Search results for "9/11 museum"

Placeholder Alt Text

Pictorial> Tribute in Light Shines Bright Over Lower Manhattan
As dusk shrouded Lower Manhattan in darkness last night, the National September 11 Memorial & Museum extended an 88-cannon salute to those whose lives were indelibly-changed by the events of September 11, 2001. Now in its 12th year, the Tribute in Light sent two high-intensity beams of light four miles up into the night sky in a poignant memorial marking the absence of the original Twin Towers. Several dozen onlookers including victims' family members and city officials watched the beams emanate from the top of a parking structure just blocks from Ground Zero in a solemn expression of remembrance. Last night's light show marks the second year the 9/11 Memorial has produced the Tribute in Light. "It makes total sense for us to be custodians of the memorial. It makes sense as a museum to curate this as a piece of our extended collection," said Ryan Pawling, assistant director for public programs at the 9/11 Memorial. "It's a symbol of New York and of the resilience of New Yorkers after the attack." The Tribute in Light concept was imagined immediately following the attacks in 2001 as a group of architects and artists organized by the Municipal Art Society (MAS) and Creative Time, a non-profit devoted to public art and was first displayed on the six month anniversary of the attacks. Designers included John Bennett, Gustavo Bonevardi, Richard Nash Gould, Julian Laverdiere, and Paul Myoda with lighting consultant Paul Marantz. MAS continued the show annually through the tenth anniversary in 2011. "Most people see the beacons from far away. Not a lot of New Yorkers know the high-tech design that goes into putting on the show," Pawling said. The technology behind the Tribute in Light and skill required to pull it off are as impressive as the display itself. During the previous week a team from lighting design studio Fisher Marantz Stone worked tirelessly to align the 88 Italian-made light cannons—each equipped with a 7,000-watt xenon light bulb—to create the dual beacons. While the official Tribute in Light was only one night, New Yorkers for miles around could see the beams at night as crews traveled ten to fifteen miles away in several directions to ensure the beacons were plumb. Pawling said each cannon had to be individually aligned—beginning with the corners of each of the squares—to ensure the light beams point directly skyward with one unified glow. The cannons were adjusted fractions of a degree using specialized mounting gear that miles up in the sky accounts for a wide berth. If the lights are not all in sync, the beacons would appear fuzzy from far away. The group brought in observers from the Audubon Society to help mitigate the effects of the lights on the migratory patterns on birds. Pawling said the time of year and New York's geography makes it a prime route for birds, and that while the city itself with its ample night lighting can cause problems for the birds, the Tribute in Light hopes to steer clear of the birds. For instance, Pawling said the light show was turned off last year for two twenty minute periods to allow flocks to pass through without distraction. By taking the reigns from MAS, the Museum was able to gain around $300,000 in funding from the Lower Manhattan Development Corporation (LMDC) to put on the Tribute in Light. LMDC's three-year grant, reallocated from unused transportation funds, extends through next year. With the LMDC phasing out its role in coming years, funding sources for the Tribute in Light will need to be found elsewhere, likely from private sources. Pawling said the museum has not begun exploring new funding options but will meet with various groups in the coming year to help determine the future of the display. All photos by Branden Klayko / AN.
Placeholder Alt Text

Matters of Substance
Jenny Sabinns myThread Pavilion for Nikees FlyKnit Collective explores biodynamic models and data sets to illiuminate new ways of thinking about material structures.
Courtesy Jenny Sabin

If, as Louis Kahn said, a brick wants to be part of an arch, what does a biopolymer molecule, a block of aerogel, or a slab of metallic foam want to be? The empirical basis for inferring bricks’ intentions is well established, comprising building traditions that have evolved over millennia. For newer materials, the chance of moving from laboratories to construction sites can be a crapshoot. The successful ones not only capture markets but transform behavior.

The most promising approaches, materials specialists agree, emphasize integration rather than isolation. “We don’t just create materials or products; we create information systems,” says architect/author Blaine Brownell, who co-directs the MS in Sustainable Design program at the University of Minnesota and whose most recent book, Material Strategies: Innovative Applications in Architecture (Princeton Architectural Press, 2012), links innovations in minerals, concrete, wood, metal, glass, and plastics to prominent case studies. Using the term hypermaterial to denote the convergence of materials and information processing, Brownell looks to the management of light, energy, and data as the leading edge of materials research.

Courtesy Jenny Sabin

Jason O. Vollen, associate director of the Center for Architecture Science and Ecology (CASE), a joint project of Rensselaer Polytechnic Institute and SOM, heralds “a fundamental paradigm shift from moving energy mechanically, which is how we do it now, to moving energy materially.” Instead of multiple layers of a structure performing different functions, Vollen says, as in Mike Davies’ concept of the polyvalent wall, “We think one layer should do multiple things; we think a potential solution is the multivalent material. That’s not so far off; it’s speculative fiction rather than science fiction.” Citing the “holy grail” of Lawrence Berkeley National Laboratory’s Stephen Selkowitz—a material optimizing both daylight and insulation—Vollen says “what exists now won’t do that, but what exists around the corner might.” Nanotechnology, where categories blend and “metals can become more like glasses, glasses become more like ceramics,” he continues, is yielding unprecedented control over properties such as heat flow and daylight transmittance. With high-performance ceramics in particular offering properties that answer climate-change-driven imperatives, he is convinced, “the industry is poised for a revolution.”

Materials research is often a matter of systematic biomimicry, invoking a parallel understanding of natural processes occurring over time on multiple scales, from the nanoscale to the visible to the ecosystemic. “It’s not about translating shape, or a static image of a biological behavior,” says Jenny E. Sabin, assistant professor of architecture at Cornell and a founding member of Cecil Balmond’s Nonlinear Systems Organization. As the architectural member of the National Science Foundation-sponsored ESkin interdisciplinary team, which also includes a materials scientist, a cell biologist, and a systems engineer, Sabin investigates homologies in materials, geometries, and forms. She describes her challenge as “thinking about how those properties could work across scales” and replicating them in “highly engineered, sustainable materials that have very sophisticated responses to environmental cues.”

Courtesy Jenny Sabin

Generative models based on cellular activity inform her “Branching Morphogenesis” installation at Linz, Austria’s 2009 Ars Electronica (comprising 75,000 cable zip ties in tension, organized according to microscale cellular forces) and her all-knitted myThread Pavilion for Nike’s Flyknit Collective, produced with New Jersey-based fabricator Shima Seiki USA. “It’s not just that we can produce complex organic form,” she continues, but that designers can “directly interact with manufacturing technologies...Working with soft textile-based materials at a large scale is only possible through really cutting-edge fabrication technologies.” Strategies that arise from these investigations include “embedding a more nonlinear lifespan” into a material, so that products pass usefully through multiple life cycles; porosity, allowing lightness and transmissibility as well as strength; geometries that repel or absorb water, a high priority in materials that must endure sea-level rise; and self-organizing properties on nano-to-macro scales.

The technological transition suggested by business consultant David Morris, vice president of the Institute for Local Self-Reliance—replacing the hydrocarbon-based economy, with all its externalities, costly extractive processes, and resource-availability constraints, with an older, cleaner system, “the once and future carbohydrate economy”—calls for more use of lifelike materials, Brownell suggests: those derived from agriculture and those deriving knowledge from living systems. A brick may want to be thick, but contemporary materials want to be smart.

Resource maximizers, beginning with light

Andrew H. Dent, PhD, vice president of library and materials research at Material ConneXion, sees two broad questions driving research in the field: what does Earth have in abundance, and what are we running out of? To the extent that materials and processes based on ample, readily available resources (from sunlight to silicon) replace those with sources in short supply (petroleum, gold, copper, clean air, and water), materials research represents a critical adaptation to emergent conditions.

Much of this work is economic optimization rather than new discovery, Dent adds. Methods of developing biopolymers from a wide range of plants harvested in different regions and conditions (corn, castor, switch grass, sugar cane, potatoes, and others) are already known. “The issue is how to beat out oil,” he says, which “even at a high price is still significantly cheaper.” Tradeoffs of this sort are inevitable. A material may be lightweight enough that its production and transport save energy and yield an admirable overall ecological footprint, but its components pose toxicity concerns, as with ethylene tetrafluoroethylene (ETFE, the transparent insulating “pillow” material seen in the 2008 Olympic Water Cube and other buildings worldwide). Biopolymers for construction, consumer products, or fuel, likewise involve edible crops and thus compete with food production. “Back in 2006 and early ’07,” Brownell recalls, “when there was so much excitement about biofuels and ethanol...states like Iowa were promising all kinds of fuel-making capacity without taking a hard look at how a lot of this corn that we make goes to developing countries in order to feed the world.” Vollen frames this starkly as “a political and regulatory issue: ‘if we replace oil with corn, what do we eat?’”

Sensitile’s light-piping panels harvest and manipulate light through optical channels embedded in concrete and resin substrates.
Courtesy Sensitile

In this regard, viewing solar energy as the ultimate free resource, Brownell is particularly enthusiastic about products that harvest and manipulate light, such as Sensitile’s light-piping panels, embedding optical channels in concrete and resin substrates, or a recent breakthrough at Duke University’s Pratt School of Engineering, scattering silver nanocubes on a gold film to “help the substrate absorb virtually all the incredibly efficiently that nothing leaves the surface” and improving the efficiency of sensors. Another promising use of multiwall carbon nanotubes, he says, is field-induced polymer electroluminescent (FIPEL) technology, which generates a warm, nonflickering wavelength resembling sunlight­—“that spectrum that clearly influences human behavior and productivity in workplaces and learning places.” These flat lighting panels offer a distinct improvement over harsh compact fluorescents and heat-inefficient incandescents, with efficiency approaching that of LEDs.  Developed at Wake Forest University and licensed for commercial development to CeeLite Technologies, the panels can be integrated with flexible substrates and incorporated into windows or even textiles.

Courtesy Sensitile

Brownell also cites the engineer/designer Akira Wakita’s work with “conductive threads to make thermochromic and photochromic textiles that can act as computer monitors.” The importance of lighting in the developing world, he emphasizes, makes it a promising field for leapfrogging technologies that address “the good but tough 99 percent question” about new materials’ relevance to global populations, as well as a generally fertile field for disruptive technologies. “I’m still marveling at how LEDs have transformed the whole lighting field,” Brownell says. “It wasn’t that long ago [that] it was kind of hard to find an LED.”

