Search results for "east new york"
Continuing the work done slightly south at Domino Park, today developer Two Trees revealed their newest addition to the Williamsburg, Brooklyn, waterfront. River Street will bring a pair of sloping towers designed by the Bjarke Ingels Group (BIG) and a circular esplanade, cove, beach, boat launch and more, courtesy of James Corner Field Operations (JCFO) to the East River end of Metropolitan Avenue. Two Trees described the project as not replicating the same park-on-a-pier typology as Domino Park but instead will slope to meet the water. Thanks to the existing concrete caissons already adjacent to the site at 87 and 105 River Street, BIG and JCFO have been able to propose building into the East River to create a total of six acres of public space. The BIG-designed towers, from the renderings, will loom over the surrounding neighborhood and dwarf the towers at the Domino Sugar Factory complex next door. Totaling 1.2 million square feet across both buildings, the towers will contain 750 market-rate apartment units, 250 affordable units, 47,000 square feet carved out for a new YMCA (with pool), 30,000 square feet for local retail, and 57,000 square feet of office space. An additional 5,000 square feet will be set aside at ground level for a series of community kiosks, which will likely contain amenities for parkgoers and kayakers. Although the towers will be tall—one will top out at 600 feet, and the other at 650 feet—BIG has attempted to soften their impact by “pinching,” pulling, and spreading out the massing at the base. The towers’ stature will have the added effect of framing the Manhattan skyline for those looking down Metropolitan, and Bjarke Ingels claimed that their triangular footprint was designed as a “funnel” for those looking to reach the shore. River Street’s most striking feature, at least when viewed from above, will be the circular esplanade and on-river landscaping mentioned earlier. Instead of lifting the shoreline bulkhead to protect from storm surges as is typical for a coastal development, JCFO wants to implement a series of berms and soft edges to both protect River Street from flooding and increase access to the river. That will include a new public beach (JCFO senior principle Lisa Switkin noted that New York’s waterways are the cleanest they’ve been in a century), nature trails, plenty of tidal basins, both saltwater and freshwater marshlands, an amphitheater, outdoor classroom, and more. As is fitting for the designers selected by Two Trees, the team claims that River Street borrows from the Netherlands model of “embracing the river” rather than trying to block it out. Accordingly, Ingels claimed that the River Street towers would be able to weather a 500-year-storm surge, thanks to the way the landscape would be able to break up the energy of incoming waves and the placement of the towers’ mechanicals on higher levels. When asked about a timeline, Two Trees was confident that they would be able to have River Street approved in the next two years under the current City Council administration, although the project will still need to undergo the mandatory seven-month Uniform Land Use Review Process (ULURP). After the ULURP concludes, it should take another five years for River Street to be fully built out. The park and a single tower will be built in the first phase, and the second tower would come afterward. However, according to Switkin, because the project will build on to the East River, they will also need a joint permit from the New York State Department of Environmental Conservation and the U.S. Army Corps of Engineers. Though, Switkin also noted, with the passage of the Living Shorelines Act (H.R.3115) in the House of Representatives earlier this week, federal momentum is building to enable exactly these types of projects. River Street will be entirely privately funded and maintained by Two Trees, similar to Domino Sugar Factory.
As 2019 draws to a close, we’re looking back on some of the events that made it memorable. We’ve rounded up this year’s funniest, most important, and most controversial stories, as well as homages to some of the people we lost. The world is a little less bright without these iconic designers, but from the Louvre pyramid to a series of architecturally-diverse cancer care centers, their legacies live on. I.M. Pei Louvre pyramid designer I. M. Pei passed away at 102, bringing an epic career of international acclaim to a close. Born in 1917 in Guangzhou, China, Pei moved to the U.S. to attend architecture school at the University of Pennsylvania and later MIT, following by the Harvard Graduate School of Design. He founded Pei Cobb Freed & Partners (formerly I.M. Pei & Associates) in 1955 and decades later won the 1983 Pritzker Prize for projects such as the Mile High Center in Denver, Colorado. Among Pei’s other notable projects is the National Gallery of Art, East Building, in Washington, D.C., and the Bank of China Tower in Hong Kong. Kevin Roche Legendary Irish-born American architect Kevin Roche passed away at age 96 in March. His namesake firm, Roche-Dinkeloo, was founded in tandem with partner John Dinkeloo after the death of their boss and mentor Eero Saarinen in 1961. A modernist architect trained by Saarinen and Mies van Der Rohe, Roche designed over 200 buildings in his lifetime including the Ford Foundation headquarters in Midtown Manhattan and the Oakland Museum of California. He was the 1982 Pritzker Prize Laureate and won an American Institute of Architects Gold Medal in 1993. Florence Knoll Bassett Midcentury modern designer Florence Knoll passed away at age 101 this January. Considered one of the most influential furniture designers in history, her sleek and minimal pieces became commonplace throughout American postwar office spaces and later in homes. In 1955, she took over Knoll Inc, the company started by her husband Hans in 1938, which continues to manufacture furniture by designers such as Ludwig Mies van der Rohe, Eero Saarinen, and Knoll herself, among others. Phil Freelon Phil Freelon, one of the lead designers of the National Museum of African American History and Culture, died at 66 this July. The Durham, North Carolina-based architect founded his eponymous firm, The Freelon Group, in 1990 and was responsible for projects like Atlanta’s National Center for Civil and Human Rights, the Museum of the African Diaspora in San Francisco, and Houston’s Emancipation Park. The studio was acquired by Perkins+Will in 2016 and Freelon stepped in to lead its regional office. Henry Urbach Former SFMOMA curator Henry Urbach passed away at 56 this summer, and his friends and family are opening new dialogues on the subject of mental health in his memory. Urbach, who more recently served as director of Philip Johnson’s The Glass House, suffered from Late-Onset Bipolar Disorder. He was an accomplished curator, having started his own New York-based experimental design gallery in 1997 in which he hosted over 55 exhibitions. At SFMOMA, he accumulated hundreds of works for the museum’s permanent collection and collaborated with Diller Scofidio + Renfro on one of his most famous shows, How Wine Became Modern: Design + Wine 1976 to Now. Cristiano Toraldo di Francia Superstudio cofounder and iconic Italian architect Cristiano Toraldo di Francia died in July. In his 78 years, his work helped shape generations of avant-garde designers such as Rem Koolhaas and Zaha Hadid. Best known for starting the radical collective Superstudio in the late 1960s, Toraldo di Francia produced highly regarded drawings, videos, and lithographs through the practice, eventually exhibiting work in the Milan Triennale, the Venice Biennale, and at the Museum of Modern Art, among other institutions. Up until his death at age 78, Toraldo di Francia designed and built several projects throughout Italy and taught at various universities throughout Europe, Japan, and the U.S. César Pelli César Pelli passed away in July at the age of 92, leaving behind the legacy of an international firm and a monumental portfolio. Considered the father of the modern skyscraper, the Argentine architect designed some of the most famous towers in the world: the Petronas Towers in Kuala Lumpur, Malaysia, The Landmark in Abu Dhabi, and the recently completely Salesforce Tower in San Francisco. Pelli moved to the U.S. in 1952 and worked for Eero Saarinen in Michigan for a decade. From 1977 to 1989, he served as dean at the Yale School of Architecture in New Haven. During that time, Pelli received the commission for the 1984 expansion and renovation of the Museum of Modern Art, which more or less forced him to open his own studio, Cesar Pelli & Associates. After over 20 years designing projects like the Ronald Reagan National Airport in Washington, D.C., among others, Pelli renamed his practice to Pelli Clarke Pelli Architects in honor of his long-time partner Fred Clarke, and son Rafael. Charles Jencks Landscape architect and historian Charles Jencks died this October at age 80. Remembered for his embrace of theory, built practice, and connecting the cosmos, Jencks designed whimsical gardens and earthworks that promoted tranquility and play. He is best known for founding Maggie’s, a cancer research institute named after his late wife and whose patient rehab centers have attracted architects like Steven Holl, Frank Gehry, and Zaha Hadid. In the middle of his career, Jencks authored several books on the subject of "Post-modernism" before taking up landscape design. Stanley Tigerman Chicago architect and theorist Stanley Tigerman died in June at 88 years old. Known as a member of the Chicago Seven—a group of architects that rebelled against the doctrine of modernism—his design style was fairly eclectic in his early years, gaining a reputation as an iconoclast, until later when he adopted a more organic approach to architecture. He established his own eponymous firm, Stanely Tigerman and Associates (later renamed Tigerman McCurry Architects), in the early 1960s and completed over 175 buildings in his six-decade career. Among his most prominent works were the Daisy House in Indiana, Lakeside Residence in Michigan, the Illinois Holocaust Museum and Education Center, and the POWERHOUSE Energy Museum in Zion, Illinois.
