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Nature, Nurture, Nouveau

The Cooper Hewitt's 2019 Design Triennial will tackle climate change
The Cooper Hewitt’s sixth Design Triennial will look at ways to radically redress the climate crisis. The Manhattan museum has enlisted designers, scientists, environmentalists, and local stakeholders to present over 60 works that tackle how humans can fix their climate mistakes and harmonize with nature. Nature—Cooper Hewitt Design Triennial, co-organized by the Cooper Hewitt and Cube design museum in Kerkrade, Netherlands, will put large-scale sculptures, virtual reality installations, extinct scents, and more on display from May 10 through January 20, 2020. “With 2018 the Earth’s fourth-warmest year on record and global carbon emissions at an all-time high, the crisis of human-caused climate change has never been more dire,” said Cooper Hewitt director Caroline Baumann. “Solutions will not emerge without radical new thinking and alliances. Nature brings together some of the most creative and intelligent designers whose works address our complex relationship to nature and its precious resources and advocate for greater empathy for our planet.” Nature is organized in seven categories for understanding how designers can work with, and around, the natural world to benefit both the environment and humanity. "Understand" celebrates the fusion of scientific knowledge with design, and the pursuit of understanding the natural world. In Curiosity Cloud, courtesy of the Vienna-based design studio Mischer’Traxler, patrons can walk through a cloud of light bulbs, each containing a handcrafted model of an insect native to New York City. The models will flutter to life in response to movement. "Simulate" focuses on biomimicry, the borrowing of techniques and structures from nature in architecture and design. In Resurrecting the Sublime, museum-goers can sniff long-extinct flowers, their scents recreated Jurrasic Park–style from DNA extracted from specimens at the Harvard University Herbaria. "Salvage" is less about nature itself and more about how humans can reclaim their waste, making new goods and products from our mountains of garbage. In Shahar Livne’s Metamorphism, the conceptual material designer imagines a future in which ocean-faring plastic is collected and recycled back into a useable product. Livne will also present “Lithoplast," a composite material made from discarded plastics that form the basis of this conceptual economy. In "Facilitate," designers worked with and around the forces of nature and growth. Xu Tiantian, of the Beijing-based DnA_Design and Architecture, will present Bamboo Theater. The theater, set in a remote, rural Chinese village, bends live bamboo to form an outdoor theater and invites villagers to tend to the piece of living infrastructure. "Augment" references nature’s ever-evolving, ever-advancing character, with projects that use science to push the boundaries of the natural world. MIT’s Neri Oxman and the Mediated Matter Group will present Aguahoja, a 3-D-printed pavilion built from a blend of plant cellulose and chitosan (a sugar extracted from invertebrate shells), in the museum’s Great Hall. Aguahoja represents the continued evolution of Oxman’s adaptations of natural materials and patterns with computational design and advanced fabrication. "Remediate" prompted designers and artists to think about how humanity can slow, stop, and even reverse the deleterious impacts of modern society. In Monarch Sanctuary, which comes courtesy of the New York-based Terreform ONE, a section of a monarch butterfly incubator-slash-facade will be on display. The Monarch butterfly population has been ravaged by climate change and habitat loss in recent years, and the full-scale variegated facade mockup will contain live butterflies that will periodically be released to fly around the exhibition space. Finally, "Nurture" asks viewers and designers to reinterpret humanity’s relationship with nature, and to reach a place of respect instead of dismissal. In The Substitute, Alexandra Daisy Ginsberg will confine an artificially intelligent digital recreation of the extinct northern white rhino to one of the museum’s hallways, where it will gradually refine its movement over time to become more lifelike. Ginsberg’s work questions the role that science plays in preservation—researchers are currently working to revive the white rhno through preserved cell cultures and genetic manipulation—at a time when science increasingly usurps the primacy of social awareness in preservation. Nature’s installations won’t be confined to the floors of the Cooper Hewitt; two large-scale, site-specific installations are coming to the Arthur Ross Terrace and Garden. Sam Van Aken’s Tree of 40 Fruit, which grafts 40 different types of stone fruit branches to one monster hybrid tree, will join Ensamble Studio’s 40-foot-long Petrified River, a concrete river that “flows” from a mountain peak and into a flattened, urbanized landscape. To commemorate the triennial, the Cooper Hewitt will also be releasing a 240-page book of essays, renderings, and deep dives into the science behind each installation. Nature: Collaborations in Design: Cooper Hewitt Design Triennial will be available for purchase on May 21.