Concrete, the most widely used construction material on Earth, is ripe for innovation. Its Portland cement component accounts for an estimated 5 percent of the global carbon footprint; by weight, concrete is environmentally friendlier than metals or polymers, Brownell says, but its sheer prevalence means that improving its performance has considerable ecological effects. Strategies include reducing cement volume with additives like blast furnace slag or rice husk ash (practiced by the Canadian firm EcoSmart). Then there is Calera’s carbonate mineralization by aqueous precipitation, which diverts preheated flue gas into seawater, combines energy production, cement manufacture, and carbon sequestration, and enhances CO absorption by using magnesium silicate, iron carbonate, or other alternative components. This process is done by TecEco in Tasmania, Novacem in London, and CarbonCure in Nova Scotia. (“Concrete strikes me as something like molé,” Brownell comments: “Every family has their own recipe.”)

Tensile strength is a concern with any concrete; among various high-performance crack-resistant concretes that use silica fume, superplasticizers, ground quartz, or mineral fibers, Victor Li’s work at the University of Michigan with fiber-reinforced, bendable concrete stretches the category’s definition altogether. Lafarge’s Ductal is another high-performance concrete that bridges the border between concretes and composites. A novel self-repair strategy developed at Newcastle University, BacillaFilla, programs a Bacillus subtilis strain to create calcium carbonate and a “microbial glue” when it is injected into cracks; it then cures to the same strength as the surrounding material (finally stopping, thanks to a genetic “kill switch” that keeps the bugs from surviving once they detect a surface; this feature relieves hypothetical sci-fi concerns about an uncontrollable Bill Joy-style gray goo).

The prospect that concrete could move from carbon-positive to carbon-negative strikes many commentators as an achievable goal—provided the newer variants gain market share, despite contractors’ comfort level with current recipes. “What we need,” suggests Dent, “are some high-profile architects to use some of [the new] material and show its advantages by being part of a high-profile, near-carbon-zero building.”

Victor Li at the University of Michigan has been experimenting with fiber-reinforced bendable concrete.
Courtesy University of Michigan

Material moneyball

Untested novelties face market resistance, particularly in areas where suboptimal technologies are entrenched, easily available, and (as Vollen points out) insurable. The factors that add up to successful technology transfer are far from systematic; for some materials, decades passed between their invention and commercialization. Dent hails Gorilla Glass, the ultra-strong, scratch-resistant surface that allows durability and interactivity in smartphones, as a transformative material that could also be useful in architecture. Yet when Corning developed the similar Chemcor glass in the early 1960s, it mothballed the product after about a decade, only to revive the idea on request from Apple in the mid-2000s. Serendipity and a suitable niche among related technologies appear essential for promising ideas to migrate from laboratory R&D to the Sweets catalog or the shelves of Home Depot.

One of nature’s recurrent strategies for economizing on material bulk—porous forms—characterizes several materials whose properties have drawn attention. Metallic foams, often aluminum or zinc, combine strength with lightness and thermal resistance; one such product, an aluminum foam marketed by the Canadian firm Cymat as SmartShield, was originally developed as a blast barrier on the undersides of military vehicles that encounter roadside bombs. “An individual at Cymat who had an architectural background recognized that, in addition to having the extreme technical properties, the material was aesthetically interesting,” reports Kelly Thomas, spokesperson for its distributor, Stone Source. Slightly altered in cell structure and slab thickness, rebranded as Alusion, the foam (80 percent air by volume) is now available to serve as walls, partitions, decorative fixtures, acoustic drop ceilings, or exterior cladding. Currently a specialty material, Alusion could conceivably gain increased prominence after the opening of the 9/11 Museum, where it will appear on the undersides of the twin fountains.

Lafarge’s Ductal is a high performance concrete reinforced by organic, reinforced metallic fibers that increases the material’s compression resistance, ductility, and longevity (left) Alusion, an aluminum foam that’s 80 percent air, was derived from Cymat, a material used as glass shielding on military vehicles (center, right).
Courtesy Lefarge; Courtesy Cymat

A class of even more ethereal materials, aerogels, has existed since the 1930s: they are exceptionally light (often called “frozen smoke”) and highly rated as thermal insulators. Brittleness limits their practical uses, though one aerogel, Kalwall+ Lumira, has found use as a translucent wall and skylight material. Recent work at NASA’s Glenn Research Center (GRC) in Cleveland, however, has generated polymer-based aerogels robust enough to resist crumbling and flexible enough for use in building insulation, clothing, autos, and elsewhere. About 500 times as strong as silica aerogels, with R values up to ten times those of polymer-foam insulation, NASA’s polyimide aerogel has attracted about 70 commercial inquiries since last August, reports GRC technology transfer specialist Amy B. Hiltabidel, with five possible U.S. manufacturers currently negotiating to license it.

It is too early to tell whether initial costs will drop enough for this material to catch on commercially, but Hiltabidel reports that on the GRC’s Technology Readiness Level scale, where a basic-research project rates a 1 and a 10 is already on the space shuttle, polyimide aerogel, “one of the first materials that has attracted such a varied interest” outside the aerospace/defense sector, is currently about a 6. “Because it’s more developed” than the average, she says, “it will have a faster time to market, and I would say well within five years, probably closer to two to three.”

Conceivably, either of these materials could become what every product wants to be: a market-maker that changes people’s expectations. Or both could end up in narrow niches. With any new technology, Vollen suggests, “what you probably want is not to bet on one horse; what you probably want to do, which is what nature has done, is bet on many horses. Within the larger ecosystem of material ecology and construction ecology, there will always be a place for new things to survive, and the longer each one of these things survives, the more fit it is, and the more it’s going to solve the problem, long-term.”

He analogizes commercial ecosystems to earthly ones: “In the ecological model, you think about what fills the void when something leaves: there’s always a gap... We think they’ll all find a place in the ecosystem, and we should encourage them. What’s really critical, I think now, is to encourage the process by which we use each building as an experiment, as a demonstration site, and see which one is going to be the model of fitness in the future.”

Placeholder Alt Text

Prime Real Estate
Courtesy 16 Acres The Movie

16 Acres
Directed and edited by Richard Hankin, Written by Matt Kapp, and Produced by Mike Marcucci

On September 11, 2012, no politicians spoke at Ground Zero. That absence contrasted with 2011’s tenth “Tin” Anniversary event, when Michael Arad’s Memorial Plaza opened, with speeches by Presidents Obama and Bush, governors Christie and Cuomo, former mayor Giuliani, and former governors Pataki and DiFrancesco. What came next, however, was considerably less uplifting: the freezing of funds for the 9/11 Memorial Museum, marking the continued dysfunctional normal for the World Trade Center site, which has been rebuilding since the attack in 2001.

Now, after seeing the intelligent documentary 16 Acres, which opens with Bob Dylan’s “Everything is Broken,” we come to understand what is behind the saga of building at Ground Zero.

The film was shown at the Architecture & Design Film Festival, in New York in October. Our main guides through this feckless roundelay are two journalists, Philip Noble, author of Sixteen Acres: Architecture and the Outrageous Struggle for the Future of Ground Zero (2004), and Scott Raab, who has written about the site for Esquire since 2005. With a wicked sense of humor and resigned irony, these keen observers analyze and synthesize the actions, decisions, and motivations of a parade of characters. Interviewees include George Pataki, Larry Silverstein, Danny Libeskind, Roland Betts (Lower Manhattan Development Corporation-LMDC), Janno Lieber (WTC Properties), Kenneth Ringler (Port Authority), David Childs (SOM), Michael Bloomberg, Rosaleen Tallon (family member), Chris Ward (Port Authority), and Michael Arad.


It’s an impressive collection, but obvious omissions include Paul Goldberger, who wrote his own book, Up From Zero: Politics, Architecture, and the Rebuilding of New York, (2005) about the same subject; John C. Whitehead, chairman of the World Trade Center Memorial Foundation and chairman of LMDC; and former New York Governor Eliot Spitzer.

Telling this story in film brings these personalities and their motivations to vivid life and shows their true colors (Pataki as a political opportunist and obstructionist, Silverstein as a sometimes tone-deaf-but-earnest businessman). Then there are the made-for-the-camera, fig-leaf media events like the laying of a cornerstone on July 4, 2004 (an irrelevant act, as cornerstones are not used in modern skyscrapers). That event had been prompted by Pataki’s re-election campaign and the Republican National Convention.

Subsequently, the cornerstone’s siting drew objections from the New York Police Department as too vulnerable, and was moved. As a result, the Freedom Tower scheme had to be scrapped and redesigned. (The irrelevant cornerstone was finally removed and now sits behind the engravers’ headquarters on Long Island. Raab, meanwhile, fantasizes a scene of dumping the rock on Pataki’s front lawn, ringing the doorbell, and racing away as fast as possible.)

Along with fantasy, the film lets us steep ourselves in the site itself, via reminders of the fits and starts of building at Ground Zero, the alphabet soup of stakeholders, the complicated rebuilding efforts. In contrast, 7 World Trade, also designed by David Childs and sited directly across the street, involved only Larry Silverstein and the Port Authority and was completed in 2006.

After the destruction of the twin towers, an immense architecture and planning opportunity arose for the city on what Raab called “perhaps the most valuable 16 acres on the face of the earth…at the center of the cosmos and fair game.” But the ensuing saga can now be viewed only as a series of scrambled opportunities and mixed messages.

These skeins are effectively sorted out in this smart film. Nobel highlights that these yet-to-be-built office buildings were being asked to embody the nation’s collective response—defiant renewal, a symbol of vengeance, and a symbol of healing. But as Paul Goldberger said in his book, “The greatest conflict was not between those who wanted to build and those who wanted the site to remain empty but between those who saw the priority of new construction on the site as primarily commercial and those who saw it as primarily symbolic and cultural.” Rather than void the pre-existing agreement with the leaseholder and rethink the use of the 16 acres, the arrangement remained, thus dictating that the rebuilding utilize the equivalent space for the same designated purposes.

