Concerns about data privacy continue to dog the “smart city” planned for the Toronto waterfront by Google’s sister company Sidewalk Labs. But it isn’t just residents and watchdog groups raising the alarm—consultants and advisors to the project are also jumping ship. The latest to leave is Dr. Ann Cavoukian, a privacy expert whose resignation was intended as a “strong statement” about the project's data protection issues. Announced last year, Quayside, as the neighborhood development is called, has from the beginning been envisioned as a district run on data and tech, and is the largest urban development of its kind in North America. A layer of sensors embedded in the city would control traffic systems, monitor air pollution, automate garbage collection, transport residents, and much more. In response to concerns about how it would protect the data, Sidewalk Labs just last week proposed that it should be managed by an independent data trust, according to a new data governance proposal. But this is far from enough for privacy experts like Cavoukian. “I imagined us creating a Smart City of Privacy, as opposed to a Smart City of Surveillance,” she wrote in her resignation letter. Cavoukian’s guidelines center around Privacy by Design principles, which incorporate privacy protection in every step of a project’s engineering process, a condition that she said Sidewalk Labs had also committed to. However, Cavoukian said she realized last week that the data gathered in Quayside, instead of being wiped and unidentifiable, would be available to third parties who would not be beholden to the privacy commitment made by Sidewalk Labs. The Alphabet company, for its part, released a statement that essentially said its hands were tied: "It became clear that Sidewalk Labs would play a more limited role in near-term discussions about a data governance framework at Quayside." With Cavoukian's resignation, she joins Saadia Muzaffar, founder of Tech Girls Canada, who stepped down earlier this month from the project's digital strategy advisory panel due to what she called a lack of transparency and public information about its data protection measures. As Muzaffar wrote in her own letter of resignation: "The most recent roundtable in August displayed a blatant disregard for resident concerns about data and digital infrastructure. Time was spent instead talking about buildings made out of wood and the width of one-way streets, things no one has contested or expressed material concern for in this entire process.” The final plan for the tech-driven district will be released next year.
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SCAPING up to Boston
Boston taps SCAPE for a resilient harbor vision
The city of Boston has unveiled a new vision for protecting the city’s 47 miles of shoreline and has used New York’s SCAPE Landscape Architecture to visualize the vision plan. The plan, "Resilient Boston Harbor," was presented yesterday by Mayor Martin J. Walsh before the Greater Boston Chamber of Commerce. It builds off of the Climate Ready Boston 2070 flood maps and existing district-level plans, coastal resilience neighborhood studies, and the work done under the Imagine Boston 2030 initiative. The ultimate goal is to reinforce Boston’s public spaces, buildings, and infrastructure against the encroach of rising sea levels, the strengthening of storms that climate change will bring, as well as heat waves, drought, and worsening blizzards. With Boston’s population approaching 700,000 for the first time since the 1960s, catastrophic flooding would affect more residents than ever. “We’re not just planning for the next storm we’ll face, we’re planning for the storms the next generation will face,” said Mayor Walsh. “A resilient, climate-ready Boston Harbor presents an opportunity to protect Boston, connect Boston, and enhance Boston, now and for the future. As we enter a new era in our Harbor’s history, Boston can show the world that resilience is not only the ability to survive adversity, but to emerge even stronger than before. That’s the promise of a Resilient Boston.” To meet that ambitious goal, the city has broken down its plan into separate chunks for each neighborhood. The final goal involves opening up public access to the waterfront by raising portions of the coastal landscape, installing strategic flood walls, elevating infrastructure, and flood-proofing buildings, representing a synthesis and consolodation of the prior resiliency work done in the city. In East Boston and Charlestown, Wood Island and Belle Isle will be reinforced to prevent the loss of Boston’s only remaining salt marsh, and the most important transportation corridors will be elevated. The Schrafft Center waterfront will also be redeveloped to incorporate elevated parks and boosted economically by the addition of new mixed-use buildings. In South Boston and Fort Point, Fort Point Channel is currently a major floodway that will need to be redesigned, and a string of parks, dubbed the “Emerald Necklace,” will sop up excess floodwater along Columbia Road. In North End and Downtown, the Harborwalk and Long Wharf are slated for renovations, and the city is planning to kick off a Climate Ready Downtown study to pinpoint further optimizations. Similarly, Boston will launch Climate Ready Dorchester to study improvements to the Dorchester Waterfront. A redesign of Morrissey Boulevard to buffer it against flooding, and the opening of the waterfront along Columbia Point, have already been singled out as potential strategies. The cost won’t be cheap, but Mayor Walsh rationalized the expense as preventative. “In East Boston, we could invest $160 million in resilience or we could do nothing, and expect damages of $480 million," Walsh told the Chamber. "In Charlestown, we could invest $50 million now or pay over $200 million later. In South Boston, we could invest $1 billion or we could pay $19 billion in citywide damages, when Fort Point Channel and Dorchester Bay meet and flood the heart of our city. “We either invest now, or else we pay a much bigger price later. And we’ll pay that price in more than dollars. We’ll pay it in jobs lost, small businesses that never recover, homes destroyed, and families displaced.” The city will start by investing millions at each of the above sites and ten percent of all future capital funding towards resiliency initiatives. Still, the north-of-a-billion-dollar estimates will require funding from Massachusetts, the federal government, and private, non-profit, and philanthropic organizations. Besides hitting the goals outlined in Resilient Boston Harbor, the city is also committed to going completely carbon neutral by 2030.
