In the unfolding of any design movement, there are outliers who are seen as too far from the mainstream, too quirky to be celebrated by peers and historians. Over many decades of abundant architectural accomplishment, Albert C. Ledner was one of those. But he recently had the good fortune of winning widespread admiration in the months before his death on November 13 at the age of 93. Born in the Bronx in 1924, Ledner arrived in New Orleans at the age of nine months and left it only for short periods thereafter. His studies at Tulane were interrupted by his World War II service as a lieutenant in the Army Air Corps. While stationed in Arizona he made a visit to Frank Lloyd Wright's winter work place, Taliesin West, an event that, in his words, "had such a great bearing on my life." After the war, he finished his degree program at Tulane and spent some time with Wright at his base at Taliesin East in Wisconsin. By 1951, Ledner had started his own practice back in New Orleans, dedicated not to the Bauhaus-based Modernism largely dominating U.S. architecture of the time, but to the more adventurous variety associated with Wright. And unlike many Wright disciples, Ledner was able to escape the intimidating shadow of the master's creations to explore his own related design inspirations. Over a career that extended throughout his final years, Ledner created some 40 houses in the New Orleans area, not only designing them but directing their construction. He was thus a pioneer in the "design-build" process, led by the architect, not the builder, that has only recently been applauded in the architectural community. By proceeding this way, he was able to seize opportunities for unusual structural systems, distinctive uses of materials, and refinement of details without the tedious negotiations and cost premiums for innovation imposed by the traditional design-bid-build sequence. Ledner's relatively unfettered design approach led him to construct spaces of unconventional configuration and detail. In one house, he affixed some 1,200 amber glass ashtrays to the exterior, in part because the owners were heavy smokers (considered okay in the 1960s), but mainly because he admired the ashtrays' circle-in-a-square configuration. In another of his houses, he based his design on the owner's collection of traditional windows salvaged from the convents for which they were designed—assembling their curved-top shapes both right side–up and upside-down to striking effect. Ledner's youthful leap into structures of larger scale grew out of his first commission for the National Maritime Union for its meeting hall in New Orleans, a circular volume topped by a roof of radial, pleat-like forms. Pleased with this functional and visually iconic 1955 structure, the union commissioned him to design its buildings in the port cities of Mobile, Alabama; Baltimore, Houston, and Galveston, Texas. The most ambitious of these Maritime Union projects were the three structures he designed in Manhattan: the Joseph Curran Building in the West Village area, completed in 1964, containing its hiring hall, offices, and training facilities. Two residence halls for union members were completed later in the mid-1960s on two adjoining sites in Chelsea. All three eye-catching buildings have now been successfully and sensitively adapted for new uses. The sculptural six-story hiring hall and training structure, now under city landmark protection, is now the O'Toole Building, an emergency room and medical center. The residential structures, widely recognized for the circular windows that dot their tall facades, gracefully house the Maritime and Dream hotels. In recent years, Ledner's daughter Catherine produced a documentary on his life and work that featured a number of key buildings and much of his own charming commentary. She found an able and dedicated collaborator in Roy Beeson, her cousin on her mother's side. The film was shown in New Orleans last summer and at a September gathering co-hosted by the Modern architecture advocacy group DOCOMOMO New York/Tri-State and AIA New York. For its showing at New York's Architecture and Design Film Festival in early November, Ledner himself attended and spoke, less than a week before his death. It is good to know that he was at last able to enjoy these heart-warming celebrations of his achievements. John Morris Dixon is a board member of DOCOMOMO New York/Tri-State.