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X Marks the Spot

Reddymade tricks the eye with a heart pavilion in Times Square
The winner of the eleventh annual Times Square Valentine Heart Design competition has officially risen, bringing an 18-foot-tall aluminum chapel to Midtown Manhattan just in time for Valentine’s Day. X was designed by Manhattan’s own Reddymade as a nod to Times Square’s status as a crossroads as well as the area’s sordid and seedy past. Two towering slabs of offset aluminum, each with a hole cut in the middle, have been overlaid to create a heart that appears and vanishes as visitors change their viewpoints. The installation itself seems to “kiss," and even allows love-struck passersby to venture beneath the arch for a romantic experience. "One of the things we’ve learned over the years about public art in Times Square is that ideally it should operate on many different levels and have a multitude of meanings,” Tim Tompkins, president of Times Square Arts, told AN. “X alludes to Times Square as an X-shaped intersection. It’s also the symbol of a kiss and a nod to the neighborhood’s XXX history. Most relevant today, it’s the mark we make to vote, representing democracy and freedom of choice for the individual.” X was installed on February 1 and will remain on view until the end of February. AN braved the cold to tour the illuminated pavilion (but unfortunately didn’t manage to document any engagements, unlike our visit to last year’s Aranda\Lasch + Marcelo Coelho–designed Window to the Heart). The winning design for X beat out entries from Agency-Agency, Buro Koray Duman, Isometric Studio, N H D M, Only If Architecture, Splice Design, and STUDIO 397 in an invite-only design competition curated by the AIA New York. The Center for Architecture hosted an exhibition that spotlit all of the contest’s proposals until November 2, 2018, the first time the AIA has put the non-winning designs on display.
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By Jennifer Egan

James Corner Field Operations is bringing a public beach to Manhattan
The Hudson River Park Trust has announced Manhattan’s first public beach. The nonprofit group has tapped James Corner Field Operations (JCFO) to transform the disused Gansevoort Peninsula (the site of the old salt shed) into a 5.5-acre park and beach in the Hudson River. The jagged track of land sits just west of the Whitney Museum, at the southern terminus of another JCFO project, the High Line. The renovation will turn the vacant plot into a public park, complete with a beach—though the Trust admits that it won’t be open for swimming, likely because of the Hudson’s poor water quality. The new park will also be a buffer for storm surges and flooding and will be the largest green space in the entire Hudson River Park once complete. Gansevoort Peninsula sits adjacent to where artist David Hammons’ ethereal recreation of the demolished Pier 52Day’s End, will rise in stainless steel, and the Trust has pledged that the work will be integrated into the future park. That’s not all—the Trust is overseeing a suite of new projects up and down the western coast of Manhattan. Pier 55, the Thomas Heatherwick and Mathews Nielsen Landscape Architects–designed island—park financed by billionaire Barry Diller—is rising just north of Day’s End on top of sculptural concrete caps. Down the coast is the ongoing $30 million renovation of Pier 26, which OLIN is transforming into an ecology center. Rafael Viñoly Architects is also building a two-story education center nearby. So far, $152 million has already been raised for the Trust's combined projects via air rights sales, and private, state, and city funding will be used to reach the required $900 million. The Trust will be soliciting feedback from the public and Community Board 2 before finalizing the revamped Gansevoort Peninsula's design and beginning construction in 2020. If everything goes as planned, the park and beach are slated to open in 2022.