A prime example of the zig-zag trajectory is the competition for the master plan (largely interpreted as the design of buildings themselves), which turned out to be a charade. First, the LMDC, created by Pataki and Giuliani to oversee the rebuilding, chose a design by THINK (Shigeru Ban, Frederic Schwartz, Ken Smith, Rafael Vinoly). Pataki, however, disregarded the agency’s choice and instead selected Libeskind’s proposal.

Yet neither THINK nor Libeskind had the chance to realize their schemes, since leaseholder Larry Silverstein, who was paying for the rebuilding (as well as $10 million per month in rent to the Port Authority whether any buildings existed or not), wanted his own architect, David Childs. A shotgun marriage between Liebeskind and Childs didn’t work. Nobel tells the story of how SOM staff removed the large illuminated model of the Freedom Tower while it was being displayed at yet another Pataki press conference, this one at Federal Hall.

The last Libeskind remnant—a “stick on top,” reaching to the symbolic 1776 feet—was even lopped off as the model exited the hall, never to be seen again.

Michael Arad, who had to make his own compromises on the memorial, said, “It’s easy to think about all of the strife, all the disagreement, to focus on this didn’t go right, that didn’t go right…Actually, in the big picture, something did go right, really right.”

At present, four towers are in various stages of completion on the 16-acre site: 1 World Trade (no longer called the Freedom Tower), by David Childs; 2 World Trade, by Norman Foster; 3, by Richard Rogers; and 4, by Fumihiko Maki. As Philip Nobel said, “It’s an incredibly healthy thing that the city responded to September 11 in classic New York fashion by beating each other up, and grandstanding, and political manipulation. And you can say, ‘Oh, that’s awful,’ or you can say, ‘What a wonderful thing that New York healed this big wound with more New York.’” Let’s hope that it’s worth the wait.

AN Video> Progress at the World Trade Center Site on 11th Anniversary
For the eleventh anniversary of September 11, The Architect's Newspaper has been reviewing progress at the World Trade Center site. Last Thursday, AN visited SOM's One World Trade to survey the view from the 103rd floor and check in on construction of the tower's spire. Friday, a trip to the top of Fumihiko Maki's Four World Trade on Friday showed the less-publicized view of the site. From both vantage points, the hum of activity—both from construction crews and visitors to the memorial plaza—was readily apparent. Of particular interest were substantial developments at the Vehicle Security Center, where a new entryway on Liberty Street will send security measures beneath a new St. Nicholas Greek Orthodox Church. It was heartening to read in today's New York Times that the conflict between Governor Cuomo and Mayor Bloomberg over the Memorial Museum, reported here last year, was resolved in time for ceremonies this morning. For all the talk of delays, an extraordinary amount work has been accomplished. As a tribute, AN has compiled a video montage showing continued progress at the site on this historic day.
Placeholder Alt Text

Securing Liberty
The Vehicle Security Center's Liberty Street entrance provides access for large trucks.
Courtesy Port Authority of New York and New Jersey

As the 11th anniversary of the September 11 attacks approaches, another major design element has quietly moved forward at the World Trade Center site: the design of the St. Nicolas Greek Orthodox Church and an above grade park that will mask the Vehicle Security Center (VSC) at the southernmost edge of the site.

Most World Trade Center maps don’t include the VSC or the Greek Orthodox Church, which will sit south of Liberty Street. It was less than a year ago that the Governor Andrew Cuomo brokered an agreement that allowed the church to return to the site near its former home on Cedar Street. A decade-long battle with the Port had kept its fate in the courts.

The doughnut-like steel latticework adjoins the VSC entryway on Liberty Street.
TS & BK / The Architect's Newspaper

Now, the steel latticework of the VSC’s truck ramp is clearly visible from nearby towers. In addition to being the entrance and exit for deliveries, the center of the doughnut-shaped ramp will also support the 60 by 60 foot church sanctuary. Steve Plate, the Port’s director of construction, said work on the park will begin this time next year. AECOM is designing an open space that will swell approximately 30 feet above the Liberty Street entrance to the VSC, creating a man-made hill on the south side of the World Trade Center site. State of the art security, engineered by Liberty Security Partners, will allow all vehicles to be x-rayed on their way in.

The church sanctuary will rise another 56 feet above Liberty Street, a full 78 feet above the sidewalk. Church architect Nicholas P. Koutsomitis said that the Port stipulated that the church not rise above the September 11 Memorial Museum’s roof plane. An additional emergency exit will drop Cedar Street below grade and into the VSC complex.

Fritz Koenig’s Sphere for Plaza Fountain, which sustained substantial damage on 9/11 and now sits in Battery Park, appears destined for the VSC site as well. It appears prominently in the renderings, and Koutsomitis confirmed that the sculpture will be included in the new park.

Placeholder Alt Text

On View> Skyscraper: Art and Architecture Against Gravity
Skyscraper: Art and Architecture Against Gravity Museum of Contemporary Art Chicago 220 East Chicago Avenue, Chicago Through September 23 The Museum of Contemporary Art Chicago brings together 50 international 20th and 21st century artists for a show that investigates our enduring fascination with building into the sky. Skyscraper: Art and Architecture Against Gravity presents a history of these iconic structures and their impact on our understanding of technology, society, and myth. The exhibition is divided into five themed sections. “Verticality” reflects the optimism of building upward and the pursuit of iconic form. “Personification of Architecture” juxtaposes human and architectural form, placing the body in terms of building and vice-versa. “Urban Critique” examines the effects of modern housing on its inhabitants and the dislocation and alienation that can result from architecture’s utopian impulse. “Improvisation” records occupants' responses to their built environment and the ways they transform and humanize buildings as documented in Marie Bovo’s courtyard perspective, above. “Vulnerability of Icons” considers our changing relationship to tall buildings post-9/11.
Placeholder Alt Text

Walking Tours that Conjure New York's Tragic Past
Before 9/11, the General Slocum steamship disaster was the greatest loss of life in a single day in New York. Never heard of it? You may have walked by a diminutive memorial fountain in Tompkins Square Park, but otherwise little remains to tell the tale of the 1904 East River wreck that killed over 1000 German immigrants from the Lower East Side. A major event of its time, the Slocum tragedy was commemorated in books and even a movie, but as generations pass, the memory has faded. Sites of Memory, a newly launched project by art director and writer Angela Riechers, aims to reanimate the memories of events like the General Slocum, or the Civil War draft riots, or more contemporary tragedies like the shooting of Amadou Diallo, by taking you—physically or virtually—to the very spot and letting a literary-star narrators including Kurt Andersen, Luc Sante, and Lewis Lapham, tell you the often sad but always intriguing story of the unlucky people involved. A recipient of a 2010 AOL Artists 25 for 25 grant, Riechers has created a mobile-friendly website that maps key moments in her selected memorial narratives, functioning somewhat like the familiar museum audio tours but with a macabre twist. "These events and countless other stories like them stubbornly hang around their old neighborhoods, though many of the places are long gone—the waterfront filled in, the buildings torn down, characters long since dead and buried. But the narratives endure, and tales that unfolded decades or even centuries ago can still resonate with our lives today in unexpected ways," the site explains. The project grew out of Riechers' 2010 MFA thesis for the D-Crit MFA program at the School of Visual Arts. Check Sites of Memory to discover stories of Henry Bliss (the first traffic-related fatality in the Western hemisphere), the Park Slope Plane Crash, or fate of the Beautiful Cigar Girl. Soon, users will be able to upload their own stories, adding new pins to the memorial map and new dimensions to a walk through the city—just stop and ask your GPS "What happened here?"
Placeholder Alt Text

Architecture Journalism
Left to right: Robin Pogrebin, Rob Lippincott, Steve Cuozzo, Matt Chaban, and Julie Iovine.
Tom Stoelker / AN

On May 3, the second of a four part series on architecture and the media organized by AN, Oculus, and AIANY’s Marketing and PR Committee, focused on media channels outside the design and building industry.

Held at the Center for Architecture and moderated by Julie Iovine, the panel included Robin Pogrebin, culture reporter at The New York Times, Steve Cuozzo, real estate reporter and restaurant critic at The New York Post, Matt Chaban, real estate editor and reporter at The New York Observer, and Rob Lipincott, senior vice president, education, at PBS. Here are some edited and excerpted highlights from the conversation, starting with each of the three print reporters describing their beats:

Robin Pogrebin: I am a reporter on the Culture Desk at the Times where there are actually not that many reporters. A few years ago, when Nicolai [Ourossoff] started as architecture critic, it was decided that there was a need to cover architecture as a story as opposed to as criticism. There had not been a dedicated reporter prior to that so that’s what I became and I have been doing it ever since. I still cover cultural and performing arts issues, the NEA budget, preservation, and a lot of these things intersect but architecture is the main thing.

Steve Cuozzo: As a genetic New Yorker who loves the city with an intense passion, I have since 1999 been covering commercial real estate. It’s only since after 9/11, that I have also been writing on design-related and architecture issues. I am a real-estate reporter only part-time; and architecture is just a sub-set of that.

I have no training, no background, and I don’t even have the proper vocabulary. Still, I believe I can really contribute to the dialog because architecture is this strange art form that’s the most invested in people’s daily lives while it also comes across as the most elitist of the art forms.

I say that, in part, because architecture critics don’t write that much. Imagine if restaurant critics, dance critics, theater critics wrote as infrequently as most architecture critics do. Just look up their by-line counts! I feel that the public is entitled to more of a voice in the realm of architecture and design and urban issues than they are getting from people who really know more about it than I do.

Matt Chaban: I am also a genetic New Yorker, although I happen to have been born in Pittsburgh. I write on real estate for the paper and edit a daily blog aimed at real estate professionals and aficionados. I see my job as explaining how the city works. And as much as I like covering the big new buildings, it’s really the nitty-gritty of how and why projects drag out that is the most interesting to me.

How much interest in, and knowledge of, architecture do you assume there is among your readers?

RP: Since Bilbao and the so-called starchitect phenomenon, there has really been a heightened interest in architecture. That changed coverage in that the general audience now knows names like Rem Koolhaas. Lately, I have found with the downturn that as major projects have fallen off there has definitely been diminished coverage from my standpoint. When I first took the beat, I could go anywhere, cover anything and that was my mandate. Given the finances of the Times, now it only makes sense that the critic go to some places. There also seem to be fewer grand projects to write about now and so the question becomes, what else rises to the level of really needing to be covered?

