In 1844 the Scottish city of Dundee eagerly anticipated its first royal visit in almost two centuries. Queen Victoria and her husband, Prince Albert’s stay was a resounding success and to mark the occasion, the city erected the “Royal Arch” in 1853. It was an instant icon. A monumental structure, it towered over the nearby docks and could be seen all around the city, and indeed the world as Dundee capitalized on its marketing potential. In 1964, however, the Royal Arch was shamefully demolished so the Tay Road Bridge could be built as part of a comprehensive redevelopment plan. Fast forward 54 years and Victoria and Albert have returned, albeit in the form of a museum, and with it, Dundee once again has an icon worthy of global attraction. The V&A Museum of Design, colloquially known as the “V&A Dundee” has been designed by Japanese architect, Kengo Kuma. Bizarrely, yet also somewhat endearingly, train station departure and arrival boards display the architect and his nationality. The city is undeniably proud of its revived, post-Victorian internationalism. “I was inspired by Japanese temple archways,” Kuma told The Architect’s Newspaper. “The archways connect the mountain and nature to the city.” Composed as two inverted pyramids, the V&A Dundee forms an archway of sorts of its own, framing a view on the River Tay and the Tay Road Bridge that spans it. Kuma was also keen to keep the museum decidedly Scottish. It’s ragged, craggy facade is inspired by Scotland’s cliff-edged coastline and comprises 2,429 pre-cast concrete slabs. These lean over the River Tay, mimicking the prow of a ship. One segment of the museum does, in fact, edge out into the river, while porthole-like windows looking over the Tay create the impression of being on a ship when inside. On the Tay’s banks, even at the end of summer, the wind is ferocious. The shallow pools that circle the V&A’s base produce miniature waves, enhancing the sensation of being, as Kuma calls it, “in conversation with nature.” Externally the V&A Dundee is an impressive structure. Walking around the building, it’s staggered facade undulates and unwinds, revealing views onto the building and the River Tay beyond. As a result, the museum has become an instant photo opportunity, with the public (myself included) capturing its curvature to send straight to their Instagram feeds. (The hashtag #V&ADundee already has more than 2,000 posts). This is a digital building for the digital age. “Twenty years ago, we could not have built this building,” said Kuma. “It’s curves and structure are too complex.” Such a distinctive form has its pros and cons inside. The structure works in tension, with a steel truss spanning roof to link up with the outward leaning facades. As a result, the new museum has the largest column-free exhibition space in Scotland, allowing it to host exhibitions that were previously only available to Scots and Dundonians willing to either fly or take a six-hour train to London. Gallery spaces are located on the museum’s upper level. The fittingly nautical Ocean Liners exhibition, sailing up from the V&A in London, inaugurates the museum. The Scottish Design Galleries, meanwhile, host permanent exhibitions, showcasing Scotland’s design prowess. Of the 300 objects on display, one has American roots: a model and sketches of Frank Gehry’s Dundee Maggie’s Centre. The most notable exhibit is Scottish architect Charles Rennie Mackintosh’s “Oak Room” which was designed for the Ingram Street Tearooms in Glasgow. The beautifully crafted ensemble from one of Kuma’s “heroes” has been restored and rightfully put on display, marking its first outing in half a century. Alongside the two galleries on the upper level are studios and an auditorium. These are joined by an open gallery, free to the public and restaurant, both of which look down into a lobby below via a mezzanine with the latter also offering views along the River Tay. It’s here, though, that the museum’s shape causes problems. An outdoor terrace for the restaurant feels like an afterthought. Up here it’s even windier than at ground level and the tight space is encased by the concrete cladding system meaning there isn’t even a view worth braving the elements for. A similar story continues downstairs in the lobby, too. Oak veneered panels emulate the external facade and as a result are too steep to be sat on and truly useful. An auditorium may already be upstairs, but these panels could easily become bleachers, creating an informal auditorium in the process. This would even dovetail with Kuma’s notion of the museum’s lobby supposedly being a “living room for the city.” “This is not a space just for art lovers,” the architect said, but in reality, the lobby is just a cafe area and museum shop. The V&A Dundee has come at a price: $105 million, twice the initial budget. It’s also four years late. Dundonian’s, however, don’t seem to mind. “I’m just pleased that that kind of money is being spent of Dundee!” said one local, though on it’s opening day, a small protest by anti-poverty campaigners did take place. For all the efforts gone into making the museum happen, considerably less has gone into improving the surrounding area. An awful train station-hotel greets those visiting by rail and another, equally drab hotel is currently going up opposite the V&A. This is all part of a $1.3-billion waterfront masterplan which rehashes the work of planners 60 years ago. It’s just as well Kuma’s museum makes all that comes before instantly forgettable. The V&A Dundee is the icon Dundee has craved, turning the city into a genuine Scottish destination. https://vimeo.com/284710327
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Tear Down for What?