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The co-ops are alright

Co-op City celebrates 50 years of affordable housing in the Bronx
Off I-95 in the northern Bronx, just past the swamps at the mouth of the Hutchinson River and the paved paradise at Bay Plaza mall, arise 35 massive, brick and concrete tower blocks. Most residences nearby are single-family, but Co-op City's 24-story towers shoot out of the ground like sore, red-brick thumbs. But, as out of place as they seem, there are many similar complexes all around New York City and the rest of the country: Stuyvesant Town by the East Village, Riverton Square in Harlem, and the gone-but-never-forgotten Pruitt-Igoe projects of St. Louis. According to Adam Tanaka, a New York–based urbanist who studied these Bronx housing blocks for his Harvard graduate dissertation, Co-op City is the country's largest and most successful cooperative living facility. Many of its 35,000 residents have been living in them since they opened 50 years ago. In a mini-documentary published with CityLab, entitled "City in a City," Tanaka interviewed residents, building managers, representatives, and others involved in the conception of the towers to understand what makes these buildings so successful compared to other projects. On top of interviews and historical analysis, documentary footage shows what life at Co-op City is like. During most weekends of fair weather, tenants and local merchants buy and sell art and food, local musicians perform while residents dance, and children play on the swing sets. Wildlife even has a large presence there: residents have reported seeing deer. What is so special about Co-op City that allows for beautiful scenes like this to be the norm? Tanaka suggests the towers owe their success not to the City of New York, nor to any federally-funded programs, but to their fellow resident, architects, and the coalition of labor unions responsible for the towers’ development. The documentary highlights several of the complex's relatively unique features: a ban on market-rate apartment resale, permanent rent control (which was established in the early '70s after the state tried to increase rents for Co-op City’s tenants), affordable down payments, an elected representative board, self-funded maintenance, and a racially, culturally, and financially diverse group of tenants. But architectural features like larger-than-average apartments with grand windows and ample living and storage space, as well as multiple communal parks and green spaces—all of which was designed by architect Herman J. Jessor, inspired by Le Corbusier’s Villes Radieuse and Contemporain—play major roles, as well. In the documentary, Alena Powell, a resident of Co-op City since 1973, said a friend from the Upper East Side “was amazed because [Powell’s] living room could hold her [friend's] living room and kitchen all together.” Powell also “likes the fact that [she’s] not on top of other people as if [she] was living in Manhattan.” Other residents remark about how “spacious” the apartments are, and how they love the consistent natural light. Pleasing as they may be for many who live there, the Co-op City buildings were (and are) not without criticism. According to an article in Curbed by historian James Nevius, the Co-op City buildings stand as a testament to the ethics of erasing "slums," and to the power of the infamous Robert Moses, whose "bulldoze it" approach to entire neighborhoods is a highly-debated matter, to say the least. During construction in the early 1970s, many rallied against the design and construction of the towers, citing the cheap and unpleasing exterior. Nevius cites Jane Jacobs, who stated they were “truly marvels of dullness and regimentation, sealed against any buoyancy or vitality of city life.” Nevius also references criticisms by the AIA: "Similarly, the American Institute of Architects complained that 'the spirits of the tenants' at Co-op City 'would be dampened and deadened by the paucity of their environment.'" However, many in Tanaka's documentary do not share those opinions and come to the towers' defense. Ken Wray, former executive director of the United Housing Federation, says “the aesthetic was ‘Why waste money on the outside of the building?’ You don’t live on the outside of the building…People driving by might think it’s ugly but people who live there know what [the apartments] look like.” Often overlooked, too, is a sprawling meadow laced among the buildings. According to Nevius, over 80 percent of Co-op City's footprint is dedicated to landscaping: grass and trees with play structures, courts, benches, and market stands on the perimeter. For the people who use these daily, these are helpful amenities that similar developments do not have. Co-op City raises questions about the emphasis on policy or architecture, about interior design versus exterior, about the house and the outdoors, and about ownership and citizenship. Regardless of where one lands on these issues, there's something to be learned from these 35 towers in the Bronx.