Search results for "Bronx"
Today the City Planning Commission (CPC) heard development updates from East New York, the first city neighborhood to be completely rezoned under comprehensive affordable housing rules passed in 2015. To achieve the goals of the rezoning, the East New York Neighborhood Plan was approved in April 2016, and now, a year and a half later, there are 1,000 affordable units in the pipeline, plus an 1,000-seat school, and safety-in-mind streetscape improvements along major thoroughfares like Atlantic Avenue to link new developments together. The rezoned area spans 190 square blocks and is the first to apply Mandatory Inclusionary Housing (MIH), a suite of rules that require a certain percentage of housing be designated as permanently affordable. In addition to building affordable housing, the East New York plan aims to preserve existing affordable units, while offering legal services to tenants, providing support to homeowners at risk of displacement, and transitioning families in the shelter system into local permanent housing. As far as new construction goes, the city estimates that 6,000 units of affordable housing will be built over the next 15 years. The latest—and largest—of these developments is Chestnut Commons, a 274-unit complex by Dattner Architects on a vacant city-owned site on Atlantic Avenue, near busy Conduit Boulevard. In the affordable housing world, Dattner is best known for Via Verde, an ecological housing complex in the South Bronx it completed with Grimshaw in 2012. Here, the New York City firm is kitting out a 300,000-square-foot complex, called Chestnut Commons, with solar panels, specially-glazed windows, natural lighting, and other design features from the passive house movement that improve building performance by minimizing solar heat gain and thermal bridging. In addition to shared roof terraces for tenants, amenities will include a black box theater operated by a local arts nonprofit, a kitchen incubator for jobs training, and a CUNY Kingsborough satellite campus. The ground floor of the 14-story building will sport retail spaces, and new streetscaping will connect the complex to a cleaned-up Atlantic Avenue corridor (map). The apartments will be geared towards families, though there's no word yet on the units' sizes. At the CPC meeting today, though, a representative from the Department of Housing, Preservation and Development (HPD) confirmed the development will be 100 percent affordable. Half of the units at Chestnut Commons will be available to households making 60 percent of the Area Median Income (AMI), or $51,540 for a family of three. After that, 15 percent of the units will be open to families making 30 percent of the AMI, 20 percent of the units will go to households at 40 AMI, and 15 percent will be available to those at 50 AMI. HPD is working with MHANY Management, the Urban Builders Collaborative, and the Cypress Hills Local Development Corporation (CHLDC) to develop the project. The levels of affordability were a major point of contention when the neighborhood plan was passed last year. According to a 2015 report from Comptroller Scott M. Stringer's office, more than half of the affordable units to be developed under the neighborhood plan are too pricey for current residents. (The mayor's office disputed the findings.) Last year, the city confirmed that any HPD-sponsored project in East New York will be 100 percent affordable to families earning between 30 and 90 percent of the AMI.
This story is part of a monthlong series of guests posts by AIA New York that feature Archtober Building of the Day tours. See the full 2017 schedule here. Today, Archtober went on a hard hat tour of Bronx River House designed by Kiss + Cathcart with landscape design by Starr Whitehouse Landscape Architects and Planners. Situated on the Bronx River, access to the site is currently from a service road; when the project is completed, it will open into Starlight Park on the Bronx River Greenway. Though the project has been in the works for over ten years, it is expected to officially open in January 2018, with a full program activating the site sometime after that. The Bronx River House is the result of a public-private partnership between the Bronx River Alliance and numerous government agencies, primarily the NYC Department of Parks and Recreation. Since 2001, the Bronx River Alliance has been bringing attention to the recreational possibilities of the Bronx River and working to make the Bronx River Greenway a reality through educational and recreational programs. When Bronx River House opens, it will serve as the headquarters for the offices of the Bronx River Alliance, as well as a community space for locals and park visitors. The Bronx River House is a single-story