this spiral had long been a concern of Ken Yeang, the Malaysian architect in his "Bioclimatic" Malaysian skyscraper projects of the 1990's. MVRDV pursued this research in their 2011 Vertical Village show in Taipei, Taiwan, that opened at the same time as the announcement of the Cloud. Given MVRDV's devotion to data mining and layering, it is probable that they followed the logic of the delirious Dutch research that believes you can collage anything beside anything else in a pragmatic, post-modern method of assemblage. This line of research descends from Koolhaas' appreciation of the Downtown Athletic Club in Manhattan in Delirious New York (1978). MVRDV's Hannover Expo Pavilion of 2000 demonstrated this technique, as did their project for the Metacity/Datatown exhibit of the same year. All interrelationships are then either pragmatic or better yet random. Then there is the fiction in a scheme like the CCTV, MahaNakhon, or the Cloud that no one person controls the emergent "free" assembly. Yet in Beijing or Bangkok the designers repressed the village-like interior organizations within the building mega-form, allowing a surface marking only, breaking the building surface as a pixilation in the MahaNakhon. The Cloud design represented a step further in this logic, as it projects a so-called three-dimensional vertical village between the two towers. It would seem the excitement of the creation of an urban village half way up two skyscrapers blinded MVRDV to the very obvious 9/11 image the design might provoke. Why was MVRDV so excited? There was already an Asian mega-structural tradition of platforms between towers and even the idea of vertical villages as in Hiroshi Hara's 1988 theories about urban scale in 3-D. Hara completed the Osaka Umeda Skygarden demonstration project in 1993. This tradition continued in the work of Chinese architects such as the Shenzhen based Urbanus group with their Urban Village and skyhook research of 2003-2004. Why was the Cloud breakthrough so important for MVRDV? The design maintained the tower surfaces but burst out of the mega-form to introduce a three-dimensional, cuboid platform with terraces and stepped rooms inside a grid structure showing trees and shrubbery, a veritable hanging garden. Anyone who has visited Bangkok and eaten on the three-dimensional rooftop terraces, could recognize the appeal of this structure. But here its form was also that of a rationalized Brazilian favela or hill town perched above Rio or São Paolo, echoing Safdie's Montreal Habitat (1967). The Vertical Village show asked whether one can hybridize the top-down modernist skyscraper and the forms of the self-build bottom-up favela to make a new "vertical urban village." Oliver Wainright writing for Domus magazine in October 2011 described the sequence of the exhibition that began with an analysis of existing urban villages , drawn in Atelier Bow Wow-style linear axonometrics with calculations of their density and Floor Area Ratio (FAR), proceeding via a corridor of images mined from the web using the terms "vertical village" to a contrasting display of massive, modern building projects for housing slabs and blocks that repress individuality in the search for cheap mass housing. Wainright described how the positive qualities of informal urban villages are outlined in one gallery as an "Urban Community Quality Wheel," which led to other rooms where visitors could use "Housemaker" and "Village Maker" software to adjust the parameters of a vertical urban village design. Wainright wrote that "tweaking settings from typology to aspect, hours of sunlight to distance from neighbors, the Grasshopper script then projects each house into the Rhino model, from where you can spin your clustered cloud of vertical dwellings around to your heart's content—and then share it on Facebook." The Cloud project with its favela-like bridge between two towers emerged from this research. MVRDV released the images without seeing the connection to the 9/11 twin towers, later issuing an apology. How could these otherwise savvy media operators have been so blind? Was it naïvete? Or a planned headline-grabbing publicity stunt? This blindness and emotional disconnection is interesting. Did MVRDV think that the design somehow incorporated the bottom-up built logic of the invisible favelas and shanties in their Cloud as it enveloped the two towers? Did MVRDV hope to signify the one billion slum dwellers here as the global system stresses out? Was their exceptional blindness the result of the uncanny return of the repressed masses in the outlying urban villages and favelas? Why do we need urban villages now in skyscrapers, in Clouds or in museums? Koolhaas and OMA have proposed the "Museum as City" for the Beijing National Arts Museum (2011) with horizontal "Arts Villages" held between "streets" and its vertical "Arts Lantern." What is the symbolism of the village here? Is it time to reverse the mega-scale of the Bubble Years and start over with urban villages? D. Grahame Shane teaches Graduate Urban Design at Columbia University and undergraduate students at The Cooper Union in New York. He also lectures for the Bartlett School of Architecture in London and at the Polytechnic in Milan. He is the author of Recombinant Urbanism: Conceptual Modeling in Architecture, Urban Design and City Theory (John Wiley & Sons, 2005).