Clean Bill of Health
2019 Best of Design Awards winners for Interior — Healthcare
2019 Best of Design Award winner for Interior— Healthcare: Chelsea District Health Center Designer: Stephen Yablon Architecture Location: New York City The LEED Gold renovation of the historic New Deal–era Chelsea District Health Center is critical to New York City’s effort to significantly reduce STDs. The building’s park location inspired the design concept: a modern health center that is also an airy park pavilion. Undulating wood ceilings and natural-finish tile floors frame curvy, white epoxy-clad clinical spaces, creating a soothing environment. The brightness of the interior is extended in subtle ways to the exterior with a new white rooftop Corian screen and a vertical glass slot cut into the rear facade. Many sexual health clinics come across as stigmatized places, but the facility provides an uplifting experience where everyone feels deserving of dignity and respect. MEP Engineer: IP Group Structural Engineer: Silman Lighting Design: Cline Bettridge Bernstein Exterior Restoration and Consulting: WJE LEED Consulting: Steven Winter Associates Honorable Mentions Project Name: Mount Sinai Pediatric Cardiac Intensive Care Unit Designer: Perkins Eastman Project Name: YPMD Pediatric Neurology Clinic Designer: Synthesis Design + Architecture Editors' Pick Project Name: NEXUS Club New York Designer: Morris Adjmi Architects
"There’s so much modern and contemporary art that isn’t shown," the mononymous artist Damjanski said as we walked around the fifth-floor galleries of MoMA, iPhones in hand. "What if we could bring even more in?" Along with Monique Baltzer and David Lobser, Damjanski has come up with a solution to these limitations with MoMAR, an "unauthorized gallery" that lives inside the recently-reopened museum from which it derives its name. The gallery takes the form of an iPhone app that uses augmented reality (AR) to introduce new art into MoMA by latching onto physical artwork as triggers. Initial exhibitions earlier this year featured new works layered on top of the existing paintings, offering a sort of secret secondary exhibition.
For its third iteration, titled Open to the Public, the MoMAR curators wanted to push the boundaries of the museum further, digitally intervening into the museum's architecture more directly. Manuel Rossner’s contribution, Reef, reconfigures the room it "sits" in. The German artist, who primarily works in virtual reality, has created a colorful cavern that expands beyond the gallery’s wall. Rather than simply replacing a painting, it cannibalizes it, and in turn considers what environments—physical or digital—might be made within the white-walled constraints of the museum. This vibrant, biomorphic intervention, which is algorithmically generated, adds a dash of play to the relatively rigid structure of the institution. One can imagine the artificial depth causing problems for the less attentive, and MoMA does officially restrict panning phones through rooms if you’re filming. Other artworks cheekily deconstruct our relationships to how we consume (and make) images in the museum. Akihiko Taniguchi has introduced an "augmented selfie" into the gallery, where a 3D avatar of the artist floats in the iPhone’s view. The digital Taniguchi’s arm is outstretched, phone in hand. If you press your screen it will save a picture to your phone and the animated avatar will take a photo too, his virtual self capturing his face in front of a wall of Morris Hirshfield paintings. Strokes, by the Japanese duo exonemo, is an act of artistic intervention (or vandalism). Just what it sounds like, when an iPhone is pointed at its tag (Joseph Pickett's painting Manchester Valley) random Pollock-esque strokes of "paint" will appear on the screen, disrupting and damaging the otherwise pristinely kept MoMA and its carefully kept goods. New York-based Erin Ko’s La Barrera diffuses glitchy fractured signs throughout the gallery—shattered emojis, 3D pyramids and bottles, all what Ko calls "floating garbage." Black brushstrokes cover a canvas that digitally displays quickly changing insipid networked truisms: "You don’t know stress until you own a charger that only works if your phone is at a certain angle." Is that stress? By disrupting the art on display and its vaulted home with her own internet throw up, Ko seems to point out the banality of the glut of content online and off, the constant distractions that the privileged find on their phones and in museums, in buildings and on networks developed by so much labor and producing so much waste, all of which so often is ignored. Where some smaller works hang on the wall a hole opens up, a portal beyond the museum, to nowhere real. An outside we can never reach, the hole reveals the museum as a trap. Despite the ways these works might prod at the museum that made and continues to makes the modern canon, flouting its celebrated art and its architectural integrity, Damjanski noted that he is not anti-museum in the least. He loves coming to the MoMA, but he sees many new opportunities in and beyond traditional institutions. "Museums are so often a one-way conversation," he pointed out. "We want to see if it could be a three- or four-way conversation instead." By involving the user and new artists in the museum, disconnected from its official institutional and curatorial structures, a more democratic, flexible, and updatable MoMA—an augmented one—can be imagined. MoMAR also provides and proposes new ways of exhibiting net art and other creative practices that engage with emerging technology that museums, excluding certain projects such as Rhizome, have been relatively slow to keep up with—though there are some net works like JODI’s video My%Desktop in MoMA’s rehang. Of course, to visit Open to the Public you still have to get to MoMA and pay admission or attend on a free night, which is also when MoMAR hosts its openings. To further the democratizing potential of AR exhibitions, MoMAR’s team offers up its Unity-based platform as an open-source tool so that people around the world can create their own installations and exhibitions well beyond MoMA’s rarefied walls. Open to the Public Viewable with the MoMAR app at MoMA, gallery 521, fifth floor Through January 25, 2020View this post on Instagram
No food or drink allowed
Someone ate Maurizio Cattelan's $120,000 banana
