Search results for "swa"

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Hyper Loop-The-Loops

Catch up on Elon Musk’s summer rollercoaster ride
Elon Musk has had a summer of ups and downs in 2018, even after putting aside all of the twists-and-turns of his personal life and turmoil at Tesla. In May, Musk announced that The Boring Company would be turning its excavated dirt and rock into bricks for low-cost housing. What started as an attempt to sell more Boring Company merchandise ala their flamethrower—in this case, “giant Lego bricks”—soon morphed into an unspecified commitment on Musk’s part to build future Boring Company offices from muck bricks. Future Hyperloop tunnels might be able to swap out concrete for the seismically-rated bricks, but they’re unlikely to lower affordable housing costs much; land and labor are the most expensive aspects of new construction. While The Boring Company hasn’t actually constructed much except for a short test tunnel in Hawthorne, Los Angeles, Musk scored a win when the City of Chicago chose the company to build a high-speed train route connecting the city's Loop to O’Hare International Airport. Or did they? After a lawsuit was filed against the city in mid-August by the Better Government Association (BGA), the city claimed that the plan was still “pre-decisional” and that no formal agreement had been struck yet. If the loop is ever built, The Boring Company would dig two tunnels under the city and connect Block 37 in the Loop to O’Hare. Electrically-driven pods, with capacity for up to 16 passengers, would arrive at a station every 30 seconds and complete a one-way trip in 12 minutes. There are still major concerns over the project’s feasibility and cost, as Musk had pledged that construction would take only one year if the company used currently non-existent (and unproven) tunneling technology. The project could cost up to $1 billion, which The Boring Company would pay for out of pocket and recoup by selling $20 to $25 tickets, advertising space, and merchandise. On Tesla’s end, problems with the company’s much-vaunted solar roof tiles have bubbled over. Production has slowed at Tesla’s Gigafactory 2 in Buffalo, New York, as equipment problems and aesthetic issues have prevented the factory from rolling out tiles on a large scale. Tesla is pledging that they can ramp up production at the state-owned factory by the end of 2018, as the company tries to fulfill the $1,000 preorders placed after the tiles’ reveal nearly two years ago. Not to let the end of summer slip by without one last announcement, Musk took to Twitter to release a Boring Company proposal for an underground “Dugout Loop” in L.A. Several conceptual designs were included for different routes between the Red Line subway and Dodgers Stadium that would use technology similar to what Musk has proposed in Chicago to ferry passengers along the 3.6-mile-long trip in only four minutes. It’s unlikely that the Dugout Loop will come to pass, as L.A. is already looking to realize a $125 million gondola system that could carry up to 5,000 passengers an hour. What the fall will bring for Musk, we can only guess.
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The Trolley Problem

New York’s BQX streetcar on hold as de Blasio appeals for federal funding
The saga of New York City’s proposed Brooklyn-Queens Connector (BQX) streetcar has taken yet another turn, as Mayor Bill de Blasio placed responsibility for funding the $2.5-billion project on the federal government. At an August 24 media roundtable, de Blasio dodged questions about how much the city would be contributing to the project and claimed that while a detailed BQX plan was incoming, federal subsidies were necessary to move things along. “When we have a more detailed plan we'll speak to it,” said de Blasio, “but the primary focus I have beyond the resources that would be created via its very existence because of increased property taxes for that area, is the need for federal support. I don't think it's doable without federal support, but we'll speak to the details.” It looks like the federal government is throttling back its investments in mass transit, as the Federal Transit Administration has been consistently decreasing the amount of money allocated to intra-city projects. Still, it might not be impossible for the city government to secure federal funds for the BQX; the Gateway rail tunnel between New York and New Jersey, long maligned by President Trump, has seen a consistent trickle of money through Congressional action. While the city still has yet to release a draft report of the BQX’s route, there has been no mention of changing the 2019 groundbreaking. The de Blasio administration was (and seemingly still is) shooting for a 2024 completion date, but even if funding is secured in time, the reconstruction of the decaying Brooklyn-Queens Expressway could alter any previously proposed route. De Blasio added that details on the BQX’s next steps would be forthcoming. “Figuring out how to do it is what we've been working on cause it is complex, we're going to have an announcement soon on the details. But, you know, bottom line is the original concept makes sense, we believe there will be some real funding created by its presence but, we're gonna need some additional support.” The nonprofit Friends of the BQX declined to comment.
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Digging Deeper

