Search results for "Downtown Brooklyn"

Placeholder Alt Text

The Ashland

New renderings revealed for FXFOWLE's luxury Fort Greene apartments
Construction is wrapping up on the The Ashland, a 53-story mixed-use skyscraper in Fort Greene, Brooklyn. In anticipation, the building's website has launched ahead of the July 19 opening of its leasing office. The tower has a total of 586 units, about half of which were opened to applications through the city’s affordable housing lottery. The tower was designed by FXFOWLE, with interiors by SPAN Architecture. According to 6sqft, the units will range in price from $2600 per month for a studio to $7500 per month for a 3-bedroom, which is on par with rents in the area. On the new website's availability page, however, only studios and one-bedroom apartments are listed. The page also offers a link for rental applications. The website showcases many of the building’s amenities, like a fitness studio, rooftop lounge, and barbecue area. It also features renderings of the Gotham Market at The Ashland, a dining hall located at the base of the tower. The market will host eight different dining options, with one rotating pop-up space. This is in addition to the rooms themselves, which offer central air conditioning, floor-to-ceiling windows, and dishwashers in each unit. The luxury apartment tower is located on the edge of Fort Greene, adjacent to the BAM Harvey Theater and the Brooklyn Cultural District. The district, anchored by the Brooklyn Academy of Music, has been a hotspot for development since its inception. Industry has also boomed in the area following the opening of the Barclays Center. Marketing for The Ashland capitalizes on the fact that Downtown Brooklyn is increasingly becoming a center for art and culture in the city, emphasizing the many destinations within walking distance.
Placeholder Alt Text

Top Shop

SHoP makes the Brooklyn skyline with a “brooding, elegant, and badass” supertall... There goes the neighborhood?

If you zone it, they will build, and they will build tall. New York–based SHoP, in partnership with JDS Development Group, revealed plans earlier this year to build 9 Dekalb Avenue, a 73-story, 1,066-foot-tall residential tower fused to the landmarked Dime Savings Bank in Downtown Brooklyn. Last month, the design cleared a crucial hurdle when the Landmarks Preservation Commission (LPC) approved the tower’s design and consequent modifications to the bank.

“There’s a sort of brooding Gotham to it,” noted Gregg Pasquarelli, founding principal of SHoP. “There’s a little bit of badass to it, but it’s quite elegant at the same time. Isn’t that what we all want to be as New Yorkers?” The 417-unit building is clad in bronze, stainless steel, and stone, with view-maximizing interlocking hexagonal exposures. Pasquarelli explained that the facade detailing is such so that when two sides of the hexagon are viewed from an oblique angle, it will resemble one face, a sleeker reference to the grand old New York skyscrapers like Rockefeller Center and the Chrysler Building.

Michael Stern, founder of JDS Development Group, proclaimed: “The tower will be Brooklyn’s next icon. Brooklyn was really missing that one iconic statement that was worthy of the borough. This building will really put Brooklyn on the map.” Drawing from the landmark on-site, the spacing of the tower’s vertical facade elements mirrors the spacing of the bank’s neoclassical columns. The color and materials palette picks up on the bank’s colorful stone interiors, which will be converted to retail, while parts of the bank’s roof will be used for the building’s private outdoor spaces.

“The downtown rezoning of Brooklyn in 2004 has been very successful. This is a place where the city could handle density. It’s an incredible kudos to the city they upzoned that area, that they thought about tall towers,” said Pasquarelli. At the prow of Flatbush and Dekalb, the building will be visible from all over Brooklyn, and its distinctive facade will reinforce its prominent position on the skyline.

He and Stern enjoy experimenting with exteriors. Referencing the terra-cotta facade on 111 West 57th Street and the cladding on the East River–facing American Copper Buildings, Pasquarelli intimated that developers and architects are obligated to build for the public realm. “Some people get to live in these buildings, but we all have to live with the exterior.”

While preservationists sometimes bristle at the modification of an individual landmark, Gina Pollara, executive director of the preservation advocacy organization Municipal Arts Society (MAS), thinks there’s a larger issue that’s expressed in the development of tall towers like 9 Dekalb. “For us, it’s not really about the towers itself. Most of these supertalls are going up as-of-right. Because they’re not asking for any variance or any change, there’s no opportunity for public comment.” This tower was unusual, she elaborated, because it involved a landmarked structure. “These buildings are so out of context or out of scale with the neighborhood, and there’s no space for public comment until developers release their renderings. There’s no discussion of the cumulative effects these towers are having on public space.”

In an interview with AN, Stern said that he could not react to critiques like MAS’s (which he had not heard about), “but I can tell you that the commissioners had comments ranging from, ‘the best of urbanism’ and ‘flawless,’ and the LPC approved the project unanimously, as did the community board. It’s something we’re quite proud of.”

Pollara would like to see a better conversation around the 100-year-old zoning code, and reform beyond Mandatory Inclusionary Housing and Zoning for Quality and Affordability, the recently codified zoning text amendments. “It’s time to make zoning much more transparent—not just to the layperson, but to elected official,” Pollara said. “We need to get in front of the issue rather than being at the mercy of what is being built around us. Preservation in the 21st century is not necessarily rallying around a specific building, but looking at open space, light, air—all of the elements we want to preserve. We don’t want to live in a city that’s created by default.”

Placeholder Alt Text

Book it to Brooklyn

Claire Weisz on WXY's reimagining of the Brooklyn Strand

From a pedestrian perspective, Downtown Brooklyn and its waterfront have an odd relationship. Despite the Brooklyn Bridge’s looming (literally) presence in DUMBO, the area’s potential to become an idyllic promenade and an active space has never quite been realized.

