Search results for "sustainability"

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The Growth Industry
Teresita and Samuel Cochran's GROW, a network of photovoltaic and wind-generating panels in the shape of climbing ivy, was developed at the Pratt Design Incubator.
Courtesy Museum of Modern Art

On Thomson Avenue in Long Island City, a white stone-facade building announces its affiliation with a massive billboard: IDCNY. The International Design Center building was one of the factories erected by Michael Degnon, a contractor known for building the first subway tunnel and the Cape Cod Canal. Following the model of the Bush Terminal Market in Brooklyn, Degnon decided to provide companies with manufacturing facilities that gave full access to transportation: Rail lines went right up to the buildings for easy loading and distribution.

While Degnon’s venture went under by the end of World War I, on a smaller scale, his ideas live on in a design incubator in the IDCNY building called NY Designs. One of several around the city, NY Designs was set up to give creative entrepreneurs support for their businesses, and provides relatively low-cost space, equipment, courses, workshops, and business advice. Their goals may be different—some trying to encourage local employment, others promoting sustainable design—but all result in helping new businesses stay in New York. Unlike Degnon’s model, though, where large-scale manufacturing was the focus, design incubators are directed toward firms of fewer than a dozen employees. The result is a sort of hive of designers, manufacturers, and advertising firms that can cull ideas from each other. While some require a formal entry application to increase the chances of a business succeeding, others are less structured and more geared toward providing artists with needed space and tools.

A project of the CUNY Economic Development Corporation and LaGuardia Community College, which also uses the building for classrooms and offices, NY Designs intends “to help emerging designers grow their business and create design jobs and resources for the design community,” said Jane Tabachnick, director of the program. She pointed out that while tenants have many advantages in renting there, most of the facilities are available to all New York designers. Studios run from 135 to 1,082 square feet for $260 to $1,600 per month. Fourteen of the group’s 19 studios are rented.

The design center’s spacious reception area is furnished with Eames steel-and-plywood cabinets and red Herman Miller sofas, but the industrial feel is very much present in three gargantuan elevators on one end of the floor. (Legend has it that in Degnon’s day, a train car could be rolled into the elevator, lifted to the appropriate floor, filled, lowered, and then hooked up to a train for quick delivery around the country.) On either side of the floor are meeting rooms furnished with tables, chairs, multimedia projectors, and a floor-to-ceiling whiteboard wall. That down-low quality is welcomed by current tenants like Manuel Saez, previously design director for the furniture company Human Scale. When Saez, who won the 2007 iDA Product Designer of the Year award, decided to start his own firm, he chose to rent an office in Long Island City after learning the price and all the amenities for tenants. Plus, he said, the view was a selling point: His tall windows look like a picture postcard of midtown Manhattan. Before moving his studio in January, Saez had to present his business plan to the NY Designs board, who assessed its viability.

Pratt Institute founded a similar organization in 2002, the Pratt Design Incubator. It was a natural fit for the school, with dozens of design students and faculty members on campus. Steven S. Matt was admitted into the program in October 2007 when Pratt’s president, Thomas Shutte, learned that Matt had been traveling the country in search of initiatives meant to encourage sustainability. His business, One Earth, will let users log on to a website that tells them where to find environmentally-friendly groups in their area. Want to recycle print cartridges? Look under “Reduce Toxicity” and the name of a local recycling center appears. “We’re eliminating excuses!” he said. “No one can say, ‘I don’t know.’”

Matt and his incubator colleagues meet every two weeks to talk about their challenges and share knowledge and contacts. There he’s met brother-and-sister team Teresita and Samuel Cochran, the founders of SMIT (Sustainably Minded Interactive Technology). Their first project, GROW, is featured in the recent Design and the Elastic Mind show at the Museum of Modern Art. It consists of flexible solar panels in the shape of ivy leaves made of film photovoltaics. The flapping panels can generate wind and solar energy and, the firm hopes, be integrated into architectural design.

One of Pratt’s first incubator tenants, SMIT used their Brooklyn campus office to develop a prototype while learning the basics of running a creative business. Kelly Talcott, an intellectual property lawyer and mentor in the Pratt program, has helped the Cochrans protect their ideas. “I think the incubator provides a start-up business with a level of guidance and nurturing that is difficult to reproduce out in the wild,” Talcott said. “You get to take advantage of resources that you would otherwise not have.”

While places like Pratt and NY Designs have affiliations with established schools, 3rd Ward in the Bushwick section of Brooklyn was started by two artists, Jason Goodman and Jeremy Lovitt who, after attending the Museum School in Boston, were disconcerted by the obstacles to making art in New York. They decided to come up with a solution of their own, what marketing director Nikki Bagli calls “a one-stop shop for artists.” Renting out the bottom floor of an industrial building—20,000 square feet of space—the two founded 3rd Ward in May 2006 in an attempt to create affordable studio space that would give artists freedom to think big, as Bagli put it.

Todd McCollister, a member for almost two years, finds that all the artists he knows at 3rd Ward have tended to make work on a larger scale than most people who are bound to studios in their apartments. McCollister himself joined 3rd Ward when he was asked to build cabinets for the Daedalus Foundation. Though he took the job to support his work as a sculptor, he soon received other furniture orders and has never been without work since. “I don’t know where else I could’ve started the business with so little risk and capital,” he said.

It Gets Worse

The Numbers

The AIA’s Architecture Billings Index—the profession’s rough measure of monthly architectural outputhit the lowest level in its 13-year history in March, according to numbers released yesterday by the institute. The index continued a slide that began in January, which bodes ill for the architectural economy and the construction sector as a whole, because the design phase is generally first in the building process. Inquiries for new design projects also hit a record low.

AIA chief economist Kermit Baker, who has been tracking architectural productivity for almost two decades, warned that the numbers could mean one of the worst recessions for architects in recent memory. “We’ve seen an 11-point fall-off in the first quarter of the year and the prognosis for commercial construction later this year is not favorable at this point,” Baker said in a statement. “Aside from historically low project demand, all regions are showing very poor business conditions. This is not likely to reverse itself anytime soon.”

The index slid 2.1 points to 39.7. A reading of 50 means billings are constant; a reading over 50 means they are increasing, and under 50 means they are decreasing. By comparison, the index hit a record high of 62.9 in August 1998. Its previous low was 40.1, recorded in October 2001, a month after the September 11 attacks and at the end of the longest slide in the index’s history—a 15-month rout which began in January of that year and continued through the following March.

The decline this month was not as steep as in February, when the index tumbled 8.9 points, though it could still be months before things turn around. That inquiries, which do not always mimic billings, also sank to a new low of 48.0 could indicate a more systemic problem.

Still, many in the profession remain confident about their economic prospects. AN did a bit of forecasting in a story earlier this month, including an interview with Fredric Bell, executive director of the AIA New York chapter. Bell was bullish then and remains so now. “The numbers don’t tell the whole story,” Bell said in a phone interview from the United Nations, where he was attending a sustainability conference. “The people I talk to, and I talk to a lot of people, everyone’s busier than ever.”

Private Greens

With the passage of a new sustainability ordinance on Earth Day (April 22) Los Angeles joined the small list of cities in the United States that require green building in private development.

The ordinance would require all buildings at or over 50,000 square feet or 50 units, or residential buildings over 6 stories tall, to attain the equivalent of LEED-Certified standards under the United States Green Building Council’s (USGBC) Leadership in Energy and Environmental Design (LEED) program. 

The City chose the 50,000 square foot threshold, said Claire Bowin, project manager for the LA City Planning Department, to help encourage more applications. She said the city should receive about 200 projects per year under the ordinance, and that every seventh project in the program would be audited to insure compliance. “We feel like we built a lot of flexibility into the ordinance and we really didn’t strive for more stringent standards because we wanted to get out of the gate,” she said.

The measure, whose first major milestone was its passage through the City Council’s Energy and Environment and Planning and Land Use Management (PLUM) committees last February, was initiated last year, when City Planning director Gail Goldberg, and Mayor Antonio Villaraigosa made the development of a private green building program for the City a priority in a July 2007 decree. 