Amos Rex brings underground art and a lunar playscape to Helsinki
A pink gecko scuttles across a psychedelic digital landscape, deftly navigating a tangled maze of drifting butterflies, waddling alligators, and a pair of pensive whales passing below. Stepping on any creature will result in its explosive demise, yet simply navigating the trippy environment renders such destruction inevitable. This sort of high-tech super-nature is par for the course in Japanese art collective teamLab’s immersive exhibitions but a first for Helsinki, Finland—and Amos Rex, the new art museum hosting the group’s first show in the Nordic region. The five-year, $64-million Amos Rex project was carried out by local Finnish firm JKMM and supported largely by Konstsamfundet, the association behind the old Amos Rex Art Museum (RIP 1965–2017). The project involved both a $17-million facelift of Lasipalatsi, the "Glass Palace" built in central Helsinki in the 1930s by three Finnish architecture students for the 1940 Helsinki Olympics (which was postponed until 1952 due to the Second World War), as well as the construction of a new underground art museum particularly well-suited for new media and immersive installation art. Because Lasipalatsi was originally supposed to be temporary, its young designers received carte blanche, resulting in an ambitious Functionalist fun home that includes a cinema, restaurants, shops, and a backdoor public square surrounded by 19th-century neoclassical barracks. Almost destroyed in the 1980s but listed and restored in the 1990s when it reemerged with a glorious inner coat of pastels, the Glass Palace is a resilient building with a tumultuous past. JKMM have taken care to preserve much of this history, including its doors and windows, fitted furniture and movie seats, plus the first outdoor neon sign in Finland. The revitalized 550-seat art deco cinema and new film program will be the delight of many a cinephile, yet the most compelling aspect of Lasipalatsi—and where the old most energetically meets the new—is out back. Once the site of military parades, the historic public square has been transformed into a surreal lunar landscape, where a series of bulbous domes sporting large round windows now connects a veritable jungle gym of a plaza to an underground art hub. “I was sitting in a meeting a couple of weeks ago, when suddenly a man with a stroller appeared right outside the window of our second-floor office,” grins Timor Riitamaa, the head of communications and marketing at Amos Rex. “That was when I realized the park was open.” Positioned somewhere between alien topography and an ancient lifeform, the textured concrete playscape is a total hit in Helsinki. Sunbathers, selfie-snapping teens, Instagram influencers, romping children, and even daredevil parents can be seen ascending the five volcano-like protrusions to peer down into the subterranean art world below. Within the museum, sliding butts, squished noses and photography wars are now as common a view as the art, which unfurls in a columnless 24,000-square-foot gallery space. Building underground is never easy, and for JKMM it involved burrowing through nearly 140,000 square feet of hard bedrock found right underneath the city’s surface. Their approach was slow but steady—and went largely unnoticed. The square closed in 2015 so that the architects could carry out miniature controlled explosions, timed for every four minutes so the Helsinki Metro system could run undisturbed. It was a teeth-gritting exercise, but little of that angst can be felt from the ethereal white staircase connecting Lasipalatsi to the new museum lobby below. Descending the stairs, a generous view out onto the square framing Lasipalatsi’s old columns beside new sci-fi domes is swallowed up by a cloud of soft lighting. Designed by Finnish company Doctor Design, the textured ceiling of pleated fabric shades diffuses light through rows of flower-like pendants. Tightly bundled together in a way that floats between surrealism and Finnish National Romanticism, the lights are a clear nod to Lasipalatsi’s heritage. The ceiling flower field yields to two large tunnels ending in angled circular skylights that peer out onto the public plaza some 20 feet above. One offers a significant view out onto the staircase of the old theatre, while the second was framed by the tiny hands and faces of several miniature onlookers during my visit. Futuristic circular benches are positioned directly below, seemingly at the ready for sky-gazers. “We wanted the feeling of going underground to be as positive and light as possible,” says Kai Kartio, director of Amos Rex. “We had to go under, but our solution was to bring the museum upwards—you always have contact with daylight,” confirms Freja Stahlberg, the project architect. The extent of the sculptural skylights’ magnetic effect on the public square above was a delightful surprise for both architect and museum. Back below ground, Massless, the inaugural exhibition by teamLab, echoes the world-making imagination of the architects. Four immersive installations make full use of JKMM’s revolutionary modular museum layout, realized through an acoustic-disk ceiling made from perforated aluminum and a wooden gridded floor below which “data, air, and power all flow,” according to the architect. The museum’s high-tech fixtures meet their match in the 137 projectors, motion sensor technology, and eight miles of cables that make up teamLab’s digital multiverse. The exhibition consists of fan favorites like Graffiti Nature as well as Vortex of Light Particles, a site-specific piece that involves an inverted waterfall seemingly bent on sucking visitors into an Anish Kapoor-like black hole that inhabits the main domed ceiling. Vortex is clearly the stuff of tripping nerds’ dreams (it was a hit among Silicon Valley tech bros at Pace in Palo Alto), while its dark dreamscape subverts the light-filled expectations of Amos Rex, proving the museum’s versatility. “Virtual reality isolates you in a virtual space. We are trying to bring everyone back to a physical space,” said teamLab member Nonaka Kazumasa. While Massless uses digital technology to bring its viewers closer to nature and each other, Amos Rex performs the larger function of bringing untraditional art experiences to Helsinki’s public in a spatially-sensitive and cost-effective way. It is a cunning answer to the city's future urban development plan that prioritizes inner-city densification, but Amos Rex should also be seen as a testament to the merits of building deeper and the informal spaces for public play that can bubble up to the surface.
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Climate Irony

