Search results for "Public Design Commission"

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Pokemon Go to the Polls

What did the 2018 midterms mean for East Coast architects?
Let out a sigh of relief (or keep holding your breath); the 2018 midterm elections are over, and voters passed judgment up and down the Eastern Seaboard on a wave of politicians and ballot measures that will impact architects, construction workers, and transportation enthusiasts. Climate change policy was also, though not as explicitly, up for a vote alongside more concrete measures. Although the dust is still settling, AN has put together a primer on what the election results mean from Miami to Maine. New York Democrats now control all three branches of government in New York State and are poised to rewrite the state’s rent stabilization laws…assuming Governor Andrew Cuomo lets them. As Gothamist noted, the 1971 Urstadt Law prevents New York City from usurping Albany’s authority and passing more stringent rent control laws than those at the state level, even as the city spirals deeper into its affordable housing crisis. The new year will bring a vote on all of the laws that oversee the city’s affordable housing stock, meaning that the newly inaugurated state legislators will be in prime position to demand stronger tenant protections. The real estate industry in New York City has historically donated to campaigning Republicans and the reelection of the industry-friendly Cuomo, however, so it’s unclear how far the governor will acquiesce. As the NYPost broke down, tenant activists are amped up at the possibility of tamping down annual rent increases and ending the ability of landlords to raise rents after investing in capital improvements. Cuomo’s reelection also likely locks in the decision to place Amazon’s HQ2 (or 2.5) in Long Island City. The governor had been a huge booster for NYC’s bid for the tech hub, promising hundreds of millions in state subsidies. On the national front, the election of a number of “climate hawks,” including New York 14th District representative Alexandria Ocasio-Cortez and the 19th District’s Antonio Delgado, will bring a group of climate-action hardliners to Washington. It’s expected the new crop of progressive voices will press the House on plans to transition toward sustainable energy and curb America’s dependence on fossil fuels. More importantly, 16 Republican House members—more than half—on the 90-person bipartisan Climate Solutions Caucus were voted out. On its surface, the collapse of the caucus sounds like a bad thing for environmentalists, but as Earther notes, the group was known for advancing milquetoast, business-friendly proposals that ultimately went nowhere. Although any climate action coming from the House needs to pass the Senate and would land on the President’s desk, where it would presumably wilt, the momentum for change is slowly building. Any climate change–confronting action will likely have an outsized impact on zoning codes in New York and beyond and would require construction teams and architects to implement steeper resiliency measures into their projects. Maine In Maine, voters overwhelmingly passed Question 3 by a measure of 2-to-1, ensuring that the state would issue $106 million in general bonds for transportation projects. Of that, $80 million will be used for roadway and bridge infrastructure construction and repair, $20 million for upgrading airports, ports, harbors, and railroads, and $5 million for upgrading stream-facing drainpipes to lessen the impact on local wildlife. One million will also be spent to improve the pier at the Maine Maritime Academy in Castine. Florida Ron DeSantis is the new governor and Rick Scott is likely to move up to become a senator. During his tenure as governor, Scott, although presiding over a state uniquely vulnerable to flooding and coastal storms, was a staunch climate change denier and banned the phrase from all state documents and discussions. DeSantis appears to be cut from the same cloth, telling crowds during a campaign stop over the summer that climate change, if it exists, can’t be mitigated at the state level. What this likely means will be a continued lack of action to mitigate climate change and its effects on a state level. Soccer lovers can rejoice, though, as 60 percent of voters endorsed allowing David Beckham’s Freedom Park to build on the Melreese Country Culb. The $1 billion Arquitectonica-designed soccer stadium, hotel, “soccer village,” and office, retail, and commercial space will span 73 acres. Michigan Gerrymandering looks like it’s on its way out in Michigan after a 60-40 vote to redraw the state’s districts. Over several decades, the state legislature had used its redistricting power to cram Democrat or Republican constituents (depending on who was in power at the time) into congressional districts where their impact would be marginalized. Now, after the passage of Proposal 2 and the subsequent amending of Michigan’s constitution, a 13-person, bipartisan panel will be established to redraw the state’s internal boundaries. Four Republicans, four Democrats, and five non-party identifying individuals will make up the commission. Barring a court challenge, money for the initiative, including pay for its members, will be allocated from the state budget come December 1, 2019. After that, the commission will draw up the new districts for the 2022 election using data from the 2020 census. The panel will convene every 10 years, in time with the census, and can only be disbanded after the legal challenges to its decisions are completed. Any Michigan citizen who hasn’t held political office in the last six years can apply to become a commissioner.
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The Uncanny Gallery