I get pitched in 100 to 200 emails a day; and I feel terrible about what might be falling through the cracks. I know the bar has become somewhat higher in terms of what we write about. Why should we write about this one? That is a hard question to answer. Ideally, it is a story that has larger implications beyond just the project itself: something about it represents a trend; or there’s a controversy about it (for better or worse); or a window into architecture through another route, say, the controversy about naming of Miami Art Museum.

At what point do you write about a project, and how many times can you return to it?

MC: Since we run a daily blog, it’s as much as I want, and then there’s the weekly paper, too. The upside of the blog is that those stories can be either long or short, whatever the story needs. It’s a judgment call. But the basic line is that the more you write about something, the more you start hearing about it. So for me I cover things as often as I can: right now I write as often as possible on New York University because I think it’s a serious development.

RP: Traditionally we might write about something when a design came out. Increasingly, it became clear that some of these projects were pie in the sky and might never be realized. Writing about fantasies seemed a kind of disservice to the reader. It made more sense to wait for the actual bricks and mortar to happen: then the critic can review it and we can talk to the experience of the building. So now, we’ve been doing more at the tale end than at the beginning.

SC: The important issue is what and when does a project rise to the importance for a broader audience. Frankly, I don’t understand the way the architectural critical establishment works. Theater critics, film critics, book critics review everything; I don’t understand why architecture is placed on such an exulted plane of discourse and appreciation that does not obtain in any of the other art forms. To illustrate, the 9/11 memorial opened in September, it’s now May and unless I missed it, the New York Times architecture critic has yet to weigh in. Never mind that the museum is incomplete, we all know that; the fact is the Times wrote for ten years about the importance of the 9/11 museum and the urgency of the memorial and all the design issues. Now that it has finally opened to the world, they seem to have gone silent. I don’t get it.

RP: At the Times, critics are in a separate world from the reporters. In this case, Steve, I happen to agree and I have raised the question. I thought maybe it happened while we were in the process of changing critics and it had fallen through the cracks. I think Michael Kimmelman has a very different approach to criticism than we have ever had. He’s not, so far, reviewing individual projects as we have in the past. He doesn’t really have an architectural background. We may see some frustration: Not only are we not up to reviewing every thing, we may not review what might be expected of individual projects.

Are you pressured to cover subjects, or projects?

MC: I have been told to be less wonky. I have been told to stop invoking Robert Moses. We write almost not at all about architecture except in terms of development; we do a lot of residential real estate and industry types fighting each other. I have been asked to profile architects—for example Tod Williams and Billie Tsien because of the Barnes Museum opening—but that goes in the culture section. It’s not considered hard news.

SC: I have numerous editors breathing down my neck about  many things but never about architecture and design. I have this truly strange role at the paper that I wish I could share with architecture enthusiasts who are more learned than I am. I can just tell my editors at business or the editorial section that I really have to write this piece, and I have extraordinary freedom to do that. There’s a lot more pressure when it’s about breaking news concerning commercial real estate and that has become an extremely competitive environment only in the last four years.

RP: Opinions are really not my turf. The conventional wisdom now is that there is no such thing as subjectivity if there ever was. And there is certainly more attitude and voice in what you see online, but at the Times, it is the critic’s job to weigh in with opinions, not mine.

What’s your take on starchitecture? Does it make reporting easier?

RP: I have started to want to move away from the usual suspects. We will always write about these guys with the names but it’s nice to expand the circle. That said, it’s not as easy to get at those other stories.

Rob Lippincott: I think we can chock up some of the interest in starchitects to Charlie Rose; he had them all on his show and he really help demystify what current architecture is all about.

SC: On balance, the starchitect phenomenon was a good thing. It drew attention to a subject that too many people did not think about on a regular basis, in the same way that star chefs brought attention to food or the way the American Ballet theater and dancers like Baryshnikov in the 1970s made classical dance popular in a way that had never been done before.

On the other hand, you have something like the Gehry building on Spruce Street that is dammed marvelous. I wonder about all the people who look at it everyday and think, That’s terrific, and if they really even know it’s by Frank Gehry or if they know anything at all about Bilbao. I really don’t know.

What needs to be written about right now?

SC: There’s a lot of residential building going on and I could be missing the boat here, but there really isn’t that much going on in terms of design issues to be discussed and debated. Yes, there are these huge projects like Hudson Yards and Hudson West and Ratner’s site behind the arena where there may, or may not, be some new buildings. But I am not aware that any of these projects are even remotely close to happening in terms of actual development. There are holes in the ground everywhere, but there’s nothing to engage the public’s attention the way the Trade Center did or even Columbus Circle did when it went through its many permutations before it finally got built after ten years. There’s nothing like that right now.

RP: One of the things interesting me right now is the degree to which developers have decided whether name architects were worth the investment in bringing added value. We haven’t checked back, post-recession, to see whether developers feel like those architects were worth the extra cost and the headache.

Placeholder Alt Text

WTC Update: One World Trade to Pass Empire State, Plus a Shuttle Flyover!
It wasn't a usual trip to the World Trade Center site today as AN segued over to the river to get a glimpse of the Space Shuttle Enterprise's flyover.  We caught the shuttle on its second loop at 10:55 on the dot. The pristine prototype shuttle skimmed south over New Jersey on its way round the Statue of Liberty. In all, a very uplifting day when combined with news that the One World Trade will likely surpass the Empire State Building as the city's tallest building by this Monday. Come summer the shuttle will make a barge trip up the river to its new home at the Intrepid Museum. No news yet on speculation that new building across the street from the museum might house the shuttle. Back at the WTC site, construction is humming, with the exception of the 9/11 Museum which stopped after legal wrangling ensued between the museum and the Port Authority over money. Last week, reported subcontractors were slated to be paid by the Port, hinting that an agreement over the disputed $150 million might soon be reached. Since AN last report in February, several developments have appeared. Fumihiko Maki's Tower 4 continues to climb, and the triangular volume at the top has asserted itself above its rhombus base. The pedestal for Richard Rogers Tower 3 now looms over Church Street, though an anchor tenant has yet to be announced. The WTC overlook of the site at Brookfield's World Financial Center is shuttered as work begins  on a $250 million retail renovation. The oculus at the Fulton Street Transit Center is now fully formed. Next to Seven World Trade, CUNY's Fitterman Hall by Pei Cobb Freed slapped its brick paneled curtain wall together in what seemed like weeks. The panelized red-brick face provides a disjointed contrast to WTC's valley of glass and steel at its doorstep.
Placeholder Alt Text

Port Authority Confessional: Audit Reveals Dysfunction
The long-expected audit of the Port Authority of New York and New Jersey is available, and—apart from the opaque bureaucratese—it reads just like the dysfunctional family memoir you might expect. In fact, the word dysfunctional is at the top of the summary letter sent to Governors Chris Christie of NJ and Andrew Cuomo of NY. To wit, the Navigant Consulting assessment concluded that the PA is “a challenged and dysfunctional organization suffering from lack of consistent leadership, a siloed underlying bureaucracy, poorly coordinated capital planning processes, insufficient cost controls, and a lack of transparent and effective oversight of the World Trade Center program.” Some highlights: The WTC balloon effect with estimated construction costs launched at approximately $8 billion in 2006 rising to $11 billion in November 2011 (blamed largely on getting ready for the tenth anniversary) and now floating past $14.8 billion—the $3 billion increase of recent months due to “changes in scope and the evolution of design” including foundation site work for the Performing Arts Center to the tune of $200 million, even though the new board claimed at the New year that a site has not yet be decided. The PA “may elect to curtail development” of elements that owe them money, meaning the 9/11 Memorial. When the memorial was to cost $500 million the port was in for $195 million; now that it may top a billion, the PA is not so sure it wants to pony up $300 million. As a result, “The Port Authority has elected to significantly reduce the construction personnel deployed on the museum portion of the Memorial project and limit the agency’s exposure, ensuring that only certain construction continues prior to the resolution of the cost reimbursement dispute.” Further, the PA wants to buffer its exposure by “value engineering all possible aspects of the World Trade Center project.” But there is no specific mention of further cutting off the wings at Calatrava’s teradactyl transportation hub. To further deal with an anticipated debt by the end of 2012 to the tune of $20.8 billion, the PA is turning to employees to start paying for their own healthcare, cut back on overtime and take less vacation time. Quote the drag for police sergeants with a base salary of $103,964 and an overtime add-on of $132, 286.
Placeholder Alt Text

Slideshow> Revamped Seaport Museum Opens: Old Salts Meet Occupy Wall St.
A revamped South Street Seaport Museum shook off the dust last night to reopen after a three-month renovation overseen by the Museum of the City of New York. The exhibits were both a departure from and an embrace of the old collection.  The design team, particularly Wendy Evans Joseph and Chris Cooper of Cooper Joseph Studio, turned what could have been a cramped exhibition arrangement into a free-flowing multi-leveled space. Some of the contemporary elements might strike a design-conscious audience as familiar. A very large segment of the exhibition space is devoted to contemporary furnishings designed and "Made in New York," feeling a bit like an ICFF satellite. A fashion component adds a dash of Fifth Avenue flair. MCNY's curator of architecture and design Donald Albrecht noted that the port was always about moving goods and "making." Much of the work assembled in the show is manufactured in Brooklyn warehouses that once serviced the maritime trade but have since been repurposed for an ever-expanding design industry. A few standouts were Daniel Michalik's recycled cork chaise lounge from 2006 and designer David Nosanchuk's multi-faceted Plexiglas lamp, the NR1.  Nosanchuk's piece represents a rarity these days in that it was both designed and manufactured in Manhattan.  With all the ship-making tools painstakingly arranged on angled white plane in the gallery next door, the "making" tradition becomes abundantly clear.  Less clear is whether the inclusion of contemporary fashion makes the same seamless leap. Still, fashion designer Jordon Betten's installation of a lost waif in a part of the museum building that originally housed the Sweet's Hotel (1870-1920) provides a stirring contrast to the decayed rafters. Some older exhibits from MCNY made the trip downtown, including Eric Sanderson's Manahatta, which includes a three dimensional map of Mahattan with an overhead projector that digitally morphs the terrain from natural wetlands and forests of 1650 to today's dense street grid. There's also a tight ensemble of Edward Burtynsky photographs. Burtynsky's images of Bangladeshi shipbreakers dismantling once powerful ships for scrap metal provide an unexpected smack of mortality. Another gallery calls attention to "The New Port" with a time-lapse video by digital artist Ben Rubin called Terminal 8 that focuses on of arrivals and departures of American Airlines jets at JFK. But as the gallery prominently features American Airlines corporate brand it's difficult to see the artistic forest through the commercial trees, a fact made all the more jarring by the Occupy Wall Street photo exhibition just two galleries away. The Occupy segment of the exhibit is perhaps the biggest stroke of marketing smarts on the part of MCNY that might just distract tourists from the ghoulish "Bodies" exhibit across the street and bring them back into a New York state of mind. The Occupy gallery was packed on opening night. It added a cool factor that can't be quantified.  The exhibit itself recalls the Here is New York show that opened in Soho about a month after the 9/11 attacks and later toured around the world. The photos celebrate, engage, and provoke, much like the demonstrations. Not a bad metaphor for the city at large or the new management.
Placeholder Alt Text

The Inner Circle
Milstein Hall, Cornell University by OMA.
Philippe Ruault

AN’s annual resource list may be published every year but it is never the same. Painstakingly drawn from extensive interviews by our editors with the architects and builders of the best architecture of 2011, these names are the too-often unacknowledged cornerstones that guarantee the quality and excellence of today’s architecture. We both herald and share them with you.

