One of Hideo Sasaki's few remaining works in New York is set to be demolished as the Landmarks Preservation Commission (LPC) approved changes to the exterior of 601 Lexington Avenue, formerly known as the Citicorp Center. The building, designed by Hugh A. Stubbins & Associates in 1973, features a stepped public plaza by Sasaki Associates. As it dips into 601 Lexington Avenue, the plaza, built in exchange for a taller tower, reveals a fountain and entrances to the subway. Amid a dense urban setting, many consider the cascading design a welcome sight. Its corner location encourages passers-by to look up in tandem with steps towards the building's open vertices made possible by Stubbins's unusual column arrangement. Dubbed “super” columns, the four skyscraper supports rise above 100 feet and cover 24 square feet each. The resultant cantilevers articulate space in a way not commonly found in Manhattan and in the space, one is seldom aware of being situated below the 915-foot-tall structure, once described by critic Ada Louise Huxtable as a “singularly suave blockbuster that comes down to the street with innovative drama." This feature has prevailed for almost 40 years and subsequently, the sunken space works in an established harmony with the skyscraper. At the time of Stubbins’s death in 2006, critic Paul Goldberger called the Citicorp Center “probably the most important skyscraper built in New York in the 1970s because of its elegant and memorable shape, but also because of its engagement with the city at the base.” Tuesday's review included building entrances along 52nd and 53rd streets, as well as skylights and rooftop mechanical equipment. The Sasaki plaza, designed by principal emeritus Stuart Dawson, was included in the landmark designation, but DOB permits to alter the plaza were approved prior to the designation, and so the plaza changes were not under review by the LPC. In a March 23 email, a LPC spokesperson clarified that the permits are unrelated to the designation report's statement of regulatory intent (page 14) that states that the City Planning Commission is responsible for approving all changes to the plaza. The plaza design depicted in Gensler's renderings was not being considered at the hearing that day, a situation infuriated some preservationists who came out to speak the meeting. The renderings Gensler presented depicted the plaza without the fountain that was initially intended, in the words of the architect, to "mask much of the street noise and add to the feeling that the passerby is free from the congestion of the street." In a statement to The Architect's Newspaper (AN) Dawson commented on the situation:

I was and am incredibly proud of the work we did on the sidewalks, plaza, cascading fountain, and interior atrium of the Citicorp Center. The response from the public was immediate and strong: they loved it. As the fate of this work is up in the air I cannot help but to return to the original idea that carried through all aspects of the project: the idea of connection. At the time, we asked why not carry the fountain and broad steps all the way from street level; to chapel and atrium entrance level; to the subway level? While it required difficult permitting and multiple bureaucratic maneuvers, it seemed well worth the effort—and it was. It was a first! And today, as I learn that the plaza we designed is in danger of demolition I ask that we consider connection once more. I would like to see the plaza live on, connecting one era of design into the next. Once again, it may take some persistent maneuvering but I believe it will once more be worth it.

Christabel Gough of the advocacy group Society for the Architecture of the City told AN that the Sasaki project has "fallen between the cracks of arcane inter-agency procedures and is not protected. Boston Properties would earn the gratitude of so many New Yorkers by abandoning the demolition plan revealed today." 

According to the LPC, the changes put forward by Gensler and Boston Properties were approved by the City Planning Commission prior to 601 Lexington Avenue’s designation as a landmark in December 2016 and that permits to alter the plaza had already been filed with the Department of Buildings (DOB). Despite an extensive search, at press time AN was unable to locate the permits on the DOB's website.

At the hearing, preservationists and commissioners raised questions about the missing foundation. "The HDC wishes to express its regret at reports that the water feature may be removed from the space, which seems like an unfortunate loss," said Barbara Zay, of advocacy group the Historic Districts Council. "We would suggest that the LPC retain a seat at the table in discussions for the fate of courtyard by working closely with the owner, and perhaps the MTA, to find an alternative or return this decorative feature which provides an element of civility and whimsy to the space.” Echoing Zay, Commissioner Michael Goldblum expressed regret about the turn of events. "It’s a shame that the plaza will be changed and the fountain lost," he said, adding that the fountain was a "key element of how the public experience this complex." Fellow commissioner John Gustafsson clarified that no decision on the plaza could be made. "We’re not expressing an opinion here because we can’t," he said. The only changes on the agenda then, were to that of the facade, particularly on 53rd Street. Here, a recessed entrance would be eradicated, but the LPC voiced weariness ahead of this decision.