structure, approximately 7,000 square feet in area, that will contain multiple programs. Surrounding the main structure, a metal mesh screen wall will serve as a security measure and support greenery. Within the building, the Alliance will have space for around 25 desks in addition to a boathouse, which has room for 20 or more canoes. These are used for river restoration, clean-up, and recreational tours. Public spaces will include a multipurpose room and a classroom that will face onto a public plaza that directly connects to Starlight Park. Our tour was led by Gregory Kiss of Kiss + Cathcart, who highlighted the design decisions they made to integrate the building into its setting. Less visible decisions include rainwater collection through the structure’s roof and plazas, geothermal heating and cooling systems, and solar energy panels that will allow the building to run on nearly 100% solar energy on a net basis. Perhaps most exciting are the plans to integrate plants and other greenery into the design of the building. The metal screen surrounding the building will be planted with an array of vines that will provide shade in the summer and allow light through in the winter. Kiss explained that the hope is that the main building will eventually be covered in moss. Because the cultivation of moss on vertical surfaces is still experimental, they will start with a 300-square-foot area. A drip irrigation system using collected rainwater will be added to the shingles on the façade to support the moss. Kiss stated that his intention with the vines and moss is to create a forest-like micro-climate that further integrates the building into the surrounding park. We definitely look forward to visiting again when the building opens to the public. Claudia Ibaven of the Bronx River Alliance, who joined us on our tour, reminded us to keep an eye on the Alliance’s website for announcements on when that will be. Join us tomorrow at ISSUE Project Room. By Berit Hoff
For most teens, high school is an angsty time. This year, though, students at select New York City public high schools can de-stress in meditation and yoga rooms designed by emerging local firms. Today First Lady Chirlane McCray, students, and their teachers gathered at a Brooklyn school to announce the completion of 15 "wellness spaces" in public high schools across the five boroughs. The student-driven pilot program paired teenagers with faculty, architects, and graphic designers to transform underused spaces, indoors and outside, into peaceful areas that foster mental health. In all, the wellness rooms will serve almost 10,000 students. Six emerging firms designed the spaces, nine of which are indoors. Though every room is different, the spaces feature hydroponic gardens, recording booths, meditation areas, and restorative justice rooms. (The open-air classrooms share much of the same programming but also feature outdoor gardens.) The grant-funded projects are part of Mental Health by Design (MHxD), a program that's run through ThriveNYC, McCray's mental health initiative. MHxD asked Karen Kubey, an urbanist specializing in architecture and health, to match architects to the chosen schools. Kubey reached out to young New York firms, connecting them with projects in nine schools across four boroughs. The rooms were done on a tight budget in a short timeframe. Kubey paired Brooklyn's Peterson Rich Office (PRO) with two Bronx institutions, The Academy for Career and Living Skills (ACLS) and International School for Liberal Arts (ISLA). With $10,000 and less than four months to complete their work, the firm transformed a large unused classroom at ACLS into a Mindfulness Space, complete with hanging plants, Yogibo teardrop beanbags, cubby shelving, and a bold felt-and-paint mural, pictured above. At the ISLA, students and architects brightened their Safe Space, a former classroom, with new curtains, lighting, and seating from Knoll. The fixtures, paint, and furnishings were mostly donated or bought at a discount. In the South Bronx, Daniel Kidd, founder of DEMO Architecture and a professional musician, collaborated with students at Longwood Preparatory High School to build an audio booth so students could record and share music. The studio connects students to neighborhood's musical heritage—the South Bronx is the birthplace of hip-hop—and gives them an outlet to bond over music. In addition to PRO and DEMO Architecture, Kubey worked with ATTN-ATTN, Common Bond Design, Creative Art Works, and Homepolish on MHxD wellness rooms at other high schools. At all sites, graphic designers at Hyperakt partnered with two students from each school to brand the spaces, with students designing posters to promote their new facilities and increase mental health awareness.