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The King of Co-Living

European co-living developer plans big entrance into U.S. market
Quarters, a major European co-living company, plans to invest $300 million toward building new developments across the United States and becoming the nation’s largest co-living operator by 2022, according to an article in Curbed. Millennials are the primary target demographic for the co-living industry. Due to financial issues and their tendency to lead nomadic lifestyles, young adults are typically the most interested in shared housing spaces. By offering pre-furnished bedrooms, shared common spaces, and amenities such as 24/7 laundry access, cleaning services, Wi-Fi, and community events, co-living companies like Quarters want to provide Millennials with more affordable access to increasingly overpriced, metropolitan neighborhoods. Quarters’s $300 million expansion deal was made possible by a $1.1 billion fundraiser led by its parent company, Medici Living. Medici’s goal is to buy and build up to 35 co-living facilities throughout Europe, and over 1,300 new residential units in the U.S. within the next three years, according to Curbed. The Berlin-based company already operates co-living spaces in New York City and Chicago, but it plans on expanding its footprint to cities like Boston, Denver, Los Angeles, Philadelphia, San Diego, and Seattle—all of which are teaming with millennials and startup activity. Residential projects at these sites could house between 100 and 300 people, while new spaces in New York could hold up to 500. Like Quarters, other co-living firms have upped their ambition, diverting their attention away from small group homes to focus on large-scale high-rises. WeWork, the massive, New York-based co-working company, recently unveiled "WeLive," its latest co-living project with its first apartment building located at 110 Wall Street in Manhattan. The Manhattan high-rise, whose private studios start at $3,050 a month, offers apartment dwellers flexible leasing, access to fitness classes, cleaning and laundry services, potluck dinners, and a digital social network, all conveniently accessed through a mobile app. According to Curbed, WeLive, if successful, plans to eventually house 600 people throughout the 20 floors of the Lower Manhattan high-rise, as well as build more developments in other major U.S. cities. While co-living is not a new or innovative concept, companies like Quarters and WeWork have transformed it into a business model to take advantage of the fluctuating economy and provide young adults with a service that can make city living more affordable and hospitable.
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Archtivism

Weekend edition: Architecture, activism, and more
Missed some of this week’s architecture news, or our tweets and Facebook posts from the last few days? Don’t sweat it—we’ve gathered the week’s must-read stories right here. Enjoy! The Senate starts its search for a new Architect of the Capitol The Senate Rules and Administration Committee will find three candidates to recommend to President Trump ahead of an official decision. Hastings Pier, winner of the 2017 Stirling Prize, is at the center of heated public battle Locals are livid over the behind-the-scenes decision to shut down Hastings Pier in East Sussex, England, by its flashy new owner. New York City releases surprise plan to bury and rebuild East River Park The city’s latest proposal calls for burying the existing East River Park under 10 feet of landfill and building a new one from scratch. Architecture collective joins activists to protest luxury towers on New York’s Lower East Side An association of architects known as citygroup joined local activists to oppose a series of luxury towers transforming Manhattan’s Lower East Side. Over 80 architect-activists join Women’s March on NYC At Saturday's Women's March on NYC dozens of architects, engineers, and construction professionals marched for more gender equity. Have a great weekend!
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No Towers, No Comprise

Architecture collective joins activists to protest luxury towers on New York's Lower East Side
One Manhattan Square, an 800-foot-tall glass tower in Manhattan’s Lower East Side, is at the center of a grassroots battle against displacement. Designed by Adamson Associates, the Extell Developmentbacked skyscraper threatens to push out throngs of immigrants and longtime local residents who call the area home. It’s a common story found in the ever-evolving city, but this particular narrative possesses one distinct difference: It’s location. Since much of New York’s luxury residential building boom has focused on expanding Hudson Yards, buffing up Billionaires’ Row, and readying Long Island City for Amazon’s HQ2, the Lower East Side has been somewhat unaffected by such large-scale development. Until now. A series of sky-high apartment buildings, starting with the nearly-complete One Manhattan Square (also called Extell Tower), is slated to dot the Lower East Side waterfront enclave known as Two Bridges. Four planned towers are in the works, although One Manhattan square is the only one currently under construction. The surrounding community is predominantly composed of Chinese immigrants and working-class people, a major reason why the city designated the neighborhood a Large-Scale Residential Development (LSRD) area in 1972, which protects and promotes affordable and mixed-income housing for residents. According to Zishun Ning, leader of the Coalition to Protect Chinatown and the Lower East Side, the proposed high-end projects violate the LSRD, which requires that all new developments secure approval from the City Planning Commission or receive special permits through the Uniform Land Use Review Procedure (ULURP) process. Ning argued the city's decision to move forward with the Two Bridges development is therefore illegal, and indicative of discrimination from the mayoral administration. Not only is it politically fraught, according to Ning, it's socially irresponsible. The towers are situated within a three-block radius of each other and will sit near NYCHA housing. One will cantilever over an existing senior center and another, One Manhattan Square, will feature a “poor door,” as the coalition calls it, for the building’s affordable housing residents.   