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Port Authority Threatens to Sue 9/11 Museum for $300 Million
In the days immediately following the show of solidarity on the tenth anniversary of 9/11, the Port Authority and Governor Cuomo retreated to one corner and Mayor Bloomberg and the Sept 11 Memorial and Museum Foundation to another over accusations of $300 million in cost overruns that neither party has agreed to pay. Construction of the museum has ground to a halt decreasing the likelihood that the Museum will open next year as promised. On December 15, the Governor told Albany radio host Fred Dicker that the Port Authority was “on the verge” of suing the Foundation. The PA charged that the Foundation has not provided $156 million for infrastructure costs and has subsequently not reimbursed the Authority for awarded contracts since immediately after the anniversary. On the radio show, Cuomo said $300 million was owed to the PA, an amount said to include newly revised project costs as well as money already spent on infrastructure. In a statement, Michael Frazier, the foundation’s spokesperson, said, “The 9/ll Memorial has met every funding commitment. There is no validity to the Port Authority’s claim; in fact, as recently as yesterday this claim was half of this amount. The Memorial has a counterclaim against the Port totaling more than $140 million. The Mayor clarified all of this today.” In a rebuttal made at a news conference on Friday at a Bronx elementary school, Mayor Bloomberg said, “We don’t owe anything.” While noting that the city is working with PA to resolve the issue, he added, “It’s hard to see us getting to a courtroom, but if it has to go there, it has to go there.” A source familiar with the situation said that there is a $300-500 million bill lurking and unaccounted for, but that it has to do with site-wide security costs. At issue as well is the dedicated task force assembled by former PA head Chris Ward to cut through previous disagreements, which may have been disbanded when the new director Patrick Foye took over. Whether the city or the Port Authority is responsible for escalating security costs seems unclear. With a virtual halt in construction, Frazier said in a phone call that the timely completion of the Museum is endangered. “The Museum was next in line to be completed before Towers Four and even One. What’s really at stake now are all the items and donations by family members and others that were entrusted to us to preserve but are now in storage and in jeopardy.”
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Slideshow> WTC Memorial at Night
Last Friday, AN went to the 9/11 Memorial, without a press pass, an official tour guide, or a hard hat. We went as a neighbor and experienced the place as any other visitor might. First, we attempted to get our ticket online. After checking the availability on Tuesday, we dithered, and by Wednesday online tickets were gone. But at the temporary exhibition space on Liberty Street, and a manager told us that a $20 ticket to the museum would get us into the memorial without reservations. After skipping the exhibition, we went through a series of checkpoints akin to international travel at JFK. The experience was a sobering reminder of one of the many aftereffects resulting from the attacks. Everything metal had to be removed and placed into an x-ray machine, but shoes did not have to be taken off. The staff at the metal detectors were stern and efficient. The line moved swiftly. At the following two or three additional checkpoints, administrators became friendlier. On entering the plaza, the public was set free. Watching the crowd interact with the space was almost as intriguing as memorial itself. Boy scout troops scampered, parents called out, as the crowd headed toward the South Pool where they clustered for a first glimpse. The recreational mood dissipated as the crowd dispersed and began to walk around the pool. The scale began to take root and voices lowered. By the time they reached Snøhetta's pavilion, more than a few visitors seemed disoriented. Several gazed through the glass at original World Trade columns and wondered aloud if this was in fact where the towers once stood. Others explained that the pools were the footprints. Again, the crowd regrouped and conversed, before separating and drifting off to the next pool. The light on the original column was in fact among the warmest light on the plaza. The the pool's lighting felt as cool as the water itself--stark but not sterile. The lamppost columns spread throughout the plaza in slim vertical gestures, so that the temporary incandescent  washing the World Trade columns provided an oddly warm punctuation to the entire site.
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9/11 Memorial Museum Entry Pavilion
The memorial pavilion sits on two different structures: the memorial museum and PATH station.
Courtesy Buro Happold