The Future is Green
Major investment coming to Detroit and Buffalo's waterfront park projects
As Detroit and Buffalo get set to take on two transformative park projects along their respective waterfronts, both cities have been generously backed by a philanthropic organization aiming to enhance green space and bolster community engagement. Today, the Ralph C. Wilson, Jr. Foundation announced its pledge to invest over $1.2 billion in the cities by 2035 in honor of its founder, the Buffalo Bills’ late owner, and his centennial birthday. The Foundation is making a sizable donation to Western New York and Southeast Michigan—the two areas Wilson loved most—by committing a combined $200 million for upgraded parks and 250 miles of trails in the regions. A large chunk of that change will go directly to revitalizing LaSalle Park in Buffalo and West Riverfront Park in Detroit. With a design already envisioned by Michael Van Valkenburgh Associates (MVVA) and David Adjaye, the latter parkland will give Michiganites long-desired, tangible access to the Detroit River. Though the 77-acre LaSalle Park has stretched across Lake Erie’s edge since the 1930s, it’s massive potential for further beautification and elevated programming could increase the quality of life for Buffalo residents and beyond. Dave Enger, president of the Foundation, stressed that community involvement is the key to taking on these monumental landscape goals. “Foundations don’t build parks, communities do,” he said. “Our vision is really to support these wonderful projects and the people that have the vision.” The design process is well underway for West Riverfront Park in downtown Detroit. Situated atop a former industrial piece of land, the 22-acre parkland will be a year-round destination for fishing, skating or swimming, sports, entertainment, and family gatherings. MVVA’s proposal was chosen over 80 other submissions in an international design competition to reimagine the park, which was transferred from private ownership to the Detroit Riverfront Conservancy in 2014. Since their master plan was selected earlier this spring, MVVA has worked alongside the Conservancy and the Detroit Mayor’s office to garner feedback from locals and find out their personal ambitions for the park. The firm’s principal, Michael Van Valkenburgh, said his team especially loved talking to people aged 60 and older about their childhoods in Detroit—the places they loved and why. For many, the secluded Belle Isle was the only locale they could go to enjoy green space and the river at the same time. But that’s about to change thanks to these new ideas for downtown. “Not every place in Detroit has what New York’s Brooklyn Bridge Park offers—a way to touch the water and put your toes in,” said Van Valkenburgh. “Because Detroit is so vast horizontally, we knew needed to add shock and awe to the design to get Detroiters who were far away to come to the water. Michiganders feel defined by and proud that the state is surrounded on three sides by the Great Lakes. We thought giving access to the water, through this cove and beach creation, would be a big draw.” A construction start date hasn’t yet been announced for West Riverfront Park, but officials estimate it will be complete by 2022. Van Valkenburgh is sure the master plan will go through many design iterations before ground is broken and he’s excited about more community input. “I’ve been going to public meetings since 1990,” he said. “These have been the most uplifting public meetings I’ve ever been a part of. People come with a real sense that this park is going to be a big lift for the city. They really want it.” At the other end of Lake Erie is LaSalle Park in Buffalo. Though it’s a long-loved and well-utilized community treasure, city stakeholders agree that it could use significant improvements. In 1998, the city conducted a planning review to overhaul the expansive parkland and identify priorities for a new design and upgraded programming. That vision was never realized until the Regional Institute at the University of Buffalo began researching its history and surveying people through a project called Imagine LaSalle. A focus group even spent this summer exploring the park and visiting other famous green spaces in Chicago, Cincinnati, and New York for inspiration. “The feedback has been tremendous so far,” said Brendan Mehaffey, executive director for the city’s Office of Strategic Planning. “Part of the mayoral administration’s core values is inclusion so we’ve talked to people from all backgrounds including low-income individuals, young professionals, business owners, and more.” Community engagement is at the heart of both efforts in Buffalo and Detroit. Much like Imagine LaSalle, MVVA also transported a busload of teenagers to visit their Maggie Daley Park in Chicago, and other groups went to New York and Philadelphia. Mehaffey sees the connection between the two waterfront park projects, and the two cities in general, as vital to their respective successes. “The Detroit team is much further into the design process than we are, so we’re delving into their research to try and discover best practices for building our own LaSalle Park,” he said. “I think that commonality between us is part of what the Wilson Foundation’s statement is going to make to the country.” Enger also believes the two cities are inextricably important to one another—that’s why his organization has zeroed in on their combined futures. He emphasized that spurring economic development through green space is a key way to democratize the municipalities on a greater level. “Where else in the United States are you going to find world-class parks in post-industrial cities that overlook international border crossings and feature some of the most magnificent sunrises and sunsets?" he said. "We think the total leverage of this project will be far greater than what our investment will bring.”