Texas fast-tracks seawalls for oil and gas infrastructure
Exactly one year after Hurricane Harvey touched down in Texas, Gulf Coast oil and gas industries have reportedly been lobbying hard for protection against the rising tides. As Houston residents prepare to go to the ballot over a $2.5 billion resiliency and flood mitigation bond package on August 25, the Texas state government has already approved $3.9 billion to protect oil refineries. Texas Governor Greg Abbott and other state leaders had proposed a $61 billion plan for rebuilding and hardening the state’s coast in November of last year, but at the time, officials in the fiscally conservative state balked at the cost. Texas was far from the only state swamped by a heavy hurricane season last year, and with wildfires raging across the West Coast, lawmakers claimed that disaster relief funding had been stretched thin. The most ambitious portion of the Rebuild Texas plan proposed last year was the “Ike Dike,” a $12 billion series of levees and seawalls along the Gulf Coast that would form a protective “spine.” If the plan were funded, three large barriers would be installed along the Houston-Galveston coast to protect against flooding. Now, as AP reports, while the state is still trying to secure the public funding necessary to build the spine, the aforementioned $3.9 billion will go towards building three smaller seawalls to protect oil and gas infrastructure. That was deliberate on the part of the Texas Land Commissioner’s Office, as Hurricane Harvey knocked out about a quarter of the area’s refining capability. Refineries along the Gulf Coast are responsible for 30 percent of America’s refining capacity. The taxpayer-funded sections will provide a six-mile-long stretch of 19-foot-tall seawalls along Port Arthur on the Texas-Louisiana border, 25 miles of floodwalls around Orange County, and the final swath would protect Freeport. Construction is slated to begin in the next few months and once these disparate projects are complete, they could become part of a larger protection network if the rest of the funding is secured later. Still, the irony of the fossil fuel industry asking for money to protect against the effects of climate change was not lost on advocates and casual observers. “The oil and gas industry is getting a free ride,” Brandt Mannchen of the Houston Sierra Club told AP. “You don’t hear the industry making a peep about paying for any of this and why should they? There’s all this push like, ‘Please Senator Cornyn, Please Senator Cruz, we need money for this and that.’”
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Architect of Light