Snøhetta, Adamson Associates, Buro Happold

Among the towering giants and behemoth cavern currently under construction at the World Trade Center site, it can be easy to overlook the Entry Pavilion of the National September 11 Memorial Museum. After all, it is only three stories high and contains a mere 47,000 square feet, much of which is mechanical equipment. However, the little pavilion serves vital roles in the master plan, both functional as well as aesthetic. For one, it houses the entrance to the museum—a grand stair that descends beneath the recently-opened plaza beside two of the soaring steel “tridents” salvaged from the wreckage of the original twin towers. The building also contains an advanced security apparatus for screening visitors, an auditorium, the aforementioned mechanical equipment, and a special room reserved for World Trade Center attack survivors and the family members of those who lost their lives.

As with every other piece of the massive construction project, the pavilion is also far more complex than a cursory examination of its architectural renderings makes it seem. The design team—which includes Norwegian architectural firm Snøhetta, local architect of record Adamson Associates, and multi-disciplinary engineering firm Buro Happold—faced the very unusual challenge of designing a building that could perch off the edge of two different lower structures: the Path Station and the Memorial Museum. This required developing a series of unique structural solutions that not only meet New York City building code but also stand up to the heightened security concerns of the World Trade Center site.

   
Left to right: Detail of the erection truss to stabilize the structure while under construction; the pavilion cantilevers atop the transit hub; and a view of the southwest corner under construction.
 

The majority of the pavilion rests atop the Path Station, specifically atop three massive north-south oriented steel girders, each between 13 and 16 feet deep, which were designed by Port Authority engineers. Only the western tip of the building, which contains the grand stair, sits on the concrete mat of the memorial museum, designed by Aedas and Cantor Seinuk. The challenge for the design team was to create a “foundation” for the pavilion that would both distribute the building’s gravity loads across these two underpinning structures as well as handle the rather intense lateral loads that could occur under the conditions of a blast event. Before anybody starts thinking that was an easy chore, there were additional complicating factors. Two of the Port Authority’s girders—the eastern most and the western most—did not span the entire depth of the pavilion’s footprint, meaning that much of the building would have somehow to be hung off their ends. The northeastern edge of the pavilion also extended beyond the easternmost girder, meaning that as much as 15 feet of the building would have to be cantilevered over the path station. Finally, while the Port Authority engineers allowed the team to transfer north-south lateral forces to the girders, east-west forces were off limits.

The team established “footings” for the building that they termed “drag beams”—3-foot-wide by 7-foot-deep concrete beams, heavily reinforced by structural steel wide-flange sections and two layers of No. 10 rebar. The drag beams follow the perimeter of the pavilion, and one bisects its east-west axis, spanning as much as 100 feet across the underpinning structures. Between the center and southern drag beams, which run east-west, and atop the three Port Authority girders, which run north-south, they established a concrete core that rises the full height of the structure, functioning as both hardened ingress and egress as well as a cavernous ventilation shaft for the underground spaces. The core transfers the building’s north-south lateral loads to the girders. All of the east-west lateral forces are transferred from the drag beams at the western end of the pavilion to the memorial’s concrete mat via structural shear dowels.

Hanging the north edge of the pavilion off of the two short girders called for two different solutions. At the eastern-most girder, which was 16 feet short, the team was able to employ an inclined beam that runs up from the end of the girder at a 45-degree angle to the second floor, where it becomes a column and runs vertically to the top of the structure. The westernmost girder, however, was 20 feet short. There, the team ran a column vertically to the roof and then suspended the remainder of the structure from a 22-foot-deep truss.

