Kevin Greenberg sends us another insightful dispatch from Kenmare Street: Last Tuesday, the Storefront for Art and Architecture felt like a satellite campus of the GSD as Harvard students and other Cambridgians joined locals at the Storefront for a release party for the second issue of New Geographies, a doctoral student-edited periodical recently launched by the GSD’s Aga Khan Program. The editors of New Geographies, Neyran Turan and Stephan Ramos, told us that they had several meanings in mind when they chose the theme for the second issue. Titled “After Zero,” the issue centers on the slippery idea of a “zero point." The editors cite zero carbon and “zero context” urban developments (or “cities from scratch”) as contemporary examples that force designers to question design methodologies and justifications. Nothing makes for compelling architectural discourse like a nice, open-ended theme. The zero in question might be seen as a tabula rasa from which to proceed, but it’s also a means of marking a significant event. In the context of the current climate, zero is also a code word for crisis. How should architects and designers re-frame interventions after the global economic downturn, in an age when the glitzy mega-developments that grew like crystals in the Persian Gulf suddenly seem like relics of a recently bygone age? What kind of models for future urbanism can we realistically project? These are among the questions that interest the journal’s editors and contributors. You have to hand it to them, too: “After Zero” is a handsome, considered object. Design duties were handled by NYC-based Thumb, who also manage graphic design for Princeton Architectural Press’s 306090, and they do a great job presenting articles from a host of notables, including Keller Easterling, Joseph Grima and Peter Hall. While a few contributors chose to focus on the bizarre urbanism of the Persian Gulf, the “geographies” analyzed really range in their scope and locale from the arctic to Africa, from China to goode olde Europe. Matthew Gandy’s article on French landscape architect Gilles Clement’s “paradise of weeds,” for example, is an interesting interpretation of the issue’s theme and will seem timely to anyone who’s recently visited the High Line. Turan and Ramos were on hand Tuesday to briefly present the new volume, and Harvard professor Hashim Sarkis offered a few words both on the significance of some of the nascent issues that are the theme of “After Zero” and of New Geographies itself. Sarkis gave a little insight into yet another shade of meaning of the “zero” in the volume’s title: It’s a nod to the survival of the journal itself. The inaugural issue of New Geographies, released last year, was numbered zero. Since, as Sarkis noted, many student-run publications start with the first issue and end with the first issue, the release of “After Zero” is cause for celebration indeed. Afterwards the audience sipped prosecco and queued up to purchase copies of the journal, which quickly sold out.
All posts in East
The physical distance that separates Governors Island from most New Yorkers often offsets the draw and mystery of the place. This summer, however, everyone has a new reason to make the mini-pilgrimage—only 10 minutes by ferry—to the island that was for so many years off-limits. An art installation dubbed PLOT09: This World & Nearer opened to the public on June 27th and features artwork by 19 international artists. The site-specific works take visitors on a tour of the island and inside abandoned buildings, including an empty church. The artists had their pick of the place. Once they chose their site, they worked to interpret the island’s (primarily military) history, as well as its current “no-place” status, meaning it does not belong to any one group, explained the organizers. Themes explored include transcendent experiences, bizarre phenomena, uncertain futures, travel, and time. The Mark Beasely-curated installation is satisfying, though it was undoubtedly helped by the quality of the site. One request for future installations: less video art and more work highlighting the architecture and surroundings. Those that did that were the most engaging, while the video art fell flat in the context of the site. Here AN brings you a photo preview of the installation. Go any weekend this summer, the ferry is free. Bring a picnic basket and maybe even your bike—or rent one there—and enjoy.
The Queens Museum of Art opened its latest exhibition Red Lines Housing Crisis Learning Center on Wednesday with a discussion of the mortgage foreclosure crisis in the city’s five boroughs. The event featured the exhibition's designer Damon Rich, founder of the Center for Urban Pedagogy and now urban design director for the city of Newark; policy expert Sarah Ludwig; community organizer Michelle O’Brien; and urban historian Kenneth Jackson—all tip-toeing around the museum’s famed New York panorama. For the exhibition the panorama—which includes every mapped block in the city—has been fitted out with orange triangles, their one-inch legs set above every block with three or more recent foreclosures. These foreclosures, according to museum director Tom Finkelpearl, depict a landscape of “displacement,” and the speakers addressed the origins of this crisis in the creation of redlining by the Home Owners Loan Corporation in the 1930s. The speakers emphasized that the current foreclosures and the predatory lending practices that led to the problem have overwhelmingly taken place in neighborhoods with large populations of African Americans and Latinos. The orange placeholders, for example, cut a huge swath through Bedford Stuyvesant and Brownsville/East New York to East Flatbush. Jackson, contemplating the sea of triangles (representing over 13,000 foreclosures) in Brooklyn, described the magnitude of the problem, but pointed out that New York has been less affected by the crisis than cities like Detroit and Dayton, Ohio, because of its relatively vibrant economy and large population of renters. The exhibition itself details the history and material culture behind the current crisis, curated by Rich and Larissa Harris as “an experimental site for learning,” and will be open until September 27.