While the ordinance does not require buildings to go through LEED certification, a sometimes costly enterprise, the USGBC’s LEED program was used for several reasons. “LEED is an outstanding program that consistently evolves, it is run by a non-profit organization, it is a national standard, and the City already adopted it to regulate its own building activity,” Bowin explained. 

Dr. Lance Williams, executive director of the LA Chapter of the USGBC, said, “For a city this size, this is certainly a very progressive step.” He also noted that LA has emerged as a leader in green building, citing that his organization voted the LA Chapter number one in the nation for advocacy and training of LEED-Accredited Professionals (LEED-APs). 

Local jurisdictions with existing green building ordinances for private development throughout the country include Santa Monica and West Hollywood, and San Mateo County, California; Boulder, Colorado; Chicago, and Boston. Los Angeles County is also in the process of adopting its own green building ordinances. These ordinances, including one for green building, one for drought tolerant landscaping, and one for Low Impact Development, are expected to begin the public review and approval process this summer. Currently in Los Angeles County all new County buildings or projects that receive County funding over 10,000 square feet must attain LEED Silver or comparable standards. And in the City of Los Angeles, government buildings over 7,500 square feet must attain LEED-certified standards. 

With this new ordinance, projects that voluntarily achieve a LEED Silver or higher rating will be expedited through the City’s often-onerous permitting process. The law also establishes criteria for the City to certify staff members as LEED-AP. In order to track the progress of the program, the ordinance will create the Green Building Team, a group of elected officials and city staff that are experts in the development process including planners, architects, engineers, and safety personnel, which will be charged with encouraging innovation, removing the obstacles to green building, and to facilitate the city’s green building objectives. The team will offer annual reports to the City Council on the progress of the program as well as recommendations for its amendment in the future. 

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Water Works
Low-lying harbor zones are vulnerable to even modest storm surges. Areas flooded by Category 1 storms are shown in dark green, Category 2 in light green, Category 3 in orange, and Category 4 in red.
COURTESY 2007 LATROBE PRIZE TEAM

One tenth of an inch may just be a splash. But sea level in New York creeps that much higher every year, and worsening climate impacts could make that splash several feet deep by the end of this century, meaning a soggier future for nearly one million of the region’s residents who live within three feet of the spring high-water mark. Factor in worsening storm surges, and today’s 100-year flood zone may well become a 10-year flood zone—wreaking $350 billion in damage to New York City under the severe scenarios the state’s Emergency Management Office is now studying. 

“If you look where major development projects are going in New York, many are located right in harm’s way,” said Klaus Jacob, the outspoken Columbia University expert on sea-level rise, pointing to condos sprouting in Williamsburg or Columbia’s Manhattanville campus, sited at a vulnerable low point near the Hudson River. “That campus will start to look like Venice in a hundred years,” he warned. 

London has its Thames Barrier. Dutch cities are fortified for the 10,000-year storm. But New York? “Coastal cities around the world that intend to be around for the next hundred years have done incredible work,” said Michael Fishman, founder of the consulting practice Urban Answers. “In North America, we have very little to show.” 

That is starting to change as architects, ecologists, and engineers grapple with a hybrid of structure and landscape that is well-suited to the world’s rusting wharves. Some call it aquatecture—a new, blue alternative that is catching up with the green building movement as the next wave of sustainable urban design. “It’s not a building, not a pier, not a boat,” said Fishman, who teaches a waterfront studio at Columbia University’s Graduate School of Architecture, Planning, and Preservation (GSAPP). “It’s part water, part wildlife. Major development around the world is going to embrace this adaptation of post-industrial megastructures.” 

In our wet new world, the postapocalyptic attitude is this: Bring it on. “Existing waterfront wetlands are going to be swamped,” said structural engineer Guy Nordenson, who is studying the consequences of sea-level rise with a multidisciplinary team that won the American Institute of Architects’ 2007 Latrobe Prize. They’ve hatched a radical proposal to revamp Upper New York Bay with an archipelago of hundreds of islands that would temper the destructive energy of storm surges. The proposal, which won a $100,000 award and will be refined in the coming months, presents a larger vision of New York Harbor as a focal point for regional development, like St. Mark’s Basin in Venice—a watery Central Park for the coming century. 

Designers in New York and beyond are taking small steps toward Nordenson’s grand aquapolitan vision. A pair of projects from Boston-based Stoss Landscape Urbanism shows how modest interventions in the marine edge can prove paradigm-shifting in their own right. The firm lets flood conditions have their way with a waterfront site at Erie Street Plaza, located in Milwaukee, Wisconsin, at the confluence of the Milwaukee River and Lake Michigan. In the midst of a rough-edged working waterfront, the park contends with lake levels that rise and fall by as much as 6 feet over roughly 20-year cycles. Stoss’ solution was to slice slots into an existing steel bulkhead, allowing high lake levels to inundate a new zone of native grasses and revive a marsh condition long obliterated by industry. 

stoss erie
At Bass River Park in West Dennis, Massachusetts, Stoss’ carpet of hillocks (below) fuels the free play of complex ecologies. Rising lake levels nourish a new marsh (above) at Milwaukee’s Erie Street Plaza, by the Boston-based Stoss. 
COURTESY STOSS LANDSCAPE URBANISM

stoss erie  

 

 

 

 

 

 

 

 

 

 

It also makes a larger public point. “We’re allowing people to engage with this momentary high point of the lake cycle, so that it becomes very much an actor in the experience of that open space,” said principal Chris Reed. A similar strategy informed Bass River Park in West Dennis, Massachusetts, a 2.5-acre parcel that rests on land that was once salt marsh. Stoss designed zones of red cedar, sand plain, wet meadow, and salt marsh, each of which vies for botanical dominance amid changing climate variables. “We’re building in resilience and flexibility from an ecological standpoint,” Reed said. “No matter how high or low the sea level is, there are places where these individual plant communities can thrive.” 

Showcasing water’s presence in the urban landscape required a complex approach for Margie Ruddick of Wallace Roberts & Todd (WRT), who has helped lead the design for a one-acre park at Queens Plaza. Working with artist Michael Singer, designers created a permeable paving system that features runnels with weep holes to collect water from paths and open spaces. A rain garden at the base of the Queensboro Bridge captures bridge runoff during storms, directing it to lush plantings. Below grade, a lozenge-shaped subsurface wetland detains water once it has filtered through street-level plantings. But working with water requires updated design chops. WRT and collaborators Marpillero Pollak Architects, who won a 2008 AIA New York chapter design award for the project, note that architects need to embrace a more unruly aesthetic. “A couple of years ago this project would have looked incomprehensible to a lot of architects,” Ruddick said. “There’s a kind of terror of things that don’t look organized and orderly.” 

 
A subsurface wetland forms the heart of WRT’s design for Queens Plaza (above, left); runoff from the Queensboro Bridge feeds a lushly planted rain garden (above, right).
 COURTESY WRT DESIGN / MICHAEL SINGER / MPA


For areas atop a newly graded edge at Brooklyn Bridge Park, Michael Van Valkenburgh Associates positioned significant plantings to skirt the 100-year-flood zone. 
COURTESY MICHAEL VAN VALKENBURGH ASSOCIATES
 
 

If a Category 4 cyclone hits the East River, Brooklyn Bridge Park will be exhibit A of that messiness. But it should still be around. In Michael Van Valkenburgh Associates’ design for the new public space, the sharp-edged bulkhead is banished in favor of a more natural riparian edge among adaptively reused piers. Careful thought is being given to storm threats, said principal Matthew Urbanski. “We’ve gone to great pains to shape the land in such a way that the significant tree plantings are above the 100-year flood level, so we don’t get salt-water inundation,” he explained. Beyond a calm-water basin that shelters small islands of natural habitat, a stabilized riprap edge protects against wave energy. Upland hills are planted with meadow grasses and canopy trees, while farther inland, freshwater swales capture stormwater from adjacent asphalt before it reaches the river. 