The rest of the pavilion’s framing is more conventional in nature—steel post and beam and concrete floors poured on metal decking—though many of the members are encased in concrete and are larger than one would expect for a building of this size. In fact, some of the girders that support the infill beams go up to W40x503—the largest rolled sections available—making Memorial Pavilion a very sturdy enclosure indeed.

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WTC Update> POPS on the Periphery
It's been a while since we did the once around the super block that is the World Trade Center site. We held off on WTC Updates until the Tenth Anniversary news fest subsided. Now that all eyes are on the Zuccotti Park and Occupy Wall Street, we figured it'd be a good time to take another walkabout. From an urban planning standpoint, the Privately Owned Public Space (POPS) status of Zuccotti Park has stirred up quite a bit of interest. As the 9/11 Memorial opened only last month—and remains a highly controlled space—the only way to navigate around the site is to walk through a series of interior and exterior POPS. Right now Occupy Wall Street's takeover of the Brookfield-owned park is getting the lion's share of attention, but elsewhere there are little known gatherings in other POPS around Lower Manhattan that happen every day.
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Five-Year Reunion
The Morgan Library & Museum.
Michel Denancc

Grand openings come and go, and the buildings that once occasioned so much hoopla soon enough slide into the rank and file of the working city. Whether they become landmarks of achievement or emblems of unrealized potential cannot easily be known at first. The editors of AN talk to owners and architects of four celebrated efforts to see what stands out at least five years on.

 
The rebuilding of the 52-story 7 World Trade Center helped shape the masterplan for the adjacent site.
David Sundberg / ESTO
 

7 World Trade Center
SOM
Silverstein Properties

Just one month after the 9/11 attacks, and while New Yorkers were still reeling, developer Larry Silverstein and SOM began planning the rebuilding of 7 World Trade Center. With a Con-Ed substation that supplied much of Lower Manhattan including the Stock Exchange located in the base, rebuilding Seven was never really in question.

How to rebuild was. In their earliest discussions, SOM helped convince Silverstein to keep Greenwich Street open, which laid the groundwork for the site’s reintegration into the grid of Lower Manhattan. “It was the first chess piece move in what would eventually become the masterplan,” said T.J. Gottesdiener, a managing partner at SOM. By opting to reopen Greenwich Street, Silverstein gave up over 200,000 square feet of leasable space, according to Gottesdiener. “It was a moment for Larry to prove himself,” he said. “When you think about the building, the Jenny Holzer installation in the lobby, the Ken Smith park, the Jeff Koons outside, people were really surprised. It was a sign that things were going to be done well,” he said. “We were hoping it would be an instant classic.”

   
Left to right: A monumental art installation by Jenny Holzer fills the lobby; The skin on the base reflects ambient light by day, coming alive at night with LEDs.
 

The architects also argue that the project was instrumental in the formation of LEED standards for speculative office buildings. “There were standards for owner occupied buildings, but we wanted to certify for core and shell,” he said. SOM worked with the United States Green Building Council to develop standards for core and shell certification, with Silverstein to write a guidebook for the interior build out of the tower.

Five years ago, the building’s highly energy efficient curtain wall was, and still is, one of its most distinctive architectural elements. The result of design ambitions, the surface is as clear and crystalline as SOM could get it given the limitations of glass manufacturing at the time, while also accommodating the 13.5-foot floor-to-ceiling height prized in class-A office space. At the time, glass could only be fabricated at 12.5-foot lengths. Thus the resulting façade is highly articulated thanks to a 1.5-foot tall black micro corrugated steel spandrel between floors used together with single sheets of low-e glass, which the architects accented with a two inch horizontal gap between each pane.

The curtain wall of One World Trade Center looks comparatively conventional next to Seven, with more mirrored glass and a less articulated surface. Gottesdeiner insists the curtain wall builds upon the technology and the thinking employed at the earlier tower. Glass can be made in larger sheets now and thus the more planar surface of One World Trade. The architects admit that the curtain wall of Seven was more expensive than a conventional building envelope. That may explain why it has not been imitated at a similar scale.