This story is part of a monthlong series of guests posts by AIA New York that feature Archtober Building of the Day tours. See the full 2017 schedule here. On Monday, Archtober toured the renovated George Washington Bridge Bus Station. During our tour, Robert Eisenstat, FAIA, Chief Architect of the Port Authority of New York and New Jersey (PANYNJ), and Robert Davidson, FAIA, Senior Vice President and Aviation and Multimodal Practice Lead at STV, described the design and renovation process for the project. The bus station vastly simplified access to buses and subway, creating commercial space to serve as both a source of revenue for PANYNJ and a new focal point for the community. The renovation project began around 2004, when PANYNJ was casting around for revenue streams in the wake of 9/11. A key aim of this initiative was to open retail space throughout PANYNJ’s properties. At the same time, the George Washington Bus Terminal needed considerable revamping. Every two platforms had a separate stair running up from the ground level, creating both a logistical nightmare and an accessibility violation. There wasn’t enough room to put in ramps or an elevator for multiple staircases. PANYNJ architects had long been drawing up plans for an integrated bus concourse from which all platforms would be accessible. This, combined with the need for rental space, became the impetus for the redevelopment. The project officially began once PANYNJ and STV convinced a developer to take on the project in exchange for revenue from renting the business spaces in the late aughts. The George Washington Bridge Bus Station was originally a PANYNJ project planned in conjunction with one of Robert Moses’s immense infrastructure projects. It sits over the Trans-Manhattan Expressway, which connects the George Washington Bridge across the Hudson with the Alexander Hamilton Bridge on the Harlem River. The Bus Terminal was designed by Italian architect and engineer Pier Luigi Nervi, a pioneer of reinforced-concrete construction whose other notable works include numerous sports stadia in his native Italy. As Eisenstat and Davidson stated, although the building is not officially landmarked, they treated it as if it was and even collaborated with the NYC Landmarks Preservation Commission on the project. A thorough analysis of the building’s use guided the design of the renovation. The proposal consolidated all bus gates into one centrally accessible expanse, eliminating redundant stairs. It also concentrated all bus activity on the top (third) level, leaving the ground level open for commercial use. This retail space focuses on the “Broadway corridor,” which the designers and developer identified as the main way the bus terminal could serve the surrounding community. The set of stores is known as the "GWB Market | Mercado," as new lettering proclaims. These stores, which include a sorely needed supermarket just off Broadway, are almost all rented and will, once fully occupied, create a new hub of activity to ensure that the terminal serves local users as well as those in transit. The ground floor is now a clean, large space where escalators and a stair lead to the bus concourse above. When visitors arrive at the top of the stairs, they can see the parked buses and, past one of Nervi’s columns, catch a glimpse of the George Washington Bridge. PANYNJ and STV managed to imbue clarity and simplicity into Nervi’s extraordinary structure, turning a somewhat forbidding and empty structure into a pleasing and welcoming space serving both those on the move and the local community. Tuesday's tour of The Hills at Governors Island had to be cancelled due to inclement weather. Join us on Wednesday at Bronx River House.
New map pays tribute to concrete and Brutalist buildings across New York City
Blue Crow Media, a publishing group that publishes architectural guides for cities worldwide, just released a map glorifying concrete structures across New York City—titled, appropriately, Concrete New York. Among the structures highlighted by the map, many will be familiar to AN's readers. Eero Saarinen's TWA Terminal at JFK airport, currently being renovated into a 505-room hotel, is listed, as is the Marcel Breuer–designed granite and concrete monolith now home to the Met Breuer. Perhaps less visited is Breuer's Begrisch Hall on the Bronx Community College campus or I.M. Pei's Silver Towers at NYU. Concrete infrastructure also gets its due: the Cleft Ridge Span at Prospect Park (completed in 1872) is featured as well as the more recent Dattner Architects and WXY Studio-designed Spring Street Salt Shed (completed in 2015). In Greenwich Village, New Yorkers will recognize New Orleans architect Albert Ledner's Curran/O'Toole Building, unmistakable with its double cantilevered, scallop-edged facade, formerly serving as St. Vincent's Hospital (a landmark institution for victims of the HIV/AIDS crisis). The guide also points out historic works by Paul Rudolph, Frank Lloyd Wright, Edward Durell Stone, and many others. The map was edited by Allison Meier, a Brooklyn-based writer. The next guide will look at the use of concrete in Tokyo, and will be available next month. Previous maps by Blue Crow Media have examined modernism in Berlin and Belgrade, art deco in London, and constructivism in Moscow, although Brutalism remains their favorite topic to date, with maps on the subject for Boston, London, Paris, Sydney, and Washington, D.C.