AN asked representatives from Gensler and Boston Properties at the hearing about why they are eliminating the plaza. Both declined to comment.

In her closing statement, chair Meenakshi Srinivasan noted that "the Citicorp Building has a long history of changes... We recognized that these spaces will continue to change." She concluded that the proposed modifications were consistent with the building's history, and retained the spirit of the original design intent, particularly with the building's zoning history in mind. Prior to granting its approval, the LPC suggested that the proposed changes to the recessed entranceway be reconsidered. But questions remain as to why a plaza so integral to the landmark is beyond the LPC's oversight in the first place. AN will keep readers updated on this story as it develops. Update 3/22/17: This article originally stated that Sasaki's plaza was not included in the building's December 2016 landmark designation. It was in fact included in the designation. The post was also updated to include clarifying information about the plaza's jurisdiction and additional background on the statement of regulatory intent. The text was updated to reflect that Sasaki Associates principal emeritus Stuart Dawson designed the fountain.

Yesterday, New York City Mayor Bill de Blasio released major details concerning the new Citywide Ferry Service, whose new routes are coming online the summer of 2017 and 2018. The Brooklyn Navy Yard, already the hub of extensive development, will be the Service's "homeport" and feature a 56,000-square-foot storage and maintenance facility with berths for 25 ferries. This is where ferries will be cleaned, restocked, repaired, and fueled, and will also serve as a new stop on the East River route that runs from E. 34th St. to Wall St./Pier 11. In a press release, the Mayor's office added that the new facility will be elevated to comply with FEMA flood standards and fully operational by 2018. The Citywide Ferry Service is part of a broader plan from the Mayor's Office to increase underserved New York City communities' access to Manhattan and create an overall more robust and evenly-spread public transportation system. New routes will run from Manhattan to: Southview in the Bronx, Astoria and the Rockaway in Queens, and Bay Ridge and Red Hook in Brooklyn (just to name a few). The Mayor's Office estimates that the Service's 20 ferries, working across 21 landings and six routes, will make 4.6 million trips per year. “A more connected city—and the jobs that come along with it—are just on the horizon,” stated Council Member Stephen Levin in a press release. “I applaud the Mayor taking the challenge of transportation and turning it into an opportunity. The new homeport at the Brooklyn Navy Yard continues the trajectory of Brooklyn as a leader in innovation and inclusive economic development. Whether it’s more jobs or better transportation options, Citywide Ferry has the potential to substantially improve our community.” Job seekers and transportation enthusiasts alike will also be excited to hear that the homeport brings with it 200 new openings for captains, deckhands, concessions operators, and other related roles. Applicants can inquire through the Brooklyn Navy Yard's Employment Center or Workforce1 Career Centers. The best news of all? The Citywide Ferry will be just $2.75 a ride. “For the price of a subway ride, Citywide Ferry service will connect millions of riders to jobs and homes all along New York City’s waterfront. As we prepare to launch this summer, we are focused on the finishing touches, and hiring captains, deckhands, engineers and maintenance workers who will operate these boats,” said Mayor de Blasio. (It should be noted, however, that riders will have to purchase tickets separately and cannot use their MTA cards.) For more details on the Citywide Ferry Service, see their website here.  

More than a quarter-million people take the L train to get to and from Manhattan everyday, but riders are already bracing for that fateful day when the line's underwater tunnel closes for crucial repairs in 2019. In response to the shutdown, a group of New Yorkers are taking post–L train survival into their own hands with a new interactive map that may help all of us travel a little smarter.