Now, however, New York practice WXY architecture + design—who specializes in planning, urban design, and architecture–is proposing to connect DUMBO, Downtown, and Brooklyn Bridge Park. As part of a public-private scheme, in collaboration with the Downtown Brooklyn Partnership (DBP), WXY’s project, the Strand, sets about creating views within the site, giving it an identity while creating a place that puts pedestrians first.

WXY principal Claire Weisz said that the first thing her practice sought to do was to see what connections needed to be reestablished with a focus on who they should serve. “One of the main priorities of the Strand effort is to privilege pedestrians and cyclists,” said Weisz. “We [looked] at what spaces used to connect and then we sought a way to reimagine and provide resources to the public spaces and places that are valued by the people living, working, and studying in this area.”

Striking a dialogue and creating a “positive sense of journey” was another key aspect of the scheme. Working with Copenhagen artist group Superflex, a responsive and pedestrian friendly scene was established: Here, functional, yet visually inspiring routes were developed, evoking the cultural and historical aspects of the area’s neighborhoods from Fulton to Farragut and the Navy Yard.

Weisz also spoke of new subway connections and the potential to develop sites around infrastructure, adding how the Gateway to Brooklyn action plan concept “demonstrated the importance of approaching access holistically.” In light of this, Weisz proposed connecting Cadman Plaza East with the walkway off the Brooklyn Bridge, thus protecting pedestrians who “have to dodge traffic at Cadman Plaza West.”

Weisz noted how the dominance of car travel has led to the emergence of “unappealing leftover public space.” Here, she explained, a “continuous city fabric where walkable, bike-able, active streets connect Downtown Brooklyn to the Waterfront” is a necessity from an infrastructure perspective.

While improved circulation is a priority, visual connectivity is also on the agenda. Weisz plans to give landmarks visual precedence to celebrate Brooklyn’s history and improve wayfinding throughout the Strand. As a result, the Brooklyn and Manhattan Bridges are allocated framed views from within the Cadman Plaza Park, Anchorage Plaza, and Trinity Park, in order to reaffirm the sense of place throughout the Strand.

“The Strand’s identity is linked to not losing the layers of history that made Brooklyn what it is today but adapting them for today’s needs,” said Weisz, who added that creating a “cohesive” identity was discussed with stakeholders.

“The main challenge of the Strand has been demonstrating the potential of spaces that are currently invisible to the public,” said Weisz. “Whether it be spaces around, over, or under highways [or] a new vantage for accessing and experiencing the Brooklyn Bridge, residents can look forward to a rejuvenated place that realizes the potential for the Strand to better connect downtown Brooklyn.”

Placeholder Alt Text

Views from the 69th

Gensler-designed OUE Skyspace debuts in Los Angeles
The Gensler-designed $60 million rehaul of the US Bank Tower’s public areas in downtown Los Angeles opened this weekend in Los Angeles. Renovations for the original 1,015-foot tall building, designed by Henry Cobb of the architectural firm Pei Cobb Freed & Partners, came about after several years of high vacancy rates for the office building. When the building came under the ownership of Singapore-based Overseas Union Enterprise (OUE) in 2014, plans were floated to convert a portion of the building to residences and a hotel. Eventually, however, the owners and Gensler decided to pursue a modest renovation of key elements of the existing structure, adding tourist-oriented program elements to what will continue to otherwise to be an office building. The renovation includes a new ground-level plaza and lobby area, as well as a snaking labyrinth of so-called “digital interactivity” spaces, including moody hallways, panoramic video displays, and movement-sensitive light installations on the 54th floor. Because the building’s existing elevator configuration could not be altered, this floor’s waiting areas are a required stop on the way to the 70th floor OUE Skyspace viewing platform and restaurant. The big ticket item for the new OUE Skyspace is a 1¼ inch-thick glass panel slide that exits the building’s envelope at the 70th floor, curves out over the city 1000 feet below, and swoops back onto an outdoor terrace at the 69th floor, where the rider is dumped onto a red, padded mat. At $8 per ride, the slide’s to price tag luckily leaves room for second guessing, as the long line leading to the terrifying threshold is the perfect place to see and hear screaming thrill seekers tumble through the air just outside the building. The slide, designed by Brooklyn-based engineer M.Ludvik & Co consulting engineers, requires the user to scoot over a precipice into the hazy abyss beyond. In a region short on tall buildings, the new viewing area will join a growing list of sky-high vistas including the rotating bar atop the Bonaventure Hotel and the more recent rooftop bars at the Ace and Standard Hotels. The slowly rising steel frame of the nearby Wilshire Grand Hotel will also boast a rooftop pool terrace over 900 feet above the street when completed in early 2017.
Placeholder Alt Text

Propose Your Plaza

City of Baltimore to open design competition for McKeldin Plaza

The City of Baltimore is hosting a citywide design competition to seek proposals for the redevelopment of McKeldin Plaza in downtown Baltimore. The call follows plans to demolish the existing McKeldin Fountain later this year and the Department of Planning will supervise the open competition.

This follows years of talk about redesigning the plaza, which is currently dominated by the 1982 Brutalist concrete McKeldin Fountain. The fountain stands adjacent to the Inner Harbor area and memorializes former Baltimore mayor Theodore McKeldin, who was instrumental in  revitalizing the harbor area in the 1960s.