In case you missed it, a banana duct-taped to a blank wall, that fruit whose peel has been the basis of so much slapstick comedy, sold for no less than $120,000 at Art Basel Miami Beach, the sun-soaked winter outpost of the Swiss art fair. Called Comedian, the sculpture—three editions available—was the creation of the Italian artist Maurizio Cattelan, who recently had another brush with mainstream press when his full-functioning 18 karat gold toilet, America, was stolen from Blenheim Palace in England less than two months ago. The banana attracted a great deal of attention at the fair, with people lining up to take selfies with the fruit mounted to the wall of the global mega gallery Perrotin. It also attracted, depending on your perspective, vandalism or critical intervention: The performance artist David Datuna ate the banana on Saturday. Comedian was taken down for the last day of the fair because of the disruption it was causing, after which someone used the opportunity to scrawl “EPSTIEN [SIC] DIDN’T KILL HIMSELF” in blood-red paint on the now-bare wall. It was promptly covered up. https://twitter.com/GiancarloSopo/status/1203875430803087367 While Datuna’s performance may appeal to some as a means of pointing out the relative valuelessness of the work, they would be missing the point. Of course Comedian is just a fruit and some household tape. Nobody is meant to believe that the materials are in-themselves valuable beyond their grocery store price points. What is sold to collectors is not duct tape and a banana, but rather a certificate, which presumably includes maintenance instructions. The inherent ephemerality of the fruit is part of the work: owners can change the banana whenever they see fit. Obviously anybody could make this work at home, that's not in dispute. What’s sold, supposedly, is an idea (and the right to resell it). That is to say, that it is not about the objects. Like much art of the past 100 years, which has included urinals, apples, and canned feces as high-value objects, the intention of art like Comedian is to question how value is produced in the context of art. The controversy, mainstream and art world press, and social media presence is presumably as much as part of the work as the banana mounted in almost painterly gesture by a diagonal strip of duct tape somewhere it doesn’t belong. Even if we were to take Comedian at face value, putting decay on display through constantly-rotting produce isn't a new idea, either. Comedian also references the history of Cattelan’s own practice. The 1999 A Perfect Day, a mainstay of art history classes, used a whole lot more tape to attach Cattelan’s gallerist Massimo De Carlo to the wall for an entire day. Now, 20 years later, with a title that suggests a person—maybe himself, maybe his gallerist—perhaps we can see this banana as a stand-in for the body. Or, depending on one's leanings, it might just be rendering all the art system’s actors (this writer included) as charlatans and jesters. Whoever the joke may be on, Comedian is at the very least an ironic critique of the art market. As Jason Farago points out in his "grudging defense" in the New York Times: “[Cattelan’s] entire career has been a testament to an impossible desire to create art sincerely, stunted here by money, there by his own doubts.” By asking so much money for an idea (successfully, at least one edition has sold) that unifies two cheap, common objects, and creating so much controversy along with it, Cattelan attempts to expose the ways value is generated in art, as well as issues of authorship. Of course, at a time of rising inequality and rising seas that threaten Miami Beach, one might not find it so funny and fairly see it as a further indictment of an art system awash in cash, a playground for the one percent. That's what Comedian has to tell us: it’s all a charade, fresh fruit and painted canvas and plain-old dollar bills alike. Regardless, Cattelan will surely be happy to take his 50 percent cut.
Snøhetta’s vision for an expanded outdoor garden at 550 Madison Avenue—the former AT&T Building in Manhattan’s Midtown East district—was unveiled by developer Olayan Group this week. Set to increase the existing plaza space by 50 percent, the privately owned public space (POPS) will transform what was once considered a dark, narrow plaza stuffed with freestanding retail kiosks into a light, airy, and “welcoming sensory retreat,” according to the architects. Located on the backside of the postmodern office tower between East 55th and East 56th Streets, the glass arcade and four-story annex added in the 1990s will be taken down to make way for the larger, open-air garden. With a delicate glass-and-steel canopy covering the pedestrian space, the overhaul will effectively bring the site closer to the original architects' (Philip Johnson and John Burgee) 35-year-old design intent. Up to 50 new trees will be planted throughout, alongside a wide array of plant varieties including evergreens, and perennials. Ample seating, tables, and low-lighting will be integrated while a cafe with a public restroom will be built adjacent to the building’s west entrance. At just over 21,000-square-feet, the plaza will be the largest of its kind within a five-minute walk. Snøhetta said the overall look for the new POPS is directly connected to Gensler’s newly-released plans for the revamped lobby. “This new garden complements the adjacent tower while drawing upon the vibrancy of the neighborhood and the natural history of the region, offering visitors an immersive respite in the city,” said Michelle Delk, Snøhetta partner and director of landscape architecture, in a press release. Slated to reopen next year, 550 Madison is expected to house as many as 3,000 workers, though when completed in 1984, it was only intended to hold about 800 people across its 37 floors. The Olayan Group, Snøhetta, and Gensler had to go through a controversial approvals process with the city’s Landmarks Preservation Commission to make sure the updated tower’s exterior—which was declared a New York City landmark in mid-2018—and rear plaza respected the history of the entire site.
Top of the Heap
Announcing the winners of the 2019 AN Best of Design Awards
After expanding our categories to a whopping 47 and receiving over 800 submissions, the 2019 AN Best of Design Awards were our most successful yet. Of course, this made the judging more difficult than ever. Projects came from firms big and small across every corner of the North American continent. While we are always surprised by the breadth and quantity of submissions, we were not surprised by the quality of the design work put forth by these talented architects and designers. There were some telling trends, however. First, our interior categories received more and better projects than ever before. This resurgence in architects doing interiors, both residential and commercial, seems to mirror what we see in the field: Simpler, less colorful interiors that put more emphasis on materiality than on playful shapes, as in the past. It was also a good year for exhibition design. For the Building of the Year, our esteemed jury was fiercely divided between two exemplary but very different projects. The final debate came down to The TWA Hotel by Beyer Blinder Belle and Cooley Monato Studio, and the Anita May Rosenstein Campus, Los Angeles LGBT Center in Los Angeles by Leong Leong and KFA. In the end, the jury decided that the sensitive restoration and reactivation