Selby Library by SOM's Walter Netsch may be demolished in Sarasota bayfront project
A Walter Netsch–designed library is under threat as plans move forward for a much-anticipated, community-backed bayfront development in Sarasota, Florida. On Thursday, September 6, the city’s planning board voted 3-2 to approve phase 1 of The Bay project, a 53-acre recreational and cultural complex which indirectly calls for the demolition of the old Selby Public Library building. According to Sarasota Vice-Mayor Jen Ahearn-Koch, zero consideration was given to the fate of the 30,000-square-foot structure despite other historic buildings being saved on site. “My biggest issue with this is that the proper process isn’t being taken to determine the library’s future,” she said. “Why is the first step of creating this legacy project destroying a former legacy project?” The Selby Public Library, designed under Netsch's lead at Skidmore, Owings & Merrill in 1976, sits on an underutilized waterfront plot that’s been eyed for large-scale development for over a decade. The building, now known as the G.Wiz Science Museum, has been empty for six years and costs the city $40,000 annually to maintain. Ahearn-Koch and other G.Wiz advocates claimed that leading up to an early September special planning meeting, neither the city nor the public had been officially notified of the decision to take the building down. She also said the Sarasota Bayfront Planning Organization (SBPO), which is spearheading the effort, did not provide sufficient evidence for the $10.5-million cost the group estimated that it would take to rehabilitate the 42-year-old structure. The SBPO only provided a presentation with pictures of the proposal, which did not include the G.Wiz building. “Before you talk about why you can’t save a building and repurpose it, you have to discuss the historical and cultural value of it and then figure out how much it will cost,” Ahearn-Koch said. Following the SBPO’s presentation, locals took over the two-hour comment period citing concerns over G.Wiz. According to Ahearn-Koch, the city received countless emails calling for its preservation, but the SBPO team claimed they never received any pleas to save it prior to the meeting. Now the group says it will welcome ideas on how to reuse the building as part of The Bay. Sarasota boasts a rich architectural legacy and a burgeoning development scene that often gets overshadowed by mega-projects nearby in Miami. The Sarasota School of Architecture includes an incredible roster of modernist buildings by architects such as Paul Rudolph, William Rupp, Mark Hampton, and Ralph Twitchell. According to Vassar College Professor of Art Nick Adams, Netsch’s Selby Public Library, while not widely known compared to Netch's other projects, is a pure demonstration of "field theory," the late architect’s approach to designing architecture around unique geometries suited to the program and environment. “It’s not a building that’s very well-covered in Netsch literature,” said Adams. “But it’s quite ingenious how the shapes of the building have a residence within the location that’s very attractive. There aren’t very many field theory buildings that are still active in their original function. I do hope before they swing the wrecking ball that the city does a proper recording of what was there and what changes were done.” Local architect Dale Parks completed an award-winning retrofit of the library in 2000, transforming it into G.Wiz and adding a soaring glass atrium to Netsch’s design. Parks believes his work didn’t inherently warp the SOM building’s original character. As an expert on the structure, he outright denies any claims that it did. “We tried to respect SOM’s construction as much as possible, and I know it would be quite easy to restore it,” Parks said. “Whatever repurpose it may have in the future, it’s definitely not going to be a library because the layout doesn’t pertain to future use. But the outside of the building is still there.” The top arguments for taking down the building are that it doesn’t stand up to current FEMA standards and would need to be significantly elevated, and that the city is spending too much money on its upkeep as tenants have shied away from staking claim to it over the past several years. Commissioner Hagen Brody, who voted yes to approve phase 1 of The Bay in favor of demolishing G.Wiz, recognizes its importance but believes removing it from the site will serve a greater good. “The community overwhelmingly wanted green space, not buildings or redevelopment on that site,” he said. "With all of that, the choice was pretty clear. A vote against moving forward with phase 1 would have sent the whole project back to the drawing board after years of public input and would have seriously jeopardized the entire effort as well as fundraising. I believe these are tough decisions, but it’s a positive change for Sarasota and that’s the definition of progress.” The initial build out of The Bay, led by a nearly all-female team from Boston-based planning firm Sasaki, would turn 10 acres of the site’s southern portion into a new public park by 2020. After being selected for the project last October, the team has worked with the SBPO and held an exhaustive community engagement process to shape the final master plan, first revealed in May and updated Friday. Susannah Ross, Gina Ford, and Christine Dunn conceived a grand park