The Waterfront Partnership recently released plans for “Inner Harbor 2.0,” which will improve the area with new green spaces and pedestrian connections using Brooklyn Bridge Park and Waterfront Seattle as precedents.

 

McKeldin Plaza is an important fixture of Downtown Baltimore, and a designated free speech zone that was the focal point for the city’s Occupy and Black Lives Matter protests. In addition, the fountain is a historically significant holdout from the Brutalist movement, and its design attracts tourists and office workers from the surrounding area.

The Downtown Partnership of Baltimore supports redevelopment of the plaza into an open space, while many local artists, designers, and architects support its preservation as a public art piece.

The fountain itself has fallen into disrepair, and according to the Downtown Partnership its mechanics are prone to expensive breakdowns that leave it non-functional for months at a time. However, maintenance and enhancements could also go a long way toward revitalizing the plaza while preserving the fountain.

Up until recently the Brutalist design of the fountain matched the nearby Morris A. Mechanic Theatre, which was demolished in 2015. The theater was designed by John M. Johansen and opened in 1967, remaining in use until 2004. After its owners chose not to renew the lease on the building in favor of the newly reopened Hippodrome Theatre, the building fell into disrepair. A new high-rise residential and commercial space is now under construction on the site. Since the demolition of the Mechanic, McKeldin fountain is the only example of Brutalist architecture in Baltimore.

The fountain has its share of defenders, including Baltimore’s City Council president, who introduced a bill to block the demolition last year.

A Change.org petition calls for the postponement of demolition until a new design is approved. Others—including the fountain’s designer—are against the demolition entirely and want to preserve the site.

The Downtown Partnership plans to move forward with the demolition in Summer 2016 pending approval of permits. The fountain and the skywalk across Light Street were recently closed to pedestrians.

The architecture firms Ayers Saint Gross, Mahan Rykiel, and Ziger/Snead will oversee the project and finalize designs. Details about the public competition are still taking shape. 

 
Placeholder Alt Text

Staten Island Life

A torrent of new projects on Staten Island are reshaping the once-forgotten borough

Staten Islanders have a name for the impatient dance that visitors do when they get off the ferry at St. George to wait for the next boat back to Manhattan: The “Staten Island Shuffle.” The name reflects the perennial difficulty of getting newcomers to venture beyond the island’s welcome gate.

Local stakeholders hope that a spate of new development on the shoreline—and inland—will smooth the shuffle into a full sidewalk ballet that draws residents and visitors alike through the pizza-slice-shaped island, population 472,000. Here are some new projects that are changing the landscape of the forgotten borough:

Riverside

“I think the opportunity is all in the outer boroughs right now,” enthused Jay Valgora, founding principal of New York–based Studio V. “Don’t get me wrong, Manhattan’s great, but for creative architecture, Staten Island is the next frontier. I think it’s possible to do incredibly creative things on Staten Island that would be difficult to do in Manhattan.”

In the shadow of the Outerbridge Crossing on the island’s West Shore, Studio V is building a verdant mall on the banks of the Arthur Kill. The Riverside Galleria connects 490,000 square feet of retail, including a cinema and grocery store, to High Line–like catwalks and bridges that channel visitors in front of stores and toward a waterfront public park and beach.

Staten Island’s industrial and natural heritage converges at the waterfront, and Riverside’s program unifies these two landscapes with green roofs and soft edges that work vigilantly to protect the development from rising seas. The mall’s sloped roofs “fold into the landscape” to capture and treat stormwater, while a rain garden extends into the parking garage to soften the edge between the natural and built environments. New York–based landscape architect Ken Smith is collaborating with the studio on the project, which is gearing up for the final phase of its ULURP.

For some, building on storm-vulnerable Staten Island would prove daunting, but Studio V literally wrote the book on coastal construction: The firm collaborated with nonprofit advocacy group the Waterfront Alliance to create Waterfront Edge Design Guidelines (WEDG)—“LEED for the waterfront,” Valgora quipped—in 2015. At Riverside, a 10-acre restored wetland provides the first line of defense, although the entire site is lifted above the floodplain. Commercial spaces are elevated above parking for additional protection.

With “automobile access that works beautifully,” the project’s green inclinations defer to Staten Island’s entrenched car culture, although demand for mass transit in this neighborhood is growing. Riverside Galleria is a 10-minute walk from a train station that the MTA is currently rebuilding. More exciting still, Studio V, in a separate project, is in talks to build a stop for high-speed ferry service at an adjacent site. Borough president James Oddo is very supportive of the project, as are locals who have been pushing for broader access to mass transit on the West Shore.

On the North Shore

On the trip from Manhattan, commuters can almost feel the island’s famous ferry keel starboard as tourists cozy up for Lady Liberty selfies. Despite connections to the Staten Island Railroad, bus links, and the attractive hillside neighborhood of St. George just beyond the ferry landing on the Staten Island side, it has been a perennial hurdle to lure visitors out of the terminal.

“What so many of those passengers do is the ‘Staten Island Shuffle’: They get off the ferry and mill around in the ferry terminal until the next ferry arrives, and they never actually set foot on Staten Island. Right now, there’s not a lot that’s immediately visible there, so you can understand why people do that,” explained Munro Johnson, vice president of development at the New York City Economic Development Corporation (NYCEDC).