Assemble masterfully plays with history in its design for a London gallery
Assemble Studio's most recent project is also its most ambitious to date in terms of size and permanence. The group has turned a former public bathhouse in New Cross, a south-east neighborhood of London, into an arts center for Goldsmiths, University of London. The Victorian brick and cast iron Laurie Grove Baths are now recast as the Goldsmiths Centre for Contemporary Art for a new kind of creative immersion. When Assemble was awarded Britain’s most prestigious visual arts prize, the Turner, in 2015 it was a moment of celebration for the architecture scene, but also of confusion. Were the architects artists now, and their architecture, in effect, art? Or the other way around? Some saw it as a promotion of architectural work to the realm of fine art, other a demotion. Perhaps it was neither, and what it meant remains unsettled. At the time, the architecture collective had already won the competition to design a new Centre for Contemporary Art at Goldsmiths’ campus as a wild card entry. An art-architecture commission for the artist-architects. Assemble was commissioned for the project following an open architecture competition in 2014, and it has been realized with Paloma Strelitz and Adam Willis acting as lead architects, in collaboration with Alan Baxter Associates and Max Fordham Engineers. The 10,700 square foot building accommodates an event space and cafe alongside seven galleries that opened this fall. In a sense, the building’s purpose further complicates things, and points toward the conventions we still lean toward in defining the roles of artists, architects, cultural institutions, and academia. A group of architects, attributed as great artists by the art world, commissioned to make architecture for art’s sake with affluent alumni artists as patrons. And at that, the building is on the front yard of one of today's international strongholds in the realm of history and theory of art. Assemble has previously made a name for itself in producing design projects where a hands-on approach to design and a close relationship with the local community and the prospective users lays the groundwork. In this case, that end-user community is the art theorists next door. It is the London art world. It is the curators and the museum directors and the interns. It is the gallery-circuit weekend visitors; it is fellow architects; it is the Assemble fan base. It is us. That could be cause for concern, but it could also be a moment for introspection. On the gallery's second day open, a handful of visitors strolled around, peeking up and down through openings in the three-story atrium that has been carved into the building’s heart. Spiraling around it is an array of galleries, transitional spaces, nooks, and crannies that present a buffet of architectural flavors. It is a ruin and a temple, a cave and theater stage, a maze and a manor. It is a murky basement and an airy loft. It is a piece of industrial infrastructure and a quirky contemporary playhouse. The baths have been respectfully added to and carefully taken care of. What once was a public building for the most private of uses, where grimy boilers and shiny tiles worked to unite water and naked skin, has now been brought to a new public for a new solitary-slash-social event: our encounter with art. Some things have been scrubbed away, other kinds of dirt preserved and exposed. It is generous, gentle, masterfully executed. Assemble’s CCA building is a well composed collage. And somehow it is also a monolith. It might sound confusing. It is not. It makes perfect sense, because something about it is eerie. The building is kind of good, extraordinary but also kind of ordinary. And it remains etched in your memory like a familiar face that you can not quite place. In one of the second-floor galleries, we find ourselves standing were only water once stood, inside a black iron box that used to be a cistern. A cut-away to one side now lets daylight in. For the opening exhibition, a work by Mika Rottenberg is on display. On the floor, a half-dozen frying pans are placed on electric stoves. Drops of water slowly rain from the ceiling, evaporating into a thin mist as they hit the hot pans. It is beautiful. Maybe this is what architecture for architects is, today. The “now”. The nuanced material presence of local history, the palette of delicate metalwork dipped in graceful pastels, the robust but cute bespoke detailing. What if it is calculated to fit its purpose. What if this is what it is like to have someone design for your own community. Maybe this is what we have been craving. A machine attuned to serving us this relationship with art.
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Space Oddity

Spatial Affairs Bureau runs wild over disciplinary boundaries
Spatial Affairs Bureau can get a lot done. Started in 2010, the multifaceted landscape, architecture, and design practice led by Peter Culley boasts a wide array of diverse and engaging projects in the United States and England, with offices in London, Los Angeles, and Richmond, Virginia. With a background in landscape-focused cultural projects—Culley earned his stripes at London-based landscape architecture practice Gustafson Porter + Bowman in the late 1990s—Spatial Affairs pursues an intellectually nimble practice by pushing project constraints toward broad ends that encompass everything from “interior landscapes” to urban-scaled configurations. As the number of commissions in hand has multiplied over the years, the practice has become well-versed in combining the advice of expert consultants with its own penchant for programmatic and spatial innovation. It does so in an effort to create layered material and historic conditions that always push back toward the landscape in some form or another. The approach has resulted in a string of under-the-radar but dramatically good-looking commissions that aim to create something greater—and more cohesive—than the typical, rigidly defined arenas of normative practice might allow. Aside from the work profiled here, Spatial Affairs Bureau has a number of other significant projects on the way, including several sustainable houses in Los Angeles, a master plan and remodel of the headquarters for advertising agency TBWA\Chiat\Day, and a new pedestrian path and bicycle redevelopment scheme for the Richmond, Virginia, waterfront. Birmingham Markets Park As the city of Birmingham, England, looks to capitalize on a historic opportunity to create a new major civic space and park, Spatial Affairs is working to enrich a community-led proposal by laying out new residential, commercial, and public spaces in synergy with greenery and public health goals. To highlight the potential of the site, Spatial Affairs has developed an alternative approach that appropriates the leftover footprint of a redundant public market as the heart of the new parks complex. The project aims not only to meet the city's stated commercial and residential development goals, but also to use urban design in an effort to focus the benefits of rising land values surrounding the site toward community needs. Metropolitan Museum of Art Spatial Affairs Bureau has worked on several projects with the Metropolitan Museum of Art in New York City, both as a part of an interdisciplinary team that provided new outdoor seating areas for the museum’s Fifth Avenue location, and for several other projects as an independent contractor, including at the Met Breuer building. As part of its work with the Met, for example, the firm developed a pair of black metal panel–wrapped security buildings to flank the museum. Here, Culley deploys gently tapering forms designed to “respond to the classical architecture and soften the impact of larger elements as they meet the ground.” The approach was mirrored in a series of sleek bronze ticketing kiosks Culley created to help relieve crowding at both museum locations. Crosstown Arts The Contemporary Art Center in Memphis, Tennessee, is an arts and culture complex strategically carved out from within the hulking mass of a landmarked—but currently underutilized—1.5 million-square-foot former Sears warehouse and distribution center. The venue includes galleries, shared art making facilities, offices, artist-in-residence studios, and a bar. These amenities encompass portions of the first two floors of the warehouse, including a 10-story light well located at the center of the complex. With a distinctive, curving red staircase and excavated flared concrete columns populating the main “hypostyle” lobby, the complex represents an attempt to breathe new social life into a long-forgotten relic. Bouverie Mews Culley is also pushing the envelope in terms of housing, especially with the firm’s proposal for a planned 5,400-square-foot arts and residential compound in North London. There, the architect is working on a ground-up duplex anchored by studio space and a sculpture court. The Passive House complex is located atop a former brownfield site and is sandwiched between existing multifamily homes, warehouses, and the Grade II Listed Abney Park Cemetery Wall. Due to the landlocked project site, designs for the complex include multi-tiered gardens, precisely calibrated frameless skylights, and an interior layout that emphasizes borrowed daylight and views between different project areas.
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Roundup