“There’s a general consensus that we have to start working within the natural systems and reinforcing them,” said David Hamilton, principal of Praxis3, which won a recent round of The History Channel’s City of the Future competition with a proposal to liberate Atlanta’s natural streams from 1,900 miles of buried pipes and catchments. Contending with severe drought in the Southeast, Hamilton’s Atlanta-based team, in collaboration with EDAW, BNIM Architects, and environmental engineering firm Metcalf & Eddy, proposed a series of “waterscapes” to restore the natural watershed and spawn piedmont forest instead of sprawl. Existing drainage systems would be converted into aquifers to store ever-scarcer precipitation. The team aims to develop the idea as a model for drought-prone cities, where bureaucrats are perking up their ears. “When you start running out of water, politicians start paying attention in a hurry,” Hamilton said. 

praxis3
Breaching New Orleans’ levees would blunt the harm from Mississippi River floods, as in this high-density housing concept from Praxis3. COURTESY PRAXIS3 AND KEAN ARCHITECTS

New Orleans officials might want to consult his firm’s entry for a post-Katrina design competition that rethinks that city’s levee system. Collaborating with architect Lee Kean, Praxis3 proposed breaching floodwalls to create softer berms that ease over a block-size parcel in the Bywater neighborhood. Elevated green space weaves this natural terrain back into the city; a reflecting pool and cistern collect water on site. “The Mississippi River could actually go through its flood stages without doing any damage,” Hamilton said. 

If there’s a bright side to climate change, it may be the opportunity to drag bolder designs out of the closet. “Some of these visionary projects are really legacies of the 1960s and ‘70s,” said architect Lindy Roy, who is studying the impacts of climate change in Africa with her students at Columbia’s GSAPP this semester. “We need to look at things with that kind of breadth. Otherwise, we make the sexy forms, and then all of the environmental stuff gets handed over to sustainability experts and engineers.” 

 
In ARO’s vision of Manhattan now and in 2106 (left and right), melting polar ice caps make for a much soggier city. COURTESY ARCHITECTURE RESEARCH OFFICE
 

In other words, thinking the unthinkable can be an adventure. “Our goal is to make people excited instead of terrified,” said Adam Yarinsky, principal at Architecture Research Office (ARO), who is working with Nordenson’s Latrobe Prize team. ARO’s provocative entry for New York’s City of the Future episode did just that, making a virtue out of Gotham’s waterlogged fate. Envisioning low-lying neighborhoods deep-sixed under some 36 inches of water due to melting polar ice caps, ARO designed an optimistic new city for the year 2106, built of thin, pier-like buildings rising above Manhattan’s flooded downtown streets. Kayakers paddled languidly among ruined storefronts, as verdant public promenades bridged the waters overhead. 

Take that, Rotterdam. When the big one hits, we may not be high and dry. But at least we’ll be floating in style. 

JEFF BYLES IS AN ASSOCIATE EDITOR AT AN.

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You're the Tops

 General Contractor


Michaels Residence, Tolkin Architecture, Winters-Schram Associates 
PETER MAUSS/ESTO


One Window House, Touraine Richmond Architects, Brown Osvaldsson Builders
BENNY CHAN / FOTOWORKS 


Brown Osvaldsson Builders really listen to what we are trying to do. They understand it, and come in with solutions and original ways to deal with problems.They are really respectful of the design and try to match the architectural expectations.”
Olivier Tourraine 
Touraine Richmond ARchitects


“Robert Vairo of Vairo Construction is like a saint. On Skid Row, he’s seen like an angel.”
Michael Lehrer
Lehrer Architects
 



JFR House, Fougeron Architecture, Thomas George Construction 

BBI Construction
1155 Third St., Oakland, CA; 
510-286-8200
www.bbiconstruction.com

Bernard Brothers
1402 W. Fern Dr.,
Fullerton, CA; 
714-671-0465

Brown Osvaldsson Builders
1333 Pine St., 
Santa Monica, CA; 
310-392-8899
www.bob-inc.com

Bonomo Development
1523 Linda Ct., 
Simi Valley, CA;
805-407-0578

CW Driver
468 North Rosemead Blvd., 
Pasadena, CA;
626-351-8800
www.cwdriver.com

Hawkins Construction
4177 Yale Ave., 
La Mesa, CA ; 
619-463-1222

Matarozzi/Pelsinger
1060 Capp St., 
San Francisco; 
415-285-6930
www.matpelbuilders.com

Matt Construction
9814 Norwalk Blvd.,
Santa Fe Springs, CA; 
562-903-2277
www.mattconstruction.com

McCarthy
20401 S. W. Birch St.,
Newport Beach, CA; 
949-851-8383 
www.mccarthy.com

Roman Janczak Construction
942 South Harlan Ave., 
Compton, CA;
310-637-8765

Shaw & Sons Construction
829 W. 17th St.,
Costa Mesa, CA; 
949-642-0660

Thomas George Construction
8716 Carmel Valley Rd., 
Carmel, CA;
831-624-7315

Thompson Suskind
415-699-5274
www.thompsonsuskind.com

Vairo Construction
1913 Balboa Blvd., 
Newport Beach, CA; 
949-673-2010

Winters-Schram Associates
11777 Miss Ave., 
Los Angeles; 
310-473-8490

Young & Burton
345 Hartz Ave., 
Danville, CA; 
925-820-4953
www.youngandburton.com 

Engineers


Cancer Center at UMC North, CO ARchitects, John A. Martin


Lou Ruvo Alzheimer’s Institute, Gehry Partners, WSP Cantor Seinuk


Gilsanz Murray Steficek are really flexible, and react quickly. We called them the day before yesterday about a project detail and they were able to turn it around in a day. It’s a small detail, but with other firms it could take much longer.”
Paul Zajfen 
CO Architects


IBE are mechanical engineers who have the same sort of sensibilities as architects. They’re very concerned about sustainability and look at engineering from a global perspective; problem-solving at a large-scale level. And they’re very interested in exploring new ideas.”
Paul Zajfen 
CO Architects


“With principal Mike Ishler, you can really have a collaborative design experience. If you want to push your design technologically and structurally, he’s your guy.”
Barbara Bestor
Barbara Bestor Architecture

Arup
12777 West Jefferson Blvd., 
Los Angeles;
310-578-4182
www.arup.com

Buro Happold
9601 Jefferson Blvd.,
Culver City, CA;
310-945-4800

WSP Cantor Seinuk
5301 Beethoven St.,
Los Angeles;
310-578-0500
www.cantorseinuk.com

Davidovich & Associates
6059 Bristol Pkwy.,
Culver City, CA;
310-348-5101
www.davidovich.com

DeSimone Consulting Engineers
160 Sansome St., 
San Francisco; 
415-398-5740
www.de-simone.com

Dewhurst MacFarlane
2404 Wilshire Blvd.,
Los Angeles;
323-788-7038
www.dewmac.com

Flack+Kurtz
405 Howard St.,
San Francisco;
415-398-3833
www.flackandkurtz.com

GMS 
(Gilsanz Murray Steficek)

29 West 27th St.,
New York, NY; 
212-254-0030
www.gmsllp.com

IBE
14130 Riverside Dr., 
Sherman Oaks, CA; 
818-377-8220
www.ibece.com

John Labib & Associates
900 Wilshire Blvd., 
Los Angeles; 
213-239-9600
www.labibse.com

John A. Martin
950 South Grand Ave., 
Los Angeles; 
213-483-6490
www.johnmartin.com

Gordon L. Polon 
Consulting Engineers 
310-998-5611

Thornton Tomassetti
6151 W. Century Blvd.,
Los Angeles; 
310-665-0010
www.thorntontomasetti.com

Christian T. Williamson Engineers
3400 Airport Ave.,
Santa Monica, CA; 
310-482-3909

Yu Strandberg Engineering
155 Filbert St., 
Oakland, CA; 
510-763-0475
www.yusengineering.com

Civil/Environmental Consultants
Atelier Ten
19 Perseverance Works, 
38 Kingsland Rd., 
London; 
+44 (0) 20 7749 5950
www.atelierten.com

Cosentini Associates
Two Penn Plaza, New York;
212-615-3600
www.consentini.com

Converse Consultants
222 E. Huntington Dr., 
Monrovia, CA;
626-930-1200
www.converseconsultants.com

Transolar
145 Hudson St., New York; 
212-219-2255
www.transsolar.com

Zinner Consultants
528 21st Pl., 
Santa Monica, CA; 
310-319-1131
www.zinnerconsultants.com 