In collaboration with transit advocacy group Transportation Alternatives, Google's New York–based Sidewalk Labs has put together an interactive map to illustrate how the L train shutdown will impact riders across the system. Now in beta, NYC Transit Explorer reveals transit access visually, encouraging New Yorkers to think more broadly about how to get around. Here's how it works: The map aggregates the MTA's GTFS feeds for subways, buses, and the Staten Island Ferry to ascertain how long it would take to get to point A to B or point B from A, C, D, and E. NYC Transit Explorer allows users to tweak the variables to their liking—if a bus-loving Queens-to-Brooklyn rider prefers to walk fewer than ten minutes at any given point in the trip, she can adjust variables to access the most surface transit possible, while a Bronx-to-Manhattan rush hour commuter might prefer the faster subway. The map depicts travel time on a gradient from each location, and it allows you to compare travel times to the same destination via a bus-only, subway-only or combination routes. Best yet, users can see, via a time gradient, how long it would take to get from two different points. If a person is moving, for example, he can plot his commute from his current home and get a sense of where he could relocate to preserve the same (or shorter) travel time. Looking towards the future, the map also allows users to see commutes without the L train, or with the newly-opened Second Avenue subway. Sidewalk Labs' handy video offers an explainer and how-to for getting around New York faster: For those whose map skills start and end with Google Maps, some of the Transit Explorer's features are less than intuitive. Addresses are added through a pin drop, while minor streets remain unlabeled even in the closest zoom. Nevertheless, the map reveals transit deserts and hubs outside the city center (hello, Jamaica) and could be a useful tool for L-train dependent Brooklynites wondering how they'll get to the city when their train powers down.

Mayor Bill de Blasio’s feasibility study for a possible Sunnyside Yard “overbuild” project is complete and suggests that the project could cost anywhere from $16 to $19 billion, according to the New York City Economic Development Corporation (NYCEDC). “In Western Queens, there remains one of New York City’s last great opportunities to solve many of these challenges in one place,” said Alicia Glen, deputy mayor for housing and economic development, calling the development a “new and innovative solution” to meet New York City’s growing housing and transportation needs. The 180-acre rail yard, which sits in the center of Western Queens, is a major transportation center owned by Amtrak and Metropolitan Transit Authority (MTA) that services the New Jersey Transit and the Long Island Rail Road. Some entities are already proposing updates to the site—Amtrack, in particular, is planning a new High-Speed Rail facility that will open by 2030. The feasibility study took many of these developments into account, focusing on the engineering, economic, and urban design implications of the project, and after almost two years of study, the report concludes that the project is feasible, albeit costly. In the study, the NYCEDC establishes three case study plans with different program focuses. The first proposes almost entirely residential development, adding up to 24,000 units of housing. Of those residences, 30% would be allocated for affordable housing, part of de Blasio’s affordable housing goals outlined for New York City. The proposal would also add up to 19 schools and almost 50 acres of open space. The second study, dubbed the “live/work/play” proposal, was designed to offer a well-rounded program with residential, cultural centers, and office space. This proposal is the only proposal to include office space and would still incorporate up to 19,000 units of mixed-income housing and up to 14 schools. The third and final study is the “destination” proposal, which focuses on residential and cultural spaces. The proposal features almost 1.5 million square feet of mixed-use space and up to 22,000 units of housing, still allowing for retail spaces and up to 14 schools. Each of the three proposals focuses on developing the 80 to 85 percent of the site the NYCEDC has deemed viable and connecting it to the surrounding neighborhoods using existing bridges and roads and adding significant green space to the area. During their study, the NYCEDC selected a 70-acre portion of the site, called the “Core Yard,” as an optimal place to begin the development, with a price tag of approximately $10 billion. The area features enough space to create a complete neighborhood and is well-located to incorporate the Amtrak master plan. In the second phase of the master plan, the NYCEDC plans to look in greater detail at how to avoid significant impact on transportation infrastructure. They also hope to create a detailed urban plan and consider sustainable initiatives and architectural standards for future buildings. Before that phase, however, de Blasio and the NYCEDC will collect feedback from the community and work with Amtrak, who plans to begin construction on a High-Speedeed Rail facility at Sunnyside Yard in early 2018, according to QNS. You can read the full report about the feasibility of Sunnyside Yards here.