Weekend Edition: Gossip, Rahm Emanuel, and more
Missed some of our articles, tweets, or Facebook posts from the last few days? Don’t sweat it—we’ve gathered the week’s must-read stories right here. Enjoy! The best gossip from 15 years of The Architect’s Newspaper To celebrate our 15th anniversary, we looked back through the archives for our favorite moments since we started. We found stories that aged well (and some that didn’t), as well as a wide range of interviews, editorials, and other articles that we feel contributed to the broader conversation. We also took a closer look at the most memorable tributes to those we lost, and heard from editors past and present about their time here. The Architect’s Newspaper has run an Eavesdrop column in its print edition that collects gossip from across the architecture community. It has served as a playful way to keep track of thoughts, feelings, and actions that have run in design's undercurrents. What will be Rahm Emanuel’s legacy on Chicago’s architecture? It was a shock when Rahm Emanuel declared that he wouldn't be seeking a third term due to mounting scandals, and AN took a look back at his mixed architectural legacy. NYC Parks Commissioner talks policy, parks, and breaking down barriers Over the next three months, The Architect’s Newspaper will feature a series of three interviews with Susannah Drake, founding principal of DLANDstudio, and leading public space advocates. Up first, Mitchell Silver will discuss the Parks Without Borders initiative to make parks and open space more accessible. That's it! Enjoy the weekend, and see you Monday.
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Back to the Drawing Board

SOM's proposed megatower on the Chicago Spire site rejected by alderman
Acting on behalf of his Streeterville constituents, Chicago’s 42nd Ward alderman Brendan Reilly has rejected Related Midwest’s current plan to build on the former site of the Chicago Spire. Last spring, the developer announced its intention to construct two stepped towers just west of Lake Shore Drive, one reaching the height of 1,100 feet, with 300 condominium units and 175 luxury hotel rooms, and another 850-foot tower with 550 residential units. Designed by David Childs with Skidmore, Owings & Merrill, the two towers at 400 North Lake Shore Drive would sit on a four-story plinth and would open out at a skewed angle to Lake Michigan. In addition, Related Midwest committed to the long-awaited completion of DuSable Park as well as extending the Riverwalk under Lake Shore Drive and out to the lakefront, with a public esplanade running along the Ogden Slip just north of the site. According to an email sent to his constituents, Alderman Reilly contacted the development team at Related Midwest in August, articulating various concerns voiced by residents during meetings between condominium associations and the developer. Related Midwest responded, but according to Alderman Reilly, failed to address the major concerns about their proposal.  The project will need a zoning change and aldermanic approval before it goes to construction. “I always strive to negotiate positive outcomes when considering development proposals,” the alderman noted in the email. “As with any project, my ultimate goal is to strike a fair balance and approve responsible projects that will be successful for the owners, while enhancing the character and vitality of the surrounding neighborhood.” Residents have asked for the complete elimination of the hotel use and a reduction of the podium height and bulk, and have voiced the need for the project to address traffic issues. Of primary concern is access to the site via East North Water Street, a significant aspect of the design that nearby residents have asked to be restricted, effectively requiring a redesign of the primary entrance to the structure. Residents have also asked for the developer to make greater use of the Lake Shore Drive access ramp system and below-grade parking systems to manage deliveries, service vehicles, and pedestrian pick-ups and drop-offs, away from residential development to the west, and tucked under Lake Shore Drive. Constituents have also asked for the project to address the public space components of the project, including the elimination of a public esplanade along the Ogden Slip, a dredged body of water that runs parallel to the north branch of the Chicago River. Related Midwest must also create a security plan for DuSable Park and the Riverwalk connection. Construction of DuSable Park, the promenade at the Ogden Slip and the extension of the Riverwalk to the lakefront are components to the Cityfront Center Master Plan, approved by the City Council in 1985. Cityfront Center would encourage residential and commercial building between Navy Pier and North Michigan Avenue but would leave the developer responsible for public works improvements, many of which have yet to be completed.  The time it has taken to complete the public space components, many of which were promised under Mayor Harold Washington’s administration, raises questions as far as the effectiveness of privatizing public space. While Streeterville includes some of Chicago’s tallest skyscrapers, the blocks immediately surrounding the former Spire site are defined by lower height residential structures, including the Riverview Townhomes at three stories, and the Lofts at River East at six. The rejection of the current plan for 400 North Lake Shore Drive comes at a time where several large developments announced with fanfare this past spring are being examined closely by neighborhood residents and their elected ward leaders, including the 78 in the South Loop, and Lincoln Yards between Lincoln Park and Bucktown. Alderman Reilly recently approved an update of the plans to redevelop Union Station after the first version of the development was lauded by neighbors and preservationists.
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#MeToo Meets Architecture