This story is part of a monthlong series of guests posts by AIA New York that feature Archtober Building of the Day tours. See the full 2017 schedule here. Today, Archtober got a tour of the Cary Leeds Tennis Center in the Bronx led by GLUCK+ principal Marc Gee. Gee elaborated the complex process of getting such a major public project built, and explained how the design/build capabilities of GLUCK+ allowed the project to be completed on time and under budget. The Tennis Center is a joint venture between New York Junior Tennis & Learning (NYJTL) and the New York City Department of Parks and Recreation. NYJTL, which runs tennis clinics and tutoring and academic programs, approached GLUCK+ with the idea for the Center, which would serve as a home base for all of NYJTL’s programs. The Center was to be named after Cary Leeds, a professional tennis player who tragically passed away, and whose parents wanted to commemorate him in a way that would help bring the sport he loved to more people. Over a number of years, GLUCK+ worked on five schemes for five different parks in three boroughs before finally being able to realize the design in Crotona Park. There are 12 new hard courts at the Center, ten of them bubbled for winter play. This number adds to the ten public courts that the Department of Parks and Recreation renovated. NYJTL uses revenue from renting court time during the winter to pay for its on- and off-court programming. In addition to the courts, GLUCK+ was responsible for the design of the airy clubhouse. The clubhouse had two design objectives: minimizing sightlines from the park and opening the interior space to the courts as much as possible. When the original design was rejected because at two stories it would have been visible from multiple points in the park, GLUCK+ decided to sink the lower floor below grade. From the park side of the tennis courts, all one sees is the fence of the tennis court – the Center itself is invisible. But once you enter the space from the front door on Crotona Avenue, it is clear that GLUCK+ have designed an extraordinary space. The top entrance-level floor houses a check-in desk, offices for NYJTL and, to the right, a restrained, adult-focused lounge. Locker rooms and a pro shop are located against the entrance wall, away from the courts. The far wall is all glass, opening to a terrace and giving a picture-perfect view of the two stadium courts below. In the middle of the room is the precast-concrete staircase, which, due to a manufacturing error, had to be recast and then moved in after windows had already been fitted, creating a logistical nightmare. At the bottom of the stairs is the kids’ lounge, accented by multicolored chairs and a tennis ball pit. Further on are a classroom and a broadcasting room – the Tennis Channel donated equipment so that children can interview the major players who stop by the Center. Other back-of-house functions like the kitchen are also downstairs. Glass doors lead outside, where a patio separates the building from the courts, providing, on the day we toured, space for a barbeque and other festivities. GLUCK+’s dual role as architect and contractor made the project possible, allowing decisions that would usually have taken weeks going back and forth from construction site to office to be answered immediately. When a construction issue forced the design to be adjusted, it could be done almost immediately. The project came in $1800 under the $26 million budget and exactly on time. And since, as Gee pointed out, “the only person with a deep stake in the design is the architect,” supervising construction allowed GLUCK+ to make sure that the design was executed just as they wanted.
This Wednesday, an affordable housing development in the the Bronx designed by COOKFOX Architects will hold its long-anticipated ribbon-cutting. The developments are dubbed Park House and Webster Residence, the former house containing 248 units and opening this week, the latter containing an additional 170 units and opening in 2018. Both are intended for low-income and formerly homeless households. The complex was topped off in May of last year. The complex has been built on what was formerly a vacant industrial plot. Its facade is set in a combination of brick tones, stratified and layered to produce a "biomimetic surface reminiscent of ocean sand or tree bark patterns," as the firm writes. The 12-story buildings also incorporate sustainable design techniques, utilizing green roofs, natural light, recessed green spaces, and a central garden and courtyard shared by tenants. As the firm's founding principal told AN last year, the materials and layout of the complex are meant to instill “a sense of permanence, a sense of belonging to the streetscape” – a motivation which seems especially apt when designing for the recently homeless. The project was completed through a partnership between COOKFOX Architects and the nonprofit Breaking Ground (formerly Common Ground), the city's largest housing provider for the homeless. Breaking Ground currently manages over 3,500 units of supportive and affordable housing largely within the New York metropolitan area, and have set a goal of building an additional 1,500 units for low-income and homeless families within the next five years – no small task. But with three more residences already planned in the Bronx, their target is well within reach.