Peep these modernist homes transplanted into Thomas Kinkade paintings
Ever looked at a Thomas Kinkade painting of a cozy cottage nestled into an impossibly golden landscape and thought: That picture would be better with some avant-garde architecture? If so, you're not alone. One Indianapolis-based architect took to Twitter this weekend to debut his series of mashups featuring modernist structures set inside Kinkade's light-filled, idyllic settings. The resulting images—which are stunning—were precipitated when architect Donna Sink asked the Twitterverse if anyone could take on the challenge: @robyniko responded saying he’d start off “easy” with Louis Kahn’s Fisher House, which apparently screams “for the twilight treatment.” Several other interested viewers chimed in with requests for @robyniko, and the series began to form. He set Philip Johnson’s Glass House within a breathtaking creekside mountain vista, and then put Le Corbusier’s Villa Savoye inside a Christmas winter wonderland. He also placed Mies van der Rohe’s Farnsworth House within a meadow and forest landscape. @robyniko’s Twitter bio discloses that he’s a self-proclaimed procrastinator, but this mashup series was undoubtedly encouraged by those scrolling in earnest and tweeting at him: “You definitely had to do this,” from @SWardArch, and, “I hope these end up in your portfolio,” from @ianwrob. The Architect’s Newspaper reached out to @robyniko to get more details on why he decided to pursue the unlikely project. “It was one of those asides that you chuckle about imagining and then move on,” he said, “but I was home for the weekend without my family and decided to indulge my curiosity about how these famous modernist homes would fit into Kinkade’s universe.” @robyniko noted that though he approached the project as a way to distract himself, it ended up conjuring something worthy of discussion. “I think that, given the difference in who typically appreciates Kinkade’s ‘never-was’ nostalgia versus who likes modern architecture,” he said, “it can be part of a conversation about architecture, representation, and how the public responds to both.” And the response was clearly strong. When @robnyiko uploaded his final rendered masterpiece, the oceanside Gehryhaus—a relocation of Frank Gehry’s residence in the Santa Monica suburbs—his followers realized all of these water-adjacent buildings represented in the thread would be likely to flood. In a later tweet, @robnyiko jokingly concluded that Kinkade’s work is a commentary on climate change, a theory he backs up with an attached screenshot of a Google Image search showing row after row of blown-out Kinkade paintings with skies that evoke the smoke and haze of this summer's wildfires. Maybe Kinkade’s work isn’t a nod to global warming, and maybe these modernist homes strictly belong where they were originally built. But this mashup presents a unique perspective on how a piece of architecture can be irrevocably altered when it's transplanted into new surroundings, especially those of Kinkade's somewhat surreal universe. More than that, these world-renowned buildings become nearly unrecognizable in these alternate settings, presenting questions about the relationship between the stark, minimalist designs and the soft, meadowy landscapes. As both Kinkade's work and modernism as a movement can be potentially polarizing forms of art, can these genres combine to form a common ground for people to see them in a new light? 
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Cold Hard Cash