Two-thirds of architects experience sexual harassment, new survey says
A new survey delves into the impact of sexual harassment in the fields of design, construction, architecture, and engineering. Coming on the heels of this year's news surrounding Richard Meier and the "Shitty Architecture Men" listArchitectural Record and Engineering News-Record (ENR) conducted a survey by interviewing over 1,200 architects on their experiences with inappropriate workplace behavior. According to the study, roughly two-thirds of all architects surveyed have experienced sexual harassment in the workplace. Women composed over two-thirds of the respondents, where 85 percent reported having been harassed at some point while at their job. Around 65 percent of those who alleged harassment described it as inappropriate jokes, questions, or personal requests. Almost 30 percent experienced sexual assault in the form of inappropriate physical contact. One woman working in a small firm in the Midwest was asked for a "kiss goodnight" from her boss when alone one night at the office. She lost her job for declining. While her experience is disturbing, it is far from uncommon. According to Architectural Record, about 65 percent of workers reported the harassment to either a colleague, manager, or human resources specialist, while 25 percent reportedly never acted nor spoke publicly about the incident. Meanwhile, less than one percent of victims filed a lawsuit or claim with the U.S. Equal Employment Opportunity Commission. Architectural Record also reported that nearly 75 percent of architects have either witnessed sexual harassment firsthand or heard about an incident through a coworker, yet the issue was still not being taken seriously by many members of the patriarchal industry. A woman in the Southeast even recalled her male colleagues telling her to "lighten up" and "enjoy the attention" after she confronted them about their offensive and inappropriate sexual remarks. Many of those surveyed even felt that those in leadership within the architectural profession aren't listening to their concerns. Two-thirds said leadership organizations haven't properly addressed sexual harassment yet. The American Institute of Architects (AIA) has only recently enacted their new Code of Ethics and Professional Conduct policy. Since the rise to prominence of the #MeToo movement, women’s social, legal, and economic rights have continued to rise, helping transform gender roles in the United States. Nonetheless, gender double standards and gender inequality still persist. For the architectural community, the allegations against Meier triggered the acknowledgment of gender-based harassment in the workplace, an issue that the male-dominated profession has struggled with for decades.
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She's a Brick Hus

Take a deep dive into Olafur Eliasson's first completed building

Fjordenhus in Vejle, Denmark, is the first completed building by artist Olafur Eliasson and architect Sebastian Behmann. Together with Studio Olafur Eliasson, the duo have created a thoughtfully conceived and crafted structure in the bay of a Danish fjord. In their earlier architectural collaborations—like the curtain wall design for the Harpa Concert Hall in Reykjavik, Iceland—their work has displayed an attention to detail, composition, materials, and craftsmanship that carries over into this unique commission.

Once they convinced their client, Kirk Kapital, to build its headquarters in the water of an underutilized shipping port, they created a cylindrical concrete structure as a reference to the area’s surrounding grain silos.

The building is composed of four intersecting concrete volumes arrayed around an open public space and faced with nearly a million custom-designed bricks. The four-story volumes morph in elevation from ellipses to circles, and out of these are carved porous openings that dramatically frame views of the fjord. Built atop a man-made island with a basement foundation, Fjordenhus looks like a medieval rampart as imagined by Louis Kahn. But up close, its exterior walls are a pattern of endlessly and beautifully textured color.

The designers created 15 different hues of unglazed brick, added a smattering of blue, green, and silver glazed bricks, and then meticulously laid them out in digital drawings to create a patterned composition for the entire building. The brick colors were selected to reflect their immediate surroundings (more blue at the top of the building and gray for the stairwells), and they are meant to embody the changing weather and light conditions of the site. The torqued elliptical forms are intended to create a series of dynamic, flowing spaces that are “constantly calibrating to allow the user to trust themselves,” according to Eliasson, as they enter and pass through the building. The artist cited Erwin Panofsky’s criticism of neoclassicism and how it prescribes the inhabitation of buildings as an example of what not to do in designing architectural space. Eliasson wanted to move away from classical hierarchical planning to a more democratic, participatory architecture that he considers a hallmark of Danish democracy.

The building is entered from the quay by a footbridge that leads into a circular public space with three of the artist’s sculptures and a mirrored ceiling piece that reflects the light of the fjord back into the occupied public space.

A circular elevator that features dramatic top and bottom lighting, along with a surrounding stair that rises on splayed armatures, take users up into workspaces fitted with furnishings, lighting, built-in cabinets, and interior stairs all designed by the firm. The placement of furniture is purposefully haphazard so that users “democratically” negotiate their own paths through the space, giving them co-authorship of the building. 