New York City is searching for the right developer to build green space, housing, and retail over a Queens rail yard. The New York City Economic Development Corporation (NYCEDC), in collaboration with the MTA, put out a Request for Proposals (RFP) for the project today. Developers would have the opportunity to transform a 58,000-square-foot property in Long Island City into mixed-income housing development that includes commercial space, community facilities, and public open space. The city owns the air rights to the site, which sits close to public transit and MoMA PS1. The Long Island Rail Road (LIRR) currently uses the site, which is bounded by Jackson Avenue, 49th Avenue, and 21st Street, for storage. Like Manhattan's Hudson Yards, the development would need to be built over the yard, DNAinfo reports. Per the RFP, submissions are due April 21. This article appears on HoverPin, a new app that lets you build personalized maps of geo-related online content based on your interests: architecture, food, culture, fitness, and more. Never miss The Architect’s Newspaper’s coverage of your city and discover new, exciting projects wherever you go! See our HoverPin layer here and download the app from the Apple Store.

Transportation Secretary Anthony Foxx was in Los Angeles this week to commemorate the announcement of $1.6 billion in federal funding toward the extension of the Los Angeles Metropolitan Transportation Authority’s (LAMTA) Purple Line subway route.

The existing Purple Line opened in 1993 and begins in Downtown Los Angeles’s Union Station, sharing track with the system’s Red Line along most of its length. The route separates from the Red Line in the MacArthur Park neighborhood and currently terminates as a two-stop spur along the city’s Wilshire Boulevard corridor. Eventually, the Purple Line is expected to reach the oceanside community of Santa Monica and is being built in a piecemeal effort to achieve that goal.

The first, 3.9-mile long extension from the current terminus at Wilshire Boulevard and Western Avenue to La Cienega Boulevard is currently under construction and is expected to open for service in 2023.

The second phase of expansion will run from La Cienega Boulevard to Century City, roughly two-thirds of the way between Downtown Los Angeles and Santa Monica.

The new round of funding announced by Foxx includes a $1.187 Federal Transit Administration Capital Investment Grant, a $307 million Transportation Infrastructure Finance and Innovation Act loan, and a $169 million grant from the federal Congestion Mitigation and Air Quality program. The remaining $747 million in funding for the $2.41 billion expansion will come from Measure R funds, a voter-approved transportation sales tax increase passed in 2008. Construction on the phase two extension is expected to begin in 2018 and will be completed by 2026. There is a possibility that construction on the extension could be sped up so the line would be operational for the 2024 Olympic games, should the city be selected as that year’s host.

Phase three of the extension will move the end of the line 2.6-miles further west to the upscale Westwood neighborhood and the nearby Veterans Administration Hospital (VA) complex. Plans for extensions beyond the VA campus have not been announced. 

The current round of funding was bolstered by the passage of Measure M this November, which entails an additional county-wide tax increase to fund transportation infrastructure projects across the region in perpetuity. According to government officials, the guarantee of these future funds compelled the Transportation department to move forward with the latest round of grants and loans.

The new transit line has the potential to reshape the city’s Westside neighborhoods and could usher in a new era of dense, transit-oriented development along Wilshire Boulevard. Anticipation for the future line is building, as a similar transformation has already begun to occur along the system’s recently-opened Expo Line that runs several miles to the south along a parallel trajectory.

Already, several high-rise housing projects have been announced along the eastern portions of the Wilshire corridor, including a 15-story residential luxury tower designed by Steinberg Architects in the Mid-Wilshire area and a Pei Cobb Freed & Partners-designed addition to Minoru Yamasaki’s Century Plaza Hotel in Century City.

Days before the 2nd Avenue Subway is set to open, the MTA allowed the public to tour the new station on 2nd Avenue and 96th Street. The new station comes with slightly more subway maps available to read at both platform and entry levels. The station is also filled with expansive wall art that can be found throughout the whole building. Though no trains were running through (the first is scheduled for January 1st), the station felt spacious and breathable. This is mostly due to the space available, but also down to the voids that cut through to the platform level, opening the station up. Similarly, simple methods of circulation on the main concourse will help the station cope with a significant volume of passengers during rush hour while wide platforms address this issue too. When finally open, the whole 8.5-mile Q-line should carry straphangers from East 125th Street to Hanover Street in the Financial District.