Lighting 


BENNY CHAN / FOTOWORKS

"Plug Lighting has a great selection, a high level of professionalism, and they have lights that work with our work. That’s important to me because it’s very difficult to find good lighting.”
Lorcan O’Herlihy
LOHA

 

Designers
Dodt-plc
2027 Oakdale Ave., 
San Francisco;
415-821-6307

Fox and Fox
134 Main St., 
Seal Beach, CA;
562-799-8488

Horton Lees Brogden
8580 Washington Blvd., 
Culver City, CA; 
310-837-0929
www.hlblighting.com

KGM Lighting
10351 Santa Monica Blvd., 
Los Angeles; 
310-552-2191
www.kgmlighting.com

Lightvision
1213 South Ogden Dr.,
Los Angeles;
323-932-0700
www.lightvision.net

Lam Partners 
84 Sherman St., 
Cambridge, MA; 
617-354-4502
www.lampartners.com

Lighting Design Alliance
1234 East Burnett St., 
Signal Hill, CA; 
562-989-3843 

Vortex Lighting
1510 N. Las Palmas Ave.,
Hollywood; 
323-962-6031
www.vortexlighting.com

Fixtures
Artemide
www.artemide.us

Bega
www.bega-us.com

Flos
www.flos.com

Gardco
www.sitelighting.com

Hess
www.hessamerica.com

Hubbell Lighting
www.hubbelllighting.com

Ivalo
www.ivalolighting.com

Lutron
www.lutron.com

Louis Poulsen
www.louispoulsen.com

Showrooms
City Lights Showroom
1585 Folsom St.,
San Francisco; 
415-863-2020

Plug Lighting
8017 Melrose Ave.,
Los Angeles;
323-653-5635
www.pluglighting.com

Revolver Design
1177 San Pablo Ave., 
Berkeley, CA; 
510-558-4080
www.revolverdesign.com
 

Materials


Felkner Residence, Jennifer Luce, Bendheim Glass


“JU Construction did fantastically good work. They’ll try anything.” “The intimate success of our projects is this idea that there’s a balance between material and texture. The fact that we can have that conversation with Basil Studio and play with that balance together makes the collaboration really strong.” 
Jennifer Luce
Luce et Studio

Deglas’s Heatstop is amazing. It’s twice the R value of insulated glass at half the cost. And it comes in 24-foot-long sheets that you can cut on site.”
Whitney Sander Sander Architects

Benchmark Scenery have a lot of expertise in making very complicated things very quickly.” 
Peter Zellner 
Zellner + Architects





Hyde Park Library Hodgetts + Fung JU Construction


JU Construction did fantastically good work. They’ll try anything.” 
Craig Hodgetts 
Hodgetts & Fung

Glass
Bendheim Glass
3675 Alameda Ave.,
Oakland, CA;
800-900-3499
www.bendheim.com

Giroux Glass
850 West Washington Blvd., 
Los Angeles; 
213-747-7406
www.girouxglass.com

JS Glass
12211 Garvey Ave.,
El Monte, CA;
626-443-2688
www.jsglass.com

Pilkington
500 East Louise Ave.,
Lathrop, CA; 
209-858-5151
www.pilkington.com

Schott
www.schott.com

Supreme Glass
1661 20th St.,
Oakland, CA;
510-625-8995
www.supremeglass.net

Viracon
800 Park Dr.,
Owatonna, MN;
800-533-2080
www.viracon.com

Metal Fabricators
Scott Ange
310-562-3573

Basil Studio
1805 Newton Ave., 
San Diego, CA; 
619-234-2400
www.basilstudio.com

Dennis Leuedman
3420 Helen St., 
Oakland, CA; 
510-658-9435

Plastics
3Form
2300 South West, 
Salt Lake City, Utah; 
801-649-2500
www.3-form.com

Gavrieli Plastics 
11733 Sherman Way,
North Hollywood;
818-982-0000 
www.gavrieli.com

Deglas
888-2 DEGLAS

Extech
200 Bridge St., 
Pittsburgh, PA;
800-500-8083
www.extech-voegele.com

Panelite
5835 Adams Blvd.,
Culver City, CA;
www.e-panelite.com

Polygal
265 Meridian Ave.,
San Jose, CA; 
408-287-6006
www.polygal.com

Tiles
Daltile Ceramic Tile
www.daltileproducts.com

Flor Carpet and Tile
1343 4th St.,
Santa Monica, CA;
310-451-4191
www.flor.com

SpecCeramics
1021 E. Lacy Ave.,
Anaheim, CA; 
714-808-0139

Stone Source
9500 A Jefferson Blvd., 
Culver City, CA; 
213-880-1155
www.stonesource.com

Vetter Stone
23894 3rd Ave., 
Mankato, MN;
507-345-4568
www.vetterstone.com

Woodworkers
Benchmark Scenery
1757 Standard Ave.,
Glendale, CA; 
818-507-1351
info@benchmarkscenery.com

Dewey Ambrosino
www.deweya.com

Michael Yglesias
323-712-0645
www.yglesiaswoodwork.com

Jacobs Woodworks
3403 Hancock St.,
San Diego, CA; 
619-293-3702

JU Construction
1442 Chico Ave., 
South El Monte, CA; 
626-579-5996

 

Kitchen and Bath 


K2, Norbert Wangen for Boffi
 

Boffi
1344 4th St.,
Santa Monica, CA; 
310-458-9300
www.boffi-la.com

Brizo Faucets
www.brizo.com

Bulthaup
153 South Robertson Blvd.
Los Angeles; 
310-288-3875
www.bulthaup.com

California Kitchens Showroom
2305 W. Alameda Ave., 
Burbank, CA; 
818-841-7222
www.californiakitchens.com

Jack London Kitchen 
and Bath Gallery

2500 Embarcadero St., 
Oakland, CA; 
510-832-2284
www.jlkbg.com 

Dornbracht
16760 Stagg St., 
Van Nuys, CA; 
818-304-7300
www.dornbracht.com

Duravit bathroom furniture and accessories
www.duravit.com

Gaggeneau kitchen appliances
www.gaggenau.com

Grohe bathroom and kitchen fittings
www.grohe.com

Kohler bathroom furniture
www.kohler.com

Miele appliances
www.mieleusa.com

Thermador appliances
www.thermador.com

Vola fixtures
www.vola.dk

Waterworks
www.waterworks.com

Wet Style
16760 Stagg St.,
Van Nuys, CA; 
818-304-7300
www.wetstyle.ca 

Landscape Design 


Lengau Lodge, Dry Design UNDINE PROHL


Bestor House, Barbar Bestor Architects, SB Garden Design 
ANDREW TAKEUCHI 


Stephanie Bartron’s background is sculpture, and I think she brings a more artistic perspective and architectural edge to landscapes.” 
Barbar Bestor 
Barbara Bestor Architecture

Burton Studio
307 South Cedros Ave., 
Solana Beach, CA; 
858-794-7204
www.burton-studio.com

Dirt Studio 
700 Harris St.,
Charlottesville, VA; 
434-295-1336
www.dirtstudio.com

Dry Design
5727 Venice Blvd., 
Los Angeles; 
323-954-9084
www.drydesign.com

Elysian Landscapes
2340 W. Third St., 
Los Angeles; 
213-380-3185
www.elysianlandscapes.com

EPT Design
844 East Green St.,
Pasadena, CA; 
626-795-2008
www.eptdesign.com

Mia Lehrer + Associates
3780 Wilshire Blvd., 
Los Angeles; 
213-384-3844
www.mlagreen.com

Nancy Goslee 
Power & Associates
1660 Stanford St., 
Santa Monica, CA; 
310-264-0266
www.nancypower.com

Pamela Burton & Company
1430 Olympic Blvd., 
Santa Monica, CA; 
310-828-6373
www.pamelaburtonco.com

Spurlock Poirier
2122 Hancock St.,
San Diego, CA; 
619-681-0090
www.sp-land.com

SB Garden Design
2801 Clearwater St., 
Los Angeles; 
323-660-1034
www.sbgardendesign.com 

 