General Contractor / Project Manager


Arroyo Contracting Corp.
12 Desbrosses St.,
New York;

Balfour Beatty/Barnhill
2311 North Main St.,
Tarboro, NC;

Barr & Barr
460 West 34th St.,
New York;

Bernsohn & Fetner
625 West 51st St.,
New York;

F.J. Sciame Construction Co.
14 Wall St.,
New York;

18-73 43rd St.,
Astoria, NY;

2 Penn Plaza, Ste. 0603,
New York;

Keating Building Corporation
1600 Arch St.,

Kreisler Borg Florman
97 Montgomery St.,
Scarsdale, NJ;

L.F. Driscoll
9 Presidential Blvd.,
Bala Cynwyd, PA;


499 Van Brunt St.,
New York;

Lettire Construction Corporation
336 East 110th St.,
New York;

MG & Co
230 West 17th St.,
New York;

Mascaro Construction Company
1720 Metropolitan St.,
Pittsburgh, PA;

MJE Contracting
109-10 34th Ave.,
Corona, NY;

Noble Construction
675 Garfield Ave.,
Jersey City, NJ;

Plaza Construction

Procida Realty & Construction
456 East 173rd St.,
Bronx, NY;

RC Dolner Construction
15-17 East 16th St.,
New York;

Saunders Construction
6950 South Jordan Rd.,
Centennial, CO;


650 Danbury Rd.,
Ridgefield, CT;

SoHo Restoration
104 Calyer St.,
Brooklyn, NY;

Structure Tone
770 Broadway,
New York;

Tishman Construction
666 5th Ave.,
New York;

United American Builders
205 Arch St.,

VCD Construction
35 Carroll St.,
Brooklyn, NY;

250 North Genesee St.,
Montour Falls, NY;

Yorke Construction Corp.
140 West 31st St.,
New York;

Penn Medicine / L.F. Driscoll / Rafael Viñoly (left); Film Society / Yorke Construction / Rockwell Group (right).
Brad Feinkopf (left) AND Albert Vecerka/Esto (right)

Arroyo Contracting did a good job on the Sunshine Bronx Business Incubator. It was a complicated project with many angled walls and corners. They looked into new ways of working, moving from their background in traditional design to contemporary design.”

Harel Edery

Graciano has experienced masons that know how to work with terracotta and its reinstallation, using pieces that were reconditioned and some that were brand new.”

Joe Coppola
Dattner Architects

“We were fortunate to have RC Dolner build the Atrium. They had just finished the Greek and Roman galleries at the Met; we were confident they could make elegant and refined traditional detailing. At the Atrium they were able to apply their same high standards in a modern setting.”

Tod Williams
Tod Williams + Billie Tsien Architects

Yorke’s level of service was outstanding. The site superintendent in particular was exemplary and always in contact with us about how the construction was affecting the design. That attitude then filtered down to the contractor and subcontractors.”

Michael Fischer
Rockwell Group at Metropark / DeSimone / KPF.
Michael Moran




Langan Engineering and Environmental Services
360 West 31st St.,
New York;

Leonard J. Strandberg and Associates
One Edgewater Plz.,
Staten Island;

Pennoni Associates
3001 Market St.,


224 West 35th St.,
New York;

Mueser Rutledge Consulting Engineers
225 West 34th St.,
New York;

P.W. Grosser Consulting
630 Johnson Ave.,
Bohemia, NY;

Pillori Associates
71 Route 35,
Laurence Harbor, NJ;


1501 Broadway,
New York;

31 Knight St.,
Norwalk, CT;

AMA Consulting Engineers
250 West 39th St.,
New York;

Ambrosino, DePinto & Schmieder
275 7th Ave.,
New York;

833 Chestnut St.,

Ettinger Engineering ASSOCIATES
505 8th Ave.,
New York;


Fiskaa Engineering
589 8th Ave.,
New York;

ICOR Associates
256 West 38th St.,
New York;

Jaros Baum & Bolles
80 Pine St.,
New York;

Joseph R. Loring and Associates
360 West 31st St.,
New York;

P.A. Collins
15 West 26th St.,
New York;

Rubiano Associates
64 Fulton St.,
New York;


155 6th AVE.,
New York;

Birdsall Services Group
2100 Highway 35,
Sea Girt, NJ;

Buro Happold
100 Broadway,
New York;

18 West 18th St.,
New York;

500 7th Ave.,
New York;

ME Engineers
29 West 38th St.,
New York;

Rosini Engineering
142 West 36th St.,
New York;

Thornton Tomasetti
51 Madison Ave.,
New York;

Watts Engineering
95 Perry St.,
Buffalo, NY;


Weidlinger Associates
375 Hudson St.,
New York;

WSP Flack + Kurtz
512 7th Ave.,
New York;


Eipel Barbieri Marschhausen
224 West 35th St.,
New York;

Gilsanz Murray Steficek
129 West 27th St.,
New York;

Hage Engineering
560 Broadway,
New York;

180 Varick St.,
New York;

Macintosh Engineering
21133 Sterling Ave.,
Georgetown, DE;

Mulhern Kulp
20 South Maple St.,
Ambler, PA;

Murray Engineering
307 7th Ave.,
New York;

Office of Structural Design
9 Revere Rd.,
Belle Mead, NJ;

Robert Silman Associates
88 University Pl.,
New York;

Severud Associates
469 7th Ave.,
New York;

WSP Cantor Seinuk
228 East 45th St.,
New York;

Milstein Hall, Cornell University / Robert Silman Associates / OMA.
Philippe Ruault

“John Riner of PW Grosser is one of the handful of consultants in this area who has substantial experience with open loop wells.”

Michael Tucker
Beyer Blinder BellE


“We have worked on several historic buildings in New York, but when they are as high profile or popular as the Puck Building, you need a consultant who understands these types of spaces. EBM Structural Engineers is one of the preeminent firms in New York with vast experience in adaptive reuse in a historic context. We worked with Ken Eipel and Rich Grabowski on the REI Soho project and their expertise as historians on New York architecture made them valuable partners for Callison.”

David Curtis

Joseph R. Loring and Associates anticipated issues at NYU SCPS and worked creatively with the design team to insert contemporary mechanical systems into an existing building with a complex new program.”

Carol Loewenson
Mitchell/Giurgola Architects


Cantor Seinuk developed a core outrigger wall design that eliminated a lot of sheer walls, which helped a lot with the very complicated unit layouts at 8 Spruce. We just find them to be the best when it comes to structural engineers.”

Joe Recchichi
Forest City Ratner Companies

“Edward Messina at Severud Associates is known as ‘Fast Eddie’ around our business because you call him up and he’s right over.”

Henry Smith-Miller
Smith-Miller + Hawkinson Architects


DeSimone designed the tree column and the big spans for Centra. It was a big effort to make that happen. They’re a really great engineering firm, and one thing that they’re great at is keeping the design team and client comfortable with very complicated things and also working with the construction team, while keeping everything on schedule.”

Lloyd Sigal and Hugh Trumbull

“The North Carolina Museum of Art is really all about daylight, and Arup did an extraordinary job calculating the amount of natural and artificial light and how it combined throughout the space.”

Thomas Phifer
Thomas Phifer and Partners


“At Clyfford Still, everything you see is structure. So KPFF's role was very key, especially in translating the structural design so it would be read in the perforated ceilings where the tolerances were very tricky, combined with reinforcing with rebar to maintain a crack-free finish.”

Chris Bixby
Allied Works Architecture

Facade & curtain wall



Dewhurst Macfarlane and Partners
45 East 20th St.,
New York;

186 Varick St.,
New York;

Gordon H. Smith Corporation
200 Madison Ave.,
New York;

Heitmann & Associates
14500 South Outer Forty Rd.,
Chesterfield, MO;

R.A. Heintges & Associates
126 5th Ave.,
New York;

Simpson Gumpertz & Heger
19 West 34th St.,
New York;


Manufacturers/ Installers

937 Conklin St.,
Farmingdale, NY;

APG International
70 Sewell St.,
Glassboro, NJ;

Architectural Metal Fabricators
314 48th St.,
Brooklyn, NY;

ASI Limited
4485 South Perry Worth Rd.,
Whitestown, IN;

Cladding Corp.
215 South Hwy. 101,
Solana Beach, CA;

1000 County Rd.,
Monett, MO;

GKD Metal Fabrics
825 Chesapeake Dr.,
Cambridge, MD;

1743 South La Cienega Blvd.,
Los Angeles;


Island International Exterior Fabricators
101 Scott Ave.,
Calverton, NY;

Jakob/MMA Architectural Systems
Westfield Industrial Estate,
Midsomer Norton,
Somerset, United Kingdom;

Jordan Panel Systems
196 Laurel Rd.,
East Northport, NY;

500 East 12th St.,
Bloomsburg, PA;

123 Day Hill Rd.,
Windsor, CT;

240 Pane Rd.,
Newington, CT;

W&W Glass
300 Airport Executive Park,
Nanuet, NY;

Buffalo Courthouse / Dewhurst Macfarlane / KPF (left); Via Verde / FRONT / Grimshaw/Dattner Architects (right).
david seide (left) AND Robert Garneau (right)

Gordon Smith is a tried and true Manhattan curtain wall consultant. He kept us out of trouble and found good value for the wall at Centra. We could barely afford a curtain wall for this building and he helped us sneak it in and detail it really well so we can sleep at night.”