of Saarinen’s masterpiece merited the Building of the Year award. This selection well illustrates the attitude that this year’s jury had about the projects that were deliberated. Sensitivity and subtlety were at a premium. Winners were chosen for their contextual, tactical approaches rather than big, bombastic ideas. For example, MQ Architecture’s small wooden pavilion in Garrison, New York, and Signal Architecture + Research’s Cottonwood Canyon Experience Center are both examples of structures with simple profiles that were carefully cut to make residential-scale architecture that blends into its surroundings. Perhaps this signals something larger about architecture in 2019, or even the end of the 2010s. Is U.S. architecture becoming more formally muted? Or is 2019 just a quiet year? Is this phenomenon an ongoing reaction to something in the media that has promoted design that is flashier and more figurally exuberant? Or is this just a one-year trend? Our jury this year was a very savvy group that included old AN friends and some new faces as well. By provoking discussions and offering up new ideas, the jury is essential to the mission of AN. We hope you enjoy this selection of winners, honorable mentions, and editor’s picks, and we look forward to hearing from you again next year with new projects! We will be updating this list over the next few days with winner and honorable mention profiles. To see the complete feature, don't miss our 2019 Best of Design Awards Annual issue, out now! 2019 AN Best of Design Awards Building of the Year Winner TWA Hotel Beyer Blinder Belle Cooley Monato Studio New York City Finalists Cottonwood Canyon Experience Center Signal Architecture + Research Wasco, Oregon Anita May Rosenstein Campus, Los Angeles LGBT Center Leong Leong Killefer Flammang Architects Los Angeles Public Winner Anita May Rosenstein Campus, Los Angeles LGBT Center Leong Leong Killefer Flammang Architects Los Angeles Honorable Mentions Discovery Center, Îles-de-Boucherville National Park Smith Vigeant Architectes Hunters Point Community Library Steven Holl Architects Editors' Picks Tsleil-Waututh Administration and Health Centre Lubor Trubka Associates Architects Louis Armstrong Stadium ROSSETTI Urban Design Winner Brooklyn Army Terminal Public Realm WXY Brooklyn, NY Honorable Mention City Thread SPORTS Cultural Winner Menil Drawing Institute Johnston Marklee Houston Honorable Mentions Ruby City Adjaye Associates New York State Equal Rights Heritage Center nARCHITECTS Editors' Pick The Evans Tree House at Garvan Woodland Gardens modus studio Saint Mary Mercy Chapel PLY+ Exhibition Design Winner Calder: Nonspace STEPHANIEGOTO Los Angeles Honorable Mentions Nature—Cooper Hewitt Design Triennial Studio Joseph VENTS TEMPO | Catty Dan Zhang Editors' Picks Model Projections Agency—Agency Common Threads ikd Green Building Winner Galenas Medical Cannabis Cultivation Facility Urban Green Design Akron, Ohio Honorable Mentions Tree Pittsburgh Headquarters GBBN 370 Jay Street, New York University Mitchell Giurgola Editor's Picks Marvin Gaye Recreation Center ISTUDIO Architects Greenport Passive House The Turett Collaborative Adjaye Associates New York City Honorable Mentions CME Center Krueck + Sexton 277 Mott Street Toshiko Mori Architect Editors' Picks University of Cincinnati Gardner Neuroscience Institute Perkins and Will 280 St Marks DXA studio Young Architects Winner bld.us Infrastructure Winner North Chiller Plant, University of Massachusetts Amherst Leers Weinzapfel Associates Amherst, Massachusetts Honorable Mentions Richmond Water Transit Ferry Terminal Marcy Wong Donn Logan Architects BART Market Street Canopies VIA Architecture Editors' Picks Frances Appleton Pedestrian Bridge Rosales + Partners Northeastern University Pedestrian Crossing Payette Commercial — Hospitality Winner Furioso Vineyards Waechter Architecture Dundee, Oregon Honorable Mentions McDonald’s Chicago Flagship Ross Barney Architects The Carpenter Hotel Specht Architects Editors' Picks Heritage Savvy Studio Lumen at Beacon Park Touloukian Touloukian Commercial — Retail Winner Apple Scottsdale Fashion Square Ennead Architects Scottsdale, Arizona Honorable Mentions Sunshine and National Retail Center Dake Wells Architecture Christian Dior Myefski Architects Editors' Pick Grant Gallery Ted Porter Architecture The Culver Steps Ehrlich Yanai Rhee Chaney Architects Commercial — Office Winner 1000 Maine Avenue KPF FOX Architects Washington, D.C. Honorable Mentions 901 East Sixth Thoughtbarn Delineate Studio Solar Carve Studio Gang Editors' Pick American Express Sunrise Corporate Center Perkins and Will Interior — Workplace Winner HUSH Office Interior Inaba Williams and Kyle May New York City Honorable Mentions ShareCuse Architecture Office Vrbo Headquarters Rios Clementi Hale Studios Editors' Picks McDonald’s HQ Studio O+A Conga Headquarters DLR Group Interior — Institutional Winner Southeast Raleigh Magnet High School Great Hall Renovation tonic design Raleigh, North Carolina Honorable Mentions The Center for Fiction BKSK Architects The Children’s Library at Concourse House Michael K Chen Architecture Editors' Picks Countryside Community Church Alley Poyner Macchietto Architecture Gordon Chapel Renovation, St. Hilda’s and St. Hugh’s School MBB Interior — Retail Winner maharishi Tribeca Abruzzo Bodziak Architects New York City Honorable Mentions Malin+Goetz San Francisco Bernheimer Architecture Claus Porto New York tacklebox architecture Editors' Picks Notre Norman Kelley R13 Flagship Leong Leong Interior — Hospitality Winner Tamarindo Stayner Architects San Clemente, California Honorable Mentions All Square Architecture Office ROOST East Market Morris Adjmi Architects Editors' Picks Woodlark Hotel OFFICEUNTITLED The Fleur Room Rockwell Group Interior — Healthcare Winner Chelsea District Health Center Stephen Yablon Architecture New York City Honorable Mention Mount Sinai Pediatric Cardiac Intensive Care Unit Perkins Eastman YPMD Pediatric Neurology Clinic Synthesis Design + Architecture Editors' Pick NEXUS Club New York Morris Adjmi Architects Restoration & Preservation Winner Owe'neh Bupingeh Preservation Project Atkin Olshin Schade Architects Ohkay Owingeh, New Mexico Honorable Mentions Brant Foundation Art Building Gluckman Tang Avenue C Multi-Family Thoughtbarn Delineate Studio Editors' Picks Chicago Union Station Great Hall Restoration Goettsch Partners Boston City Hall Public Spaces Renovation Utile Healthcare Winner University of Cincinnati Gardner Neuroscience Institute Perkins and Will Cincinnati Honorable Mention Duke University Student Wellness Center Duda|Paine Architects MSK Nassau EwingCole Editor's Pick Sheila and Eric Samson Pavilion at Case Western Reserve University and Cleveland Clinic Foster + Partners Tia Clinic Rockwell Group Interior — Residential Winner Michigan Loft Vladimir Radutny Architects Chicago Honorable Mention Inaba Williamsburg Penthouse Inaba Williams