Last One Standing
What can we learn from the house that survived Hurricane Michael?
Amidst the destruction wreaked by Hurricane Michael on the 1,200-person town of Mexico Beach, Florida, one house emerged from the 155-mph winds relatively unscathed. As the New York Times reported, the 3-story house built by Dr. Lebron Lackey and his uncle Russell King was the only one remaining on his beachfront block and one of the few left standing in the flattened landscape of the Florida Panhandle town. The house, ironically dubbed the "Sand Castle" and designed by architect Charles A. Gaskin, was completed just this year. Florida windstorm code for this part of the state requires houses to be built for 120-mph winds, but the Sand Castle was designed for 240 to 250-mph winds. The entire house was built on top of 40-foot-tall pilings to allow for storm surge, and its walls are made of poured concrete reinforced by rebar, with steel cables throughout the structure and extra concrete reinforcing the house's corners. Rather than privilege window views, an expected feature of a vacation home, the number of window openings was limited and the roof overhang was minimized, thus reducing the risk of winds lifting the entire roof off. Lackey told CNN that other features that he and his uncle had originally wanted, like a balcony, were also discouraged by their engineer. In the end, the damage sustained by the house was the loss of an outdoor stair, which, along with the siding covering it, was designed to tear off without harming the rest of the building. The ground floor pavers and entryway features were also ripped away, along with a window and a heating unit, and water damage is evident in the building, according to the house's Facebook page. But, as Lackey and King told the Times, these repairs are estimated to take a month. This is far from the case for the rest of the town, which took the hardest hit from the storm and has lost many of its older structures, built before the 2002 code was put into place. Still, for most of Mexico Beach, a largely working-class community, the cost of hurricane-proofing the way that Lackey and King did would have been prohibitive. The measures implemented in the Sand Castle home double the cost of construction per square foot, according to the architect. The quiet town, which has eschewed major waterfront development and prohibited structures taller than five stories, now faces the hard task of rebuilding or making the painful choice to leave the area entirely. The long road to recovery raises the familiar questions that Hurricanes Andrew, Irma, and Harvey have also provoked in recent years. Those who rebuilt after Irma, for instance, have had a hard time finding enough experienced contractors to rebuild to code and local inspectors to check their work, with many still waiting for FEMA assistance and insurance payouts. With FEMA's budget cut by $10 million and transferred to ICE this summer, the path ahead might be even longer. For architects, their role in designing homes that can withstand extreme weather events is perhaps more urgent than ever. Last year, of the roughly 800,000 single-family homes that were built, only 8 percent had concrete frames, a feature that would help them withstand such weather conditions. In ten years, only about 8,000 homes have met the insurance industry standard for a roof that wouldn't leak or tear off during a hurricane. Homeowners may understand the importance of building resilient homes, but the incentive for developers is much lower. Scaling up the innovations for resilient new construction while keeping them affordable is perhaps the field's greatest challenge.
At an awards ceremony at Manhattan’s Center for Architecture on October 8, representatives from AIA New York (AIANY) and the New York chapter of the American Society of Landscape Architects (ASLANY) gathered for the first annual Transportation + Infrastructure Design Excellence Awards (T+I Awards). The winners, winnowed down from a pool of 67 entrants, showed excellence in both built and unrealized projects related to transportation and infrastructure, with a heavy emphasis on work that integrated sustainability and engaged with the public. Outstanding greenways, esplanades, and transit improvement plans were lauded for their civic contributions. A variety of merit awards were handed out to speculative projects, and the Regional Plan Association (RPA) was honored a number of times for the studies it had commissioned as part of the Fourth Regional Plan; it was noted that many of the solutions proposed in past Regional Plans had eventually come to pass. The jury was just as varied as the entrants: Donald Fram, FAIA, a principal of Donald Fram Architecture & Planning; Doug Hocking, AIA, a principal at KPF; Marilyn Taylor, FAIA, professor of architecture and urban design at the University of Pennsylvania; David van der Leer, executive director of the Van Alen Institute; and Donna Walcavage, FASLA, a principal at Stantec. Meet the winners below:
Best in CompetitionThe Brooklyn Greenway Location: Brooklyn, N.Y. Designers: Marvel Architects, Nelson Byrd Woltz Landscape Architects, WE Design Landscape Architecture, eDesign Dynamics, Horticultural Society of New York, and Larry Weaner Landscape Associates Now six miles long and growing, the waterfront Brooklyn Greenway project kicked off in 2004 with a planning phase as a joint venture between the nonprofit Brooklyn Greenway Initiative (BGI) and the RPA. The 14-mile-long series of linear parks has been broken into 23 ongoing capital projects under the New York City Department of Transportation’s purview—hence the lengthy list of T+I Award winners. Funding is still being raised to complete the entire Greenway, but the BGI has been hosting events and getting community members involved to keep the momentum going.