It's beginning to look a lot like an on-time opening for the Second Avenue Subway. Despite pictures of tunnels shrouded in scaffolding, and multiple missed project deadlines, the Metropolitan Transit Authority (MTA) assured a skeptical public this fall that phase one of the system’s newest line would be open by New Year’s Day. Should New York expect a new east side subway in the new year, or is the new line still a pipe dream? First there were reports in October that the new tunnels, which would add stations at 72nd, 86th, and 96th streets, were too narrow to accommodate trains; workers had to file concrete passages to size. Now, it appears the odds and ends of bringing the $4.5-billion project to fruition are holding up opening day. When The Architect’s Newspaper (AN) reached out to the MTA about a media tour of the line at press time in mid-December, a spokesperson said that no tours were planned at the time, but the paper should attend the opening event at a to-be-announced future date. The line, in the works since the 1920s, has been delayed by the Great Depression, a world war, and good old-fashioned politicking, so its latest temporal setback is hardly a surprise, according to transit advocates. The most recent deadline for the subway, which includes a Q train extension from 57th Street–7th Avenue to the new 96th Street station, was set seven years ago. After recent mistakes, the MTA is taking extra precautions to ensure every component is functioning adequately: When it opened in 2015, the 7 train extension to Hudson Yards on Manhattan’s Far West Side was plagued with structural deficiencies—most notably leaky ceilings that turned busy walkways into perilous butt-to-floor encounters. Despite the obstacles, Governor Andrew Cuomo is confident the line will be open right as Times Square revelers usher in 2017. On Twitter, he urged New Yorkers not to drink the hater-ade: “Right now, there is a lot of cynicism and skepticism about our projects. We’re going to restore credibility. #2ndAveSubway will open Jan 1.” He is allegedly pressuring the MTA to finish up quickly, but as we usher in 2017 there’s still no opening to look forward to—and this is only phase one. When complete, (most likely after everyone reading this has died), the whole 8.5-mile line should carry straphangers from East 125th Street to Hanover Street in the Financial District.

Earlier today, Governor Cuomo announced that the New-York Historical Society will partner with the Metropolitan Transportation Authority to preserve the spontaneous “Subway Therapy” installations that appeared throughout New York City subway stations in the wake of Donald Trump’s victory, which was largely predicated on openly racist, misogynist, and xenophobic rhetoric, as well as the denial of climate science. The project was created when artist Matthew Levee Chavez brought sticky notes and pens to subway stations in the days following the election results, and encouraged New Yorkers to “express their thoughts, feel less alone, and also become exposed to opinions different than their own,” Chavez said. Working with the artist, the New-York Historical Society will archive the sticky notes as “an emblem of emotion and humanity in the month following the [2016 national] election,” according to a press release. "Over the last six weeks, New Yorkers have proved that we will not let fear and division define us. Today, we preserve a powerful symbol that shows how New Yorkers of all ages, races, and religions came together to say we are one family, one community and we will not be torn apart," said Governor Cuomo. Louise Mirrer, president and CEO of the New-York Historical Society spoke of the way “ephemeral items in particular can become vivid historical documents,” and the importance of ensuring “future generations can understand the historical impact of present events.” “‘Subway Therapy’ perfectly evokes this historic moment,” Mirrer said of the participatory art piece. As the removal of the sticky notes is already underway, the public will still be able to participate in the project, this Tuesday through Inauguration Day on January 20th, by placing sticky notes on the glass wall inside New-York Historical Society’s front entrance, located on Central Park West at 77th Street.

The project is WeWork's 15th office in a landmarked site (the Corbin Building was landmarked in 2015) and its eighth in New York City. Cautious of eradicating the 127-year-old building's history, WeWork kept new design interventions to a minimum. Existing elements in the Corbin Building, including an eight-story bronze and marble staircase, along with Guastavino tiles in the arches of the doorways (which form part of the French Gothic detailing found throughout the building and on its facade), were renovated.