Consultants, Services & Suppliers


Mills Center for the Arts, Competition Entry, Pugh + Scarpa, Mike Amaya


Mike Amaya listens to you. He’s not fixated on a certain way of doing things. Hisrenderings have life, but they don’t try to duplicate what reality would be. We’re more interested in capturing the spirit of the place.”
Larry Scarpa
Pugh + Scarpa Architects
 
 

Audio/Visual
A’kustiks
11 North Main St., 
South Norwalk, CT;
203-299-1904
www.akustiks.net

Cost Estimating
Davis Langdon
301 Arizona Ave., 
Santa Monica, CA; 
310-393-9411
www.davislangdon.com/USA

Expediter
McCarty Company
725 S. Figueroa St.,
Los Angeles; 
213-614-0960

Renderers
Mike Amaya
310-592-6693
www.mikeamaya.com

Robert DeRosa
1549 Columbia Dr., 
Glendale, CA; 
818-243-1357

Tech Support
Ideate
44 Montgomery St., 
San Francisco; 
888-662-7238
www.ideate.com

Microdesk
633 West Fifth St.,
Los Angeles, CA;

Waterproofing
SC Consulting Group 
6 Morgan St., Irvine, CA; 
949-206-9624

Window & Door 
Manufacturer 

Fleetwood Windows & Doors 
395 Smitty Way, 
Corona, CA; 
800-736-7363 
www.fleetwoodusa.com

Goldbrecht Windows
1434 Sixth St., 
Santa Monica, CA; 
310-393-5540
www.goldbrechtusa.com

Metal Window Corporation
501 South Isis Ave., 
Inglewood, CA;
310-665-0490
www.metalwindowcorp.com

Construction Suppliers
Anderson Plywood
4020 Sepulveda Blvd., 
Culver City, CA; 
310-397-8229
www.andersonplywood.com

Beronio Lumber
2525 Marin St., 
San Francisco; 
415-824-4300
www.beronio.com

Cut and Dried Hardwood
241 S. Cedros Ave., 
Solana Beach, CA; 
858-481-0442
www.cutanddriedhardwood.com

Taylor Brothers 
2934 Riverside Dr.,
Los Angeles; 
323-805-0200
www.taybros.com 
 

Eavesdrop: Alissa Walker

NOT FEELING DWELL
We thought an announcement that Dwell was debuting a narrower magazine printed with more soy inks on recycled content paper, saving about 930 trees per issue, was a sign that the erratic publication had finally settled on a theme: Sustainability. But when we got the February issue in our hands its direction seemed more convoluted than ever: Was this Modernism for Dummies, a Design Within Reach catalog, or straight-up shelter porn? The redesign rallies a cavalcade of new fonts—many completely unreadable over the splashes of gratuitous color—and overcrowded pages bisected by bizarre dotted lines. Former staffers have expressed frustration with the mag’s bipolarity, but insist it’s nothing new. “Dwell’s biggest problem has always been that the message from the very top has been very confused,” a past contributor tells us. “I suspect the editors aren’t really being given total control now and so what we’re seeing is a really watered-down version of what they probably wanted to do.” The changing vision of founder Lara Hedberg Deam and publisher Michela O’Connor Abrams notoriously didn’t mesh with the pub’s two previous editors-in-chief, Karrie Jacobs and Allison Arieff, who both left the magazine very publicly at odds with its philosophy (more than 20 staffers also departed in Arieff’s wake). But it seems the current editor-in-chief Sam Grawe might not mind letting Deam and Abrams steer the ship. Grawe is reportedly devoted to his budding music career: Windsurf, an electronica duo where he performs with a musician calling himself Sorcerer, and a solo project under the name—we swear we’re not making this up—Hatchback. We hear he’s pretty good, too. 

MIAMI VICES 
There were rumors that sales were not as scintillating at Design Miami this year, but we’ll let you be the judge: The two most talked-about installations were trash(y)—a Tokujin Yoshioka installation of white plastic straws and Stuart Haygarth’s chandelier made from used water bottles—and almost everyone mentioned that the Swarovski crystal lights by heavyweights Diller Scofidio + Renfro looked more like glowing scrotums. Yves Béhar emerged as a big winner at the One Laptop Per Child party, where he sold seven works by Jorge PardoJohn BaldessariOlafur Eliasson and others to raise funds for the project. Perhaps the bling was located elsewhere, like around the neck of hip hop producer Pharrell Williams, who hung with Arik Levy’s posse, and later showed up at the tattoo parlor manned by Tobias WongJosée Lepage, and Eavesdrop alum Aric Chen. According to Chen, Williams was so psyched on the limited-edition tattoo designs by designers like Tord BoontjeVito Acconci, and Hella Jongerius, he wanted to contribute his own design. Okay, maybe next year, Pharrell, but only if you bring Justin Timberlake.

MISSION ACCOMPLISHED
Robert A.M. Stern may have already gotten the gig, but surely he could use some help designing the George W. Bush Presidential Library, right? The Chronicle of Higher Education is holding a competition to deliver Stern a wealth of ideas. Standard architecture contest rules apply, with one catch: Your entire concept must fit on the back of an envelope. Readers will vote on the best design, the winning designer will get an iPod Touch, and the architecture world will earn the undying admiration of the Republican Party. Deadline is February 1. To vote, visit chronicle.com/indepth/architecture/architecture-contest.htm 

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Protest: John Parman
Pelli's Transbay Tower.
Courtesy Pelli Clarke Pelli/TJPA

I winced when I saw the Times’ headline, “Next to MoMA, Reaching for the Stars.” Jean Nouvel’s new 75-story tower alongside the Museum of Modern Art reached back to Lyonel Feininger for inspiration, finally realizing his vision of an expressionist tower. It’s hard to imagine a stronger contrast to Cesar Pelli’s safely office-like MoMA housing or Yoshio Taniguchi’s recent, buttoned-down expansion. “To its credit, the Modern pressed for a talented architect,” Times’ critic Nicolai Ouroussoff wrote, but he went on to praise Hines, the tower’s “remarkably astute” developer. “Hines asked Nouvel to come up with two possible designs… and made the bolder choice.” That’s Hines in New York.

This fall, Hines also won the right to develop the Transbay Tower in downtown San Francisco. Pelli’s proposal for the transit hub component of the project is well done, but the tower is a version of his International Financial Center mega-tower in Hong Kong. As usual for Hines—they really are “remarkably astute”—Pelli was a smart choice. The Airport Express station that serves Hong Kong’s financial district anchors the twin-tower IFC complex. From a credentials standpoint, that’s valuable experience. Plus a tower that’s up-and-running is easier to price, even with differences in construction, than one-offs like Richard Rogers and SOM’s competing finalists. Armed with that knowledge, Hines played its trump card, offering up to $350 million for the land—more than twice what the other two developers were prepared to pay. That’s Hines in San Francisco.

Hines is Hines—the same smart operators, east and west. Given what they’re proposing for New York, blame for San Francisco’s less-than-stellar tower falls somewhere else. 

Jokingly called Dean Macris’ last erection, the Transbay Tower benefited from the recently-departed planning czar’s determination to fulfill his long-time vision of a city skyline marked by three accentuated “hills”—two real and one manmade. This is the same vision that gave us One Rincon Hill, the first in a two-tower wonder by Chicago’s Solomon Cordwell Buenz. Compared to it, Pelli’s proposal is definite progress. 

A lot of people have questioned the logic of Macris’ idée fixe, but that’s another article. The question here is how a competition that was advertised as being all about design proved to be all about money. Not that this is surprising, but—in light of promises made—it feels like a bait and switch. And if I feel this way, imagine how SOM feels!

I wasn’t privy to the jury’s deliberations, but a few things stuck out along the way. In the initial interviews, Norman Foster failed to appear and his team was eliminated. While architect no-shows don't go over well (confirming Woody Allen’s maxim that “85 percent of life is showing up”), their reaction struck me as a surefire sign of provinciality. Another sign of that was the dearth of interesting architects in the mix.

Again, I didn’t make the rules, but at roughly the same time that the Transbay schemes were being unveiled, Thom Mayne won a competition for a new tower at La Défense in Paris that clearly breaks new ground. This was another reason to wince, since a second major work by Mayne might finally put San Francisco on the architectural map.