and cultural community less than a mile away from Sarasota’s beloved Boulevard of the Arts. One of the structures on the site, the lavender-colored Van Wezel Performing Arts Hall designed by Taliesin Associated Architects in 1969, is included in Sasaki’s latest renderings, only after a major public outcry occurred over its absence in the initial images. Christopher Wilson, president of the Sarasota Architectural Foundation, said the specific reuse of Van Wezel isn’t clear, but it’s more or less saved. “Saving Van Wezel and not G.Wiz makes no sense,” Wilson said. “From the beginning, this building has not gotten the proper attention that it should. The excuse that it’s in the floodplain and not up to FEMA standards is not a reason to demolish it. The city is throwing around the $10 million number prematurely with incomplete evidence.” Wilson also noted there are five other aging structures on site that have been deemed part of Sarasota’s cultural zone: the Municipal Auditorium (1938), Chidsey Library (1941), Arts Center Sarasota (1949), the Sarasota Chamber of Commerce (1956), and the Garden Club of Sarasota (1959). These buildings will remain during the construction of The Bay. In a letter sent to the Sarasota Herald-Tribune last weekend, Eric Keune, design director at SOM Chicago, provided a list of five ways G.Wiz could be adapted for reuse, including making it an open-air pavilion, a co-working space, or a satellite studio for the University of Florida architecture program. The Architect’s Newspaper was sent a copy of the text, though it has yet to be published. In his argument, Keune wrote that though the structure today is undoubtedly not the Selby Public Library, he believes the building, along with Netsch’s original vision, is still inside it and “only needs to be (re) discovered.” Vice-Mayor Ahearn-Koch feels the same way. For her, this fight is personal and she thinks people need to act fast, as Keune did, if they have ideas. "All too often in this city we do demolition by neglect and this is a perfect example of that," she said. "This is such a stunning building. I remember going to the big stack as a student, checking out a book and going off into one of the side nooks to read. I still feel this can be a very useful building for the future of Sarasota. Our arts community, including our architecture, is who we are, and I just don't see the logic in destroying it." Sarasota's Historic Preservation Board voted unanimously to recommend the SBPO and city commission find a new tenant for G.Wiz, pursue alternative renovation plans, as well as host more community workshops as phase 1 plans move forward. This is the third time in two years the advisory group has advocated for the building.
Wheel of Misfortune
New York City's massive Staten Island ferris wheel may never spin
For the past six years, the St. George neighborhood of Staten Island in New York City has been anxiously awaiting the arrival of what would be one of the city’s greatest landmark attractions: the giant, 630-foot New York Wheel with views of the New York Harbor, Statue of Liberty, and New York City skyline. While over $400 million has been sunk into the project since its conception, little has been done to get the ball rolling. Construction has barely begun, and Mayor de Blasio recently signaled that it may not ever happen. The main problem is the cost. The New York City Economic Development Corporation reported that the estimated cost of the Wheel has skyrocketed from $250 million when the project was first proposed in 2012 to a devastating $999 million under the de Blasio administration. When the Wheel’s developer, New York Wheel LLC, asked the city for $140 million in support, de Blasio rejected their pleas, refusing to bail out the floundering project. His administration told New York 1 that the city government is “clear-eyed about the risks of putting public money into an expensive, speculative project.” The New York Wheel promised to transform the humble yet densely packed neighborhood of St. George into a world-class, waterfront destination. Aside from the Wheel itself, whose 36 spacious and climate-controlled pods would provide visitors with fine food, drink, and breathtaking views of the city, the site also comprises five acres of publically accessible grass space for events, a state-of-the-art children’s playground, and a terminal building with restaurants, shops, and boutiques. The project would have potentially revitalized Staten Island, a borough that has long been neglected by New York City tourists. Yet the government’s decision to oppose the funding of the New York Wheel comes after a surge of similar projects in cities like Berlin and Beijing that eventually failed due to a lack of support and income. “Despite many recent conversations with the Wheel developer, we remain convinced that public funds are too scare and valuable to be leveraged for this venture,” an official with the Economic Development Corporation told New York 1. Since the Wheel’s developer and former contractor, Mammoet-Starneth, hoped to rely on the city for financial provision, the two parties were forced to craft a new deal that would give the development team until January 7, 2019 to hire a new contractor and complete the project. According to Staten Island Advance, a hearing on a motion to approve the agreement has been set for September 21. Until then, the fate of the Wheel remains unknown.