Light permeates the space courtesy of the conical atrium which the office wraps around on the third floor. Officially known as the Sky Reflector-Net, the dome structure is the work of James Carpenter Design Associates, Grimshaw Architects, and engineering firm ARUP. The office area comprises places to read, conference rooms, a reception, and hot desks. A pantry and range of common areas operate as stand-alone areas. From inside, occupants can peer through the structure's complex of perforated optical aluminum panels, tensioned cables, high-strength rods, and stainless steel elements down onto the 300,000 transit users that pass through the center every day. The narrow space within the Corbin Building, meanwhile, will provide space for functions and office events. Bridging old and new, a 3D art installation by local artists, The Guild, is located on the threshold between the Corbin Building and Fulton Center and aims to unify them through material and color. In a statement emailed to The Architect's Newspaper, WeWork said:

WeWork Fulton Center is uniquely positioned across both the landmarked Corbin building and a new major transit hub. We have a history of breathing new life into historic buildings, and we’re proud to help give new futures to iconic pieces of the city’s history.

Also appearing this week within the Fulton Center is a new artwork installed by the MTA Arts & Design program. Titled New York Dreaming and by artist Anne Spalter, the kaleidoscopic video installation on show for the holiday season.

After two years in storage, New York’s Astor Place Cube is back for a few more spins, along with a reconfigured plaza and streetscape that are designed to make high-density urban living more bearable. New York City officials held a ribbon-cutting and sculpture-spinning ceremony today to mark the completion of repairs to the rotating Cube sculpture by Bernard “Tony” Rosenthal and the larger $21 million Astor Place/Cooper Square reconstruction project that provides an improved setting for it. Officially known as The Alamo, Rosenthal’s Cube was removed for safe keeping and cleaning on November 25, 2014, so it would be out of the way during plaza reconstruction. It was returned this month, signaling completion of public improvements designed by Claire Weisz of New York-based WXY, in conjunction with the city’s departments of Design and Construction (DDC), Transportation (DOT), and Parks and Recreation. "The redesign of Astor Place brings us yet another beautiful public space that New York City has wrestled back from the automobile,” said DOT Commissioner Polly Trottenberg at the ribbon cutting ceremony. “We have now made the plaza space more welcoming for pedestrians and we have brought back distinctive elements—like the iconic Cube—that have long made this such a special gathering place and gateway to the East Village." Trottenberg wistfully recalled her own involvement at Astor Place. After graduating from Barnard in 1986, she said, she worked in publishing near the Wanamaker Annex back when that's what liberal arts graduates did. “This space means a lot to me,” she said. “I once sold used books under the Astor Place Cube, back when you could still make money selling books.” “The reconstruction of Astor Place—and the reinstallation of the East Village’s beloved Alamo—provides a terrific example of how well-designed public space can create a more unified,  better functioning public sphere,” said Parks Commissioner Mitchell Silver. “Fluid, attractive and walkable spaces like Alamo Plaza are crucial as we work together to create a greener, healthier New York City.” “I am thrilled the Cube is back at Alamo Square and that we are celebrating upgrades to another pedestrian plaza in our city,” said Mayor Bill de Blasio. “Marking the heart of the East Village, Astor Plaza, and this iconic artwork stand as a crossroads for thousands of New Yorkers.” The 15-foot Cube is one of the best-known sculptures in the city, popular for the way it spins on its axis. First installed in 1967, the Cube is made of jet-black Cor-Ten steel, weighs 1,800 pounds and spins easily when touched, making it a favorite late night toy for neighboring college students and others. Rosenthal (1914 to 2009) created the Cube as part of Doris C. Freedman's Sculpture in Environment installation, sponsored by the New York City Administration of Recreation and Cultural Affairs when the East Village neighborhood was a Bohemian haven. Symbolizing the constant swirl of urban life, it is as contextually emblematic as the Financial District’s 1987 Charging Bull by Arturo Di Modica. It was the first permanent contemporary outdoor sculpture installed in the city of New York. The reconstruction of Astor Place and Cooper Square were completed as part of an effort to upgrade infrastructure throughout New York City, to give residents and visitors public spaces that provide a relief as the city becomes more densely developed. The city has a goal of ensuring that all New