Of course, Calatrava made the cut, only to have a falling out with his developer. Perhaps he was chosen, like Icarus, to exemplify the dangers of the creative edge. That left SOM, whose tower—while drawing on a Chinese precedent—alone showed the originality that the competition promised. With its blend of structure and sustainability, it presented a credible future for tall buildings in the earthquake-prone west coast. Plus, it was new, and that seemed to be what was wanted. (Unlike SOM’s, Richard Rogers’ peculiar tower was a throwback to his high-tech, frame-and-infill days, but vastly toned down with no real gain in use value, especially as office space.) SOM’s tower fit the bill, if the object had been to build a tower in San Francisco that broke the mold. In retrospect, no such luck.

The Transbay Tower reminds me of the new east span of the Bay Bridge, a chance squandered to do something on a par with the Golden Gate. San Francisco rises to its own occasions with about the same frequency as its earthquakes—maybe less frequently. In that sense, there’s no real mystery about the latest outcome. Still, it makes me wince.

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Miami Confidential
Courtesy Moss

Miami has always been a city of extremes, but never more so than during the week of Art Basel/Design Miami in December. On Design Miami’s opening evening, the usually sleepy streets of the Design District, a stone’s throw from impoverished Little Haiti, were jammed solid with flashy sports cars, luxury sedans, and even a few stretch limos. Inside the Moore building, where dealers in vintage modern and contemporary design exhibited their pricey wares, there were so many beautiful people with foreign accents milling and swilling champagne that it was a challenge to see what was on show. The most visible—and tone-setting—“art design” piece may have been the golden Cross Cabriolet concept car from Audi, a Design Miami sponsor, which sat on a platform surrounded by tension cables “simulating its design lines in three dimensional space.”

Recycling is a current trope in the design world and Design Miami took it literally, recycling several installations that first previewed in Milan last spring, such as Diller Scofidio + Renfro’s Light Socks display for Swarovski. Composed of hundreds of lozenge-shaped crystals heaped into mesh sacks with a halogen bulb hidden within, the deconstructed chandeliers offered a fresh and truly dazzling take on modern glamour, even though the “double socks” looked like an illumined scrotum. On the top floor, Design Miami Designer of the Year Tokujin Yoshioka also reprised his Milan hit Tornado, an installation of huge, undulating swathes of plastic straw tubing, in which he nestled his “art chairs” made of experimental materials like glassine paper and baked polyester elastomers. Yoshioka greeted admirers while sitting on a futuristic crystalline throne. It was an image that spoke volumes, but seemed lost in translation to the crowd.

Next door and inside the fair were the dealers in contemporary design. Moss was center stage with the Dutch duo Studio Job’s limited-edition, gilded bronze Robber Baron furniture suite, comprised of a monumental table (above), cabinet, clock, lamp, and jewel safe, each an assemblage of emblems representing industrial power, pollution, war, and obscene wealth. Was it art, design, or satire? Who cares! Three of the tables from an edition of five sold immediately at around $180,000 each.

As a reaction against all this ostentation and excess, another band of designers presented sweetly provocative performance pieces. Among the most engaging: Brit Stuart Haygarth’s patient assembly of a striking teardrop-shaped chandelier made from water bottle bottoms, and Mexican-born, LA-based furniture maker Tanya Aguiñiga’s transformation of metal folding chairs into festive seating swathed in brightly colored felt. Outside at the so-called “GlassLab” set up by the Corning Glass Museum in collaboration with Vitra Design Museum, Constantin and Laurene Boym were among a group of designers playing gingerly but inventively with molten shards of glass. In keeping with its “Sustainability is an Attitude” theme, Artek recycled its Milan-premiere Shigeru Ban-designed pavilion, constructed out of a fiberboard made from surplus self-adhesive labels, to exhibit its 2nd Cycle initiative of reclaimed Aalto stools. Nearby, Dornbracht staged graphic designer Mike Mieré’s Farm Project. The controversial pioneer of the “New Ugly” trend in European magazine design, Mieré turned the chic minimalist kitchen on its head with a sensory-rich living/cooking environment replete with Staffordshire dishes, potted herbs, hay bales, chickens, bunnies, and goats (which is just how people in Little Haiti live, but with Martha Stewart-worthy pottery).

Next day, in downtown Miami, the British urban planner Ricky Burdett spoke to a packed auditorium about how urban design was affecting the lives of more than three billion city dwellers and the planet’s dwindling resources. After scaring the audience with factoids such as “58 people move every hour to Lagos, Nigeria, a city with no coherent urban planning,” he showed how cash-strapped cities like Bogotá, Colombia, were transforming themselves into sustainable organisms through modest but clever urban design and mass transit initiatives. After his talk the audience fled, apparently uninterested in local Miamian responses. This reporter stayed long enough to hear Elizabeth Plater-Zyberk, dean of the University of Miami’s Architecture School, observe that if global warming continues at its current pace half of the city will be under water within a generation. Not the kind of climate forecast real estate developers want to hear, especially those behind Art Basel/Design Miami. 

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From Rusty to Renewable
Courtesy Department of Transportation

City planners have worried about maintaining New York’s web of roads, sewers, bridges, and public transit since commissioners drew up a blueprint for growth in 1811. Now, though, consensus is emerging that agencies must coordinate their upkeep if the city is to survive climate change and enormous population increases. Worries that our sewers are filling up and spewing wastewater into rivers are as old as city planning itself, but a coordinated response to those worries is new. Public officials from San Diego to Stockholm are addressing their cities’ ecological future, and they are less focused on technological fixes than on coordinating the way parks, transit, and economic development agencies share the land.

“We must think more holistically to achieve true, sustainable growth,” Empire State Development Corporation downstate chairman Patrick Foye told attendees at a New York Building Congress lunch on September 20. He’s got company. Mayor Michael R. Bloomberg’s ambitious 127-point sustainability program PlaNYC 2030 asks Parks Department officials to work with transportation planners to develop standards that will make new parking lots into grassy sponges for stormwater. And the chief of the Metropolitan Transportation Authority is responding to the aftermath of the storm that shut down subways on August 8 by surveying for sites where it can tap porous pavement or new vegetative landscaping to soak up water.

While the MTA consults landscape architects to make its far-flung properties more efficient, Foye’s agency is shelving its traditional emphasis on megaprojects like the Atlantic Yards development in favor of a measured approach. “The state’s historic focus on large-scale projects has actually short-changed our region,” Foye told the September 21 meeting. In the speech, Foye proposed a rezoning around the new Moynihan Station that would sprinkle air rights along the 34th Street corridor: This, he said, would “mean less disruption to commuters and tie development to the market.” In other words, it would temper demands on subways, sewers, and roads, lessening the odds of a catastrophe. That same incremental focus will guide Mayor Bloomberg’s PlaNYC 2030 agenda, now six months old, through its implementation.

At the Hudson Yards site, which the MTA is selling to developers who want to link new buildings to the new station, PlaNYC has proposed a test site for a new system, called HLSS for “high-level storm sewer.” Such a sewer can sweep rain and snow into the river, reducing the risk that nearby older sewers will fill with combined stormwater and wastewater and shut down. “We emphasize backup systems for water supply, upgrading the energy grid,” said Deputy Mayor Dan Doctoroff in an interview with AN. “If we don’t upgrade our infrastructure, the risk to life and property and costs going forward are only going to magnify.”

These may seem like harsh words even from Doctoroff, a man who is known for his steely style. But he doesn’t come off like a Cassandra—his thinking is in line with his counterparts in London, Chicago, and other cities trying to increase housing densities and upgrade mass transit. Mayors in Sacramento and Boston are striking deals with big employers and adopting sustainability plans that will guide their public investment for the next generation. “Anybody who has eyes and ears and a brain,” he says of the city’s physical condition, “will be reminded that we are in a perilous state.”