Gallatin House Workstead Editors' Picks Watermark House Barker Associates Architecture Office Lakeview Penthouse Wheeler Kearns Architects Residential — Single Unit Winner Glass Cabin atelierRISTING Iowa Honorable Mentions Bigwin Island Club Cabins MacKay-Lyons Sweetapple Architects Triple Barn House Mork Ulnes Architects Editors' Picks Ephemeral Edge Dean/Wolf Architects Manifold House David Jameson Architect Residential — Multiunit Winner 139 Schultz CPDA arquitectos Mexico City Honorable Mentions XS House ISA Origami Waechter Architecture Editors' Picks Solstice on the Park Studio Gang Bastion OJT Landscape — Residential Winner Malibu Overlook Stephen Billings Landscape Architecture & Michael Goorevich Malibu, California Honorable Mention Musician’s Garden Stephen Billings Landscape Architecture Landscape — Public Winner Josey Lake Park Clark Condon Cypress, Texas Honorable Mentions First Avenue Water Plaza SCAPE Landscape Architecture Pier 35 SHoP Architects Editors' Picks Scottsdale’s Museum of the West Colwell Shelor Landscape Architecture Drexel Square West 8 & SHoP Architects Education Winner Cottonwood Experience Center Signal Architecture + Research Wasco, Oregon Honorable Mentions Club de Niños y Niñas Centro de Colaboración Arquitectónica RISD Student Center WORKac Editors' Picks Santa Monica College Center for Media and Design + KCRW Media Center Clive Wilkinson Architects Cal Poly Pomona Student Services Building CO Architects Lighting — Outdoor Winner Lightweave FUTUREFORMS Washington D.C. Lighting - Indoor Winner TWA Hotel Beyer Blinder Belle Cooley Monato Studio New York City Building Renovation — Commercial Winner Ford Foundation Center for Social Justice Gensler New York City Honorable Mentions Apple Fifth Avenue Foster + Partners Avling Kitchen & Brewery LAMAS Editor's Picks Intelligentsia Bestor Architecture Olympic Tower, 645 Fifth Avenue MdeAS Architects Building Renovation — Civic Winner Keller Center Farr Associates Chicago Honorable Mention Centennial Planetarium Lemay + Toker Nora Eccles Harrison Museum of Art Sparano + Mooney Architecture Editors' Picks Oregon Conservation Center LEVER Architecture National Arts Centre Rejuvenation Diamond Schmitt Architects Building Renovation — Residential Winner Phillipsport Church House Architecture in Formation Wurtsboro, New York Honorable Mention 1/2 House NOW HERE Editors' Pick Case Room Geoffrey von Oeyen Design Adaptive Reuse Winner TWA Hotel Beyer Blinder Belle New York City Honorable Mentions Senate of Canada Building D Diamond Schmitt Architects Redfox Commons LEVER Architecture Editors' Picks Fifth Avenue Adaptive Re-use Inaba Williams 10 Jay Street ODA New York Temporary Installation Winner Soft Civic Bryony Roberts Studio Columbus, Indiana Honorable Mention Salvage Swings Somewhere Studio Editors' Picks Lawn for the National Building Museum Summer Block Party Rockwell Group Coshocton Ray Trace Behin Ha Design Studio New Materials Winner Grass House bld.us Washington, D.C. Honorable Mention Walking Assembly Matter Design & CEMEX Global R&D Digital Fabrication Winner Knitcandela Block Research Group, ETH Zürich & ZHCode, Zaha Hadid Architects Mexico City Architectural Representation Winner Support KEVIN HIRTH Co. New York City Honorable Mentions Other Medians Studio Ames Manual of Instructions NEMESTUDIO Editors' Picks Shaped Places of Carroll County New Hampshire EXTENTS Interim Urbanism: Youth, Dwelling, City N H D M Small Spaces Winner Small Wooden Pavilion MQ Architecture Garrison, New York Honorable Mentions Aesop Shaw DC David Jameson Architect Schaefer Residence Duo Dickinson Architect Student Work — Group Winner A Home for MJ Drury University Design-Build Program, Jordan Valley Community Health Center Springfield, Missouri Student Work — Individual Winner Museum/Park Design Alberto Arostegui, Savannah College of Art and Design Unbuilt — Urban Design Winner St. John's Park Ballman Khapalova New York City Honorable Mentions Pensacola Waterfront Framework SCAPE Landscape Architecture Pier 70 SITELAB urban studio Editors' Picks Chicago Transit Authority Damen Green Line Station Perkins and Will Boston Coastal Flood Resilience Design Guidelines & Zoning Overlay District Utile Research Winner Delirious Facade LAMAS Honorable Mentions The Water Alert and Testing Resource (WALTER) Ennead Architects USModernist Masters and Library Databases USModernist Editors' Picks Sound Pavilion UNC Charlotte Buoyant Ecologies Float Lab Architectural Ecologies Lab Unbuilt — Residential Winner Ambrosia Gensler Los Angeles Honorable Mentions Little Berkeley Kevin Daly Architects Stump House PARA Project Editors' Picks Aqualuna 3XN Micro Unit Studio Ames Unbuilt — Interior Winner Life on Mars: From Feces to Food Lydia Kallipoliti Mars Honorable Mention The Renovation and Reuse of a Historic Granite Bank musumanoco Unbuilt - Commercial Winner Aurora Belzberg Architects Mexico City Honorable Mention Surf Entertainment Facility BLUR Workshop Editors' Picks Folded Wings Form4 Architecture Nanotronics Smart Factory Rogers Partners Unbuilt — Cultural Winner Arkansas Arts Center Studio Gang Little Rock, Arkansas Honorable Mentions Richard Gilder Center for Science, Education, and Innovation at the American Museum of Natural History Studio Gang Terminal B Performance Venue Touloukian Touloukian Editors' Pick SynaCondo Studio ST Architects Unbuilt — Education Winner Otto Speech School Charles Rose Architects Chestnut Ridge, New York Honorable Mentions University of Arkansas Center for Farm and Food System Entrepreneurship University of Arkansas Community Design Center Church Hill North O’Neill McVoy Architects Editors' Picks Del Mar College Southside Campus Gensler Tecnano FGP Atelier Unbuilt — Green Building Winner Sendero Verde Handel Architects New York City Honorable Mention Coleridge Street Residences Touloukian Touloukian Unbuilt — Public Winner Adams Street Branch Library NADAAA Boston Honorable Mentions Northeast Bronx YMCA Marvel Architects 7Hills Homeless Day Center University of Arkansas Community Design Center Editors' Picks Memorial Garden for Victims of Gun Violence Svigals + Partners Bus Shelter Design for the City of Miami Beach Pininfarina Unbuilt — Landscape Winner Boston Children's Hospital Green Master Plan Mikyoung Kim Design Boston Honorable Mentions Tom Lee Park SCAPE Landscape Architecture and Studio Gang The Clearing: Sandy Hook Permanent Memorial SWA Group Editors' Picks Beaubien Woods Action Plan Adrian Smith + Gordon Gill Architecture Chicago South Lakefront Framework Plan SmithGroup A special thanks to our 2019 AN Best of Design Awards Jury! Jaffer Kolb, Cofounder, New Affiliates Sara Lopergolo, Partner, Selldorf Architects Carlos Madrid III, Associate Director, Skidmore, Owings & Merrill Anne Rieselbach, Program Director, The Architectural League of New York Oana Stănescu, Founder, Oana Stănescu Studio
2019 Holiday Gift Guide
What do architects want for the holidays?