HonorHunter's Point South Park Location: Queens, N.Y. Park Designers: SWA/Balsley and Weiss/Manfredi Prime Consultant and Infrastructure Designer: Arup Client: New York City Economic Development Corporation With: Arup The second phase of Hunter’s Point South Park opened in June of this year and brought 5.5 new acres of parkland to the southern tip of Long Island City. What was previously undeveloped has been converted into a unique park-cum-tidal wetland meant to absorb and slow the encroachment of stormwater while rejuvenating the native ecosystem. Hunter’s Point South Park blends stormwater resiliency infrastructure with public amenities, including a curved riverwalk, a hovering viewing platform, and a beach—all atop infill sourced from New York’s tunnel waste.
MeritRoberto Clemente State Park Esplanade Location: Bronx, N.Y. Landscape Architect: NV5 with Mathews Nielsen Landscape Architects Client: New York State Office of Parks, Recreation, and Historic Preservation With: AKRF, CH2M Hill
CitationSpring Garden Connector Location: Philadelphia, Pennsylvania Landscape Architect: NV5 Client: Delaware River Waterfront Corporation With: Cloud Gehshan, The Lighting Practice
MeritThe QueensWay Location: Queens, N.Y. Architect: DLANDstudio Architecture and Landscape Architecture, and WXY Architecture + Urban Design Client: The Trust for Public Land Could a High Line ever land in Queens? That’s what The Trust for Public Land set out to discover, tapping DLAND and WXY to imagine what it would look like if a 3.5-mile-long stretch of unused rail line were converted into a linear park. The project completed the first phase of schematic design in 2017 using input from local Queens residents, but fundraising, and push-and-pull with community groups who want to reactivate the rail line as, well, rail, has put the project on hold.
MeritNexus/EWR Location: Newark, N.J. Architect: Gensler Client: Regional Plan Association With: Ahasic Aviation Advisors, Arup, Landrum & Brown
MeritThe Triboro Corridor Location: The Bronx, Brooklyn, and Queens, N.Y. Architect: One Architecture & Urbanism (ONE) and Only If Client: Regional Plan Association Commissioned as part of the Fourth Regional Plan, Only If and ONE imagined connecting the outer boroughs through a Brooklyn-Bronx-Queens rail line using existing freight tracks. Rather than a hub-and-spoke system with Manhattan, the Triboro Corridor would spur development around the new train stations and create a vibrant transit corridor throughout the entire city.
HonorFulton Center Location: New York, N.Y. Design Architect: Grimshaw Architect of Record: Page Ayres Cowley Architects Client: NYC Metropolitan Transit Authority With: Arup, HDR Daniel Frankfurt, James Carpenter Design Associates Fulton Center was first announced in 2002 as part of an effort to revive downtown Manhattan’s moribund economy by improving transit availability. Construction was on and off for years until the transit hub and shopping center’s completion in 2014, and now the building connects the 2, 3, 4, 5, A, C, J, and Z lines all under one roof (the N, R, and W trains are accessible through an underground passage to Cortlandt Street). Through the use of a large, metal-clad oculus that protrudes from the roof of the center, and the building’s glazed walls, the center, which spirals down from street level, is splashed with natural light.
MeritNumber 7 Subway Line Extension & 34th Street-Hudson Yards Station Location: New York, N.Y. Architect: Dattner Architects Engineer of Record: WSP Client: MTA Capital Construction With: HLH7 a joint venture of Hill International, HDR, and LiRo; Ostergaard Acoustical Associates; STV
MeritMississauga Transitway Location: Ontario, Canada Architect: IBI Group Client: City of Mississauga, Transportation & Works Department With: DesignABLE Environments, Dufferin Construction, Entro Communications, HH Angus, WSP
MeritDenver Union Station Location: Denver, Colorado Architect: Skidmore, Owings & Merrill (SOM) Landscape Architect: Hargreaves Associates Client: Denver Union Station Project Authority (DUSPA) With: AECOM, Clanton & Associates, Kiewit Western, Tamara Kudrycki Design, Union Station Neighborhood Company
StudentTurnpike Metabolism: Reconstituting National Infrastructure Through Landscape Student: Ernest Haines Academic Institution: MLA| 2018, Harvard Graduate School of Design Anyone’s who’s ever cruised down a highway knows that equal weight isn’t necessarily given to the surrounding landscape. But what if that weren't the case? In Turnpike Metabolism, Ernest Haines imagines how the federal government can both give deference to the natural landscapes surrounding transportation infrastructure and change the design process to allow nature to define routes and structures.