A New Way to Cross
Spatial Affairs Bureau unveils BridgePark plan for riverfront in Richmond, Virginia
Los Angeles and London–based Spatial Affairs Bureau has unveiled a series of transformative concept designs for a major new downtown linear park that would reconnect several communities and establish key points of access to the historic falls of the James River in Richmond, Virginia. The so-called Richmond BridgePark plan has been in the works for over six years as part of an expanding set of improvements slated for the city’s waterfront, where several historic and modern bridges cross over the James River. The aim of the project is to connect the city’s downtown and South Side neighborhoods by creating new pieces of pedestrian-focused urban infrastructure that can draw both sides of the city together. Within a short section of the downtown area, the river is crossed by bridges at 14th and Manchester Streets as well as by State Route 301 and Interstate 95, among other crossings. The latter three spans were built as part of modernization efforts during the mid-20th Century, but their wide configurations and oversize arterials have isolated spaces and dislocated communities. With their expansive plan, Spatial Affairs is aiming to remedy at least some of these malignant conditions by “borrowing” space from the bridges in order to create a pedestrian boardwalk across the river. The plan also calls for transforming an existing but disused median along the bridge into a “bicycle superhighway” that could carry bicycle commuters over the river, as well. The paths will have generously landscaped footholds on either side of the river, according to renderings, and will extend formally and informally into the neighborhoods on either side. The reworked transportation route will also host several of the city’s Pulse high-speed bus lines and add a new interconnected park system studded with event spaces and public art. Another aim for the project is to create a new people-centered route that offers expansive views of a historic train viaduct that was burned down at the conclusion of the American Civil War. The remaining foundation elements and ruins will be visible from the pedestrian bridge and will serve as a focal point for the entire project. The project is moving into the final design stages over the next couple of years as work continues on a private fundraising campaign aimed at funding the plan. Meanwhile, backers of the BridgePark are moving toward getting the city to include the initiative in the city’s forthcoming development plans. Regarding the project, Peter Culley, director at Spatial Affairs said, “We are at a very exciting stage in what is an appropriately ambitious project taking its place as part of Richmond’s impressive renaissance as a river city with important histories now ready to be reexamined.” Culley added, “As cars begin to take a second place in our cities, human stories and experiences can appropriately move up to the front of the line.” In a press release, BridgePark Foundation President, Ted Elmore, states, “We are thrilled to work with the community and this extraordinarily accomplished team in examining our past and envisioning monuments to our future. The popularity of newly achieved river initiatives, such as The Potterfield Bridge, coupled with exciting projects pending downtown make now an ideal time for us to contribute a bold vision to our City.” The unveiling of the conceptual plan for the project follows a six-year-long community outreach effort and the completion of an ideas study by Spatial Affairs Bureau in 2015. Spatial Affairs has an office in Richmond to help coordinate the project. Buro Happold New York is on board for structural and economic impact studies for the project with Sam Schwartz Engineering working on the pedestrian, bicycle, and vehicular transportation strategies. Timmons Group will provide civil engineering services while Gardiner & Theobald will conduct cost estimation for the project. A timeline for completion of the park has not been announced.