Putting together your wish list? Feeling the call of consumption? Stuffing a stocking for that special someone? We’ve crafted a list of some seriously covetable objects to help you out, including an Alessi lunch box and ceramic tiles designed by Gio Ponti. This compilation of curiosities will measure up to any architect’s standards. Sacred Ground: The Cemeteries of New Orleans By Robert S. Brantley Princeton Architectural Press papress.com | $40 Architectural photographer Robert S. Brantley has surveyed New Orleans’s most notorious cemeteries for more than 40 years. Sacred Ground presents his sublime duotone photographs of the gravesites of 20 notable individuals (comprehensively detailed in each chapter index), organized by cemetery. Dana Butterfly rug Classic Rug Collection classicrug.com | $249 Many of Frank Lloyd Wright’s rugs were designed specifically for each project or to pair with his furniture designs—but few were actually produced. This winter, the Frank Lloyd Wright Foundation collaborated with Classic Rug Collection on a series of rugs, including an art glass–inspired textile that references the 1902 Dana-Thomas House. Food à porter lunch box Alessi alessi.com | $78 Japanese-born, Milan-based designer Sakura Adachi teamed up with Alessi on this thermoplastic lunch box inspired by bento boxes and lacquerware. The box is organized into three compartments hermetically sealed by two interior dividers and held together by plastic, handbag-like straps. Portagioie - Oggetti collection Dimorestudio dimorestudio.eu | $2,000 For this holiday season, Milan-based design firm Dimorestudio created a collection of festive tabletop accessories, including this sumptuous jewel box. The Art Deco-inspired case is fashioned in a glossy lacquered wood featuring brass, satin steel, and Pietra Paesina marble inlays. Scale Bar Scarf Sam Jacob Studio samjacob.com | £30 ($38) This scarf can be used in the field as a measuring tool. At two meters long, the scarf has black and white scale divisions that make it easy to size things up. Palace tableware Seletti seletti.it | $150–$700 Pilasters and pediments adorn this Italian Renaissance-inspired series of plates, bowls, and trays. The series is shaped like four iconic mansions from the era, including the della Signoria, Palazzo Borghese, and Palazzo del Governo. Gio Ponti Ceramic Tiles Fattobene, exclusively at MoMA Design Store store.moma.org | $25 each These ceramic tiles were originally designed by Italian architect Gio Ponti in 1960 for a hotel project. They are now available as single pieces for the first time ever, as part of a special selection of Italian-made design at the MoMA Fattobene pop-up. Breaking Ground: Architecture by Women By Jane Hall Phaidon phaidon.com | $49.95 Breaking Ground celebrates women in architecture from the early 20th century through the present day with a detailed account of over 200 masterpieces around the world. Quotes from the likes of Eileen Gray and Elizabeth Diller provide inspiration from women of the past, present, and future. Glass House Snow Globe The Glass House Design Store designstore.theglasshouse.org | $75 Frozen in time inside a snow globe lies a miniature version of Philip Johnson’s Glass House, the most iconic of all of his works. Shake it gently to see snow float gently over its flat roof. Daniel Libeskind Eternal Star Hanging Frosted Ornament Atelier Swarovski atelierswarovski.com | $89 This bright and beautiful ornament designed by Daniel Libeskind features a laser-inscribed star. When it catches the light, the star sparkles like a glimmering night sky. A-Pack by Leon Ransmeier Maharam maharam.com | $385 New York-based industrial designer Leon Ransmeier was asked by textile purveyor Maharam to design a bag that he would use himself. With both utility and beauty in mind, Ransmeier chose a waxed cotton canvas sourced in Scotland to compose a sloped apex backpack with a handle directly on the center of gravity—which ensures the shape will not slump when it is worn or handled. Hudson Yards "The Vessel" Novelty Plug Wolfgang & Hite wolfgang-hite.com | $75 Last but certainly not least, design firm Wolfgang & Hite has produced a limited edition run of their butt plugs modeled after Thomas Heatherwick's massive contribution to Hudson Yards. "Made of medical-grade silicone, this simulacrum of the original Vessel will take you to dizzying heights," reads Wolfgang & Hite's product description. Only 50 were made for this holiday season, so act fast.
To planet Earth, the city of Venice being a designated UNESCO World Heritage site is meaningless. It can, and will, treat the city with abject indifference as was demonstrated earlier this month. In more recent climate chaos news, floods have devastated other parts of Italy, causing a viaduct to collapse near the city of Savona; meanwhile, across the other side of the world, fires are raging across the Amazon and Australia. Bizarrely, and tragically, many governments lack the impetus to make any meaningful change in this regard. We find ourselves in a dire situation, crying out for radical approaches that will galvanize the human race into action, something that Eco-Visionaries, which opened last weekend at London's Royal Academy of Arts (RA), strives to do. First of all, what an exciting name: "Eco-Visionaries," does it get more enticing than that? Upon entering the exhibition, audiences are greeted with a rotating model globe shrouded in green, murky dust. Playing through speakers in the background meanwhile, is Clara Rockmore's ominous rendition of Camille Saint-Saëns' Le Cygne (The Swan). This is Domestic Catastrophies nº3: La Planète en Laboratoire by French artist collective HeHe and it sets the tone for the rest of the exhibition, which is a sobering affair; but the vision of what, exactly, is as about as clear as HeHe's installation, despite being populated with visionaries. But that's not to say it's all doom and gloom either, despite the fact that the second installation you see features a giraffe being graphically shot, with blood spewing rapidly from its neck. A journey has been crafted by in-house RA curator Gonzalo Herrero Delicado (who worked with Pedro Gadanho and Mariana Pestana to curate the original show for Lisbon's MAAT) taking patrons through installations that highlight the climate crisis we find ourselves in and propositions that attempt to mitigate it. This seems like a natural progression one should take when addressing the issue of saving the planet: here's a problem and here's how we might solve it. However, Eco-Visionaries jumps between art as commentary and architecture as proposition, and struggles to get a strong grip on either. The architecture that does hint at radical change has to build upon the success of others—New York firm WORKac developed The Dolphin Embassy from Ant Farm, while Paris-based Studio Malka Architecture's Green Machine riffs on Archigram's Walking City. Both fall short, and architects don't come off as potential planetary saviors by any stretch. The strongest installations, meanwhile, are presented as art. An imaginative proposition comes from Turkish designer-artist-researcher Pinar Yoldas, whose Ecosystem of Excess envisages plastic-gobbling pelagic insects populating a post-human planet and cleaning it up in the process. On a similar strand, working alongside DeepMind artificial intelligence, artist Alexandra Daisy Ginsberg's recreation of a white rhinoceros is powerful. The now-extinct creature comes to life at a 1:1 scale, developing from a wandering cluster of pixels into a great beast that seems confused by the white box it finds itself in. Here we question, besides humanity, what lies ahead for the animals of this Earth. Extinction? Digital archival? That's certainly not the case for jellyfish, who, as it turns out, are seemingly the harbinger of the end times. The pulsating creatures thrive in the conditions created by climate change. "More warm water," says a narrator in the exhibition's final, and best, exhibit, "is a disaster for anything that breathes and a dream come true for anything that doesn’t breathe much, like jellyfish.” Titled win > < win, the installation is by Berlin-based artist group Rimini Protokoll and occupies a room in the third and last gallery of the exhibition. win > < win splits audiences in two with a circular tank filled with jellyfish—something the RA had to obtain a zoological license to host. With clever lighting, the two audiences are revealed and hidden from each other, the tank acting as both a mirror and portal for the divided audiences. Through headphones, we learn about the ascendance of jellyfish, a species that benefits from humans killing their predators with overfishing and pollution as plastic bags kill turtles and other animals. The influx of jellyfish has direct consequences for humans too, as they clog up nuclear power and desalination plants across the world. "Jellyfish will be the only survivors when everything else has fallen apart," the narrator ominously intones. Despite this sombre note, win > < win is fun, engaging and informative all at the same time and makes the $15 exhibition fee is worth it. It also represents a success for Delicado, who told AN that he wanted the exhibition "to talk a younger audience," hence the inclusion of more familiar names like Virgil Abloh and Olafur Eliasson, whose installations—a gold, supposedly sunken chair and pictures of melting ice, respectively—do little to inspire. And that's what we need, inspiration. In his book, The is no Planet B, author Mike Berners-Lee writes: "Whilst the idea of limiting climate change seems like essential damage limitation, in itself, it spectacularly fails to excite most of us. More often than not, it gets framed primarily as the need to forego things we enjoy. And since humans–all of us–hate thinking about anything unpleasant, the temptation to switch off is hard to resist."