In response, Staten Island is changing its salutation. An array of flashy new developments set to open in the next few years will radically expand entertainment, dining, and shopping opportunities immediately adjacent to the St. George Terminal. The New York Wheel, a 630-foot-tall observation wheel, will give 1,440 riders at a time a dramatic view of the New York Harbor. Designed by New York–based S9 Architecture and Perkins Eastman, (and manufactured by Starneth, creators of the London Eye) the New York Wheel will be the largest of its kind when it opens next year.

Soon, New Yorkers won’t need to travel to the Catskills or Jersey for classic suburban-style outlet mall shopping. Empire Outlets, a 1.1-million-square-foot mall, is under construction next to the ferry terminal. The SHoP–designed storefronts reference an Italian hill town, playing on St. George’s elevation to allow visitors progressively better views of the harbor as they ascend upland on wide stairways and glass elevators. Parking is hidden below ground, while a waterside public plaza draws visitors toward the waterfront.

Mixed-used Lighthouse Point combines 65,000 square feet of retail with a 175-room hotel, including a restaurant and entertainment area, plus a 12-story, 94,000-square-foot residential space, a workspace for local start-ups, and outdoor offerings, such as a beach that offers views of the New York Wheel.

From the 1860s to the 1960s, Lighthouse Point was the site of the U.S. Lighthouse Service Depot, the epicenter of lighthouse service operations in the United States. The development strives to preserve the site’s 19th-century character by integrating historic buildings, which are listed on both the State and National Register of Historic Places, into new retail, hotel, and residential development.

Ten years ago, NYCEDC selected Triangle Equities to develop the site, and construction on the $200 million project is expected to be complete in 2017. Brooklyn-based Garrison Architects is executing the design.

Collectively, these North Shore projects total over $1 billion in investment, Johnson explained, making them the largest group of projects on Staten Island. Key to their success is a network of waterfront esplanades, parkland, and planning initiatives that connect the neighborhoods of Tompkinsville, Stapleton, and St. George to each other and to their waterfronts.

After decades of decline, the industrial waterfront in nearby Stapleton is being developed as public space and opened up to new investment. The New Stapleton Waterfront Park is a six-acre green space with a central esplanade that draws pedestrians south from St. George and toward the water from Bay Street, the neighborhood’s main drag. The park is finished, while a tidal wetlands cove will be complete this summer. Phase two is set to begin later this year or early 2017.

The low-slung buildings along the waterfront belie Stapleton’s vibrant commercial past, although the opening of the Verrazano-Narrows Bridge in 1964 channeled development into the island’s interior, hastening the area’s decline. The U.S. Navy maintained a small base in the neighborhood; when it was decommissioned in 1995, no large-scale plans were enacted to stitch the neighborhood back to its shore.

Johnson calls Stapleton’s new open space one of “the most exciting” examples of projects that reconnect neighborhoods to their waterfronts. The park, in concert with NYC Planning’s Bay Street corridor revitalization, is central to spurring the neighborhood’s regeneration: The city is investing $130 million in public infrastructure connections, parks, road reconstruction, and other improvements. Connector streets that bring traffic from Bay Street are being refurbished to improve the flow of people from downtown to the water, two blocks away. The hope is that improvements to Stapleton and Tompkinsville’s main thoroughfare will promote mixed-use development.

One of those developments is URBY, a 900-unit apartment complex by Ironstate Development marketed to young people. The rental-only waterfront complex, designed by Amsterdam-based Concrete, boasts over 35,000 square feet of commercial space, including a cafe and a fancy bodega. The first phase—571 units—debuted February 2016.

To plan ongoing development, NYCEDC meets regularly with the Bay Street Local Advisory Committee, “the eyes and ears on the street,” said Emma Pfohman, senior project manager at NYCEDC. “People are still nervous about the influx of tourists, but most see investment on Staten Island as a good thing.” There are lingering concerns about how the projected increase in visitors will affect transit, although NYCEDC is working out logistics with agency partners like the NYC DOT.

To Johnson, it’s not clear if escalating development on the North Shore will set a precedent for urbanization elsewhere on the island, although he reflected on the intrinsic marketability of the location itself. “You’ve got this amazing free ferry that carries 22 million passengers per year, including two million tourists annually. That’s a lot of market exposure already.”

To the south though, one under-the-radar project is emphatically geared towards vigorous locals. Ocean Breeze Indoor Athletic Facility is located within a 110-acre South Beach park developed under former Mayor Bloomberg’s PlaNYC, an open-space initiative whose objective was to bring massive parks to every borough. Designed by New York–based Sage and Coombe for the NYC Parks Department, the 135,000-square-foot complex is in its final phase of construction, although the track has been open for events since last November. Like most major public works, the project was managed by the New York City Department of Design and Construction (DDC) from design to build. 

The facility is one of the most high-tech in the region: The six-lane, 200-meter, hydraulically banked track can convert to an eight-lane flat track for practices. The 2,500-seat arena boasts photo-sensor lighting control and a “cool” roof, which can be upgraded to accommodate photovoltaic technology, while fritted glass windows, superimposed with images of runners, flora, and fauna, double as sunscreens. The structure sits above one of the last patches of native coastal grassland on Staten Island to provide a natural buffer against storm surges.

Inland

At one historic site, stakeholders are working quickly to draw ferrygoing tourists inland.

In addition to their collaboration on Riverside Galleria, Studio V and Smith are creating a master plan for New York City’s only restored historic town, in the core of Staten Island. The plan will preserve and reuse Richmond Town’s existing structures, as well as add density to the site with new buildings. The hope is to create a destination within the city: “We describe the project as a little bit Williamsburg, Virginia, and a little bit Williamsburg, Brooklyn,” said Valgora. The nonprofit that administers the site would like to see food vendors, shops, and possibly a brewery, to draw out-of-towners and New Yorkers to a verdant living-history museum.