In addition, Eliasson designed table and floor lamps made of deep green glass and metal, as well as built-in lighting that is equal parts functional lighting and sculptural object. Lower floors have elegant, circular concrete pads with coffered lighting overhead. The top floor has a globular, faceted sculpture placed below a skylight that throws sunlight over the space. In addition, the rooms have a series of Eliasson-designed fixtures elegantly cobbled together from a hanging LED light fixture that casts light upward through a glass lens, creating a pattern of concentric circles on the ceiling.

This unique practice is based on an artistic sensibility devoted to materiality, craft, and an understanding of form, developed through Eliasson’s years of experimentation as a trained sculptor. As a result, it is a challenge to more traditional architecture practices. Furthermore, the designer’s insistence on the necessity of creating a democratic, user-controlled space means Fjordenhus comes as close to a contemporary Gesamtkunstwerk (or total work of art) as we have yet experienced in the 21st century.

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Parks Without Borders

NYC Parks Commissioner talks policy, parks, and breaking down barriers
Over the next three months, The Architect’s Newspaper will feature a series interviews with Susannah Drake, founding principal of DLANDstudio, and leading public space advocates about the meaning, design, and development of public space. Up first, New York City Parks and Recreation Commissioner Mitchell Silver will discuss New York's Parks Without Borders initiative to make parks and open space more accessible. Borders are a hot topic in our current politically volcanic world. Some are geographic, most are political, and many have to do with resources and strategic control. Robert Frost’s poem titled Good Fences Make Good Neighbors is often misinterpreted as suggesting that defined boundaries between people or societies are positive. In practice, defined borders can lead to violence, social isolation, inefficiency, and habitat loss.  The classic phrase, “living on the other side of the tracks,” was taken to the extreme in the United States after World War II as new highway systems, elevated transportation structures, slum clearance, and dehumanized public housing towers transformed cities across the United States. Today, cities including Cleveland, New York, Philadelphia, and St. Louis are working to break down physical and perceived boundaries to make a healthier living environment for all. In New York City, the efforts of three groups, one public and two nonprofit, demonstrate how smart urban planning and design can make the city healthier, safer, and more democratic by improving underutilized public lands. Mitchell Silver, commissioner of the New York City Department of Parks and Recreation, is the visionary behind the city’s Parks Without Borders program. As a native New Yorker who spent his formative years in the city before traveling the country and the world as a planner and thought leader, his vision as head of the public parks agency has been to expand the availability of park space by breaking down physical barriers, jurisdictional boundaries, and site lines into city parks. AN: What is the origin of the Parks without Borders program? MS: The origins came from two sources. Growing up in New York, I was always bothered by the big berm that separated Flatbush Avenue from Prospect Park. The road seemed like a raceway defined with so many fences and barriers. Through professional and personal experience, I encountered different forms of public space around the world and saw far fewer barriers. Public space was seamlessly connected to the city. Of course, fences are needed for sports and steep slopes but in many cases, they are unnecessary. When I became commissioner of the Parks Department, I remembered something that Frederick Law Olmsted said about parks: “The sidewalk adjacent to the park should be considered the outer park.” What I recognized was that the sidewalks around parks, such as Fort Greene Park and Prospect Park, were under the jurisdiction of the Parks Department but felt separate. The land from the park to the curb should feel like part of the park. The public realm should be seamless. The public doesn’t know or care who owns the land. The New York City Police Department needed to own the idea of crime prevention through community design. I submitted the idea to the Mayor as part of OneNYC and through a partnership between City Planning, the Department of Transportation, the Department of Environmental Protection, and our agency, and a $50 million pilot was launched. There were two components: $40 million was dedicated to eight showcase projects, determined through the extensive public process that received over 6,000 nominations. In addition, $10 million was dedicated to parks and playgrounds across the city already under development to enhance the park design.   The key principles are to make a seamless public realm by rethinking the edges, entrances, and adjacent spaces of parks across the city. Open space should be open. Growing dense urban centers need vital public space for all races, genders, and ages across the board. What barriers have you met in implementing the project? Resistance encountered? As with all projects of this nature, we met with all of the community boards via borough board meetings and held public meetings in each of the five boroughs to explain the program and ask the public to nominate a park for the program. We communicated our theory that good uses tend to push out bad uses. In other words, plan for what you want to see and not what you don’t want to see. Feedback was split along demographic lines. Older people perceived fences as safeguards and that reducing the height of fences and opening up parks invited crime and homelessness to take over. But we have had early success. At McDonald Playground in Staten Island where Parks Without Borders money was dedicated to a Community Parks Initiative project, the community was initially concerned about lowering fences. The park feels so open now that people ask if we added more land. And, while the plan for Fort Greene Park in Brooklyn is greatly supported by the community, there has been resistance related to the planned removal