The world’s largest ice-skating center could be coming to the Bronx
Plans are underway for the 750,000-square-foot Kingsbridge Armory in the Bronx to become the world’s largest ice-skating complex, according to its developers. Crain’s New York reported that the development duo of Kevin Parker, former Deutsche Bank executive, and Mark Messier, former center for the New York Rangers, have secured financing for phase one of their $350 million project, which they plan to begin constructing mid-next year. Parker said that Citibank has promised his group, Kingsbridge National Ice Center, a significant loan for construction to be paired with the $35 million already raised through private investment. “Citibank is committed to doing the first phase of the project,” he told Crain’s. “And they’ve indicated a strong desire to finance the second phase. But we’re going one step at a time.” If approved by New York City officials, the first phase of construction would include the build-out of the 5-acre site into nine rinks, athletic facilities, and a 5,000-seat stadium. Construction for phase one would likely total $170 million in overall costs and Parker hopes to raise money for the remainder of the project in order to complete it by 2022. The Kingsbridge National Ice Center has been a six-year dream in the making for Parker and Messier. The city currently owns the armory and hasn’t given the pair a lease, telling the duo that the city would wait until further financing was secured. The new fundraising news presumably means that the city will be ready to greenlight the project. Earlier this year, Governor Andrew Cuomo pledged to give the project a $138 million loan to help it find long-term financing after phase one is done. Parker and Messier’s idea for an ice facility beat out other proposals that would have transformed the century-old red brick building into either a film and television complex, a mixed sports center, or a chess center. A highly-contested site, it was designated a New York City landmark in 1974 and was heralded as a leading example of military architecture. The armory originally housed the National Guard and features an 800-seat auditorium and a 180,000-square-foot drill hall. The nine-story structure includes an iconic, curved, sloping metal roof that can be seen from the Major Deegan Expressway and from the surrounding neighborhood near Fordham University.
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Barack, Paper, Scissors

Chicago slashes trees for Obama Presidential Center
Up to 40 trees, some of them decades old, were reportedly cut down in Chicago’s historic Jackson Park on August 6 as part of construction associated with the Obama Presidential Center (OPC) campus. Despite a pending lawsuit and ongoing federal review, construction crews were reportedly spotted demolishing baseball fields in Jackson Park to make way for an OPC-funded track-and-field facility in the same spot. The new field is being constructed at a cost of $3.5 million to compensate the city and Chicago Park District for the current track and field that will be swallowed up by the 19.3-acre campus. The $500 million campus, master planned by Tod Williams Billie Tsien Architects, has already seen its fair share of pushback from the community since its unveiling in 2016. First, a controversial parking facility was moved underground after complaints that its presence would spoil the Frederick Law Olmsted and Calvert Vaux-designed landscape and the accompanying Midway Plaisance. The buildings themselves were redesigned to sit within the park better the next day. According to the Chicago Sun-Times, OPC executives had pledged not to cut down any trees until the project had passed review and they had obtained the proper permits. However, this promise appears to have only counted work on the main campus, and not associated work. As The Cultural Landscape Foundation (TCLF) points out, the new field is inextricably linked to the main project and is tied to the OPC’s construction timetable. When the Sun-Times asked about the discrepancy, Obama Foundation officials reportedly declined to confirm that the new field was part of the OPC, telling the paper that “the construction schedule put forward by the Chicago Park District ensures the new track will be ready for students and fall sports leagues.” Additionally, the federal lawsuit filed in May by preservationist group Protect Our Parks was rebuked by lawyers from the City of Chicago and the Chicago Park District in June, who argued that as the City Council hasn’t given the project approval yet, any lawsuit was premature. The Chicago City Council won’t vote on the project until the fall, and no construction is supposed to occur until the twice-delayed federal review concludes. According to the Chicago Tribune, the groundbreaking for the campus has been pushed to 2019. No update has been given on whether this will change the projected 2021 opening date. On August 8, TCLF delivered a letter with their concerns to the Advisory Council on Historic Preservation, a federal advisory body on historic preservation. The felling of the trees in a park listed in the National Register of Historic Places and what the Foundation feels is a lack of due diligence by the City of Chicago to look into the site’s archeological significance were addressed. AN will follow this story up as more news about the Center breaks.
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Roundup

Weekend Edition: Asbestos is back, and it’s as bad as ever, among other news
Missed some of our articles, tweets, or Facebook posts from the last few days? Don’t sweat it—we’ve gathered a few the week’s must-read stories right here. Enjoy! AIA calls for blanket ban on asbestos after online uproar After a week of outrage on social media, the AIA submitted a formal comment in opposition to the U.S. Environmental Protection Agency's recent decision to enact a SNUR on asbestos-containing building products. San Antonio’s architecture has a bright future illuminated by a rich heritage San Antonio is the second largest city in Texas, but it is constantly overshadowed by its brethren architecturally. That's all changing as more projects, many of which reference the city's history, are coming online. Initial notes on Houston after theory Houston is a city that has seemingly developed out of step with the rest of the country, operating on a cycle of boom and bust tied to the oil, not stock, market. But when faced with climate change and other issues, can it adapt? Stay cool, and see you next week!
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Clear Choice