Two miles away, developers are giving seniors,  or “active adults,” in developer parlance, an opportunity to age in place.

By 2020, Staten Island’s senior population will reach 78,000, a 31-percent increase over today’s numbers, and by far the largest percentage increase of any borough, according to NYC Planning’s Staten Island division. In response to growing demand for senior living facilities, the Landmark Colony is a full-scale residential redevelopment of the 45-acre New York City Farm Colony, once a publicly owned home for the city’s indigent population where residents had to harvest vegetables to earn their keep. Today, the site is landmarked but in ruins, a magnet for graffiti artists and wildlife that roam over from the adjacent Staten Island Greenbelt. Local firm vengoechea + boyland architects (v + b) is transforming six of the site’s 11 buildings into residences with 350 units. A clubhouse with an outdoor swimming pool, retail, and a restaurant at the development’s periphery will round out the program. One structure will be preserved as a ruin.

On a recent site visit, the air was chlorophyll-saturated, deer roamed the property, and vines crept up inside Dutch farmhouse–style structures with gambrel roofs that were last occupied in the 1970s. v+b principal Pablo Vengoechea served as vice chair of the NYC Landmarks Preservation Commission, so v + b’s plans incorporate the contextual, adaptive reuse that the commission views favorably for landmarked, but deteriorated, structures: v + b intends to reuse fieldstone from some structures for new buildings, including residences styled after carriage houses, lofts, and cottages that  will be integrated into existing historic structures.

With seniors in mind, most entrances are at-grade, and few residences have true second stories, although many feature lofts that could double as guest bedrooms or as storage. (Residents with two-story homes will have the option to customize their homes with interior elevators.)

The landscape plan, executed in collaboration with New York–based Nancy Owens Studio, will keep the grounds lush and parklike, centered around an Olmstedian center green that references classic New York City park design. The landscape, a green core with a green periphery, complements a low-density development, principal Tim Boyland said. “We used half the allowable FAR for the site.”

Landmark Colony is now preparing for design development.

Although major projects nearing completion on the North Shore, and new developments taking shape inland and elsewhere, Staten Island is poised to maintain its status as New York City’s most bucolic borough for a long time to come. This, however, is no excuse for hardcore urbanites to do the Shuffle: Get on a bus, walk to the water, and take a look around.

 
Placeholder Alt Text

Streetcar Named BQX

New details emerge for the BQX, New York City's proposed waterfront streetcar route

At breakfast talk hosted by the Brooklyn Waterfront Research Center earlier this month, Harris Schechtman, national director of transit at Sam Schwartz Transportation Consultants, gave academics and members of the public a full run-down of plans for the Brooklyn-Queens Connector (BQX), a proposed waterfront streetcar link that would connect neighborhoods between Sunset Park, Brooklyn and Astoria, Queens.

The nonprofit Friends of the Brooklyn Queens Connector, a coalition of real estate investors, transportation planners, and development boosters, hired Sam Schwartz to develop the plan in December 2014. 14 months later, the mayor officially debuted the plan in his State of the City address. (Schechtman noted the "unprecedented" turnaround time from concept to debut.)

A New Yorker himself, Schechtman presented a case for the streetcar by confirming what most commuters observe every morning: Buses are feeders from the subway, while existing subway lines are overcrowded. Ferries, meanwhile, can only accommodate only 3,000 riders per day. The streetcar is a "Goldilocks solution," enthused Schechtman, who, prior to joining engineering firm Sam Schwartz in 2001, spent nearly 32 years at the MTA, including nine as the vice president of operations. The catenary-free, battery-powered streetcars can carry 175 passengers, compared to the Select Bus Service's (SBS) 100.

https://www.youtube.com/watch?v=22XH4-nNjlA

The route map that's circulating in the media is a "very and deliberately vague description of the route," explained Schechtman. "The BQX project is a project in motion." Even so, Schechtman was able to lay out some specifics: When it begins operations in 2023, the streetcar will glide along a 15 mile north-south route from Astoria to Sunset Park, with 30 stops, each about a half-mile apart. Exclusive lanes, where streetcars can travel at 12 miles per hour, will comprise about three-quarters of the route, while 15 percent of the tracks will feature a contiguous-with-the-roadway, "SBS-style" design, that will slow travel to 10 miles per hour. Trains will arrive five minutes during rush hour, and every ten minutes off-peak; Sam Schwartz estimates that daily ridership will reach 52,000 by 2035.

Schechtman had strong words for those who view streetcars, like the one in car-dependent Dallas that has 200 riders per day, as dinky tourist boondoggles. "The [streeetcars] that are failing are the ones that were failing when they went to the drawing board. These efforts give streetcars a bad name. The BQX is not a cute tourist attraction, but real transit that carries a helluva lot of people." The annual operating costs are estimated to be between $26 and $30 million, with $17 million in projected fare revenue.

With the MTA struggling to finance even basic capital improvements, where is there money for a new infrastructure project? The BQX is a NYC DOT project, and thus operates outside the MTA's purview. Its design relies on existing zoning, doesn't compete with other development priorities, and assumes a 3.5 percent growth in taxes that go to the city, according to Schechtman. The biggest cost will be the relocation of below-grade utilities.