The Center Party, a Swedish political party, has commissioned Anders Berensson Architects to design a speculative plan for a mass timber development in Stockholm. The design for the scheme was recently released without a timeline for execution. The development is a collection of towers and sky bridges built on top of the existing waterfront neighborhood of Masthamnen. The plan would leave the buildings below relatively untouched but would cap them with a public park and walkway level over which the new towers would rise. The designers embraced wood as a building material because it "releases the least carbon dioxide." Renderings show interiors and exteriors clad with wood finishes, and the architects describe the buildings using mass timber technologies like cross-laminated timber (CLT). The imaginative scheme is meant to provide additional housing close to the center of Stockholm, where the housing market is tight and space is expensive. There are no apparent plans to enact the proposal. The Center Party has worked with Berensson before on speculative designs for the city, many of which have included timber high-rises. The party has relatively little power to realize these ideas as they are the opposition party in the city's government, which is controlled by the Social Democrats. Timber has received a lot of attention in Sweden as a structural material for high-rises, although it's not clear what the country has been able to realize so far. Globally, mass timber is starting to make inroads as a standard building technique, but it faces a long road to widespread adoption in the U.S.
Up, Up, and Away
The Brooklyn Navy Yard goes vertical for the next phase of its life
After the Brooklyn Navy Yard Development Corporation (BNYDC) revealed a $2.5-billion expansion plan for the Yard in January of this year, it became clear that, with all of the existing buildings renovated, the only place left to go was up. Now, the BNYDC has released a slew of renderings from the Yard’s master planners, WXY, and a guide to development in the waterfront campus for the next 30 years. How will the Yard add an additional 5.1 million square feet of floor space to the already built-out campus? The BNYDC will be building on three available sites along Flushing Avenue, Navy Street, and Kent Avenue, and to accommodate the wide, open spaces that industrial manufacturers require, will be leaning into a strategy of “vertical manufacturing.” Transportation upgrades for both those who work in the Yard and the general public, and wayfinding improvements, have also been included. The heavy commitment to vertical manufacturing—which places large, floorplate-spanning manufacturing zones at the base of each building, with packaging and offices above—is part of the Navy Yard’s commitment to bolstering industrial manufacturing. Of the 10,000 new jobs the expansion is expected to support, 75 percent of them have been set aside for manufacturers, with technology office space and service jobs expected to fill in the remaining 25 percent. The currently vacant Kent Street lot sits on the Yard’s northern corner, right off of the Barge Basin Loop inlet. Two buildings totaling 2.7 million square feet would rise on the waterfront, as well as a public esplanade where manufacturers could directly showcase their products. At the Flushing Avenue site, which is still partially owned by the federal government and sits on the southern portion of the Navy Yard near the recently completed Building 77, two more buildings will rise for another 1.4 million square feet of mostly manufacturing space. Both of these buildings, which WXY has designed with an industrial feel and linked with several sky bridges, have been tentatively planned for food manufacturing. The parcel could also potentially link up with a pedestrian flyway from the waterfront that would run through W9’s Dock 72 building and allow ferry passengers to walk over the Navy Yard to reach the street. The Navy Street lot, currently an NYPD tow pound at the campus’s Sands Street entrance, would hold two new buildings on either side of a public plaza. WXY and the BNYDC have proposed a possible public museum of science and technology for the larger building, with the other housing classrooms, STEM development programs, and workforce development space. The same saw-toothed roof profile was used for both Navy Street buildings in the renderings, but more importantly, none of the new proposed projects overshadow the existing developments. WXY has also proposed a “historic core” area for biking and walking, which truck traffic would be routed around. “Forward-thinking cities like New York are using urban design to grow districts that support new kinds of jobs in urban industrial and maker settings,” said WXY managing principal Adam Lubinsky, who also led the master planning team. “The Brooklyn Navy Yard is leading the way, showing how to create and integrate valuable public space and amenities, multi-modal transit and streets, and state-of-the-art vertical manufacturing buildings, which will boost the Yard’s economic impact.” Residents interested in touring the Navy Yard can do so on October 2, where David Ehrenberg and Claire Weisz will discuss the future of the 300-acre Yard. Tours of Building 77, New Lab, the BNY Bridge, and Dock 72 will also be available beforehand.