How to Cook a Fox
COOKFOX and Gensler unveil office towers for Water Street Tampa
Water Street Tampa, a massive new mixed-use waterfront neighborhood, will receive two new high-tech office buildings courtesy of New York's COOKFOX Architects and Gensler. The two towers will be the first to rise in the development and will be Tampa, Florida’s, first ground-up office towers in 25 years. Combined, both buildings will bring nearly one million square feet of office space to Water Street Tampa, the first WELL-certified neighborhood in the world according to developer Strategic Property Partners (SPP). COOKFOX’s design for 1001 Water Street is reminiscent in form of New York’s classic cast-iron buildings, complete with a crowning cornice. The 20-story, mixed-use tower will hold 380,000 square feet of offices, and from the renderings, it looks like COOKFOX has integrated its signature biophilic touch. Nine planted, double-height terraces will wrap around the exterior of 1001 Water Street, and the building will be capped by a landscaped rooftop terrace. Inside, tenants and the general community will be able to make use of the Water Street Tampa wellness community center. No square footage has been given as of yet for the non-office components. 1001 Water Street will be connected to the University of South Florida’s Morsani College of Medicine courtesy of a Nelson Byrd Woltz Landscape Architects–designed plaza. Gensler has taken a decidedly glassier approach at 400 Channelside, offsetting glass-clad volumes to create a 500,000-square-foot, 19-story office tower. The building, much like COOKFOX’s, was designed with a focus on connecting tents with the outdoors and will include a 30,000-square-foot, landscaped “sky garden” on the fourth floor. Much like 1001 Water Street, 400 Channelside will also include floor-to-ceiling windows. Both buildings will be WELL and LEED certified, though to what level hasn’t been revealed yet, and are expected to open sometime in 2020 or 2021. Once the new neighborhood is fully built out, Water Street Tampa will feature 2 million square feet of office space and is expected to serve up to 23,000 residents and visitors daily.
Trails for Miles and Miles
Shirley Chisholm State Park is coming to Central Brooklyn next summer
Central Brooklyn will soon be the home of New York City’s largest state park, which will be opening next summer according to 6sqft. Governor Andrew Cuomo announced Wednesday that the first phase of Shirley Chisholm State Park, a 407-acre piece of land on Jamaica Bay, will be finished by mid-2019. Named after Brooklyn native Shirley Chisholm, the first African-American woman elected to Congress, the new parkland will include 10 miles of hiking and biking trails, picnic areas, an amphitheater, and more on top of two former landfills. The project will open up 3.5 miles of waterfront with areas accessible for kayakers and beach-goers. The initial build-out will also include a bike path that will connect the former landfill sites at Pennsylvania and Fountain Avenues, allowing visitors to easily approach both sides of the park to take advantage of the educational facilities and comfort stations placed throughout. The massive project falls under the governor’s “Vital Brooklyn” initiative, a $1.4-billion plan that funnels the state’s financial resources to community-based health programs, affordable housing, and recreational spaces in the neighborhoods of Crown Heights, Bushwick, Flatbush, Bed-Stuy, Brownsville, Ocean Hill, and East New York. For the park project, planning began 16 years ago when the site remediation process started to make way for the landfill sites’ potential future use. In 2002 the NYC Department of Environmental Protection installed over 1.2 million cubic yards of clean soil and planted 35,000 trees and shrubs. Over time, a diverse ecosystem of coastal meadows, wetlands, and woodlands has grown, resulting in the area as it exists today. The first phase of the park’s construction will use $20 million to open up the restored site and create a new waterfront. Next fall after the park opens, public meetings will be held to discuss the second phase of the design, which may include the amphitheater, an environmental education center, and a cable ferry.
Rejoice, lovers of landscape architecture, because the American Society of Landscape Architects (ASLA) has published their 2018 ASLA Professional Awards and awarded their top honors to projects across the U.S. and Canada. The Michael Van Valkenburgh Associates–designed Brooklyn Bridge Park, a project twenty years in the making but closing in on the finish line, took home the Award of Excellence in the General Design category. The transformation of a formerly-industrial landscape into a leisure-oriented waterfront park that simultaneously knits together formerly disconnected communities paved the way for an entire generation of similar projects. Ross Barney Architects and Sasaki’s revitalization of the Chicago Riverwalk, another urban landscape project that has been heavily lauded in the past, was recognized with a General Design Honor award. The ASLA chose a wide variety of winners this year. West 8 Urban Design & Landscape Architecture’s master planning and landscaping of the Main Fountain Garden at the Longwood Gardens was honored alongside a culturally sensitive native cemetery in Nunavut, Canada, and an international sculpture center in the grasslands of Fishtail, Montana. In the Residential Design category, the Word + Carr Design Group’s Balcones Residence in Austin, Texas, received the Award of Excellence. The landscape balances positive and negative space and creates a dialogue with the house’s boxy, concrete forms while requiring little maintenance. The top prize in the Analysis and Planning category went to A Colorado Legacy: I-25 Conservation Corridor Master Plan, a master plan by the Design Workshop - Aspen which created a strategic vision for a 17-mile-long stretch of Interstate 25. Other than offering solutions to the urban sprawl surrounding the interstate, the plan serves strategies for preserving up to 100,000 acres of open space while promoting sensible development. Three projects received Honor awards in the