Eco-Visionaries, as its title tantalizingly suggested, might change that. This was a great chance to show the world that we might, by the skin of our teeth, be able to claw ourselves out from climate change-induced catastrophe. In this regard, Eco-Visionaries falls short. Perhaps this was because the RA only allowed the exhibition to have three rooms, preventing it from going further. However, while filled with insight and inquisitive introspection into how humanity lives on this earth, the feeling of future inspiration is sadly lacking. Eco-Visionaries runs through 23 February 2020.
Brought to you with support fromThe neo-Georgian Tammany Hall located on the northeastern corner of Union Square has assumed multiple identities over the course of its nearly century-long existence: It has been the home of the notoriously corrupt Society of St. Tammany, a union headquarters, and a theater and film school. Now, BKSK Architects and BuroHappold Engineering are leading the conversion of the building into a contemporary office space, which will be topped by a bulbous glass dome ringed with terra-cotta panels.
glass dome derives from both international Georgian precedents as well as the historical origins of the Society of St. Tammany—named after renowned Lenape leader Chief Tamanend, whose clan’s symbol was a turtle. According to BKSK partner Todd Poisson, the design team interpreted Chief Tamanend’s tribal imagery “With a turtle shell-like dome rising from this neo-Georgian landmark building, reimagining its tepid hipped roof with a new steel, glass, and terra-cotta base supporting an undulating glass dome.” Austrian manufacturer Eckelt, a member of the Saint-Gobain group, produced the structurally glazed insulated glass units. To reduce solar exposure to the office space below, the outer shell is built of tinted Saint-Gobain Parsol Grey panels treated with a high-performance sputter solar coating. The second layer of the carapace, separated from the tinted panels by a layer of air space, is comprised of clear glass panels. The roof, made of 850 isosceles triangular panels ranging from a 5- to 9-foot base, encompass a total surface area of approximately 12,000 square feet. Rising from the rear of the cornice line, the glass panels are fastened to an undulating steel free-form shell grid fabricated by Gartner. To support the weight of the dome, and to facilitate the straightforward installation of structural members, the entire structural system of the historic building was replaced with a poured-in-place concrete core—effectively transforming the original load-bearing brick enclosure into a freestanding rain screen. The project is scheduled to wrap up in 2020. BKSK partner Todd Poisson and BuroHappold Engineering associate principal John Ivanoff will present the Tamanny Hall project at Facades+ NYC on April 2 as part of the "Adaptive Reuse Challenges in NYC Historic Icons" panel.The design of the
Now towering over Shanghai’s Suzhou Creek is Heatherwick Studio’s latest landscape-heavy development: a veritable mountain of trees populating a sprawling, mixed-use facility made for the city’s burgeoning M50 arts district. 1,000 Trees—the project's official name—has been under construction for the past five years and its first phase, spanning 3.2 million square feet, is slated to open in 2020. As a whole, the project is made up of two buildings split across two sites totaling 14.8 acres, each featuring a jagged facade with a “mountain peak” where the highest floors top out. So far, only the exterior of the first mountain has been unveiled to the public, revealing an undulating frontage punctuated by an array of plants atop structural concrete columns. In initial photos, the project looks like a shrine to landscape architecture, or more specifically, the diversity of plants capable of outfitting buildings. Sourced locally from Chongming Island just northeast of Shanghai, 25,000 individual plants representing 46 species make up the vision of 1,000 Trees. Over half are evergreen to ensure a yearlong verdant look for the massive structure. Heatherwick Studio used grey-green granite to create a striped or striated facade that further accentuates the plants throughout. Shangai's M50 arts district is located in an old manufacturing neighborhood where textile production used to take place. Now, the industrial area is a boon for contemporary art and 1,000 Trees is being built to amplify that theme. At 10 stories, the first section of the development, when open next year will boast eight levels of retail, restaurants, and commercial office space, as well as room for events programming and art galleries. Its southern, street-facing facade, is practically flat compared to the rippled, creek-front portion, but it does include a series of boxy windows of varying sizes that are set back from the building's frame. Natural light from the floor-to-ceiling glass will be allowed to percolate inside the building, while multiple tall atriums throughout the elongated structure will bring a nice glow all the way down to the ground-floor from above. Heatherwick Studio partnered with local graffiti artists to cover some of the southern windows with large-scale murals. 1,000 Trees was commissioned following the completion of Heatherwick’s U.K. Pavilion for the Shanghai World Expo nearly a decade ago. As China continues to push towards building extra-large developments, architects are also considering the role landscape plays in the country's increasingly dense environment. For example, a new green-roofed hospital with a terraced design by Foster + Partners and the Cleveland Clinic is set to rise in Shanghai as well, bringing wellness to the forefront of contemporary architecture. Compared to Heatherwick’s smaller, albeit still plant-focused projects, such as the nearly-complete, 2.75-acre Pier 55 or “Little Island” in New York (which utilizes a similar sculpted concrete pillar approach), 1,000 Trees will completely change the look and appeal of Shanghai’s M50 arts district. Phase two of the mega-project will connect to the existing structure through an enclosed link bridge, a tunnel, and a ground-floor drop-off area. It will feature even more public space and a 129,000-square-foot park.
Shedding the Shed
the_shed_is_a_shack pokes fun at Hudson Yards and corporate malfeasance
On June 21, a couple of months after the opening of the Diller Scofidio + Renfro and Rockwell Group-designed Shed, the anonymous group behind the_shed_is_a_shack Instagram account began trolling the billionaire-real-estate-developer-funded arts center. Its organizers, who include an artist and an executive director of an arts institution, followed their friends' Instagram accounts to attract followers and began lampooning the Shed. They published a photo of a cracked electrical outlet cover and an electrical box with wires sticking out, poked fun at design and programming decisions, and savaged the financing behind the project. Increasingly they focused on its embodiment of extreme economic stratification, poor labor practices, and the "artwashing" of real estate the project embodies. We asked The Shack—as they call themselves—about the account, their trolling of the Shed and Hudson Yards, and their view of what should have happened there instead. They responded with a remarkably cogent argument for an alternative decision-making process for development on public property. AN: Can you tell us about your backgrounds or professional affiliations? Are you connected to any activist groups or have you been in the past? the_shed_is_a_shack: We are arts professionals with many years of experience with cultural institutions and in different aspects of the art world. The Shack includes an executive-level arts leader and an artist who is also active in a number of other social justice/advocacy issues. We are also people who care about our communities, our fellow citizens, and the importance of civic engagement.