Seven World Trade Center set a high bar for rebuilding efforts downtown. It may prove too singular to ever be a classic. Ironically, it may remain the more outstanding building even as One World Trade will always be the one that stands out.

Alan G. Brake


The Bronx County Hall of Justice's inaccessible plaza faces a residential area.
Jeff Goldberg / ESTO
 

Bronx County
Hall of Justice

Rafael Viñoly/DMJM
The City of New York

Rafael Viñoly began designing the Bronx County Hall of Justice, a huge glass-fronted courthouse on 161st Street, nearly 18 years ago. The project broke ground in the summer of 2001. By that fall, the world was a very different place and when the 800,000-square-foot building opened in 2007, concerns for security and problems with construction undermined the building’s original promise of openness and transparency.

Viñoly’s accordion-like glass facade faces onto 161st Street in a stately manner, while the L-shaped plan creates a generous plaza opening onto a residential area rather than the commercial thoroughfare. “We really wanted to render a building that was open, unlike the building next door which was a fortress,” Viñoly said of the Brutalist former Criminal Court building. “This building is exactly the opposite with openness and access.”


The accordian facade overlooks 161st Street.
 
 

Even before 9/11, designs were evolving out of concern for security, with one substantial change made after the U.S. Embassy bombing in Tanzania along with other makeshift adaptations that eventually found their way into the interior. Initially as well, the plan had Grant Avenue running through an archway in the courthouse, but that idea too was abandoned. The light-filled atrium lobby, which features the two-story cylindrical form of the jury assembly room, feels like a cathedral to an open society. But like courthouses throughout the country, the atrium is now filled with ungainly security equipment and a massive police presence.

The outdoor plaza should have opened immediately after the building was completed. But inspectors found a defect in the floors beneath the plaza which hold a two-story parking garage. An investigation revealed that the rebar was not in the correct location causing the floors to dip. “No one understands why it was consistently in the wrong place,” said project director Fred Wilmers. “It took a long time for the contractor to fess up and to make sure that they fixed it. This was an excuse for not having the plaza open.”

Wilmers said that all the repairs have been made and after the Department of Buildings completes inspections, the plaza should finally open. But judging from the intense security, one has to wonder whether the court police and the NYPD will be willing to ever open it. Access to a rooftop garden over the assembly room has already been vetoed. “I’m a little hopeful that [the plaza] will eventually be opened, but it remains a question. It’s very easy for people to rally behind safety,” said Wilmers. So as the plaza continues to gesture openness to the neighborhood, real transparency remains hard to access.

Tom Stoelker


The climate-controlled courtyard at the Morgan Library & Museum.
Michel Denancé
 

The Morgan Library Expansion
Renzo Piano Building Workshop
Beyer Blinder Belle
The Morgan Library & Museum

By its very nature as a climate-controlled environment, the 2006 Renzo Piano-designed Morgan Library & Museum runs around the clock, so maintenance is an ongoing process. And the same design and engineering team remains on call. “For such a sophisticated building, it is actually performing pretty well,” said Richard Southwick of Beyer Blinder Belle (BBB), architect of record for the project. His respect for its success focuses on the automatic solar control that programs rolling shades in the atrium, which respond to and control the natural daylight. “The introduction and mitigation of light isn't unusual for projects by Renzo Piano, but for a museum it is,” said Southwick. “Most museums are white boxes, with very little natural light.”

In the beginning, the software controlling the shades had to be re-programmed to maintain the appropriate temperature for the building's sensitive holdings. “There was a shaking off period,” said Southwick of the tweaks and adjustments necessary during the first few months. He also mentions the large skylights that suffered water leakage and had to be refitted. “On such a large project, things that weren't constructed per spec are prone to problems,” he said. Indeed, complex systems that underpin the Morgan have been a model of precision design, but the more prosaic, low-tech aspects have proved less stable over the years. “We imported many components from all around the world,” said Southwick, referring to the counterbalance doors at the front of the Madison Avenue building. “For something as simple as a hinge door, it might have been better produced locally.” Meanwhile, the bronze doors on Madison Avenue have a tendency to jar. “It's been a chronic issue,” said Southwick.