Go Big or Go Home
University of Washington planning high-rise innovation district
The Seattle City Council has given preliminary approval to a transformative expansion plan for the University of Washington (UW) that would create a new high-rise innovation district beside the UW's waterfront campus in northeastern Seattle. The Seattle Times reported that the expansion could include up to 6 million square feet of new development, enough to cater to roughly 7,000 new students and staff members. Of that total, roughly 3 million square feet would be dedicated to the new innovation district, which is depicted in a rendering accompanying the proposal as a cluster of pixelated towers surrounding a proposed light rail transit stop slated to open adjacent to the campus in coming years. The expansion would also grow along the Portage Bay waterfront, according to a potential site plan, and would include up to 450 affordable housing units. Ultimately, the expansion could double the size of the university with respect to a previous growth plan approved in 2003 by building on top of existing parking lots and sports fields currently used by the university. The approval granted by the Seattle City Council is contingent on additional affordable housing—the university originally proposed building only 150 affordable units—and a greater emphasis on walkability and transit accessibility for the district than was originally proposed. According to the approved plan, the affordable housing component would serve to provide residences for some of the university's new low-wage workers. The greater emphasis on transit access aims to ensure that those workers, many of whom are expected to drive in from far-flung and more affordable areas, have other options for getting to work. The expansion is aimed at increasing the size of the university without meaningfully expanding its footprint into surrounding areas. As a result, up to 86 sites currently owned by UW would be open to development, including several slated for high-rise development with a maximum height limit of up to 240 feet, The Times reports. Next, the plan heads back to the university for final approval. A project timeline estimates that the plan will come into being in phases over the next decade or so.
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! Jencks, Eisenman, FAT, and more remember Robert Venturi Robert Venturi passed away at age 93 on Wednesday, and there has been an overwhelming response from the architecture community. From dedicated disciples to former intellectual foes, many architects and critics have taken a moment to recognize how deep and impactful Venturi’s legacy really is. We collected some of those tributes here. How can architects build the equitable discipline we deserve? As the fall semester begins, how can architects and students work towards advancing a more equitable profession for the women, PoC, and disabled who have been marginalized or left behind by the system? Selby Library by SOM’s Walter Netsch may be demolished in Sarasota bayfront project The Walter Netsch-designed Selby Public Library is under threat as plans move forward for a much-anticipated, community-backed bayfront development in Sarasota, Florida. Enjoy the weekend, and see you Monday!
New York City's Pier 17 will transform into a winter wonderland
As summer comes to an end and temperatures begin to drop, the New York City Landmarks Preservation Commission has approved plans to convert the newly revamped Pier 17 into a rooftop winter village during the colder months. The proposal by Rockwell Group will introduce a warming hut, winter marketplace, and ice rink nearly the size of Rockefeller Center's to the city’s waterfront, making the historic South Street Seaport district a year-round attraction. In recent years, the Seaport has transformed into a lively residential and commercial hub, where residents and visitors have been drawn to the area for its top retail, dining, and cultural attractions, as well as its spectacular views of the Brooklyn Bridge and New York City skyline. The winter wonderland idea originated from the urban ice skating rinks at Rockefeller Center and Bryant Park, which have historically been popular seasonal attractions. The design is further inspired by a set of five different materials that the firm wanted to celebrate in connection with the neighborhood’s rich past as a gateway for international shipping and maritime activities. Those materials include bronze, teak, commercial barrels, cargo units, and ice. While only temporary, the installment will cover over 50 percent of the rooftop of Pier 17, a massive 30,000 square feet. The renovation of Pier 17 and its subsequent winter addition are parts of a larger plan to bring new restaurants, shopping centers, and family-friendly public spaces to a neighborhood that is drenched in history. There is no doubt that Pier 17 will achieve this goal, as it has already helped revive the vibrant and effervescent neighborhood, contributing to Lower Manhattan’s recent evolution into a community that never sleeps. Pier 17’s rooftop is known for hosting several sold-out events ranging from comedy shows to concerts. Still awaiting completion are two restaurants by celebrity chefs David Chang and Andrew Carmellini, as well as a 19,000-square-foot ESPN studio.
What is New England architecture?