Winning design chosen for Sandy Hook memorial
A final design has been unanimously selected for the Sandy Hook memorial in Newtown, Connecticut, the Newtown Bee reports. On Friday, the Sandy Hook Permanent Memorial Commission announced that out of the top three concepts unveiled in May, The Clearing by Ben Waldo and Daniel Affleck of SWA Group will be presented in front of the city’s Board of Selectmen at the end of this week as the commission’s official recommendation. The board is slated to make the final approval this month. It’s been five years since the commission was created to establish a public memorial honoring the 26 victims and survivors of the 2012 shooting at Sandy Hook Elementary School. From 189 international submissions, Waldo and Affleck’s vision for the 5-acre site became the top choice after a July 17th presentation by the three final teams. The Clearing features a sprawling landscape of winding pathways, trails, lakes, and flowery woodland centered around a young sycamore tree planted in a fountain. The names of the victims are prominently carved into the fountain's stone edge. The latest design iteration, which the team updated for the most recent presentation, includes an added manmade pond and an alternative entrance and pavilion. It also includes more details on the proposed materials for the site. Waldo and Affleck are based out of SWA Group’s San Francisco office. The design team also includes Justin Winters of SWA/Balsley, Jim Garland, AIA, of Fluidity, as well as Jason Loiselle, principal at Sherwood Design Engineers and his colleague, design engineer Gabe Duque. The Board of Selectmen will meet Friday, August 9 to review the commission’s recommendation.
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Opening

Peter Marino to open foundation, art museum
Architect Peter Marino is opening his contemporary art collection to the public and has revealed plans for an eponymous art foundation and accompanying museum in Southampton, New York. The architect, who was recently stripped of awards by the AIA because of harassment charges, is no stranger to designing gallery spaces, but Marino is also well known as a collector, having amassed several thousand pieces of art from across the late 20th and 21st centuries. Marino announced the creation of the Peter Marino Art Foundation during the opening ceremony of Counterpoint: Selections from The Peter Marino Collection at the Southampton Arts Center. The show, which runs from July 28 through September 23, pulls from Marino’s personal collection and includes work from artists that range from Robert Mapplethorpe to Damien Hirst. The show also includes sculptures and photographs from Marino’s completed architectural projects and gardens. The Peter Marino Art Foundation will be housed in the building next to the Southampton Arts Center, in what was originally the Rogers Memorial Library. The two-story, 8,000-square-foot red brick building at 11 Jobs Lane was designed by R.H. Robertson and completed in 1896. The building has been used to house pop-up retail and an interior design firm after the Parrish Art Museum, which had been using the library as an annex, departed for the neighboring town of Water Mill in 2012. Marino has purchased the building and plans to begin renovating the former library in September 2019, with an estimated opening date sometime in 2020. The foundation will focus on exhibiting work from local visual artists in addition to showcasing Marino’s own collection and will host rotating shows from guest artists as well as workshops and educational programming. When asked for comment, Marino mentioned the tight-knit nature of communities in the Hamptons. “When the Parish museum left for Watermill it unfortunately left a hole in Southampton, in terms of dedication to the visual arts within the village,” said Marino. “We intend to restore 11 Jobs Lane to its original purpose. Counterpoint: Selections from The Peter Marino Collection is a taste of the art that will be at the Peter Marino Art Foundation. Hopefully it will be a premier spot for art, for anywhere in the world. “My wife and I have been here since the early 90s and we came here because we love the village of Southampton. We love the village, we love the trees, we love Lake Agawam, the inlet, the ducks and the swans. I’ve been working on architectural projects in the Hamptons for over 30 years. For my own home, I’ve been working on its gardens (in Southampton) for over 20 years.” No cost estimates for either the purchase of the building or construction have been given. Marino has stated that he hopes the foundation will be able to work in tandem with the adjacent Southampton Arts Center to further both institutions.
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Hot N' Ready