Lloyd Sigal and Hugh Trumbull

“There’s a learning curve on installing a European curtain wall system. Architectural Metal Fabricators took a real interest in jumping in and getting a technical understanding of the system.”

Henry Smith-Miller
Smith-Miller + Hawkinson Architects


Front was the key to unlocking the prefab facade at Via Verde. It cost a bit more, but it was faster to put together on site. They helped us translate that.”

Robert Garneau
Grimshaw Architects

“They protected me! At 8 Spruce, the extremely unique wall was largely aesthetically driven but it's just as advanced in performance and Heitmann took care of everything behind the wall in terms of feasibility, budget and schedule.”

Joe Recchichi
Forest City Ratner Companies


Island Fabrications knows how to bring all the components together; they ordered material globally and fabricated them locally.”

Bill Stein
Dattner Architects

Fittings & Furniture


Carpet & Textile

Bentley Prince Street
91 5th Ave.,
New York;

156 Wooster St.,
New York;

Gallery Seventeen Interiors
PO Box 549,
Nanuet, NY;

404 Park Ave. South,
New York;

251 Park Ave. South,
New York;

Re:Source of New Jersey
66 Ford Rd.,
Denville, NJ;

Rose Brand East
4 Emerson Ln.,
Secaucus, NJ;

Custom Fixtures & Signage

Artitalia Group
11755 Rodolphe Forget,
Montreal, QC,

225 Peach St.,
Leesport, PA;

REEVE Store Equipment
9131 Bermudez St.,
Pico Rivera, CA;

Doors & Frames

Dynamic Architectural Windows & Doors
30440 Progressive Way,
Abbotsford, BC,

Goldbrecht USA
1512 11th St.,
Santa Monica, CA;


PK-30 System
3607 Atwood Rd.,
Stone Ridge, NY;


Figueras International Seating

250 Saint Marks Ave.,
Brooklyn, NY;

Greystone Seating
7900 Logistic Dr.,
Zeeland, MI;

125 Park Ave.,
New York;

Irwin Telescopic Seating Company
610 East Cumberland Rd.,
Altamont, IL;

384 Forest Ave.,
Laguna Beach, CA;

146 Greene St.,
New York;

Resource Furniture
969 Third Ave., New York;

Series Seating
20900 NE 30th Ave.,
Miami, FL;

Tomas Osinski Design
4240 Glenmuir Ave.,
Los Angeles;


Assa Abloy
110 Sargent Dr.,
New Haven, CT;

25 East 26th St.,
New York;


Kitchen & Bath

AF Supply
22 West 21st St.,
New York;

Axor Hansgrohe
29 9th Ave.,
New York;

Davis and Warshow
57-22 49th St.,
Maspeth, NY;

1700 Executive Dr. South,
Duluth, MN;

1608 Coney Island Ave.,
Brooklyn, NY;

66 North 11th St.,
Brooklyn, NY;

SieMatic New York
150 East 58th St.,
New York;

66 Crosby St.,
New York;

Zucchetti Rubinetteria
Via Molini di Resiga, 29,
Gozzano, Italy;

Laboratory Casework

Thermo Fisher Scientific
1316 18th St.,
Two Rivers, WI;

Vintage Furniture

68 Washington Ave.,
Brooklyn, NY;

Louise Nevelson Plaza / John Lewis Glass / Smith-miller + Hawkinson Architects (left); 8 Spruce / Gehry Partners (right).
Michael Moran (left) AND Courtesy Forest City Ratner (right)



520 8th Ave.,
New York;

A-Val Architectural Metal Corp.
240 Washington St.,
Mount Vernon, NY;

CBO Glass
13595 Broadway,
Alden, NY;

Colory Metal & Glass
2522 State Rd.,
Bensalem, PA

1000 County Rd.,
Monett, MO;

Galaxy Glass & Stone
277 Fairfield Rd.,
Fairfield, NJ;

J.E. Berkowitz

John Lewis Glass
10229 Pearmain St.,
Oakland, CA;


Pelechov 17,
elezný Brod,
Czech Republic;

Moduline Window Systems
930 Single Ave.,
Wausau, WI;

National Glass & Metal Company
1424 Easton Rd.,
Horsham, PA;

Oldcastle Glass
1350 6th Ave.,
New York;

PPG Industries
One PPG Pl.,
Pittsburgh, PA;

94 Blvd. Cartier,
Rivière-du-Loup Québec;


Skyline Sky-Lites
2925 Delta Dr.,
Colorado Springs, CO;

800 Park Dr.,
Owatonna, MN;

Vitrocsa USA
5741 Buckingham Pkwy.,
Culver City, CA;

Walch Windows
Zementwerkstraße 42,
Ludesch, Austria;

78 Joes Hill Rd.,
Brewster, NY

Zecca Mirror & Glass
1829 Boone Ave.,
Bronx, NY;

“Interior glass subcontractor A-Val worked creatively to ensure design intent in extremely complex conditions including the three-story open elliptical stair at the NYU SCPS.”

Carol Loewenson
Mitchell/Giurgola Architects

“You can get good window R-value in the United States but you can’t get the quality of high solar heat gain as you can with Walch. The combination is unmatched.”

Sam Bargetz
Loadingdock 5

CBO out of Buffalo did the glass veil and other curtain wall systems for the Buffalo Courthouse. The most difficult part was printing the Constitution on the glass with ceramic fritting. It took a lot of editing and laying it out and a very long time on our side and theirs.”

Bill Pedersen

John Lewis Glass would work closely with Tony Dominski at West Edge Metal. Even though it was a custom bench, it was even more custom because of the collaboration of the two firms.”

Scot Teti
Smith-Miller + Hawkinson Architects



Airside Solutions

39 Chapel St.,
Newton, MA;

Brownfield Consultant

473 West Broadway,
New York;


183 West Main St.,
Kutztown, PA;

Association for Energy Affordability
505 Eighth Ave.,
New York;

Atelier Ten
45 East 20th St.,
New York;

Bright Power
11 Hanover Sq.,
New York;


BVM Engineering
834 Inman Village Pkwy.,
Atlanta, GA;

Crescent Consulting
80 Broad St.,
New York;

Natural Logic
1250 Addison St.,
Berkeley, CA;

Steven Winter Associates
307 7th Ave.,
New York;

TRC Environmental Corp.
1430 Broadway,
New York;

21 West 38th St.,
New York;


Green Roofs

Emery Knoll Farms
3410 Ady Rd.,
Street, MD;

ZinCo Green Roofs
Grabenstraße 33,
Unterensingen, Germany;


Namasté Solar
4571 Broadway St.,
Boulder, CO;



Mechoshade Systems, Inc.
42-03 35th St.,
Long Island City, NY;

David Rubenstein Atrium / steven winter associates / Tod Williams Billie Tsien Architects.

Aircuity did the recovery wheels and air handlers at Penn Medicine. Their system helped the owner meet their energy goals. It monitors the occupancy and the amount of CO2 in a space and optimizes the number of air changes so you wind up saving energy and money.”

Jim Herr
Rafael Viñoly Architects

Crescent was good in assisting the contractor in LEED complience during construction and helped focus the team on elements that really mattered.”

Michael Tucker
Beyer Blinder Bell


Bright Power did a great job of administering and coordinating the LEED application and they were responsible for designing the photovotaic system which was an important part of the building's design.”

Bill Stein
Dattner Architects

“We used Veridian as the sustainability consultant on Centra. Originally, we were just aiming for LEED certification. Now the numbers are coming in and they're very good. It looks like we're going to get Platinum.”

Lloyd Sigal and Hugh Trumbull

“Julie Bargmann of D.I.R.T.’s knowledge of brown fields, Navy Yards, and their detritus, was a really nice fit.”

Matt Berman



232 Cherry St.,
Ithaca, NY;

50 Industrial Blvd.,
Eastman, GA;

Armstrong World Industries
2500 Columbia Ave.,
Lancaster, PA

Belzona New York
79 Hazel St.,
Glen Cove, NY;

Canatal Industries
2885, Boul. Frontenac Est.,
Thetford Mines, Quebec, Canada;

CCR Sheet Metal
513 Porter Ave.,
Brooklyn, NY;

5919 West 118th St.,
Alsip, IL;

19 Frost St.,
Brooklyn, NY;

Ferra Design
63 Flushing Ave.,
Brooklyn, NY;


1001 Lund Blvd.,
Anoka, MN;

803 South Black River St.,
Sparta, WI;

KC Fabrications
39 Steves Ln.,
Gardiner, NY;

80 Montana Dr.,
Plattsburgh, NY;

Lecapife Corp.
283 Liberty Ave.,
Brooklyn, NY;

Maloya Laser
65A Mall Dr.,
Commack, NY;

110 Troutman St.,
Brooklyn, NY;

Millenium Steel
344 West 38th St.,
New York;

Nelson Industrial
1155 Squires Beach Rd.,
Pickering, ON, Canada;


Paul C. Steck
25 Brown Ave.,
Springfield NJ;

Precision Shape Solutions
243 East Blackwell St.,
Dover, NJ;

Robinson Iron
1856 Robinson Rd.,
Alexandra City, AL;

Veyko Design
216 Fairmount Ave.,

West Edge Metal
25064 Viking St.,
Hayward, CA;

NItehawk cinema / Maloya Laser / Caliper Studio (left); Brooklyn Navy Yard / Ferra Design / workshop/APD and Beyer Blinder Belle (right).
Ty Cole / OTTO (left) AND Robert Garneau (right)

Armstrong worked closely with us in providing customized, perforated metal ceiling panels that met the design intent of the Frick Chemistry Laboratory. Additionally, they did a excellent job field coordinating the installation of those panels with adjacent elements.”