Earlier today, the Municipal Art Society posted an incredibly informative presentation that the group gave at the recent City Council hearings on the Bloomberg administration's plans for rezoning Coney Island. The presentation, which can be found above, pretty succinctly explains what's wrong with the city's plan, why it won't work, and alternatives--proposed, of course, by MAS--that could be undertaken. So why has this presentation surfaced so late in the process, when it will have little, if any impact on the rezoning? Rumor has it the group didn't want to rock the boat--after all, they got a warning from planning commission chair Amanda Burden--as the presentation was considered too incendiary for public consumption. Still, it make a far more compelling argument than some loopy renderings. And besides, isn't the MAS supposed to rock the boat? Jane Jacobs would be so disappointed.
In her 1961 book, “The Death and Life of Great American Cities,” Jane Jacobs documented and analyzed the urban street life visible outside her home in Greenwich Village, revolutionizing the way people and planners think about cities, urban planning, and development. In honor of her legacy, the preservation group which she helped found, the Greenwich Village Society for Historic Preservation (GVSHP), initiated a proposal for the street in front of her former home at 555 Hudson Street between Perry and West 11th Streets to be renamed “Jane Jacobs Way.” In a released statement by the GVSHP, Executive Director Andrew Berman said, “Jane Jacobs had such a profound effect upon our city and our lives; there are few people more worthy of the honor of having a street co-named in their honor.” Approved in 2006 by the local Community Board and the full City Council, the naming will take effect early next week with the installation of the official “Jane Jacobs Way” signs.
The Path Train has finally entered the 21st Century. Yesterday, the Port Authority of New York and New Jersey announced a number of new additions that have rocketed the rail line out of its luddite solar system and into a whole new constellation of technology. The Path now boasts new, up-to-date rail cars, an upgraded website (be sure to watch the video), and... drum roll... a Twitter page! Next time you have to ride out to Jersey you can forget the hair gel and gold chains and instead grab your favorite PDA and put on those glow-in-the-dark Ray Bans. The future is now.
Yesterday, in a quiet ceremony attended by Mayor Bloomberg, the city broke ground on the first phase of Bushwick Inlet Park. Situated between North 9th and 10th streets along the Williamsburg waterfront, this initial stage of construction will comprise a synthetic turf athletic playing field. Turns out I was also on the Williamsburg waterfront at the time, on a tour of that neighborhood with photographer and AN Editorial Intern Victoria Monjo, capturing images for our forthcoming developers issue (see last year's here). One of the images we captured was of Bushwick Inlet itself, which sits three or four blocks to the north of where the festivities were taking place. Eventually, park construction will extend all the way to this placid cove, where, according to the Parks Department's initial plan, there will be a beach, planted terraces, and a performance garden, whatever that is. See the view from Kent Avenue after the jump.
With the news today, reported by The Observer, that Larry Silverstein has begun legal proceedings against the Port Authority to end the gridlock at Ground Zero, as well as the developments two weeks prior at Atlantic Yards, it seems obvious to us what's going on here. Having witnessed the financial titans across town receive hundreds of billions of dollars in bailout money, these developers now want theirs. Granted, so did Larry Flint and the porn industry, but the comparison bears consideration. To begin with, the market has failed for both finance and real estate--to say nothing of every other industry--leaving "free market" options closed. Where the bankers have turned to the Treasury and the federal government, Silverstein and Bruce Ratner, in one form or another, have turned to local pols. At Ground Zero, Silverstein is having difficulty finding financing for Towers 2 and 3, so he wants the Port Authority to provide it, or at least back it, on those projects. The story at Atlantic Yards has been much the same, with Ratner unable to afford the full amount for the Vanderbilt Yards nor go through a complete public review process for a new general project plan to ensure there is time to qualify for already dubious tax-exempt bonds. In both cases, public agencies that are already hard up for cash have been asked to foot the bill or undersign considerable amounts of risk to ensure projects with uncertain futures go forward. In the case of Atlantic Yards, the MTA and ESDC have already rolled over. It remains to be seen whether the Port Authority will cave to the abiding political and now legal pressures surrounding the Ground Zero deal. It would not be surprising if the authority did, though, given the examples set in Brooklyn and Washington.