OHNY the Good Stuff
Here are some top picks for this year’s Open House New York Weekend
As part of Archtober, New York City's architecture and design month, Open House New York (OHNY) is presenting the 15th annual edition of Open House New York Weekend, a two day–long tour series that celebrates architecture and urban design in the five boroughs. The event, which runs from October 14 to 15 this year, lets New Yorkers be tourists in their own city. Along with old OHNY Weekend favorites like the Pantheon-inspired Gould Memorial Library at Bronx Community College and the Masonic Hall in the Flatiron District, visitors can step onto the skybridge at SHoP's American Copper towers on Manhattan's East Side, or see Jacques Garcia's interiors for the Cultural Services of the French Embassy, a group within the French Embassy's U.S. outpost that encourages arts-based cultural exchange between the two countries. For those willing to hop aboard the tram or ferry, there will be tours of The Bridge at Cornell Tech, Weiss/Manfredi's R&D incubator on Cornell's new Roosevelt Island campus. On Governors Island, Liggett Hall, a brightly trussed gymnasium, will be open to the public for the first time. This year, OHNY partnered with the New York City Department of Design and Construction to show off some of the structures built under the agency's Design and Construction Excellence Program, an initiative that allows select firms to bid on city projects. On Staten Island, OHNYers can tour Sage and Coombe Architects' Ocean Breeze Track and Field House, while in Brooklyn, Selldorf Architects' Sims Sunset Park Material Recovery Facility will be open to the public. In collaboration with AIA New York's New Practices committee, OHNY is showcasing work by the city's emerging architects. Design enthusiasts can peek at Family New York's Fool's Gold Records store (pictured above), G TECTS' Bridge Golf Learning Center, WORKac's Kew Gardens Hills Library, Young Projects' Gerken Residence in Tribeca, as well as Büro Koray Duman's Design Within Reach Flagship Store. Thanks to OHNY's partnership with over 400 arts organizations, cultural groups, architects, city leaders and others, there are over 200 sites across New York City. All site visits are free, except for ones that require advance registration. Starting October 4, information on all sites and tours will be available at ohny.org, while advance reservations begin October 5 at 11 a.m.
While completing work on the Willis Avenue Bridge in East Harlem in the early 2000s, an unexpected discovery was made. A building adjacent to the bridge – a bus depot operated by the Metropolitan Transportation Authority (MTA) – seemed to have been built on top of a colonial-era African burial ground. In 2011, the MTA hired a consultant to complete a formal archaeological study (Phase 1A), which found that the depot grounds had indeed been an active burial site from the late 1660s to at least 1856. In 2015, the New York City Economic Development Corporation (NYCEDC) completed a Phase 1B archaeological assessment and the depot was shut down, its operations relocated offsite. The nearby Elmendorf Reformed Church – a descendant church of the burial ground – were involved in the extraction of more than 140 bone fragments from the site, which will be preserved and reinterred within a memorial. As the MTA and NYCEDC discovered, the site had been the cemetery for descendants of Africans in the colonial era when the neighborhood was a Dutch settlement called Nieuw Haarlem. An adjacent cemetery for white parishioners was relocated to the Bronx when its attendant church moved, but the ground holding the Africans' remains was repeatedly resold and developed over, its history obscured and desecrated. Yesterday New