Chris Stansfield
Payette Architects

“The project involved finishing hundreds of custom fabricated steel elements—KC Fabrications was extremely flexible with the schedule and was able to turn around material on short notice. They are always willing to do what is necessary to achieve the highest quality finish work.”

Charles Wolf
Dean/Wolf Architects

“For custom metal work that requires demanding precision and meticulous crafting, Metalman is an invaluable resource. If you can't find the right piece of hardware from a manufacturer, he will design and fabricate a custom piece to fit the requirement.”

Charles Wolf
Dean/Wolf Architects


“Mani from Millenium Steel is very accurate, and very budget-oriented. We worked with him before. He was able to make big steel pivot pieces.”

Jeremy Edmiston

“We sent our drawings of pleated metal panels to a few people and got the impression that something custom would be too expensive. But a rep introduced us to Gage, who worked with our contractors to make our designs for the panels in a cost competitive way.”

Michael Fischer
Rockwell Group

Americano / Propylaea Millwork / ten arquitectos.
courtesy ten arquitectos



Custom Fabrication/ Carpentry

B & V Contracting Enterprises
590 Tuckahoe Rd.,
Yonkers, NY;

Bauerschmidt & Sons
119-120 Merrick Blvd.,
Jamaica, NY

Benchcraft Concepts
A-427, Ghitorni, MG Rd.,
New Delhi, India;

1021 Meyerside Rd.,
Mississaugua, ON, Canada;

George Nakashima Woodworker
1847 Aquetong Rd.,
New Hope, PA;


Ivory Build
67 35th St.,
Brooklyn, NY;

JB Millworks
383 Bandy Ln.,
Ringgold, GA;

Minzner & Co.
2100 Liberty St.,
Easton, PA;

Monarch Industries
99 Main St.,
Warren, RI;

Propylaea Millwork
795 East 135th St.,
Bronx, NY;

Seetin Design
57 Grand St.,
Brooklyn, NY;

ShoreTech Manufacturing


Tom Kozlowski


Armstrong World Industries
2500 Columbia Ave.,
Lancaster, PA

243 Parkhurst St.,
Newark, NJ;

Siberian Floors
145 Hudson St.,
New York;

Terra Mai
205 North Mt. Shasta Blvd.,
Shasta, CA;

aA Shelter / ShoreTech Manufacturing/Tom Kozlowski / SYSTEMarchitects.
systemarchitects/tony jin

“The careful execution of the FSC certified teak screens and planters at Carnegie Hill House resulted from the close collaboration between our design team and Ivory Build. Their skill and rigorous approach to craft enabled us to unify this sequence of outdoor spaces through the meticulous stacking and subtle articulation of teak slats.”

Thomas Woltz
Nelson, Byrd and Woltz

Bob Seetin is irrepressible and has a 'bring it on' attitude. He created the metal tables, wine racks, and counters we needed for the Film Society cafe quickly and even joyfully, turning everything around within a few weeks.”

Michael Fischer
Rockwell Group

Tom Kozlowski is an exceptional carpenter. He was able to think around unpredicted problems. He comes up with very straightforward and quick solutions. It no longer looks like construction work, it starts to resemble millwork.”

Jeremy Edmiston

“A pivotal design goal for REI Soho was the adaptive reuse of the materials from the existing historic Puck Building and its subsequent transformation into a retail space. Callison’s vision from the outset was to bring the space back to its original context, from the wood cladding that was repurposed from the interior brick piers to the timber from the ceiling above the ground floor that was remilled and reused for the monumental staircase treads. Terra Mai was a collaborative partner through the entire reuse process providing expert guidance and advice.”

David Curtis




Amber Lite Electric Corporation
443 Wild Ave.,
Staten Island, NY;

Auerbach Pollock Friedlander
266 West 37th St.,
New York;

Claude R. Engle, Lighting Consultant
2 Wisconsin Cir.,
Chevy Chase, MD;

Clinard Design Studio
228 Park Ave.,
New York;

Davis Mackiernan Lighting
180 Varick St.,
New York;

Fisher Marantz Stone
22 West 19th St.,
New York;

George Sexton Associates
242 West 30th St.,
New York;

Grenald Waldron
260 Haverford Ave.,
Narberth, PA;


Kugler Ning
48 West 38th St.,
New York;

L'Observatoire International
414 West 14th St.,
New York;

Leni Schwendinger Light Projects
336 West 37th St.,
New York;

Lumen Arch
214 West 29th St.,
New York;

Peridot Lighting
419 Lafayette St.,
New York;

Tillett Lighting Design
172 North 11th St.,
Brooklyn, NY;

Tillotson Design Associates
40 Worth St.,
New York;


23 Daniel Rd. East,
Fairfield, NJ;

46 Greene St.,
New York;


1000 BEGA Way,
Carpinteria, CA;

152 Greene St.,
New York;

Holly Solar
1340-D Industrial Ave.,
Petaluma, CA;

Lighting By Gregory
158 Bowery, New York;

Lithonia Lighting
Conyers, GA;

7200 Suter Rd.,
Coopersburg, PA;

160 Cornelison Ave.,
Jersey City, NJ;

5 Lumen Ln.,
Highland, NY;

5455 de Gaspé,
Montréal, Quebec, Canada;

Zumtobel Lighting
44 West 18th St., New York;

North Carolina Museum of Art / Fisher Marantz stone / Thomas Phifer and Partners/Pierce Brinkley Cease + Lee (left); Buffalo Courthouse / Tillotson / KPF (center); Sunshine Incubator / Lighting by Gregory / Studio Mosza (right).
Iwan Baan (left); david seide (center); AND Ori Dubow (right)

Paul Marantz's lighting design is one of the most mesmerizing aspects of the 9/11 Memorial and plaza.”

Matthew Donham
PWP Landscape Architecture


“A company in California called Holly Solar fabricated the LED lights in the facade of the Nitehawk Cinema. It’s a small little company, but they do custom light fixtures. They’re good.”

Stephen Lynch
Caliper Studio

Kugler Ning is on board with understanding the world architects work in—working with tectonics—to create the right effect. Sometimes lighting designers can be more interested in the fixtures than the final effect. Kugler Ning helped to make the lighting fixtures disappear.”

Scot Teti
Smith-Miller + Hawkinson Architects

“We worked with Lumen Arch on the lighting design of Penn Medicine. They just did a fabulous job. We implemented a lot of lighting controls, occupancy sensors, daylight sensors, and things of that nature in the labs to bring down the energy usage and Lumen really knew their way around those systems.”

Jim Herr
Rafael Viñoly Architects

“We worked with Lighting By Gregory who helped us get the most energy efficient fixtures for the Sunshine Bronx Business Incubator. We as architects know what’s out there, but Lighting By Gregory opened our eyes to more LED opportunities.”

Harel Edery

Inverted Warehouse Townhouse / Paul Warchol Photography / Dean/Wolf Architects (left); Museum of the Moving Image / Peter Aaron/Esto / Leeser Architecture (right).
Paul Warchol Photography (left) AND peter aaron/esto (right)



Esto Photographics
222 Valley Pl.,
Mamaroneck, NY;

Halkin Architectural Photography
915 Spring Garden St.,

Iwan Baan
Schippersgracht 7-1,

Jock Pottle Photography
259 West 30th St.,
New York;


JoPo Photography
504 East 12th St.,
New York;

Michael Moran Photography
98 4th St.,
Brooklyn, NY;

Nic Lehoux

Paul Warchol Photography
224 Centre St.,
New York;


Scott Frances
79 Broadway,
New York;

T.G. Olcott Photography
2 Greglen Ave.,
Nantucket, MA;

Ty Cole Photography
332 Bleeker St.,
New York;

City Center Facade Restoation / Boston Valley / Terra Cotta  / dattner architects (left); Tashan / Stone Source / Archi-tectonics (right).
Aislinn Weidele/Ennead Architects (left) AND don pearse photopgraphers (right)

Concrete, Masonry, Stone, & Tile


ADM Concrete Construction
9726 99th St.,
Ozone Park, NY;

American Orlean

American Precast Concrete
PO Box 328,
Floresville, TX;

Art In Construction
55 Washington St.,
Brooklyn, NY;

Blenko Glass Company
P.O. Box 67, Milton, WV;

Boston Valley Terra Cotta
6860 South Abbott Rd.,
Orchard Park, NY;

Cathedral Stone Products
7266 Park Circle Dr.,
Hanover, MD;

230 South 5th Ave.,
Mt. Vernon, NY;

Extech Industries
87 Bowne St.,
Brooklyn, NY;

Fusion Floors
Buford, GA;

Get Real Surfaces
143 West 29th St.,
New York;


Helical Line Products
659 Miller Rd.,
Avon Lake, OH;

James J. Totaro & Associates
95-1047 Ala'oki St.,
Mililani, HI;

Kings County Waterproofing and Masonry
1200 Utica Ave.,
Brooklyn, NY;

L&L Stone & Tile
900 South Oyster Bay Rd.,
Hicksville, NY;

Masonry Solutions
PO Box 1036,
Sparks, MD;

Modern Mosaic
8620 Oakwood Dr.,
Niagara Falls, ON, Canada;

North Carolina Granite Corporation
P.O. Box 151,
Mount Airy, NC;

18 Cowan Dr.,
Middleboro, MA;

600 Route 17 North,
Ramsey, NJ;

Port Morris Tile & Marble
1285 Oakpoint Ave.,
Bronx, New York;


Reginald D. Hough Concrete Construction
115 Montgomery St.,
Rhinebeck, NY;

RNC Industries

Roman Mosaic and Tile Company
1105 Saunders Ct.,
West Chester, PA;

Via Aurelia 24-55045,
Pietrasanta, Italy;

Sheldon Slate
143 Fox Rd.,
Middle Granville, NY;

Speranza Brickwork
15 High St.,
Whitehouse Station, NJ;


Stone Source
215 Park Ave. South,
New York;

The Pike Company
One Circle St.,
Rochester, NY;

Vermont Structural Slate Company
3 Prospect St.,
Fair Haven, VT;

Via Longobarda 19,
Massa, Italy;

Milstein Hall / Reginald Hough/The Pike Company / OMA.
Philippe Ruault

“Peter Dagostino at ADM Concrete made it possible to get the building up. He coordinated everything. ADM is a very smart company and did a quick job.”