Foster + Partners revises Melbourne Apple store
Frequent Apple collaborator Foster + Partners has gone back to the drawing board for their plans to build a flagship Apple store in Melbourne, Australia’s Federation Square. The original scheme was unveiled back in December of last year, and the public pushed back over the location, the “Pizza Hut pagoda” design, and the potential demolition of the Yarra Building. Federation Square spans nearly eight acres and serves as Melbourne’s main public square, the result of a government-mandated reclamation of the industrial land on the banks of the Yarra River in 1999. The architectural design competition for the square was won by a coalition of teams including Lab Architecture Studio, led by Donald Bates, Karres en Brands Landscape Architects, and the local firm Bates Smart. Donald Bates is acting in an advisory role for the proposed Apple store project. The original Federation Square design includes an eclectic collection of three-story buildings organized around a central plaza. Each building is clad in zinc, glass, and sandstone, often in a seemingly-random, fractalized pattern. The square contains a number of cultural resources, including the Ian Potter Centre for Australian art, and the Koorie Heritage Trust in the Yarra Building. The group responsible for maintaining the square, Fed Square Pty Ltd, has been quick to point out that the area has always had private retailers, and that the square operates on a commercial model. Foster + Partners’ original plan for Apple Federation Square would have replaced the three-story Yarra Building with a two-story glass “pagoda” meant to open up views of the river. The glass cube would have been enlivened by two bronze skirts, resembling a double-height version of Foster’s flagship store in Chicago. After Melbourne residents took to the internet, local council meetings, and workshops to protest, a steering committee was set up to gather input on what the public would like to see included. The revised building takes the aforementioned concerns into account and attempts to better engage the existing buildings in the square and the landscaped river to the south. The new building is much blockier and top-heavy than its previous iteration. The large rectangular top half seems to levitate when viewed from above as it cantilevers off of a smaller base and creates space for an array of rooftop solar panels. The change includes a public balcony overlooking the river and over 5,300 square feet of public space. Still, these changes aren’t enough for those who feel an Apple store is the wrong choice for Federation Square, full stop. The group Citizens for Melbourne is vowing to fight the addition, arguing that Foster + Partners have simply swapped a “Pizza Hut pagoda” for an “iPad”. If construction continues as planned, Apple Federation Square will open in 2020. Demolition on the Yarra Building is slated for 2019.
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An Iggy Pop-Up

Target opens in the East Village with polarizing faux-urbanism
The East Village outpost of Target opened in lower Manhattan this weekend and kicked off the festivities by draping a vinyl facade of long-gone East Village institutions down a stretch of the street. The installation concocted Target-ized versions of long-gone cultural institutions, including riffs on CBGB, the Village Voice, a local laundromat, and more, drawing the ire of preservationists.
The 27,000-square-foot Target is a smaller, “urban” offshoot at the base of the Beyer Blinder Belle-designed luxury EVGB (“East Village’s Greatest Building”) tower at the intersection of 14th Street and Avenue A. The kiosks around EVGB’s base were all throwbacks to the neighborhood’s punk 1970s past and included a wrapping reminiscent of the tenement buildings that existed before Extell developed EVGB. The online responses were, predictably, divided. Preservationists viewed the stunt akin to a facadectomy and accused Target of appropriating the area’s past to promote a gentrifying store. On the other side, most of the visitors this weekend seemed happy to snag free swag the “TRGT”, fake pizza places, and “palm readers”. Jeremiah Moss of Vanishing New York was particularly scathing in his assessment, calling it a “Potemkin Village from Hell” and decrying the commodification of his formative experiences. Still, this kind of thing happens regularly, as facades and nods to an area’s past are frequently appropriated in the marketing for whatever comes next, whether it be an addition or wholesale replacement.