That state demands clever collaboration across agencies. The crammed acreage that makes the city so logical for high density and mass transit also means that any effort to repair pipes and plumbing leads, logically and politically, to new patches of literal green. When the city wants to put a new water node or sewer line underground somewhere, explains assistant Parks commissioner Joshua Laird, it wants to make sure no developer builds anything on the site that would make it inaccessible for tests and repairs. So it creates new parks. “The land will have a park on it that we will manage with the caveat that if DEP needs to get back in there they will be able to,” says Laird. “There’s a new shaft site on Bowery adjacent to one of our houses. They had acquired an old Edison site, and when it is done, will be required to put a park on top.”

The MTA is also trying to keep development within its control by developing mixed-use hubs at some of its commuter rail stations, beginning with Beacon in Putnam County. Moreover, executive director Sander has convened a panel of green advisors. He promises the outlines of a masterplan for improving the MTA’s stormwater management, track upkeep, and energy efficiency by April 22, the first anniversary of Bloomberg’s PlaNYC 2030 kick-off speech. This would go beyond the MTA’s longstanding use of new energy-efficient technology to make existing tracks carry more trains and existing bus routes carry more customers. Sander hopes to cover some of the involved expenses with revenue from the mayor’s much-discussed congestion charge.

Congestion pricing has emerged as a point of solidarity among Sander, Doctoroff, and EDC chief Robert Lieber, who all have been known to approach isolated economic-development issues focusing on the priorities of their respective agencies. Lieber is using his influence to urge executives whose companies might generate jobs to urge legislators to stop bickering over congestion pricing. Lieber, whose agency coordinates all waterfront conversions around town and accordingly must clear a host of rotting piers and suspect industrial sites, told audiences at an Economist-sponsored powwow and a New York Building Congress breakfast that he plans to use his pulpit to fight for new sources of infrastructure funding from all levels of government.

That call will expose discord between the no-nonsense city government and the more theatrical lawmakers in Albany. After a Con Edison steam pipe exploded in July and forced Midtown traffic to grind to a halt, Doctoroff described the new authority as inevitable. “Con Edison has got to invest more money, but you also have to change the way you think about energy,” said Doctoroff at the time. “Demand for energy by 2030 is projected to grow about 45 percent, and our plan holds it constant. We want to take stress off the system, and that means distributed generation.” PlaNYC calls for a city-created Energy Efficiency Authority to help finance building retrofits and create scattered small power plants, but Albany must approve the authority’s creation.

Finally, leaders are trying to persuade the private sector to invest in unglamorous upkeep. The administration disclosed plans in October to connect private landlords with the Clinton Climate Initiative, which has amassed $5 billion in loans to finance building retrofits. And PlaNYC’s implementation will require owners of parking lots over 6,000 square feet to plant trees along their edges and will promise a property tax break to offset 35 percent of the cost of new green roofs.

This kind of broad-based, small-bore work will define planners’ mandates and architects’ work for the next several years, but even if it is entirely successful, its achievement will hardly make the city an oasis of efficiency. Sander exposed the city’s fragile bones at a planners’ conference in mid-October when he confidently answered a question about how congestion pricing fees would help the MTA improve service. “You’ll see a 19th-century transit system moving into the 20th century.”

Urban Jungle to Get Denser

On August 7, the Los Angeles City Council unanimously passed the Downtown Planning Ordinance. Initiated by the Department of City Planning, the measure is part of a concerted effort to update and urbanize planning codes that were appropriate for postwar suburban developments, but woefully out of sync with the current needs of the city and its ever-increasing population.

The ordinance is also expected to create more highrise density downtown as well as more affordable housing by offering a 35 percent floor-area-ratio (FAR) bonus as an incentive for developers to include affordable units.

News of the ordinance’s passing set off a flurry of newspaper opinion pieces and letters from readers, critics, and urban planners, some of whom bemoaned the notion that LA was falling victim to “Manhattanization,” a term used during the 1960s by critics of San Francisco’s highrise developments. Others applauded the city council’s effort to steer LA toward a denser, vertical profile, accusing critics of being “urbanphobes.”

In the LA Downtown News, urban design critic Sam Hall Kaplan wrote, “Interestingly, the paramount concern of our persistent ‘urbanphobes’ is not about making these developments more accessible and pedestrian friendly, nor how to provide more housing choices, nor how to offer more inviting parks and public spaces. Rather, what apparently worries them, and many others in Southern California, is the ogre of traffic.” 

Scott Johnson, principal at Johnson Fain, a downtown-based architecture firm, said that any move toward more density and mixed land use is a good thing. But he considers it only one part of the total equation. “We need to see sustainability, affordable housing, and expanded use of public transportation happening at the same time as density,” he said. “LA is really behind on every one of these fronts.”

Even while LA is expanding its transit system to the further reaches of the metropolitan area, only about 12 percent of new residents in downtown, the public transit hub for greater LA, say they use the train or bus.

What most concerns Beth Steckler, policy director at Livable Places, an affordable housing and environmental advocacy group in downtown LA, is not public transportation or density but the lack of available affordable housing downtown.

“The real purpose of this [Downtown Planning Ordinance] is to streamline market-rate housing in highrises,” she says. Steckler argues that there are too many ways for developers to get around applying FAR bonuses toward affordable units. Livable Places proposed alternatives to the incentives detailed in the ordinance, which among other things would require higher percentages of affordable housing units than currently accepted by the city council.

Clearly, LA has a long way to go before reaching a consensus, and even further to a skyline of Manhattan-like density, if that’s even desirable. But what is apparent is the public’s ongoing interest in the debate, particularly on matters concerning the city’s unrelenting transportation woes. “The public is ready,” says Johnson. “We’re beginning to change.”

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Delirious Newark
Downtown Newark
Courtesy Regional Plan Association

When two poodles sauntered from a freshly converted apartment house in downtown Newark this summer, it made the news. No, the dogs weren’t in any trouble, they were merely tethered to a well-heeled woman out for a stroll: a perfect specimen of that species beloved to real estate brokers, the highrise urban dweller. For New Jersey Business magazine, which reported the incident, they are a sign of better things to come.

As Mayor Cory A. Booker swept into office in 2006 on a platform of radical reform, he vowed to make Newark a “national standard for urban transformation.” And in June, he took a big step forward by appointing Toni Griffin as director of community development, charged with rebuilding the planning machine of New Jersey’s largest metropolis nearly from the ground up.

To many New Yorkers, this city of about 280,000 on the Passaic River has long been a tattered way station, glimpsed from passing Amtrak trains or en route to Newark Liberty Airport. But beyond the image of shells of buildings and broken windows is what planners call a robust urban infrastructure primed for a new half-century of growth. Though Newark’s population had dwindled dramatically from its peak of more than 440,000 in the 1930s, a boomlet since 2000 made it the fastest-growing major city in the Northeast. With commuter-friendly transit links to New York, dormant development capacity, and ample urban amenities waiting to be tapped, the Booker camp is betting hard on Newark’s future.

“With the coming of the Booker administration and changes in the region, Newark is in quite a different position than it was a few years ago,” observed Max Bond, partner at Davis Brody Bond. “As housing in New York gets more expensive, more and more people are looking at the possibility of living in Newark. In the regional context, there really are terrific opportunities.”

Shortly after the 38-year-old Booker came to office, he delighted planners by sitting down with the Regional Plan Association (RPA) and volunteers like Bond to draft a vision plan that would knit together the 100-odd neighborhood studies, urban renewal plans, and sundry agendas that had been moldering in City Hall file cabinets. This remarkable document, the product of dozens of planners, architects, city and state officials, and faculty of the New Jersey Institute of Technology, sprang from a three-day charette in 2006. With groups brainstorming about specific projects—from airport economic growth to the new downtown arena—a focused plan emerged: Revamp the 17-year-old masterplan. Overhaul the 1960s zoning ordinance. Ban sky bridges. Establish rapid-transit bus routes. Make mixed-use a mantra. At public meetings presenting the report, administration officials got an earful from residents keen to put Newark’s plans into practice.