York City Council approved a zoning application giving developers the go-ahead to construct a memorial at the historic burial ground, as well as a mixed-use housing and commercial complex including about 730 residential units, 80 percent of which will be made affordable. Before development begins, additional archaeological work will be conducted by the State Historic Preservation Office (SHPO) and the Landmarks Preservation Commission (LPS), supervised by the Harlem African Burial Ground Task Force (HABGTF), which has advocated for the site's formal recognition since 2009. The development, intended to be about two-thirds residential and one-third commercial, will center itself around the outdoor burial ground memorial and include up to 15,000 square feet of indoor memorial or cultural center space. The memorial itself will be allocated about 18,000 square feet, a wedge-shaped area near First Avenue. The overall site will span the entire city block. In the HABGTF's original design proposals for the memorial, the names of the deceased are carved into walls of black granite surrounding a reflecting pool with its ripples illuminated onto the ceiling by internal light fixtures. Reverend Doctor Patricia A. Singletary of the Elmendorf Reformed Church managed to find the names in the church's records. The promenade, also etched with quotes from black luminaries like Frederick Douglass and Martin Luther King, Jr., can double as a presentation space for guest lectures "pertinent to the site's history and larger issues concerning the legacy of slavery and colonization." The memorial corridor, lined with bronze sculptural reliefs depicting scenes of slavery and Native Americans, extends out onto an open, public lawn dotted with fiber optic lights that illuminate the grasses at night. The NYCEDC plans to issue an RFP for development proposals for the site in 2018, with the final team selected in late 2018 or early 2019. The site is scheduled for construction on a tentative timeline from 2020 to 2023.
Get ready New York City, the month of Archtober is almost upon us. While October heralds the return of chunky knits and PSLs, New York City's architecture and design community knows that the tenth month of the year is really Archtober, AIA New York's celebration of the built environment. In collaboration with the city's cultural institutions, Archtober (also known as Architecture and Design Month) fosters awareness of architecture's role in everyday life through exhibitions, conferences, films, lectures, and the Building of the Day tours – architect-led visits to the city's best-loved structures and landscapes. The first site this year is the Woolworth Tower Residences, apartments by SLCE Architects in Cass Gilbert's classic neo-Gothic skyscraper. In partnership with AIA New York, The Architect's Newspaper (AN) is pleased to be the one-and-only source for Building of the Day blogs. For all of October, we'll bring you on-the-ground stories and tour highlights, so you can ride on WXY's SeaGlass Carousel, step inside LOT-EK's shipping container Carroll House, or explore Paul Rudolph's Modulightor Building, all without leaving your office. But if you do decide to leave (and you should), tickets for all tours are now available at the Archtober website. Here is the complete schedule:If your number-one-can't-miss tour is sold out, don't despair: There are more than enough events for everyone. Archtober has a new series called Workplace Wednesdays where firms like SHoP, Snøhetta, and others will open up their offices to ticketed members of the public for workshops, presentations, and talks. On October 29, AN Contributing Editor Sam Lubell will give a talk on Never Built New York, the exhibition he co-curated at the Queens Museum.