Last week, Prospect Height's became the city's newest landmark district. At 850-odd buildings, it is the largest district to be created since the Upper West Side Historic District was created in 1990. Clearly, a lot of work went into the three-year effort championed by locals and the Municipal Art Society and driven largely by the nearby Atlantic Yards project and the undue development it spurred on one of Brooklyn's last unprotected brownstone neighborhoods. To highlight just how hard it is, but also what a triumph, MAS put together this thoughtful little video. Hopefully it will inspire you to do something civic minded as well on this patriotic weekend or beyond.
When the City Planning Commission barely altered the city's plans--plans that remain diametrically opposed to those of chief landholder Joe Sitt--we couldn't help but wonder whether the Bloomberg administration would some how grossly undermine its plan, or let it fall on the sword at the City Council, at least part of which is firmly under the sway of Sitt. Thus far, the Bloomberg administration has yet to allow a single one of its nearly 100 rezoning fail at the council, often crafting 11th hour deals. Would, could things be different this time? Well, following a hearing at City Hall yesterday, the Daily News reports that the city's rezoning proposal has indeed run up against council opposition, but not for the reasons we would have thought--or hoped. No, it has nothing to do with the lack of vision for either Sitt or the city's plans. The council's opposition stems from an aversion to eminent domain, which the city's economic development czar suggested could be on the table should Sitt not sell, something he has currently refused to negotiate on, despite repeated attempts by the city. But that's not what struck us as wrong. No, the problem is--shocking, we know--that many of these council members now in opposition to eminent domain once supported it, in a way. Look no further than Manhattanville or Willets Point, where Columbia and the city, respectively, have used the threat of eminent domain to push around small businesses and landholders. Clearly, it's not the principal that matters to the council but the size of one's pocketbook.
Lately, it seems like there have been a lot of going away parties for friends leaving New York to escape the high cost of living or to find jobs elsewhere. But maybe that’s just me. Yesterday, the Census Bureau released figures from 2007-2008 showing a surge in new residents in New York, as well as in other cities. According to the new data, New York continued to be the nation’s most populous city, with 8.4 million residents, twice the population of Los Angeles, which ranked second at 3.8 million. Then came Chicago, with 2.9 million, Houston (2.2 million) and Phoenix (1.6 million). New York also led in numerical increase of population, adding more than 53,000 residents, while Chicago boasted its second straight year of population increase after five consecutive years of decline. New Orleans leads the growth percentage of US cities between 2007-2008 with 8.2 percent, faster than any other large city, though it hasn’t yet reached pre-Katrina population levels. Four cities made it to the top 10 in Texas, including Round Rock, the second fastest-growing city (8.16 percent) in the nation during that period. Since people’s mobility is directly related to job opportunities, it is safe to assume that the numbers might have changed significantly during the past year. Certainly there must have been a population shift—a decrease in international young professionals, like my friends—though, obviously, other people cannot afford to move at all. Environmental awareness might also play a role in people’s choice to stay in the city. After all, isn’t suburbia becoming a synonym for unsustainable?
Last November, Paul Thompson announced he was giving up directing the Cooper-Hewitt and heading back to London to take over at the Royal College of Art. Ever since then, the speculative interest has been anything but wild, and frankly tepid, about who was going to lead the nation’s only and reputedly arduously bureaucratic National Design Museum, the only New York museum in the Smithsonian’s crown. MoMA’s Paola Antonelli? Cincinnati’s Aaron Betsky? Design’s Everywoman Chee Pearlman? Why not, Mark Robbins? Those who have been watching were expecting an answer, after hearing for months about the interviews. Well, we can now wait some more as the museum has just announced that longtime deputy director Caroline Baumann, who joined the museum as development director in 2001, has been named acting director, effective July 13.