Enter Griffin, who grew up in Chicago and studied architecture at Notre Dame, as well as at Harvard’s Graduate School of Design (where she is now a visiting design critic). Launching her career at Skidmore, Owings & Merrill’s Chicago office, she gravitated to planning and was hired to direct planning and tourism development for New York’s Upper Manhattan Empowerment Zone Development Corporation. She then moved to Washington, D.C., where she oversaw large-scale redevelopment for the city’s planning office, taking charge of downtown, waterfront, and commercial corridors. She later served as vice president and director of design for the Anacostia Waterfront Corporation, helping to make 2,000 acres along the Anacostia River corridor into a model for rebuilding inner cities. She is known for hitting the ground running.

"As an architect,” Griffin said, “my training is in problem-solving and in building. I see planning in the same way. I’m not interested in doing plans that sit on the shelves.”

Digging in on the first phase of Newark’s masterplan, Griffin convened a team including SMWM, Phillips Preiss Shapiro Associates, Justice and Sustainability Associates, and Chan Krieger Sieniewicz to define a vision that will lead to a more proactive and transparent planning process. Staff will also draw on the RPA’s draft vision plan and local design firms with the aim of revising the master plan and zoning ordinance for the 24-square-mile city, a task expected to be a multi-phase, multi-year effort. To build a central planning department out of what had been, in the James era, splintered among varied boards and offices, Griffin also aims to beef up her own staff, now home to four planners. “I want to hire a mix of planners with design backgrounds, designers with planning backgrounds, and economists,” she said.

Shifting to more immediate goals, the Booker team has targeted downtown residential development as a priority, citing 1180 Raymond Boulevard, a long-vacant Art Deco office tower in the heart of downtown. Recently converted into 317 rental units, it is rapidly filling with, yes, the aforementioned poodles—and just the commuters the city hopes to attract. (Eighty percent of the tower’s occupants work in New York.) “We’re aiming to build upon the trend started by premier new residential buildings like 1180 Raymond Boulevard,” said Stefan Pryor, Newark’s deputy mayor for economic development. Pryor, who led the Lower Manhattan Development Corporation through its forced quiescence before arriving as a high-profile hire for the Booker administration, is actively working on projects that have been thwarted by Newark’s outmoded regulations. He cites the city’s incoherent zoning rules as a persistent problem for developers who want to convert commercial buildings into housing. “There are side yard requirements and backyard requirements and onerous parking requirements,” he said. “We are going to eliminate those.”

Bringing momentum downtown is New Jersey Transit’s mile-long light-rail link between the city’s two major transit hubs, Newark Penn Station and Broad Street Station. Opened in 2006 at a cost of $207 million, the line connects New Jersey Transit, Amtrak, PATH trains, and the city’s subway. It will hopefully extend residential and retail growth north across I-280, and to the two gemlike Mies van der Rohe towers known as the Pavilion Apartments. Opened in 1960, along with a third Mies apartment building near Branch Brook Park called the Colonnade, the towers today look lonely amid Colonial-style townhouses built on the site of the Christopher Columbus Homes public housing project, which were razed in 1994 after becoming a symbol of neglect and poverty.

Back near Broad Street, which Griffin sees a as focal point for the 45,000 college students who attend Newark’s five colleges and universities, there’s the Barton Myers-designed New Jersey Performing Arts Center, widely hailed as the project that put Newark back on the map when it opened in 1997. “It’s an area that can help to change the whole image of the city and brand it as a waterfront downtown,” Griffin said. Work has slowly progressed on the Joseph G. Minish Passaic River Waterfront Park, which would stretch north from the dominantly Portuguese and Brazilian Ironbound district (and its swinging tapas bars) to the downtown core. Griffin looks toward a teeming, two-sided waterfront along both banks of the Passaic; plans are already progressing across the river in Harrison, where the first phase of a development with 1,800 residential units, a soccer stadium, and a riverfront park is under way.

For many watching Newark’s redevelopment, the most bothersome legacy of the James administration may be Prudential Center, the city’s new downtown arena. Branded a boondoggle by Newarkers who questioned its $375 million price tag and prospects (it is home to the National Hockey League’s New Jersey Devils), the arena was nonetheless under construction by the time James left office. Mayor Booker, who once denounced the project as a “betrayal of the public trust,” has determined to embrace the squat, brick-and-glass behemoth, which opens this month with a ten-night stand by Bon Jovi. Ever the optimist, Griffin thinks the arena could catalyze restaurant and retail development just as the MCI Center (now Verizon Center) did for Washington.


The city’s hottest vehicle of change, however, is less likely to be Bon Jovi than the Port of Newark, because it has one thing Newark needs most: jobs. The city is closely studying how to redevelop land and capture job opportunities at the port, which employs relatively few locals. A similar strategy is taking shape around the airport, which Griffin suggests could be groomed as an “aerotropolis,” surrounded by efficient business and residential nodes. “Cities like Dallas are looking at neighborhoods around airports,” she explained, “and developing them as attractive places to live.”

Newark’s real estate boom has had unintended effects. As the market revived in former no-go neighborhoods, suburban-minded builders found a cheap formula to fill empty blocks: the Bayonne Box. A source of consternation to Newark planners, the narrow, three-story house has deep setbacks, vast curb cuts, and car-forward frontage (“a machine for parking,” growled one planner). The now-ubiquitous Bayonne Box is anathema to a rich and lively public realm, and Griffin’s team is looking to tweak zoning regulations to reduce curb cuts, hide vehicles, and create greener front yards. Her office has also drafted guidelines for new housing typologies, and will be hiring architects to test those concepts throughout the city. A similar program is under way to check the growth of car-centric shopping hubs. “We want to look at guidelines for how mixed-use town centers can fit back into the fabric of Newark,” she said.

Community groups, long inured to promises, are guardedly optimistic about their city’s future.

“So far Ms. Griffin has been sensitive and responsive to what we see as critical issues,” said Richard Cammarieri, chair of the master plan working group for the New Community Corporation, a network of citizen groups. “The biggest challenge is going to be ensuring that the planning process is in fact internalized for the entire city government. Everyone really has to buy into this.”

Longtime Newarkers have an endearing knack for looking at the bright side. “At least we have a planning department now,” Cammarieri dryly noted, “which we’ve never had before.”

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Commodity and Delight
Tom Dixon's Glowb installation in Trafalgar Square.
Courtesy London Design Festival

People were clamoring to honor Zaha Hadid during this year’s London Design Festival. Her Urban Nebula installation of jagged concrete modules sat in front of the South Bank Centre beside the Thames, her Aqua table was rendered in marble for furniture company Established and Sons, and London’s mayor Ken Livingstone awarded her the inaugural London Design Medal at the event’s opening.

The fifth annual London Design Festival, which also incorporates the longstanding tradeshow 100% Design, was—like Hadid herself—an intriguing mix of hard commerce and entertaining experimentation. The polished concrete wall commissioned by the festival organizers as part of the project Size + Matter aimed to blur the boundaries between architecture, design, engineering, and sculpture by partnering Hadid and Future Systems’ Amanda Levete with manufacturers of precast concrete and Corian, respectively, to create installations to be auctioned off by Phillips de Pury & Co. When asked to make a sales pitch for the installation during a series of talks hosted by Blueprint, Hadid expressed a desire to make her work accessible.

You might be forgiven for thinking there weren’t any other designers in the city, but not everything was Zaha-related. Tom Dixon demonstrated deft skills in public relations and reaching the public with his Glowb giveaway, in which 1,000 Dixon-designed energy efficient lightbulbs were given away on a first come, first served basis. His site-specific chandelier, a suspended carpet of his “Blow” bulbs, was the flame to crowds of mothlike customers swarming Trafalgar Square during the festival’s opening days.

The first Tent London product design show, set up by 100% Design founders Ian Rudge and Jimmy MacDonald, was staged in the former Truman Brewery building in East London. Rather than products, the highlight here was the Urbantine Project, an open competition aimed at budding architecture and design practices to design and construct a temporary pavilion that responds to the need for flexible workspaces. The winner, architect Alex Haw, built an concertina-like system of interlocking plywood panels to form a sequence of work/leisure spaces.

It was clear that the thriving and affluent commercial design scene and the designers/ makers still emerging remain disparate entities. Unlike in Milan, where the furniture show has roots in the city’s manufacturing industry and retains an affinity with the production process, it was evident this year that the lack of a coherent focus in London is what gives the festival its character. The charm lies in finding the oddities and individual highlights.