New England might not garner the attention that other places get for contemporary architecture, but the region has a legacy of world-class architecture, including some great works of modernism. Two iconic monuments of modern architecture in America are in New England—Le Corbusier’s Carpenter Center at Harvard and Alvar Aalto’s Baker House at MIT—along with seminal late-modern buildings such as Boston City Hall and the Yale Center for British Art. Today, many contemporary design stars have built structures across New England, including Frank Gehry, Rafael Moneo, Norman Foster, Herzog & de Meuron, Michael Hopkins, Renzo Piano, Charles Correa, Fumihiko Maki, and Tadao Ando. The finalists for a competition for a new contemporary art museum on Boston’s waterfront included Switzerland’s Peter Zumthor and Studio Granda from Iceland. The only local firm considered for the museum was the then relatively young Office dA; principals Nader Tehrani and Monica Ponce de León went on to fame as architectural educators beyond Boston. Although not unique to New England, the whole mentality of "if-you-are-good-you-must-be-from-somewhere-else" is found here. As one might expect, Boston is the center of most architectural activity in the region. Yet, despite a heroic postwar age of Brutalism, too much contemporary architecture barely rises above the level of commercial real estate. With the exception of Diller Scofidio + Renfro’s Institute of Contemporary Art and David Hacin’s District Hall, much of the frantic new downtown construction features the kind of glass boxes that pierce city skylines from Dubai to Shanghai. The city’s embarrassingly named Innovation District (often called the Inundation District due to its propensity for flooding) is scaleless, overbearing, and disconnected from the soul of Boston. OMA’s new scheme for the area—which the architects gratuitously refer to as “a dynamic and vibrant area that is quickly emerging as one of the most exciting neighborhoods and destinations in the country”—is an 18-story glass cube with the dreary moniker of 88 Seaport Boulevard. One might have hoped for more from OMA’s first Boston commission. The block will offer almost half a billion square feet of office space, 60,000 square feet of retail, and a paltry 5,000 square feet for civic and cultural use. Its gimmick is slicing the building into two sections with some terracing and plantings sandwiched in between. OMA disingenuously claims this double-volume exercise “creates diverse typologies for diverse industries,” and furthermore “generates an opportunity to draw in the district’s public domain.” In short, Boston will get an off-the-shelf dystopian nightmare. However, the Engineering Research Center at Brown University by KieranTimberlake is not just another knockoff. Although flush from the controversial but triumphant U.S. Embassy in London, the Philadelphians’ latest New England project is what good contemporary architecture ought to be. The $88-million, 80,000-square-foot laboratory and classroom building is both understated and environmentally responsible. Its 22 pristine labs steer the Ivy League school into uncharted territory in nano research, energy studies, and information technology. The ERC is a triumph, especially given Brown’s decades of struggle to find an appropriate contemporary architectural voice. Recent work on the Providence campus includes an international relations institute by Rafael Viñoly—the design of which was dumbed down to mollify historic preservationists; a tepid Maya Lin sculpture; and an awkwardly sited Diller Scofidio + Renfro art center that was commissioned to show that Brown could do trendy and edgy. These common missteps are best exemplified by the university’s first competition for an athletic center. Although the competition was officially won by SHoP, the donor sponsoring it declared his dislike of modern architecture and demanded the school hire Robert A.M. Stern instead. The cutesy Georgian result is predictably bland. The ERC was ahead of schedule and under budget, and rather than treating Rhode Islanders as rubes, the architects created what Stephen Kieran calls “a nice piece of Providence urbanism.” While the firm’s great strength is diminishing the environmental impact of their buildings, the ERC also contributes a handsome facade to the campus’s traditional buildings. The fiberglass-reinforced concrete fins, the building’s signature element, impose a timeless probity worthy of Schinkel. If KieranTimberlake grows weary of being identified as the designers of the $1-billion embassy that Trump slammed as “lousy and horrible,” imagine how tired Tod Williams and Billie Tsien must be of consistently being tagged with the label “designers of the Obama Library.” Is a client choosing them because of the reflected fame? Will all new works by the New York-based architects be measured against that Chicago shrine? Yet Williams and Tsien have created a number of noteworthy academic works in New England that deserve similar attention, including buildings at Bennington and Dartmouth. Their theater and dance building at Phillips Exeter Academy in Exeter, New Hampshire, is almost complete. Here, the very long shadow is not cast by the architects’ own projects, but by Louis Kahn’s library across campus. Kahn’s brick tribute to 19th-century Yankee mills—and the symmetry of Georgian style—is one of the great pieces of architecture in New England. The big block of the drama building by Williams and Tsien wisely does not choose to echo Kahn but is curiously almost a throwback to the early Brutalism of I. M. Pei. It establishes a more rugged character with a marvelous texture composed of gray Roman bricks. A more satisfying Granite State structure by Williams and Tsien is a library, archives, and exhibition complex at the MacDowell Colony in Peterborough, New Hampshire. MacDowell is a century-old artists’ colony where thousands of painters, writers, and musicians, including James Baldwin, Leonard Bernstein, Aaron Copland, and Willa Cather, have sought quiet and isolation in a collection of rustic cabins in the woods. Thornton Wilder wrote his classic play Our Town during his time here. Williams and Tsien’s sensitive addition to the colony’s 1920s library is only 3,000 square feet, cost around $2 million, and is an exquisitely crafted gem. The single-story library is constructed of a nearly black granite. Set in a birch grove created by the leading modern landscape architects