Oct. 1 The Woolworth Tower Residences Architect: Cass Gilbert (the Woolworth Building's original architect); SLCE Architects (Woolworth Tower Residences architect of record): SLCE Architects; The Office of Thierry W. Despont (interior design) Oct. 2 Empire Stores Architect: S9Architecture Oct. 3 Brooklyn Grange Rooftop Farm Architect: Bromley Caldari Architects Oct. 4 The Noguchi Museum Architect: Isamu Noguchi and Shoji Sadao (original architects); Sage and Coombe Architects (rneovation architect) Oct. 5 SeaGlass Carousel Architect: WXY architecture + urban design Oct. 6 Modulightor Building Architect: Paul Rudolph Oct. 7 Cary Leeds Center for Tennis & Learning Architect: GLUCK+ Oct. 8 Project Farmhouse Architect: ORE Design Oct. 9 The Residences at PS186 & Boys and Girls Club of Harlem Architect: Dattner Architects Oct. 10 Naval Cemetery Landscape Architect: Nelson Byrd Woltz Landscape Architects Oct. 11 Cathedral Church of St. John the Divine Architect: Heins & LaFarge/Cram & Ferguson (1899) Oct. 12 Alexander Hamilton U.S. Custom House Architect: Cass Gilbert Oct. 13 New Lab, Brooklyn Navy Yard Architect: Marvel Architects Oct. 14 Open House New York Weekend Oct. 15 Open House New York Weekend Oct. 16 iHeartMedia Architect: A+I with Beneville Studios Oct. 17 56 Leonard Street Architect: Herzog & De Meuron Oct. 18 Staten Island Courthouse, St. George Architect: Ennead Architects Oct. 19 Carroll House Architect: LOT-EK Oct. 20 Columbia University – Lenfest Center for the Arts Architect: Renzo Piano Building Workshop (design architect); Davis Brody Bond (executive architect); Body-Lawson Associates (associate architect) Oct. 21 Museum of Chinese in America (MOCA) Architect: Maya Lin Studio (Designer); Bialosky + Partners Architects Oct. 22 Freshkills Park Architect: NYC Parks/James Corner Field Operations Oct. 23 The George Washington Bridge Bus Station Architect: STV – Program Architect/Architect of Record/Design Architect for Retail Development; PANYNJ Architectural Unit – Design Architect for Bus Station Oct. 24 Governors Island – The Hills Architect: West 8 Urban Design & Landscape Architecture Oct. 25 Bronx River House Architect: Kiss + Cathcart, Architects Oct. 26 ISSUE Project Room Architect: McKim, Mead & White (original architect); Conversion to ISSUE Project Room: WORKac in collaboration with ARUP (ongoing) Oct. 27 Downtown Brooklyn Cultural District Architect: TEN Arquitectos Oct. 28 Morris Jumel Mansion Architect: Original Architect Unknown Oct. 29 Roy and Diana Vagelos Education Center Architect: Diller Scofidio + Renfro in collaboration with Gensler Oct. 30 Cornell Tech Architect: Handel Architects; Morphosis; WEISS/MANFREDI Architecture/Landscape/Urbanism Oct. 31 The William Vale Hotel Architect: Albo Liberis
Last Friday, the New York City Economic Development Corporation (NYCEDC), along with the Departments of Housing Preservation and Development (HPD) and Parks and Recreation (DPR), announced a massive new project in the South Bronx spearheaded by L+M Development Partners. Dubbed Bronx Point, the project is located on city-owned land on the waterfront of the Harlem River, and will include about 600 units of affordable housing in phase one (1,045 units total) as well as the nation's first brick-and-mortar hip-hop museum, officially called the Universal Hip Hop Museum. Among the founding members of the museum are recording legends Kurtis Blow and Rocky Bucano; its cultural ambassadors include Big Daddy Kane, Rakim, LL Cool J, and many other recognizable names. Law and Order: SVU's Ice T is on the board of directors. Executive Director Rocky Bucano said the museum's goal was to bring "hip-hop back to the Bronx where it originated from [...] it's gonna be a complete history of hip-hop." The site of Bronx Point is located adjacent to the 149th Street corridor, making it very transit-accessible. Additional plans for the property include a public multiplex theater, a waterfront esplanade extending to Mill Pond Park, an outdoor performance space, an incubator for small food vendors, and educational spaces in partnership with established organizations like Billion Oyster Project, City Science, and BronxWorks. The project is projected to produce over 100 new jobs (and 915 temporary jobs during its construction) during phase one alone. It also aims to incorporate sustainable building practices for LEED Gold certification. Once approved, phase one is slated for completion in 2022. The proposal for Bronx Point has entered the Uniform Land Use Review Procedure (ULURP) with the support of Bronx Borough President Ruben Diaz Jr., Community Board 4 District Manager Paul A. Philps, and the City Planning Commission ... not to mention Detective Tutuola.