Yesterday a slew of protestors gathered at the 80-story tower and marched to City Hall in opposition to the plan. Ning said the day’s event, officially titled the March to Reclaim the City, was the coalition’s latest attempt to get Mayor de Blasio’s attention. “We’re not against development,” Ning said, “we just want some regulation and future development that fits our community.” Last fall the group submitted an alternative proposal to the commission in which the neighborhood could be rezoned for more appropriate use. They integrated height restrictions on new construction and called for 100 percent affordable housing on public land. Ning said their efforts were ignored, and in early December, the commission approved a special building permit submitted by the developers. The commission said the projects only presented a “minor modification” to Two Bridges’ zoning law and that a full Uniform Land Use Review Procedure (ULURP) process would not be required. “It’s evident that racism plays into the city’s zoning policies,” said Ning. “They rezone communities of colors for the interests of developers. We call out the city’s illegal approval, along with Mayor de Blasio’s collusion with developers to approve these towers and deny our plan that came out of a democratic process. We want to reclaim our democracy and control as a community.” History has seen many local working groups stand up against giant developers and influential politicians, but, according to Ning, there needs to be more support from area architects to help such groups envision a bigger, more inclusive picture for their neighborhoods. A new collective of aspiring architects and non-architects interested in the field, citygroup, wants to do just that. The organization aims to become a young social and political voice for the architecture industry. Members gather periodically for informal debates on serious topics like the need for affordable housing in New York, the nature of architectural expertise, and architects’ tricky relationship with real estate developers. The group's inaugural exhibition, set up inside its new space on the Lower East Side, details various visions of One Manhattan Square that imagine a more useful development for the local community. “We wanted to rethink the Extell Tower as something that isn’t as foreign to this neighborhood as it is now,” said Michael Robinson Cohen of citygroup. “It’s built on a plinth and houses mostly luxury apartments. We asked ourselves, How could we recreate the tower for different uses or for a diverse group of inhabitants?”   The exhibition centers on a series of 21 drawings done by different citygroup members. These individual visions, expressed within the confines of the building’s plan, feature different ways to reuse the tower’s 1.2 million square feet of space. Some pictured it as pure parkland, others cut it up into a grid of 3-meter-by-3-meter apartments. One strips away the idea that a housing complex must cater to the traditional single-family home by creating personally-designed apartments outfitted for everyone from single moms to yoga teachers, a Russian oligarch, a cat lady, and even a family of five. Thinking critically about megaprojects like One Manhattan Square, according to Robinson Cohen, allows architects to investigate the best ways for new developments to improve a community, instead of displacing residents and stripping away the character of a neighborhood. “Much like the coalition, we’re for challenging the tower, but are not against development in general,” he said. “Obviously, as architects, we want to build and it’s clear the city needs more housing, but to us it’s important to think about the people these developments serve.” To Ning, the architect’s mission isn’t far from that of the Coalition to Protect Chinatown and the Lower East Side. He says the two parties can work together to imagine developments that engage with local residents rather than taking away access to light and air. “We actually encourage architects to put their creativity into building things that benefit the community,” Ning said. “But in order for that to happen, we first need to fight the city.” A new lawsuit against the City was just brought on by the Lower East Side Organized Neighbors in opposition to the development. The Asian American Legal Defense and Education Fund (AALDEF) is slated to support with future litigation efforts. Until then, the City is still contending with another lawsuit calling for the towers to go through the ULURP process, initiated by City Council Speaker Corey Johnson last month. “These towers are just one piece of a bigger picture,” noted Ning. “If 3,000 units are added to the neighborhood, the demographics will change and the land value will rise. Harassment and eviction will escalate. This is happening all over New York City. It’s segregation, and it’s very visual.” Walk-throughs of citygroup’s exhibition are available upon request through early February at 104b Forsyth Street. Email group@citygroup.nyc for hours.