The below-grade auditorium.
 
 

Lord Doug Mass of Cosentini, the project engineers, echoes Southwick's satisfaction with the functioning of these details as well as with the design's ability to hide features that are working the hardest. Mass cites, specifically, the displacement ventilation system, which is secreted into the structure. The specially designed mechanism filters cool air into the atrium at floor level depending on how many people are populating it, and has worked almost flawlessly. The limitations of the site—essentially a glass-box connector between the two early 20th-century buildings—have informed the level of scrutiny in design. “Everything is knitted together because we had no other choice,” said Mass, noting that 80,000 of the Morgan’s 136,000 square feet are nestled below grade in a bathtub underground that is the first of its kind at that scale in New York. “It had to be failsafe,” said Southwick.

Gwen Webber


Courtesy Albanese Organization
 

The Solaire, Verdesian, and Visionaire
Pelli Clarke Pelli Architects
SLCE Architects
Albanese Organization

Manicured waterfront parks and quiet cul-de-sacs may lend Battery Park City a retro-suburban gloss, but in terms of environmental design it has long been a model of forward planning. The residential towers, Solaire (2003), Verdesian (2006), and Visionaire (2008) are the products of the same team of developer, architect, contractor, and an army of enlightened consultants making the set of three built over six years an effective testing ground for what does and doesn’t work in sustainable residential construction.

In 2000 the Battery Park City Authority developed the basic green guidelines that made the 27-story Solaire rental the nation’s first green residential high-rise. It has photovoltaics recycled from computer disks armoring the bulkhead and decorating the facade producing a fairly modest amount of electricity for common areas, a basement black-water system, gas-absorption chillers, micro turbine heat recovery and fresh air duct systems, sensor lighting, extensive green roofs, and public areas decked in bamboo, cork, wheat grass rugs and a full array of recyclable materials. The building was pre-LEED in 2003, but it achieved an impressive LEED Platinum rating as an existing building in 2009.

On a recent tour Michael Gubbins, building manager for all three towers developed by the Albanese Organization, noted some of the lessons learned and design changes across the three towers. To meet on-site electric supply requirements, the Solaire deployed photovoltaics and so does the Verdesian, where they were combined with a micro turbine, while the Visionaire tops that with integrated PV’s, a micro turbine, and regenerator elevators. In addition, the Visionaire was able to take advantage of a large-panel curtain wall system (with 4,500 square feet of integrated PV-paneling) that didn’t exist for residential buildings five years ago.

   
Left to right: The Solaire; the Visionaire; the Verdesian.
 

Gubbins noted that PV’s “take longer than anything else to justify the cost.”  They are most valuable as a high-visibility “signifier to the public that the builder is thinking differently.”  Indeed, some 7,000 people have toured the Solaire. While both the Solaire and Verdesian generate about the same 5% from their PV panels, Gubbins said that easy-to-install micro turbines deliver the same with the added advantage that the resultant heat can be recycled—always a big plus in the green scheme of things. Also of limited advantage are the heliostats on the roof of the 25-story Verdesian that are intended to bounce daylight into the sun-deprived courtyard between buildings. Their focused light beams look like they might be better at frying ants.

Rafael Pelli of Pelli Clarke Pelli noted that for him one of the more intensive learning experiences concerned fresh air delivery.  Before the Solaire, he said, fresh air ventilation basically was non-existent in high-rise residential buildings. The issue was to find an efficient way to induct fresh air—for which there are no codes or standards—and not have it automatically carried off by constant-running exhaust mechanisms that have long been mandatory. The Solaire brings a steady fresh air flow in to a single source vent, but the team was able to make adjustments so that at the Visionaire it is possible to flow fresh air efficiently into every room and all public spaces. “It took a lot of research and analysis to figure that one out,” said Pelli. “In the process, we leaned how to be aggressive at testing performance. The secret is working it out at the front end through intense collaborations with the specialized consultants. It made real change happen.” One thing didn’t change at all: the water tanks on the roof are still as efficient as ever, using laws of gravity to deliver water to the apartments below.

Julie V. Iovine