According to Schechtman, the city hired an independent consultant to review the work and the consultant validated Sam Schwartz's findings. A third consultant is now reviewing the streetcar plans. "We offered the plan to the city on a silver platter," Schechtman explained. "We took an idea on no one's radar—and [dealt] with all the key issues and fatal flaws. The plan so powerfully supports the goals of the city; we said to the city, 'We are going to take that burden off of you, we invite you to take a look at our plan.'"

AN reached out the DOT and the Mayor's press office, but as of this time AN has not been able to confirm Schechtman's description of the planning and review process.

A highly skeptical crowd grilled Schechtman on specifics. How will the streetcar pass smoothly through bustling downtown Brooklyn? (There are fears that a dip inland towards Atlantic and Flatbush avenues will be a bottleneck.) Why build a new transit system in a floodplain? (The embedded tracks are more flood- and stormproof than other forms of transit.) This seems like a gentrification plan. (It is, although the line should benefit residents of waterfront NYCHA projects, too. The streetcar is intended to entice developers to build housing, which could be required to respond to newly-enacted zoning that mandates affordable housing construction along with market-rate development.) Will fares be cross-honored with the MTA? (We're working on it.)

The public input process has just begun: on May 9, a public meeting was held in Astoria, and on May 19, another meeting will be held in Red Hook. A draft of the final route should be ready by the end of this year. In the meantime, check out the Friends of the BQX's recently launched website for updates, project FAQs, and a spate of shiny new streetcar renderings.

Placeholder Alt Text

Strand Plan

New renderings, community vision revealed for WXY–designed Brooklyn Strand
Today, 40 stakeholders released the Brooklyn Strand Community Vision Plan, a set of recommendations for developing almost 50 acres of public space that links the Brooklyn Bridge to Downtown Brooklyn. The plan focuses on broadening connectivity along the corridor by making the space more attractive and pedestrian-friendly, and improving access to the waterfront between the Navy Yard, DUMBO, and Downtown Brooklyn. In 2014, Mayor de Blasio announced a set of plans to further catalyze the growth of downtown Brooklyn. One of these plans was the Brooklyn Strand, now a disjointed set of parks, greenways, and plazas bisected by highway feeder ramps that present wayfinding challenges even to seasoned New Yorkers. Since then, New York–based WXY Architecture + Urban Design has led not-for-profit local development corporation Downtown Brooklyn Partnership, Brooklyn Bridge Park, the Department of Parks and Recreation, the Department of Transportation, and over 250 community stakeholders through an intensive planning process to re-vision the Strand. Recommendations from the just-released community vision include enhancing non-car links between Borough Hall Park, Columbus Park, Korean War Veterans Memorial Plaza, Cadman Plaza, Commodore Barry Park, the Bridge Parks, and Trinity Park; a "Gateway to Brooklyn" adjacent to Brooklyn Bridge Park with a viewing platform; creating a permanent market at Anchorage Plaza; reopening the long-shuttered Brooklyn War Memorial to the public; broadening access to Commodore Barry Park; widening sidewalks; installing public art to animate under-utilized public space; realign Brooklyn-Queens Expressway (BQE) ramps to make the pedestrian experience less alienating. “The Brooklyn Strand Community Vision Plan is an exciting and ambitious effort to reconnect Downtown Brooklyn’s historic neighborhoods to each other, reinvigorate open space and improve access to the waterfront,” proclaimed New York City Economic Development Corporation (NYCEDC) president Maria Torres-Springer. “The Plan is the result of an extensive and collaborative community engagement process, and it provides a promising roadmap to the future for this historic business district. At NYCEDC, we look forward to continuing our work with the Downtown Brooklyn Partnership, community stakeholders and elected leaders, and to making the reinvigoration of the Brooklyn Strand a reality.”
Placeholder Alt Text

Join us!