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Lower Manhattan Landfill

New York City releases surprise plan to bury and rebuild East River Park
Manhattan’s East River Park, home to sprawling fields, winding bike paths, and a landscaped promenade, was badly damaged when Hurricane Sandy tore through the city in 2012 and the Lower East Side flooded. Since then, New York City officials have been brainstorming ideas to protect the park, along with the remainder of Lower Manhattan, from rising seas. The city’s latest proposal calls for burying the existing East River Park under 10 feet of landfill, before building a new one from scratch, according to The New York Times. This differs from the original plan, which aimed to push back the flood walls from FDR Drive toward the East River along the water’s edge, shielding the highway and large swaths of the LES from rising floodwaters. The meticulously-thought-out design, which took over four years to assemble, was only the first link in a series of barriers around Lower Manhattan known as the “Big U.” In September 2018, with no community input and to the dismay of inner-city residents, the city announced that the entire plan was being rejected in favor of the new project. The new, $1.5 billion proposal is not only significantly more expensive than its $760 million predecessor, but it will also destroy all trees, plant life, and infrastructure that currently exists within East River Park. Both the park’s field house and running track, which was recently revamped at a cost of nearly $3 million, will be buried beneath the soil, while the fate of the site’s historic amphitheater remains unknown. The latest plans will preserve one thing in the area: traffic. To construct the Big U, the city would have had to shut down one lane of FDR Drive every night for five consecutive years. By burying the park with landfill and soil that is delivered by barge, the new plan will cause little to no traffic disruptions. According to the Times, while local residents feel as though they are not receiving a fair trade, Parks Department commissioner Mitchell J. Silver claimed that, with the East River expected to rise over two feet within the next 30 years, burying the existing park to build a more elevated one is the only way to save the land. The new plan is scheduled to launch in March 2020, with flood protection barriers implemented as soon as 2022, though local residents are still doubtful as to whether or not the city will complete the project on time due to its history of construction delays.
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Tragedy on the Job Site

Construction is N.Y.C.'s deadliest industry, according to annual reports
Construction is one of the most dangerous occupations, especially in New York City, home to some of the world’s tallest skyscrapers. While construction accidents are commonplace, statistics collected over the past ten years demonstrate that construction tops the charts as New York City’s most lethal industry, with more injuries reported last year than any other year following the post-recession building boom, as reported in the Commercial Observer. According to the Bureau of Labor Statistics, the number of construction-related deaths in New York City has remained steadily high over the past few years, with a slight decrease from 21 to 20 annual deaths in 2017. The most recent construction fatality, according to the New York City Department of Buildings (DOB), occurred in November 2018, when a worker was crushed by a forklift on the site of a six-story residential condo in Bedford-Stuyvesant, Brooklyn. One month prior, a worker repairing the facade of a 20-story co-op in Kips Bay, Manhattan, died after a fragment of the building collapsed on top of him. Despite these gruesome accounts, there are still incidents that have yet to be reported, as the DOB only tracks deaths related to a violation of the city’s construction code, rather than tracking all work-related injuries on the job site. There are at least a half-dozen more fatalities that occurred in 2018 than the 12 cases reported by the DOB, bringing the actual number closer to 20. Although the annual death toll has remained constant in recent years, construction accidents surged significantly in 2018. According to the DOB, 761 construction workers were injured last year, which is a 13 percent increase from the 671 incidents that were reported in 2017. Due to the elevated injury rates, the City Council has implemented a number of measures aimed at protecting construction workers and reduce accidents and deaths on job sites. Among them was a law passed in September 2017 mandating construction workers to attend at least 40 hours of safety training by September 2020. The rise in construction-related accidents since then may indicate that employers are not taking these safety precautions seriously, and that the city is not doing enough to protect construction workers from deadly mishaps.
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Interiors with Great Acoustics

A grandiose tour of Mexican architecture is coming to New York
Opulent interiors, delicate dances of light and shadow, and 600 years of Mexican history will soon go on display at Manhattan’s Sean Kelly Gallery. Candida Höfer—In Mexico will run from February 2 through March 16 and present large-format architectural photographs from German artist Candida Höfer. Höfer traveled to Mexico in 2015 as part of the Mexico-Germany Dual Year, a cultural and scientific exchange program between the two countries that showcased the partnership’s fruits in Mexico throughout 2016 and 2017. Höfer’s photographs, which took her across Mexico, are meticulously composed, ornate shots of grand halls, museums, palaces, and auditoriums, places of convergence that, in her series, are entirely empty. In a press release for the upcoming show, Höfer wrote that: “I realized that what people do in those places—and what the spaces do to them—is more obvious when nobody is present, just as an absent guest can often become the topic of conversation.” More than just large-scale photos of sweeping spaces, Candida Höfer—In Mexico will also put intimate aspects of each building on display as well. Light falling across a doorway, or hidden nooks, were captured by Höfer’s handheld camera and the fleeting instances stand in stark contrast to the much larger staged photographs. The photos are truly massive, each being at least 70 inches wide; by comparison, the more intimate photos will be presented as 16-and-9/16-inch-by-12-and-7/8-inch prints. While this is the first time Höfer’s Mexico series will be shown in New York, the show was previously on display in Mexico and the North Carolina Museum of Art.