in Boston, Reed Hilderbrand, this gathering place for residents appears at one with the rocky soil and forests of Northern New England. A 23-foot-tall outdoor chimney flanking the entrance plaza to the library makes reference to the hearths in all of the MacDowell studios. It also looks like a primitive stele, giving the entire ensemble an aspect that is more primal than modern. Another prominent New York architect, Toshiko Mori, has produced a simple yet elegant warehouse for an art museum in the faded seaport and art destination of Rockland, Maine. Built to house a long-time contemporary art cooperative that had no permanent collection and only inadequate facilities for exhibitions and classes, the saw-toothed clerestories at the Center for Maine Contemporary Art (CMCA) make reference to New England factories while bringing in what the architect calls “that special Maine light.” Like those functional structures, Mori used economical, non-custom materials such as plasterboard and corrugated zinc that wrap the exterior, embracing the lack of funds to her advantage. Despite the nod to Rockland’s working class vibe, Mori created a thoughtfully wrought sophisticated work of art on an unremarkable side street. Mori’s Japanese heritage comes through in her subtle proportions based on a 4-foot grid. The CMCA offers a refreshing contrast to extravagantly costly new museums by superstar architects—the 11,000-square-foot arts center cost only $3.5 million. Mori has crafted a museum based on flexibility rather than attitude. A summer resident of nearby North Haven, she endowed her simple statement with an air of Yankee frugality. But perhaps the most encouraging new project is the $52-million John W. Olver Design Building at the University of Massachusetts, Amherst. A cooperative venture of three departments in three different colleges—architecture, landscape, and building technology—the autumn-hued, aluminum-wrapped school embodies the dynamic spirit of New England’s first publicly supported architecture program. The 87,000-square-foot studio and administrative space is the work of Boston–based Leers Weinzapfel and landscape designer Stephen Stimson, with contributions from the faculty-cum-clients. Construction Technology chair Alexander Schreyer, for example, a guru of heavy-timber structural systems, helped fashion what is perhaps the largest wood-frame building on the East Coast. The zipper trusses that span the 84-by-56-foot, two-story-high common area demonstrate the inventiveness of wood technology. The glulam trusses arrived on-site precut and were snapped together with pins. In short, the academic contributors got to show off their research and also benefit from it. In a region noted for some of the nation’s oldest and most renowned design schools, the Design Building announces the arrival of the new kid on the block. Its handsome envelope is pierced by asymmetrically placed tall and narrow fenestration as a nod to the doors of the tobacco barns that are the university’s neighbors in Massachusetts’s Pioneer Valley. From its roots as a fledgling offering in the art department in the early 1970s, design education at UMass has grown into a powerhouse. As the core of a complex of postwar and contemporary architecture, the Design Building helps to bring Roche Dinkeloo’s Brutalist Fine Arts Center into contact with a business school designed by the Bjarke Ingels Group (BIG). While BIG’s work is sometimes incredibly innovative, the firm’s UMass project looks as if it might be another example of a second-tier work foisted on a boondocks location. Less flashy than its newer neighbor, Leers Weinzapfel’s Design Building is nonetheless a bold, homegrown achievement. New England’s patrimony is a tapestry of local and outside talent. A significant regional building would not be a postmodern structure in the shape of a lighthouse or a neotraditional re-creation of a Richardson library, but something like the UMass studios. Capturing the spirit of the best of New England design depends little upon reputation and huge expenditure. Rather, there is a direct correlation between realizing a quality work of art and understanding the region’s history of wresting a hard-won life from the granite earth. The challenge for successfully practicing architecture in New England is accepting an uncompromising intellectual toughness that demands respect for the eminently practical as well as the aspirational.
City Within a City
Baltimore's Port Covington to be the Silicon Valley of athletics wear
South Baltimore’s underdeveloped waterfront neighborhood, Port Covington, will officially become a sprawling new development with 3 million square feet of space surrounding Under Armour’s global headquarters. According to The Baltimore Sun, over the next three years the long-time owner of the site, Weller Development, will build out one-third of the planned apartments, offices, and retail space for the 260-acre peninsula. The development is the 25-year-old vision of Under Armour’s founder and CEO Kevin Plank, who also owns Sagamore Development, which is backing the project. Part of the $5.5-billion plan will include a 50-acre expansion to the brand’s current campus, which sits along the Patapsco River adjacent to the Sagamore Spirit Distillery, the Rye Street Tavern, and The Sun’s facilities. The entire neighborhood will take over two decades to construct and is meant to also exist as a hub for tech innovation and start-up businesses, according to Curbed. Over 10,000 Under Armour employees will commute there once complete and Plank hopes to also attract the creative and engineering communities to live, work, and play. Phase 1 construction includes outfitting the neighborhood with 12 new buildings featuring office space, room for retail, and 1.34 million square feet of residential. A 156,000-square-foot hotel will also rise on the site. Forty acres of new parks and 2.5 miles of restored waterfront will buffer the community, and a new light-rail station will link it to the surrounding enclaves. The City of Baltimore will help develop the needed infrastructure within the neighborhood through a $600-million-dollar Tax Increment Financing deal approved in 2016. This “city within a city” is expected to break ground next year with the three-story market hall proposed for the complex. So far, there’s been no announcement as to which architectural firms have joined the project, though Sagamore Development has released initial designs.