of some large, invasive, non-native trees, and the mounds constructed in the 1970s as part of the project. What is the schedule of implementation? Over 20 parks are in the pipeline. The showcase projects will be completed by 2020. They include Prospect Park, Seward Park, Jackie Robinson Park, Corona Park, Fort Greene Park, Faber Park, Van Cortlandt Park, and Hugh Grant Circle. How does the program align with other DPR/Administration initiatives? NYC Parks is advocating for Equity, Access, Placemaking, and Healthy Living. One of the programs, Walk to a Park, is intended to reduce the time it takes to get to a park. Reducing barriers and moving entrances helps increase access to parks. DPR planners conducted a thorough planning process examining the location and attributes of parks across the city and determined where residents might be underserved. Using GIS, they mapped a five-minute walk from parks, playgrounds, and trails across New York City and then used the analysis to prioritize capital expenditures. Does the DPR Parks without Borders program impact all communities across NYC regardless of demographics? Yes, with multigenerational, ADA access. At McDonald Playground, a woman hugged me suggesting that I changed her life because she can now sit with her daughter in a quieter area of the park and watch the kids play ball. She said I extended her life.  Beyond physical fences and walls, what other kinds of borders have you seen in your time as commissioner? Rules create barriers. We don’t want to engage in anti-planning which can exclude rather than include people. Including more people in more existing parks is one example. Anti-planning, or planning to prohibit a certain group is not fair. For example, some of our playgrounds have a sign that states: “Adults prohibited unless accompanied by a child.” That means a senior citizen is prohibited from using a public space or must walk to another park that doesn’t have that rule. To address this inequity, NYC Parks in 2017 evaluated all city playgrounds and installed new signs at locations that would allow adults in a park or playground, but only prohibited adults in fenced off areas where children’s play units were located, like swings, slides and climbing structures. This one change allows more adult New Yorkers and visitors to enjoy green space like sitting under a tree or using a comfort station.   As a planner what is your perspective on borders that might exist because of climate or geographic lines that are mapped but not always perceived by the public? Rockaways? In places where public safety is an issue such as around water, clearly there need to be rules and physical barriers to keep people safe. Environmental conditions can also require limited access. For instance, the habitat for piping plovers needs to be protected by limiting beach access. This reduced the walk score but was an important trade-off. In natural areas, controlling beach erosion is important. Sometimes these barriers are jurisdictional, particularly in coastal areas. New York City is doing a better job than in the past. What is your perspective on urban and transportation design decisions in the direct post-war period, in the '60s and today in relation to race, demographics, and urban living? White flight of the '60s, urban renewal with its characteristic superblocks, and highways dividing neighborhoods were not the highlight of good planning. Cities were perceived as unsafe and as a result, many parks were surrounded with high walls to create defensible space. Now Parks Without Borders is changing this situation by moving from defensible space to open and inclusive space. Prospect Park is a great example. Programming by the Alliance activated the park. They designed for what we want to see rather than what we don’t want to see. There are so many users in our parks that space needs to be very inclusive. Our parks are our outdoor living rooms and reflect those that use them. While DPR does not have purview over public housing, it would be great to get your perspective on the landscape of housing projects in New York City as well as their overall relationship to the city. The “tower in the park” model is somewhat right. The park part is not right. Residents assume that the landscape is off limits because it is fenced off. Design organizations are now engaging NYCHA Tenant Associations about opening-up the green space within the NYCHA housing campus. For example, some NYCHA Houses have converted open space to community gardens, so the trend of better using NYCHA green space is moving into the right direction. Digital access to information creates places where people collect in the city. Beyond these spheres are dead zones that might be considered another form of border. Are there any efforts by DPR to expand digital access? I’d love to see WiFi in parks. We currently have charging stations at some beaches and WiFi in some parks. Lack of funding for maintenance and operations is an ongoing issue for public space. How will Parks Without Borders impact maintenance needs of parks? Maintenance practice of 21st-century parks warrants reexamination. More funding and more staff are welcome but aren’t the answer. We need to be innovative with resources. The agency is now using a zone approach with analytics to optimize the work of maintenance crews. We are also employing new design approaches and adding horticultural staff. One example is having park cleaning seven days per week. This seems like an addition, but the change is cutting down Monday absences because those crews were not unfairly burdened with the weekend trash. This created a better team ethos. Utilization of staff is as important as getting more staff. Working smarter with specialized teams with more training that can troubleshoot issues system-wide (catch basin team, green infrastructure team) is helping. Any final words? With limited resources we are forced to think about what is important and how to be innovative, which I base of the 3 S’s of management: You must have the right organizational structure to achieve your vision and mission. You must have the right systems in place to be successful. You must have strong management and operation standards across the five boroughs to function as one agency.  
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Children are the Future