Research category, each tackling resiliency in one form or another. The University of Pennsylvania’s interactive Atlas for the End of the World - Atlas for the Beginning of the Anthropocene tracks the decline of biodiversity worldwide as conservation clashes with development and climate change; Mahan Rykiel Associates tracked the 1.5 million cubic yards of sediment dredged from Baltimore Harbor in Design with Dredge: Resilient Landscape Infrastructure in the Chesapeake Bay; and Ayers Saint Gross explored sustainability strategies for the National Aquarium in Baltimore with their Urban Aquatic Health: Integrating New Technologies and Resiliency into Floating Wetlands project. In the Communications category, the Landscape Architecture Section, Knowlton School, The Ohio State University took the Award of Excellence for their free, online library of historical landscapes. The database, 100 Years of Landscape Architecture at The Ohio State University, offers virtual tours of historical and contemporary landscapes around the world, inlcuding in virtual reality, and is meant to serve as both a teaching and landscape architecture recruiting tool. Last but certainly not least, Design Workshop received the Landmark Award for their From Weapons to Wildlife: The Rocky Mountain Arsenal National Wildlife Refuge Comprehensive Management Plan. The ambitious plan demonstrates how a 17,000-acre Superfund site could be converted into one of the country’s largest urban wildlife refuges. Now in its third phase, the plan was put into implantation in 1992 as the U.S. government and Shell struggled to remediate what was once a testing ground for biological and chemical weapons. A full list of this year’s Professional Award winners is available here. No less important are the recently announced 2018 ASLA Student Awards, available here.
Architecture curator and former AN columnist Aric Chen has stepped down from his role as the lead curator for design and Architecture at M+ in Hong Kong’s West Kowloon Cultural District and has taken on the title of curator-at-large at the museum. In addition to M+, Chen will be focusing on other curatorial projects as well as teaching, including guest curating the 2018 Beazley Designs of the Year exhibition at London’s Design Museum, from his new base in Shanghai. M+, first proposed in 2007 but currently without a permanent home, is focused mainly on the visual culture of Asia, in a global context, throughout the 20th and 21st centuries. The museum’s collection includes a wide variety of pieces including paintings, architectural models, furniture, digital art, performance art, and more. Following an international design competition in 2013, Herzog & de Meuron were chosen to design M+’s permanent home in West Kowloon. The 700,000-square-foot waterfront museum will resemble a ceramic-and-glass-clad, upside down “T” once complete and will hold over 180,000 square feet of exhibition space, performance spaces, cafes, offices, three theaters, and a rooftop terrace. Construction has been fraught with delays, and there have been fears of cost overruns as the West Kowloon Cultural District Authority fired its main contractor earlier this month. While construction has been put on pause for six weeks as the authority searches for a replacement, the managing body has maintained that the museum will still open in 2020 as previously promised. Chen, who had served as M+’s lead curator since 2012, oversaw the formation of the museum’s design and architecture department and its acquisitions. He also led the establishment of the department’s programming and curatorial team. Chen also served as the first creative director for Beijing Design Week from 2010 to 2012. His online exhibition NEONSIGNS.HK, an interactive catalog of Hong Kong’s vibrant neon sign ecosystem, won Chen praise when it was released in 2013, and it won a Webby. Chen’s most recent book, Brazil Modern: The Rediscovery of Twentieth-Century Brazilian Furniture, is available now.
Philly is set to open new arts pier inside a century-old maritime warehouse this fall
Downtown Philadelphia will debut its newest cultural space this fall: an unlikely arts venue, marketplace, bar, and public park set inside a converted 99-year-old maritime warehouse. Cherry Street Pier, designed by Groundswell Design Group and Interface Studio Architects, will open on October 12 at Pier 9 along the Delaware River. The $5-million project will transform the 55,000-square-foot municipal structure into a mixed-use waterfront destination and studio facility for 14 local artists. Located south of the Benjamin Franklin Bridge and the Race Street Pier, the long-neglected, 19th-century building has undergone major renovation work over the last year. The project, dreamed up by the Delaware River Waterfront Corporation (DRWC), aims to introduce a new space for civic engagement as well as a collaborative home for the city’s visionary artists and entrepreneurs. The group announced Wednesday that the park will open ahead of the three-week arts celebration, Festival for the People, put on by the Philadelphia Contemporary. According to Philly Magazine, DRWC president Joe Forkin said that the Cherry Street Pier will serve as a foundation for the arts to flourish along the city’s waterfront. The historic building will house affordable studios and offices for emerging artists within repurposed shipping containers featuring glass walls. Community members and visitors to the dock can peer inside the studio spaces—dubbed the Garage— and watch the artists at work throughout the day. Tenants will be able to showcase their art in a 10,800-square-foot open space dedicated to large-scale art installations and performances. The site will also include room for a pop-up retail market, public events, and food vendors. A café and bar are being built for the open-air garden at the edge of the facility. The architects will peel back the roof of the warehouse in this section, exposing the steel trusses and stone masonry to reveal the historic structure’s core and unveil a unique perspective of the river. Wood benches, railings, plants, and trees will fill the space so people can relax and enjoy one another’s company.