Yorkers live within a 10-minute walk of quality open space. The Department of Design and Construction managed the project for Transportation and Parks. The community enhancement project created two new pedestrian plazas and expanded and renovated two others, bringing 42,000 square feet of new pedestrian space to the neighborhood. The redesign incorporated an existing subway station and created a safer configuration for vehicular and pedestrian traffic. It introduced larger sidewalks; 16,000 square feet of planting areas with new trees and automated, in-ground irrigation systems; 6,700 square feet of permeable pavement; 2,100 square feet of curbside rain gardens for improved drainage; and racks for more than 100 bikes. The Cube was renovated at a cost of $180,000. According to a statement from the Department of Design and Construction: “Astor Place is one of Manhattan’s busiest hubs. With nearby institutions like New York University, Cooper Union, and Parsons School of Design, thousands of cars and pedestrians flow through the area every day. Activity in this plaza space has only intensified in recent years with new buildings rising and businesses moving in to accommodate Manhattan’s population growth.” In addition, the DDC statement notes, “Astor Place is the site of a tricky intersection. Three avenues meet one another, where they form two adjacent triangles. Because of this, the area has been notoriously difficult for pedestrians to navigate. You could very easily find yourself standing in the middle of a traffic median with no access to a protected crosswalk. For years, the surrounding community and city planners saw an opportunity to transform Astor Place into a calmer, safer space.” To reimagine Astor Place, the city agencies turned to WXY, an architecture and urban design firm with a track record for working in complicated parts of the public realm. “We tend to get projects that have gone a long time without being solved, like undersides of bridges or areas surrounding viaducts,” said principal-in-charge Claire Weisz, in a statement issued by DDC. “It’s really about bringing design thinking to unusual problems, or problems that people put off solving.” The redesign was intended to reduce stress for everyone in the area. It creates sidewalks and roadways that are more clearly delineated to calm and guide drivers, and it provides more space for pedestrians, especially in Astor Place’s Alamo Plaza. Custom-designed tables, chairs, and umbrellas encourage pedestrians to stop and take in the view. There are also more trees and benches in Astor Place. At the southern tip of the Astor Place area is Cooper Triangle and Village Plaza. Cooper Triangle got new street fixtures, including steps that provide seating and meeting areas for pedestrians. More pedestrian space was added by narrowing the width of the adjacent road. Reconstruction of Astor Place began in 2013 after the local Community Board approved the plan. Besides moving public art, work included relocating underground utilities and installing new features such as lighting, bicycle racks, and plantings. Planners say in-depth traffic studies were a key step in redesigning and rebuilding roadways to calm the flow of cars. Weisz said she used the unusual geometry of the area to reimagine pockets of under-used public space.  “How do we reconnect people to their environment, not just by views, but by interacting with it?” she said. “The more options we have and the more developed our infrastructure is, the more possibilities we have for continuing our density in the city.” While Astor Place is a high profile project, planners say, areas throughout New York City are receiving similar treatment on a smaller scale. The DDC launched its Plaza Program in 2008, inviting New Yorkers to nominate their own neighborhoods for a plaza redesign. Earlier this year, the DDC and DOT also completed Fordham Plaza in the Bronx and La Plaza de las Americas in Manhattan. Others in the works include George B. Post Plaza, Lowery and Bliss Plazas, Putnam Plaza, Roosevelt Island Plaza, and Times Plaza. Although the Cube was immortalized as a mosaic landmark at the nearby 8th Street-NYU Subway Station by artist Timothy Snell in his Broadway Diary mosaics (2002, for the MTA Arts & Design program), residents have long had concerns that the frequently and roughly used sculpture may change with the area. An Alexander Calder sculpture was planned in 2011 to take the place of the Film Academy Café during 51 Astor’s development but never arrived. The lobby of that building itself now features Jeff Koons’s whimsical 16-foot-tall Balloon Rabbit (Red), 2005-2010, ironically greeting all visitors to Big Blue. During the same plaza redevelopment in 2014 that prompted the Cube’s temporary disappearance, the Department of Transportation removed around 6 light posts encased with episodes of Mosaic Trail, a classic, yet illegally installed hallmark of the East Village begun around 1984 by local street artist Jim Power.