Snøhetta selected to design El Paso Children's Museum
The El Paso Children's Museum announced yesterday that Snøhetta will design their brand new home in the heart of the city's Downtown Arts District. The firm beat out Koning Eizenberg Architecture and TEN Arquitectos for the honor, after a selection process that included public meetings, presentations, and the preparation of preliminary concepts for the museum. Snøhetta’s winning proposal lifts the museum off the ground on a series of angled columns, preserving the space underneath for interactive gardens. Designed for the young and the young-at-heart, the museum will inspire curiosity, exploration, and a better understanding of the world around us—something everybody could use a little more of these days—through immersive environments and innovative interactive exhibitions. The coalition of jurors who unanimously selected Snøhetta included the museum's board of directors, an architectural panel, and in, an unusually democratic process for an architecture competition, all the residents of El Paso, who were invited to vote on their favorite concept online. The commission is personal for the firm's partner and managing director Elaine Molinar, a native of El Paso. "The opportunity to create something of lasting impact for the city I grew up in is extremely rewarding," said Molinar. Supported through a combination of public funds, private-sector contributions, and a Quality of Life Bond program approved by El Paso voters in 2012, the $60 million project will be completed in 2021.
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Send in the Clouds

Tony Oursler's Tear of The Cloud activates a Riverside ruin
In multimedia artist Tony Oursler’s site-specific installation Tear of The Cloud, commissioned by the Public Art Fund (PAF), five video projections converge onto the gantry of Manhattan's landmarked West 69th Street Transfer Bridge and its surroundings in Riverside Park. The images that unfold at the banks of the river comprise a nodal network of symbols, texts, and figures from both reality and myth to establish a vertiginous system of ideas and themes that illuminate the complex and still-evolving past of the Hudson River Valley. The histories and historiographies of this region have been a site of recurrent interest for Oursler since his first mature efforts in the early 1980s. Illuminated by a flowchart designed by the artist and displayed on one of the five projection booths that surround the gantry, the subjects of the video sequences range from the Headless Horseman to Timothy Leary, Morse code, the 19th-century utopian community Oneida, digital facial recognition technology, and the Manhattan Project. Approached from the south, dreamy music accompanies the crouched bodies of various youths crawling across the trusses slanting into the water. This soon gives way to the disembodied faces of various actors reciting characteristically enigmatic phrases written or found by the artist. To the right, a weeping willow gently bends toward the river, its swaying branches animating a montage of sequences projected onto its foliage. The primary structure of the bridge acts as the support for the most extensive section of the work, where a series of scenes describe the evolution of various systems of information distribution across the last few centuries. This theme is apt, as the bridge, which was built in 1911, once functioned as a dock that assisted the transfer of railroad cars to the barges that connected Manhattan to the Weehawken Yards in New Jersey. To the north of the structure, a projection onto the salty waters of the Hudson is visible—and audible—from the pier, providing deeper insight into some of the characters who inhabit the scenes projected onto the gantry. For example, we learn that Dexter and Sinister are the problematic names of a sailor colonist and a Lenape Native American, respectively, who uphold the 1915 official Seal of the City. The northern face of the gantry provides a portraiture-type space for some of the most primary characters in Oursler’s repertoire, including the figure that heads his flowchart: an anthropomorphic white horse head in the form of a knight chess piece. “Reprogram is everything,” she states, reciting a series of chess moves as her image slowly slips off the gantry’s supporting beams. Manifesting the flow of information through a site designed to aid the shipment of raw materials, Tear of The Cloud embodies the rhizomatic complexities of the present moment through the archival impulse that brings us the region’s past. Tear of The Cloud is on view Tuesday through Sunday from 7:00 p.m. to 10:00 p.m. in Riverside Park through October 31. The artist will discuss the work during a talk at The New School’s Tishman Auditorium on November 1.  
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(It's a bubble)