10 Must-See Events at NYCxDESIGN
The Architect's Newspaper's editors are involved with quite a few of the fantastic events happening during NYCxDesign from May 6-17. Here are the can't-miss happenings to add to your calendar if you will be in New York for design week! BKLYN Designs What: In addition to showcasing new furniture and accessory designs, BKLYN designs will also be hosting more than 30 sessions of panel discussions, workshops, demos and more that include tastings and walking tours. When: May 6-8, 2016 Where: Brooklyn Expo Center, Greenpoint, Brooklyn, NY May 7, 2pm - Design and Fabrication Methods in Interactive Architecture The Architect's Newspaper's (A|N) Senior Editor Matt Shaw and three Brooklyn-based fabricators discuss the latest in fabrication methods that integrate digital, interactive, and social media technologies. Frieze New York What: Frieze takes place on Randall's island as one of the world's top contemporary art fairs with brand-new installations and pieces by well-known and up-and-coming artists. Sit down with an AN Interior issue in the Frieze Reading Room! When: May 5-8, 2016 Where: Randall's Island Park, New York, NY Wanted Design What: For the second year in a row Wanted Design spans two boroughs with locations at the landmark Terminal Stores building on 11th Avenue in Chelsea as well as Industry City, which has quickly become a hub for designers and architects in Brooklyn.| When: May 7-17, 2016 Where: Brooklyn, Sunset Park, 220 36th Street, Brooklyn, NY When: May 13-16, 2016 Where: New York, Terminal Stores, 269 11th Avenue AN Cocktail Crawl What: Join A|Ndesignjunction + Dwell on Design and multiple showrooms in the Flatiron District for a night of cocktails and design! Smuttynose Brewing Company kindly providing their craft beer at each stop along the way! Register here. When: May 11, 2016, 6:30-8:30pm Where: Flatiron District, CLICK FOR MAP designjunction + Dwell on Design What: Debuting this year at the ArtBeam warehouse space in Chelsea, the UK's leading design exhibition will provide a pop-up workspace by WeWork and a cafe featuring new designs from Muuto and Vitra. Additionally they are hosting speakers including Caroline Baumann, director of the Cooper Hewitt, Smithsonian Design Museums, architects Matthias Hollwich of HWKN, and Dong-Pink Wong and Oana Stanescu of Family, just to name a few. When: May 13-15, 2016 Where: ArtBeam 540 W 21st St, New York, NY RSVP HERE for 50% off: DESIGNJUNCTION May 13, 8:30am-10:00am, RIBA Breakfast The Architect's Newspaper and RIBA USA New Chapter are hosting an 'Architects Breakfast.' The breakfast begins with a presentation by special guest speaker Kai-Uwe Bergmann, partner at BIG Architects. RSVP Here ICFF What: This year marks the 28th annual ICFF, America's largest luxury furniture trade show. There are 165,000 square feet of new designs that will be attended by over 33,000 interior designers, architects, retailers, and more. When: May 14-17, 2016 Where: Javits Center, New York, NY May 14, 2:00pm-4:00pm Join A|N editors and Fermob designer Tristan Lohner for an afternoon pick-me-up at Fermob's booth #2010. Register here. May 14, 3:00pm-4:00pm - Design: The Architecture of Storytelling Olivia Martin, A|N Managing Editor, joins Michael Shvo of 125 Greenwich Street & Alex Mustonen of Snarkitecture in a discussion covering the space between design and architecture, exploring the boundaries of each discipline. May 17, 11:00am-12:00pm - Architectural Interiors Today Matt Shaw, A|N Senior Editor, brings Dan Wood, Principal, WORKac, Eva Franch i Gilabert of Storefront/OfficeUS, Florian Idenburg of SO-IL, and Bryan Young of Young Projects to ICFF to share their experience manipulating volume, texture, structure, and materials to create inspirational spaces that bridge the gap between architecture and interiors. Seaport Culture District Downtown Dialogues: Arup SoundLab What: Matt Shaw will in conversation with Raj Patel, Principal, Global Leader Acoustics at Arup. The conversation is part of a series of one-on-one discussions between design-oriented professionals based in lower manhattan and respected design journalists are being held at the Seaport district during design week that are open to the public. When: Monday, May 16th 2016 Where: Seaport Studios - Floor 2, 6:30pm-8:00pm
Placeholder Alt Text

Common Ground

P.R.O. Public Practice exhibit at the NYIT Old Westbury campus closes this weekend
For design and architecture enthusiasts in the New York City area and Long Island, it’s your last chance to see the architecture exhibition Public Practice at the New York Institute of Technology (NYIT) Old Westbury campus before it closes after May 1. The solo show features models and drawings by Brooklyn-based architecture firm, Peterson Rich Office, also known as P.R.O. The exhibit is hosted in the NYIT architecture gallery and holds six P.R.O. conceptual projects that the firm created over the past four years. P.R.O. co-founders Miriam Peterson and Nathan Rich are visiting professors at the university. The school invited them to produce both an exhibit as well as a lecture under the theme of public practice. The projects address design in the context of small public spaces and propose temporary and adaptable installations for parks, sidewalks, plazas, and more. The concepts are “experiments in public space: quick, small-scale design exercises that engage issues related to the public realm in and around New York City,” explained Nathan Rich. “Each proposal is adaptable to multiple sites, and intended to generate dialogue about public space within its built context. They address specific urban conditions, but could be installed in a wide variety of spaces.” The six P.R.O. projects all feature two renderings as well as a ¼ scale 3D printed model. The models rest on mirrored tables “that reflect the public space around our designs, inviting viewers to consider how they might be a part of the work,” said Rich. There’s Stoop (2016) that considers the stoop as means of transition between public and private space along New York City Housing Authority (NYCHA) fences. “The stoop, a common space for interaction, is precisely the mediator between the public and private realms that is lacking in NYCHA campus planning,” Rich said. “At a time when affordable housing is very much in the public discourse, we decided to use this familiar form to think about how we can chip away at the edges of public housing superblocks, and start to think about integrating them back into the urban fabric.” There’s also Brooklyn Cloud (2012), conceived as a temporary traveling exhibit for downtown Brooklyn spaces that cannot be developed. “As a reaction against the static, sculptural designs that are more typical of architectural installations in public spaces, we conceived of this installation as a series of white air dancers: nylon tubes powered by high velocity fans.”
Placeholder Alt Text