Werner Morath
Loadingdock 5

Boston Valley is one of the premier companies to go to for very careful matching of terracotta.”

Joe Coppola
Dattner Architects

“The excellent stone work by Port Morris Tile & Marble helped us make this a place of permanence and beauty. They worked with our vision and found the spectacular green marble for the benches.”

Tod Williams
Tod Williams Billie Tsien


“The slate siding from Vermont Structural Slate was naturally resistant to spray paint.”

Amy Yang
Toshiko Mori

“We used Reginald Hough as a concrete consultant for Milstein Hall. They came in during construction process to facilitate the subcontractor, Pike, and help us to decide on some of the materials to test and techniques to use. The lower levels have a smooth concrete dome ceiling with integrated lighting. Because it is both architecture and structure, it required a very precise installation method. Hough was invaluable in achieving that.”

Ziad Shehab

DiMenna Center for Classical Music / Akustiks / H3/Hardy Collaboration Architecture.
francis dzikowski/esto



A/V & Acoustics

33 Moulton St.,
Cambridge, MA;

Acoustic Dimensions
145 Huguenot St.,
New Rochelle, NY;

93 North Main St.,
South Norwalk, CT;

Clarity Custom
1792 West 11th St.,
Brooklyn, NY;

Laan 1914 no 35, 3818 EX
Amersfoort, The Netherlands;

318 West 39th St.,
New York;

Jaffe Holden Acoustics
114–A Washington St.,
Norwalk, CT;

Kirkegaard Associates
801 W. Adams St.,

405 Belle Air Ln.,
Warrenton, VA;

36-36 33rd St.,
Long Island City, NY;

Blast Consultant

RSA Protective Technologies
1573 Mimosa Ct.,
Upland, CA;


Strategic Building Solutions
708 3rd Ave., New York;

Cost Estimator

VJ Associates
100 Duffy Ave.,
Hicksville, NY;

Fire Protection/ Code Consulting

Code Consultants Professional Engineers
215 West 40th St.,
New York;

JAM Consultants
104 West 29th St.,
New York;


Montroy Andersen DeMarco
99 Madison Ave.,
New York;

Property Intervention Consultants
72 Reade St.,
New York;

Food Facility Planning

JGL Foodservice Consultants
224 Cleveland Ln.,
Princeton NJ;

Green Wall

Vertical Garden Technology
954 Lexington Ave.,
New York;

Historic Preservation

Building Conservation Associates
44 East 32nd St.,
New York;

Office for Metropolitan History
11 West 20th St.,
New York;

Powers and Company
211 North 13th St.,

PreCon LogStrat
PO Box 417,
Mastic Beach, NY;


115 Metro Park,
Rochester, NY;

TM Technology Partners
250 West 39th St.,
New York;

Laboratory Planning

Jacobs Consultancy
70 Wood Ave., Iselin, NJ;


Higgins Quasebarth & Partners
11 Hanover Sq.,
New York;


Owners Representative

Levien & Company
570 Lexington Ave.,
New York;

Radiant Consulting Services

The Stone House
1111 Route 9,
Garrison, NY;


Ducibella Venter & Santore
250 State St.,
North Haven, CT;

The Clarient Group
630 9th Ave.,
New York;

Tritech Communications
28-30 West 36th St.,
New York;


Heller & Metzger
11 Dupont Cr. NW,
Washington, DC;


Fischer Dachs Associates
22 West 19th St.,
New York;

North American Theatrix
60 Industrial Dr.,
Southington, CT;

Turf and Sports Regulations

1735 Market St.,

Vertical Transportation

Van Deusen & Associates
7 Penn Plz.,
New York;

Wind Analysis

1415 Blue Spruce Dr.,
Fort Collins, CO;

Penn Park / Stantec / michael van valkenburgh associates.
Courtesy UPenn

Acoustic Dimensions was great. They were really hands on, heavily involved in the Nitehawk. We have apartments above the movie theater so acoustic isolation is a big part of this project. They designed the second floor’s ceiling to hang on springs. They also tested the sound transmission when it was all done and you can’t hear a thing.”

Stephen Lynch
Caliper Studio


Richard Demarco is the most informed architect in New York City about building code and law. This guy is a joy to work with.”

Henry Smith-Miller
Smith-Miller + Hawkinson Architects

Clarity Custom is a terrific 'full system' provider and installer who took the lead on specifying A/V equipment and lighting control systems. There was an excellent interface with the general contractor and architect to minimize coordination issues. Clarity did a great job of integrating hardware, wiring and controls in a project where every detail matters.”

Charles Wolf
Dean/Wolf Architects


Building Conservation Associates have areas of expertise that bring refinement and an ability to find the resources.”

Joe Coppola
Dattner Architects

“At the Museum of the Moving Image, Scharff/ Weisberg and Jaffe Holden had a real hand in setting the stage to accommodate different uses in terms of all the data and audio visual systems that allow the museum to be a plug + play environment.”

Simon Arnold
Leeser Architecture


Bob Powers is very keen in navigating the historic restoration tax break. He's tech savvy and politically savvy, which helps get city, state, and federal approvals.”

Frank Grauman
Bohlin Cywinski Jackson

“Laurent Corradi of Vertical Garden Technology has created two grand and beautiful green walls that are loved by all. His knowledge of the botany and technical aspects of plant walls will insure that these features will thrive for generations to come.”

Tod Williams
Tod Williams + Billie Tsien


“The Musuem of the Moving Image faced a lot of challenges not to mention being a publicly-funded project in hard economic times. Levien took it all in stride and helped us meet the extra demands on budget cutting without sacrificing quality.”

Simon Arnold
Leeser Architecture

Other Services & Suppliers



Paul Cowie Associates
11 Beverwyck Rd.,
Lake Hiawatha, NJ;

Art Restoration

Rustin Levenson Art Conservation


Michael Singer


Lab Crafters
2085 5th Ave.,
Ronkonkoma, NY;

Curtain Design

Inside Outside Petra Blaisse
Erste Nassaustraat 5, 1052 BD
Amsterdam, The Netherlands;

Custom Fabrication

Associated Fabrication
72 North 15th St.,
Brooklyn, NY;

Custom Materials

5835 Adams Blvd.,
Culver City, CA;


Arthur Metzler and Associates
47 Hillside Ave.,
Manhasset, NY;

Graphic Design/Signage & Wayfinding

2 X 4
180 Varick St.,
New York;

Amuneal Manufacturing Corp.
4737 Darrah St.,

C & G Partners
116 East 16th St.,
New York;

29 West 23rd St.,
New York;

Entro Communications
122 Parliament St.,
Toronto, Ontario, Canada;

36 6th Ave.,
New York;

Pentagram Design
204 Fifth Ave.,
New York;

Enclosure Testing / Facade Maintenance

Architectural Testing
130 Derry Ct.,
York, PA;


Entek Engineering
166 Ames St.,
Hackensack, NJ;

Epoxy Specialists and Supply

Aspen Supply Corp.

Felt artist

Claudy Jongstra

Finishes and Coatings

Creative Finishes
27 West 20th St.,
New York;

Fountain Consultant

Dan Euser Waterarchitecture
58 Major Mackenize Dr. West,
Richmond Hill, ON, Canada;

Heat Recovery Ventilator

540 Portsmouth Ave.,
Greenland, NH;

Interior Decoration

Pamela Banker Associates
136 East 57th St.,
New York;

Irrigation Distributor

Storr Tacktor
175 13th Ave.,
Ronkonkoma, NY;


Capri Landscaping
4005 Victory Blvd.,
Staten Island, NY;

Plant Specialists
42-45 Vernon Blvd.,

Light Fixture Restoration

Robert True Ogden
3311 Broadway St. NE,
Minneapolis, MN;

Modular Units

63 Flushing Ave.,
Brooklyn, NY;


Stingray Studios
2144 Citygate Dr.,
Columbus, OH;



Shemin Nurseries
42 Old Ridgebury Rd.,
Danbury, CT;

Painting & Epoxy Installation

Anton Berisaj

Plastic Lumber

Tangent Technologies
1001 Sullivan Rd.,
Aurora, IL


E&T Plastics
45-45 37th St.,
Long Island City, NY;

Radiant Systems

115 Hurley Rd.,
Oxford, CT;
203-262 9900

Riggers to the Arts

1561 Southern Blvd.,
Bronx, NY;


S.O.S. Advanced Security
197 7th Ave.,
New York;

Security Bollards/ Traffic Barriers

Delta Scientific
40355 Delta La.,
Palmdale, CA;

Moli Metal
8380 Rue Lafrenaie
Montreal, QC;

Theatrical Equipment

Gerriets International
130 Winterwood Ave.,
Ewing, NJ;

Vertical Transportation

Persohn / Hahn Associates
908 Town & Country Blvd.,
Houston, TX;

Waterproofing Systems

Sika Sarnafil
100 Dan Rd.,
Canton, MA;

museum of the moving image / karlssonwilker / leeser architecture (left); Metrotech / Delta Scientific / WXY (right).
peter aaron/esto (left) AND courtesy wxy (right)

“At Queens Plaza, we collaborated with Michael Singer, an artist whose commitment to the public realm complements Margie Ruddick's environmental sensibility for landscape. He designed and produced special pre-cast components integrated into the architecture of new social spaces that withstand the site's powerful infrastructural presence.”

Linda Pollak
Marpillero Pollak Architects

Claudy Jongtstra’s artistry is present in two monumental tapestries that cover both long walls of the Atrium. These extraordinary artworks were made possible by her artistic vision as much as her involvement in the technical aspect, managing all from Europe.”

Tod Williams
Tod Williams + Billie Tsien Architects


“Fountain consultant Dan Euser is really familiar with the potentials and limits of water dynamics. He's visionary in terms of creating things of beauty and simplicity.”

Matthew Donham
PWP Landscape Architecture

“When the graphic designers Karlssonwilker joined the team, the design of the Museum of the Moving Image was fairly well resolved, but they were able to complement and add to its strength in a way that carried through the branding of the entire institution”

Simon Arnold
Leeser Architecture


“The reception desk at the Sunshine Bronx Business Incubator is custom designed and Panelite made it easy for me because they built a model on site for approval and I was able to see our 3-D computer drawings in real life before the desk was fabricated.”

Harel Edery