31 Days of Architecture
Archtober is almost here! Check out the Building of the Day schedule
It’s nearly the most architectural time of the year! Archtober, New York City’s annual architecture and design month organized by the Center for Architecture, is just around the corner, believe it or not, and the lineup of archi-activities this season is not to be missed. Now in its eighth year, Archtober will celebrate the influence of the design industry through exhibitions, films, lectures, conferences, and the architect-led Building of the Day tours, which grant visitors unique access to the city’s coolest projects. The first site this year is One John Street by Alloy, a new 130,000-square-foot residential property on the DUMBO waterfront. Perched next to the Manhattan Bridge, the 12-story building boasts unmatched views. You won’t want to miss your chance to get inside one of these apartments. You can also peruse the freshly-renovated TWA Hotel, or check out the brand new WeWork space inside S9 Architecture’s Dock 72 (the current talk of the town). You can also revel in the engineering feat that is The Shed by Diller Scofidio + Renfro and Rockwell Group. Sales for all tours begin today. You can purchase tickets via the Archtober website. Here is the complete schedule of sites to see: Oct. 1 One John Street Architect: Alloy Oct. 2 Lenox Hill Health Greenwich Village Original Architect: Albert Ledner; Renovation Architect: Perkins Eastman Oct. 3 Domino Park Architect: James Corner Field Operations Oct. 4 Newtown Creek Water Pollution Control Plant Architect: Polshek Partnership/Ennead Oct. 5 Swiss Institute Architect: Selldorf Architects Oct. 6 TWA Hotel Original Architect: Eero Saarinen; Renovation Architects: Beyer Blinder Belle, Lubrano Ciavarra Architect Oct. 7 BSE Global Architect: TPG Architecture Oct. 8 Schomburg Center for Research in Black Culture, New York Public Library Architect: Marble Fairbanks Oct. 9 Five Manhattan West Architect: REX Oct. 10 Bronx River Arts Center Architect: Sage and Coombe Architects Oct. 11 277 Fifth Avenue Architect: Rafael Viñoly Architects Oct. 12 The Marcel Breuer Buildings at Bronx Community College Architect: Marcel Breuer Oct. 15 Hayes Theater Architect: Rockwell Group Oct. 16 R & Company Architect: wHY Architecture Oct. 17 Dock 72 Architect: S9 Architecture Oct. 18 Brooklyn Bridge Park Boathouse Architect: Architecture Research Office (ARO) Oct. 19 Brooklyn Botanic Garden’s Shelby White and Leon Levy Water Garden and Water Conservation Project Architect: Michael Van Valkenburgh Associates, Inc. Oct. 20 100 East 53rd Street Architect: Foster + Partners Oct. 21 Kew Gardens Hills Library Architect: WORKac Oct. 22 Spyscape Museum Architect: Adjaye Associates Oct. 23 Manhattanville Campus Plan: Jerome L. Green Science Center (Mortimer B. Zuckerman Mind Brain Behavior Institute) and The University Forum Design Architect: Renzo Piano Building Workshop Executive Architect: Davis Brody Bond LLP (Jerome L. Green Science Center) Design Architect: Renzo Piano Building Workshop Executive Architect: Dattner Architects (The Forum) Oct. 24 325 Kent Avenue Architect: SHoP Oct. 25 Sculpture Studio Architect: Andrew Berman Architect Oct. 26 The Shed Architects: Diller Scofidio + Renfro in collaboration with Rockwell Group Oct. 26 Alice Austen House Original Architect Unknown Oct. 28 Ocean Wonders: Sharks! Architecture, Exhibition Design, Landscape Architecture: Edelman Sultan Knox Wood / Architects (Architect of Record), the Wildlife Conservation Society - Exhibition and Graphic Arts Department, and The Portico Group Oct. 29 African Burial Ground Monument Architects: Rodney Leon / AARRIS Architects Oct. 30 123 Melrose Architect: ODA New York Oct. 31 Hunters Point South Architect: WEISS/MANFREDI View all programming on Archtober.org.