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Chiseled Physique

Snøhetta's Upper West Side skyscraper may have its permits revoked
New York City’s Department of Buildings (DOB) has fired a shot across the bow of developer Extell Development over 50 West 66th Street, a Snøhetta-designed 775-foot-tall tower first revealed at the end of 2017. The 127-unit residential tower, which was first announced as a 262-foot-tall building in 2015, has used a contentious zoning tactic to boost the building’s height, and accordingly, the prices it can command. The middle of the tower includes a 160-foot-tall mechanical void that does not completely count towards the maximum floor area ratio (FAR) defined by the zoning code. While the Department of City Planning had claimed that it would close the loophole in the zoning code responsible for these so-called "towers on stilts" by the end of 2018, that deadline has come and gone. The city now expects to finalize their fix by the summer of 2019. Although the DOB had already greenlit construction at 50 West 66th Street, Manhattan Borough President Gale Brewer announced today that Extell has 15 days to go back the drawing board and remove the unnecessary height. If Extell doesn't, its construction permit would be revoked. “This is a victory not only for the Upper West Side, but for communities all over the city that find themselves outgunned by developers who try to bend or break zoning rules for massive private profit,” wrote Brewer in a statement. A number of Upper West Side residents and City Councilmember Helen Rosenthal have been outspoken opponents of the project, which, if built, would become the tallest building in the neighborhood. It remains to be seen if Brewer’s decision will carry a precedent for similar projects that have gained extra height by stacking their mechanical rooms—a tactic also employed by the piston-like Rafael Viñoly Architects-designed tower at 249 East 62nd Street.
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Post-Prattural

Pratt exhibition looks at architecture of the Anthropocene
A show now up at the Pratt Manhattan Gallery gathers the work of over 40 architects who have considered what architecture could look like in a future world where the built environment is no longer centered around humanity. In a statement, the show's organizers referred to this new era as the Anthropocene, when "humans have been fundamentally displaced from a place of privilege, philosophically as well as experientially, and Western civilization’s traditional distinctions between nature and culture have eroded." The show asks, "What new worlds, and what new concepts of nature and culture can art and design reveal that other modes of inquiry and knowledge cannot?" Ambiguous Territory: Architecture, Landscape, and the Postnatural, which opened last December and will be on view through February 7 was curated by Cathryn Dwyre, adjunct associate professor at Pratt Institute and principal of pneumastudio, Chris Perry, associate professor at Rensselaer Polytechnic Institute and principal of pneumastudio, David Salomon, assistant professor at Ithaca College, and Kathy Velikov, associate professor at the University of Michigan and principal of RVTR. The show was organized by the A. Alfred Taubman College of Architecture and Urban Planning, University of Michigan. Exhibitors include Ellie Abrons, Paula Gaetano Adi & Gustavo Crembil, amid.cero9, Amy Balkin, Philip Beesley, Ursula Biemann, The Bittertang Farm, Edward Burtynsky, Bradley Cantrell, Brian Davis, Design Earth, Mark Dion, Lindsey french, Formlessfinder, Adam Fure, Future Cities Lab, Michael Geffel, Geoarchitecture @ Westminster, Geofutures @ Rensselaer Architecture, Harrison Atelier, Cornelia Hesse-Honegger, Lisa Hirmer, Lydia Kallipoliti & Andreas Theodoridis, Perry Kulper, Sean Lally, Landing Studio, Lateral Office & LCLA, LiquidFactory, Meredith Miller & Thom Moran, NaJa & deOstos, NEMESTUDIO, Mark Nystrom, Office for Political Innovation, OMG, The Open Workshop, pneumastudio, Rachele Riley, Alexander Robinson, RVTR, Smout Allen, smudge studio, Neil Spiller, Terreform ONE, Unknown Fields, and Marina Zurkow.