What's the state of inflatable architecture?
There’s been something of a renaissance lately in inflatable architecture. In the past few years alone, this ephemeral typology has been at Collective Design Fair, Performa 17, and the Park Avenue Armory. Inflatables emerged in the 1960s as a means of expressing dissatisfaction with established cultural norms about life, work, and society. They were seen as potentially revolutionary structures that allowed for experimentation with space in order to influence social, psychological, and physical cognition through the built environment. Inflatables were originally invented by the U.S. military with Cornell aeronautical lab engineer Walter Bird to deploy radio antennae in 1948. Bird, often referred to as the father of the field, is credited for taking this military technology and popularizing it in 1959 by collaborating with Paul Weidlinger on an inflatable roof for the Boston Arts Center Theater. In the ’60s and ’70s, when techno-optimism about the future reached its peak, Buckminster Fuller proposed a massive dome over Manhattan, while Frei Otto envisioned one to shelter 40,000 people in the Arctic Circle. What came next in "inflatotecture" was symptomatic of the counterculture era, which viewed it as a way to construct space for dissent and experimentation while taking advantage of lighter, stronger construction methods and new audiovisual technologies. Ant Farm, a San Francisco–based architecture studio, designed inexpensive and disposable structures out of vinyl for counterculture “happenings,” and anyone attending them could buy the group’s Inflatocookbook, a comic detailing step-by-step how to make one’s own enclosure (a practice common among collectives to disseminate information and design about inflatables). Other contemporaries included the U.K.'s Archigram, Italy's Archizoom, and Germany-based Haus-Rucker-Co.—all of whom envisioned inflatable architecture as a way to explore theories about spatial production, social organization, and consumption. Experimental inflatable architecture continues to be a form that designers use to examine contemporary social problems and to radically play with form and space for its own sake. The following projects stretch the medium to its limits, showing how the next generation of inflatables can generate new experiences. Jesse Seegers Looking to practice new forms of architecture outside of the traditionally accepted profession, New York-based designer Jesse Seegers employs the term “spatial practice,” a framework to create structures that draw from architectural knowledge but are equally related to other disciplines. For example, the Potlatch Pavilion was an ethereal inflatable for a gift exchange party, referencing the Pacific Northwest indigenous American tradition where one’s status is derived from how much you can give away, rather than how much wealth you possess. Here, the inflatable was deployed to “construct alternative systems of political economy.” Seegers’s recent projects include a temporary yoga space called Yoga Dome, which premiered at the opening of Sky Ting Yoga; an installation at a Pioneer Works exhibition on Ant Farm; a concert backdrop for musician SOPHIE’s live tour; and an inflatable landscape for musician Oneohtrix Point Never’s M.Y.R.I.A.D. concert at New York’s Park Avenue Armory. In 2017, Seegers helped French, Los Angeles–based architect François Perrin bring Reyner Banham and François Dallegret’s 1965 conceptual drawing The Environment Bubble to life as a site-specific installation for dance workshops in Brooklyn Bridge Park and Central Park as part of Performa 17. Alex Schweder “An inflatable space in process speaks to the bodies we have. It’s a fleshier, time-based architecture,” said Alex Schweder. The self-proclaimed performance architect began working with inflatables in 2005 at the American Academy in Rome, where his first blow-up installation, Sick Building Sequence, encapsulated feathers floating inside of a translucent plastic “room.” Since then, his inflatables have traversed Collective Design Fair, Tel Aviv Museum of Art, the Venice Architecture Biennale, Tate Britain, and Performa 17. These include a “room” with photosensitive fur, an inflatable hotel inside of a cherry picker, a floor-to-ceiling mass that collapses and expands into and away from itself, and a spiderlike robot that inflates and deflates to reconfigure space on a dance floor. What’s next? Schweder is working with a team of international artists on a traveling show that responds to László Moholy-Nagy’s Mechanized Eccentric, which will debut at the Bauhaus 100th anniversary next year. Seattle Design Nerds Formed in 2014 as a volunteer nonprofit organization dedicated to designing for the public realm, the group is officially the Seattle-based chapter of the international Design Nerds Society. Known for their inflatables, Seattle Design Nerds is a multidisciplinary collab started by Jeremy Reeding and Trevor Dykstra. The pair works with other local architects, designers, and artists on public interest projects to “make Seattle a little more awesome.” True to their mission, Reeding and Dykstra’s first inflatable was a large-scale installation for the 2014 Seattle Design Festival Block Party, a pop-up space shaped like a giant monster and filled with random objects for play. The team veered into the conceptual realm with The Gas Trap, a performance work where a car's tailpipe seemingly fills the inflatable to illustrate our dependence on gasoline. Last year they dreamed up an installation at the Seattle Art Museum's Olympic Sculpture Park composed of eight cuddly, inflatable orbs that change color when bopped. For the 2017 Seattle Design Festival Block Party, the group envisioned an illuminated inflatable mural crafted by visitors at the event with Velcro pixels. Their latest work for Cooper Hewitt’s Design with the Other 90% features a giant egg-shaped inflatable that will debut at the Bill & Melinda Gates Foundation Discovery Center in Seattle in mid-September. Nicolas KK A young Nicolas KK grew up in Brazil in a family of hot air ballooners. From these beginnings, he developed an innate understanding and appreciation of the form. Putting his “family stuff” to good use, he started making his own blow-ups while studying industrial design at the Maryland Institute College of Art. That trajectory has continued through collaboration with digital, audio, and light artists in a shared studio in Bushwick, Brooklyn, called Future Space. Inspired by the inflatables of the 1960s and ’70s, Nicolas KK produces experimental structures by applying his expertise in computational design. His digitally driven experimental performance pieces create “dynamic” qualities and always include a programmable element that directly responds to existing digital infrastructures or naturally occurring biomimetic systems. Nicolas KK plans to study Integrative technologies and architectural design research at the University of Stuttgart in Germany, where he will continue to work with inflatables and collaborate with other artists on projects that respond to the emerging computational environment. In December, New York's New Museum will debut his work in an online exhibition described as “the original live desktop theater internet television show.” Pneuhaus Matt Muller, Augie Lehrecke, and Levi Bedall spearhead the Rhode Island-based design collective Pneuhaus dedicated to the mastery of all things inflatable, specifically spatial designs, temporary structures, contemporary art, and large-scale installations. It all started at Rhode Island School of Design (RISD) in 2014 when Muller and Lehrecke designed a handful of different inflatables inspired by Art Farm’s Inflatocookbook. The university hired them to continue to explore those ideas and design a space for the school’s annual design conference. Soon after, Beddall joined Muller and Lehrecke when they got their first professional commission to design-build and perform a circus for the RISD Museum. Since then, the trio has imagined transient spaces for Spotify, Burning Man, and Brown University. Ranging from inflatable fabric prisms built around the fundamental properties of light to inflatables outfitted with pinhole cameras, their growing list of projects develop as iterations of previous works. Their most recent project, Compound Camera no. 2, is a new iteration of the pinhole camera inflatable dome as a giant tunnel at the LUMA Projection Arts Festival in Binghamton, New York.
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Autumnal IPA

The Institute for Public Architecture to celebrate its sixth Fall Fête
New York City's Institute for Public Architecture (IPA) will celebrate its 6th annual Fall Fête on October 24 at the Plaxall Art Gallery in Long Island City, Queens. The benefit will honor Margaret Newman, FAIA, principal at Arup Planning, and the Queens Museum. Janette Sadik-Khan, former commissioner of the New York City Department of Transportation, and Bevin Savage-Yamazaki, senior associate at Gensler will give introductory remarks. The IPA describes its mission by saying, "We address urgent issues of design and policy by mobilizing our network of activists, professionals, government officials, and community stakeholders." In a statement, they said that the fundraiser will help fund its residency program and expansion of the organization's activities beyond New York City.
Tickets for the event are available here.