Are you creating some of the memes or are you mostly sharing other things you see? We create all of the content ourselves, except in a very few select cases where we have reposted and clearly credited the original poster. Our audience also sometimes sends ideas or news articles to us, and occasionally that’s a prompt for us to create a particular meme or post around that idea.View this post on Instagram
How do you see this action: As advocacy or activism, or are you mostly just having fun trolling the developers? The account is light-hearted about a dark-hearted thing, and so we’re poking fun while also highlighting some very serious issues. There are a lot of problems with how money and power are distributed and abused in the art world, and also in the world at large, and what has happened (and is happening) at Hudson Yards and with the Shed is representative of some of the most egregious examples. There’s also such a huge gap between how Hudson Yards and the Shed were sold and marketed to the public, and what they have actually become. So much marketing hype was built into the selling of it, and so it feels right that the response should be similarly structured in terms of tone, as memes, faux ads, and hype-speak. Also, we’re in the art world, so we like our visuals. There’s a long history of art world projects that critique the structure and internal systems that underpin cultural institutions. We’d like to see that critique contribute to change, so there’s an advocacy element to our trolling.View this post on Instagram
Is it connected to a particular set of positions? No matter how much we might have a laugh at some of the more outrageous details of Hudson Yards and the Shed, the development is actually a slap in the face to the people of New York and thus in need of more serious examination. A select group of wealthy individuals and corporations are benefitting from Hudson Yards, along with government officials who actively championed and pushed through the development to advance their own political or business interests (including Bloomberg, De Blasio, Dan Doctoroff, and others). But what did everyone else get? Our tax dollars went to build a private luxury neighborhood billed as “Little Dubai,” while many New Yorkers don’t have access to affordable housing, reliable subway lines, or adequate healthcare. The developers tried to cut out unions and limit worker safety standards, and people lost wages and got hurt. And with the Shed, our tax dollars helped pay for a building and organization that is not serving the cultural community or the public as promised, and instead has created a tax-deductible structure and plaything for the developer and his pals to utilize and benefit from. So, our position is about advocating for the public interest and for the cultural community.View this post on Instagram
What motivated you in particular to start it, and is Instagram an effective tool so far to forward a message? The account started really just as a cathartic response and half-joke. We visited The Shed soon after it opened and were stunned by the experience. The building itself was in disarray. Hardware was falling off the walls or not properly installed, there were cracks in the glass and electrical socket plates, puddles of leaking lubricant from the escalator, peeling and chipped paint on multiple walls, exit signs with wires sticking out, obvious building code violations, and more.View this post on Instagram
For a brand-new, wildly expensive building supported by taxpayer money and on city-owned land—and touted by the developers and the city as representing the future of cultural institutions and civic public-private engagement—it was a massive failure. So many cultural institutions around the city are struggling to pay the bills, and money got poured into this development. It’s unconscionable that it turned out this way and that there has not yet been a reckoning for abusing the public trust. So what started as a joke among friends expanded as we realized how serious and ongoing the problems there were. Instagram is the art world’s preferred social media for the most part, at least for the moment, and so it seemed like a natural choice.View this post on Instagram
What would be an ideal outcome? The desired outcome is to expand the conversation around the Shed and Hudson Yards. It’s also important to us to emphasize how the final shape of the development is not an accident; it’s what happens when a development that is privately owned and controlled does not include the appropriate level of input, regulation, and safeguarding by community groups and the public. The Shed is an extension of that core problem, with a board controlled by the developers and their buddies, and even the building itself is literally infected by and physically trapped inside the development Alien-style (The Shed ended up being constructed with much of its operational guts shared with and located inside of the skyscraper next door). So now we have a major NYC neighborhood and cultural institution that is being controlled by a small group of private investors, continuing to benefit from tax incentives and public money, in order to advance personal interests that are largely counter to the public’s.View this post on Instagram
Although Hudson Yards is mostly owned by private developers, the Shed sits on public land owned by the city and is a nonprofit entity that is required to benefit the public good. So we—the public—need to hold the Shed accountable and see that necessary changes are made to the way it operates. There are many different options that might be proposed as an alternative; for example, a consortium of existing cultural institutions and community organizations could come together to re-envision how the space should operate and who should run it. The building could serve as an outpost/off-site programming space for other arts and culture organizations on a rotating basis, among other possibilities. It could also be converted into free or subsidized office/studio space for cultural nonprofits, artists, and community organizations that can’t afford rent because of developments like Hudson Yards, or for events like pop-up free healthcare clinics or other services for those in need. Further, there should be a public conversation to include government officials that rethinks how the next phase of Hudson Yards is allowed to proceed, with an eye toward much more community oversight, regulation, and built-in systems for clawing back public money/tax incentives if and when promises aren’t kept.View this post on Instagram
What should Hudson Yards have been? Hudson Yards should have been a true public-private partnership, which means careful input, oversight, and regulation by the community at every stage and ongoing for the life of the development. That’s a hard and challenging process, but it’s necessary and fair if developers want to get decades of tax incentives, city- and state-paid infrastructure, and other public money. Hudson Yards could have and should have been an actual mixed-use community, with truly integrated housing for low-income, middle, and yes even some luxury, as well as a range of nonprofit, business, and retail spaces that genuinely serve the neighborhood needs more broadly. It should have true public space (not privately owned space that the developer controls on whim) and cultural venues that more fully reflect the needs and interests of the community. Cultural and creative programming and public artwork should be informed by and ultimately decided by those with expertise in the field alongside community members, not by one rich guy who wants a big Heatherwick bauble because he thinks it’s what other rich guys like. If he wants a Heatherwick (or anything else), he’s welcome to buy it and build it—but not with the support and help of public money and infrastructure.View this post on Instagram
Because the developers of Hudson Yards are claiming private control of the entire space (even though this isn’t actually correct, with the Shed on city-owned land and the Hudson Yards subway part of the MTA), they are asserting that visitors don’t have the same rights they would normally have in a public space. That’s deeply problematic on many levels (impacting everything from the right to protest, to who gets to sit on benches or be otherwise harassed under what conditions, as well as in their use of facial recognition technology in the kiosks and other surveillance measures by the developers). So there should be requirements that dictate how any development that benefits from public support can control that space.View this post on Instagram
Also if you have anything to add about the processes by which public property is developed . . . Similar to what we noted should have happened with Hudson Yards, the process for [the] development of public space and property (and public-private developments) needs to be more carefully safeguarded and regulated, and there needs to be oversight by independent community experts and individuals who are not in any way affiliated with the developers. And this oversight should continue for the lifetime of the property and with teeth to match (heavy fines and claw-backs for developers who renege on promises, for example). We all know how arduous these kinds of processes can be, but it’s necessary if we want to ensure projects truly benefit the public. That doesn’t mean there needs to be total consensus on every aspect of a project (which is impossible to obtain in any case and often leads to art-horse-by-committee outcomes), but it means the decision-making needs to be led by a sense of true commitment to the public good and strict, proactive measures to ensure there are not conflicts of interest. There also needs to be a more nuanced understanding and recognition of how we assign expertise and decision-making power within this oversight and community process; for example, there’s a tendency to assume “expert” in the arts only applies to a well-known museum president, a wealthy collector, or a big name artist, when in fact it should include arts workers and others who have active, on-the-job experience within cultural organizations, or an avid arts goer who is not financially able to be a donor/collector but loves art with the same zeal as an Aggie [Agnes] Gund, among other examples. There are many of these people throughout the city, and their voices should be given a place. Not just because it’s the right thing to do, but because our public spaces will be made better by their input.View this post on Instagram