Brooklyn's Landmarks Preservation Commission has given the green light

Brooklyn’s first skyscraper over 1,000 feet given approval
Late last year, AN picked up a trail that SHoP Architects were planning a "super skinny supertall" skyscraper set for 9 DeKalb Avenue in Brooklyn. Now, the project has finally gathered some momentum: it's been granted approval from the Landmarks Preservation Commission (LPC). According to 6sqft, the LPC showered the project, which is being back by Michael Stern’s JDS Development and the Chetrit Group, with compliments. They reportedly described the project as “flawless” and “enlightened urbanism at its best.” Developers had to tread carefully, considering the proximity of the skyscraper to one of Brooklyn's historic architectural treasures. Occupied most recently by JP Morgan, the development is giving the landmarked Classical Revivalist Dime Savings Bank a new breath of life. In doing so, developers will turn the hall into a public and retail space and restore the lavish interior decor and ornate exterior marble facade. The LPC were inclined to comment that the restoration “improved the vision of this historic landmark” with one commissioning member remarking that it was "similar to the Parthenon sitting on the Acropolis.” You can find SHoP's LPC presentation here. To accommodate the skyscraper, which will sit adjacent the Beaux-Arts banking hall, developers are also asking for two local low-rise buildings to be demolished to make way. If (or rather when) realized, the skyscraper will be the boroughs first 1,000+ in height, rising to 73 stories high topping out at 1,066 feet. Hexagonal forms can be found throughout tower as an homage to the footprint of its neighbor. Gregg Pasquarelli of SHoP Architects reportedly said how they wanted to put forward a different tower design compared to the slab-like high-rises also going up around the area. Subsequently, the skyscraper's facade at street level aims to evoke the fluted ionic columns of the Bank through reflective glass fenestration with bronze mullions alongside white marble columns. As the tower stretches upward, the bronze ribbons join grey spandrel and vision glass panelling. Here black metal is employed in a similar, linear fashion running up the building's facade. Set to be complete by 2019, SHoP's Brooklyn high-rise will house around 500 apartments, all available to rent. In this selection, a range of luxury condos will be thrown in while 20 percent will be kept below the market rate.
Placeholder Alt Text

Salt Shed: In Praise of the Urban Object
WXY and Dattner Architects' Spring Street Salt Shed joins a select few buildings in New York City that can be considered estranged urban objects as much as architecture.
Field Condition
The city consists of a multitude of architectural and infrastructural objects. We tend to resist the description of “object,” for we typically find that the life of urbanity comes from events, not blunt material things. It is through programmatic activities that we experience the vibrancy of human occupancy that lends quality to the experience of the city. These activities come so much to the fore that architecture often drifts into a backdrop experienced in a habitual state of distraction. In a city such as New York, architecture is often only noticed by someone unaccustomed to it—the tourist—or when a change in demolition or construction reconfigures it. Even so, these changes usually amount to new amenities, new restaurants, new residences, new offices; changes that fit comfortably within the set of activities of the city, and after a brief period of acclimation settle into the background again. But not all urban structures are so easily assimilated. There are a collection of buildings in the city that always strike one as other, as something not easily reduced to the events of inhabitation. I define these as objects, for these structures maintain their objecthood over a longer period of time than other buildings. Two examples in downtown Manhattan that testify to this quality are the Brooklyn–Battery Tunnel Ventilation building and the lower west side’s new Salt Shed. Even though I know the nominal usage for these structures (for air exhaust and salt storage respectively), I don’t know how I can use them. I cannot enter these structures, physically, visually, or even conceptually, for in a way they are buildings that are not for people, their function is on a different scale of material organization. As such, these buildings remain objects that resist reduction to the relations of human events.
Albert Vecerka / Esto
This “objectness” can often be viewed negatively as these constructions do not in themselves provide any activities for urban street life. I would like to argue otherwise. The positive appreciation of a city should not be reducible to the amount of people on a street, to the amount of restaurants, to the amount of shopping, to the price per square foot of commercial exchange. This reduction of the city to commerce is one of the underlying drivers of how urban success is measured. Manhattan real estate crossed one trillion dollars in worth recently, and this number seems to attest to the strength and vibrancy of the city. Stone, glass, and concrete disappear into an abstraction of economic data. The reader may now quickly suggest that the Brooklyn–Battery Tunnel Ventilation building and the Salt Shed are nothing if not gigantic components in the economic engine allowing car traffic to access the densest part of the city and continue to function during inclement weather. This is, of course, correct regarding the functional necessity of these buildings. But, this is not the crux of the argument. When I walk past Battery Park, the ventilation building always strikes me. Why? It is not a beautiful building; it is not even that interesting as an architectural design, so why does it hit me? One reason: It is a freestanding building with no windows. This makes me think, ‘what the hell is going on in there?’ The absence of aperture suggests that this thing may not be for human inhabitation. It is the following condition where things get interesting.
Field Condition
The elongated intensification of attention that the exhaust building created forces me to look at all of the buildings nearby differently. They leap out of their background for a moment, and become exactly what they are, aesthetic objects in the city. And during this experience I see the city for the material fact that it is. This is what a successful urban object can do. It disturbs, or estranges, the background of reality for a moment and allows an engagement with the city in an alternate matter. Without moments like this, the city quickly becomes a habitually consumed image, smoothly operating as a backdrop for tourism, domesticity, labor, consumption, and investment. This is why I quite like the new Salt Shed. The first time I saw it I had the reaction of “What the hell is this?” Yes, it does have a striking form of faceted geometry and a raw exposed concrete surface that speaks a language of difference in relation to its context. But, as important as these formal and material aspects are for the architecture, they are doubled when I realized that I could see no doors or windows, no exterior indication of interior use, the appearance of a single solid mass. I have no idea if this structure serves its function successfully. (I hope it does, for I would like it to stay). I also have no idea about the symbolic associations desired by the architects. My interest in the building is not to be found in these explanations of functional or cultural meaning. Instead its strength is similar to the best aesthetic abstractions; it resists interpretation and obscures easy understandings. When you see it, you don’t know what to do with it. It forces you to look at it longer, more intensely, differently. This aesthetic shift offers a re-engagement with the city in its vicinity, it pushes the background to the fore for a moment and allows one to consider just how abstract and artificial the construct of “the city” as material reality actually is. It is in these moments that the aesthetics of the city come alive, which is quite a wonderful gift to the City of New York.