On the Right PATH
Retro-futurist tower set to make its mark on eastern New Jersey
Development along New Jersey’s PATH transit line continues to boom, and the latest town to feel the effect is Harrison, Newark's eastern neighbor. As first reported by Jersey Digs, Manhattan’s GRO Architects have been tapped to design a multi-block, mixed-use development that includes what will become the town’s tallest tower. The office tower, with its sloping, biomorphic massing, is set to rise 20 stories and will sit on top of a “floating” retail podium. Both sections will feature rounded punch windows and filleted corners, as well as linear metal fins, used as horizontal louvers on the tower portion. The tower itself will contain an as-of-yet unspecified amount of hotel space and 242,276 square feet of offices, with 15,027 square feet of retail below. The building is just one piece of the Harrison North of Guyon (NOG) project, an 11-acre redevelopment of the land just north of Harrison’s New Jersey PATH station. A large glass wall has been carved from the office tower's skin and will offer up views of the rest of the project to the north along with sweeping views of the adjacent Passaic River, which wraps around and bounds Harrison. The development will include three mixed-use buildings which will all contain residential and commercial space—up to 518 residential units and 85,000 square feet of retail—as well as three or four eight-story parking structures. A public square has also been included, potentially with a movie theater and bowling alley. NOG will be constructed in two phases and will adhere to the Harrison Waterfront Redevelopment plan, which, according to New York YIMBY, advises “neo-traditional downtown styling.” The seven-story buildings will be without front setbacks to encourage walkability, with the ground floors of each set aside for retail. The residential portions will likely contain a mix of studios and one-bedroom apartments. The development will also include a new glassy Harrison PATH Station entrance and capital investments in the surrounding roadways. According to Richard Garber, Partner at GRO Architects, the aim of the project was to create a sense of place in a location frequented by commuters from all over the tristate area. One of the challenges will be to attract residents from Jersey City and Hoboken, other cities along the PATH that are easily reachable from Manhattan. Construction is expected to begin in 2019, with no completion date given at the time of writing.
Minneapolis will be getting an elevated amphitheater on the banks of the Mississippi River courtesy of New York’s SHoP Architects. The firm was chosen by Minneapolis music institution First Avenue Productions to design the new Upper Harbor Terminal Community Performing Arts Center (CPAC); a combination park-performing arts center-event venue. CPAC will create a new 2.3-acre public park on the waterfront on city-owned land that will double as a performing arts space. SHoP’s “Gantry,” a multi-story metal seating structure, will float most of the venue’s 6,000 seats above ground level and free the park up for public use when not scheduled for events. The stage, segmented into its own separate building, can also be enclosed during inclement weather for smaller performances. The Gantry leaves its structural elements exposed, and the catwalk-like design is a callback to the waterfront’s industrial past—a past that, from renderings, will be heavily referenced in the new park’s design. CPAC will seat up to 10,000 visitors, with room for 4,000 standing attendees, and 10 private boxes. “Minneapolis and First Avenue have a long history of creative transformation, and a rich legacy of music and culture,” said founding partner of SHoP Architects Gregg Pasquarelli. “We are thrilled to be working together to expand upon this tradition. In designing the UHT CPAC, we were inspired by what makes First Avenue one of the country’s most intimate and special music venues, focusing on the idea of creating an inclusive venue where everyone feels like a VIP, while also allowing for a larger, open park and green space open year-round for the North Minneapolis and surrounding communities to enjoy.” The renderings released last Wednesday were the public’s first look at plans for the north Minneapolis site, of which CPAC is just a small part. If the plan is approved by the City Council and Minneapolis Park and Recreation Board, the 50-acre Upper Harbor development would bring residential and office buildings to the waterfront as well. Construction on the project’s first phase, including CPAC, could begin in 2020 depending on how fast the development clears the approvals process. In the meantime, developers United Properties, Thor Companies, and First Avenue will be soliciting public feedback on their current scheme.