Search results for "world trade center transportation hub"

From 67 floors above the World Trade Center, a progress report
Earlier this week, AN went up to the 67th floor of the recently-opened 4 World Trade Center to get a progress report on the 16-acre redevelopment taking shape below. Inside the wide-open and raw space, Larry Silverstein, the site’s developer, told reporters that his vision for a new World Trade Center had finally become a reality. “I’ve gotten a bit of a reputation as a wild-eyed optimist,” he said in front of a wall of windows. “But even I have to admit that I didn’t see all this coming.” Noting that it had been 13 years since the attacks, he went on to refer to the anniversary as the site’s “bar mitzvah.” From high up in Fumihiko Maki’s celebrated 4 World Trade it’s easy to see how much has changed at the World Trade Center site over those 13 years—and how much still needs to get done. Looking straight down the tower’s western edge, you can see the pools of the 9/11 Memorial Plaza which opened in 2011 and the adjacent 9/11 Memorial Museum that came on-line three years later. Next to that is Calatrava’s bird-like transportation hub where workers could be seen busily welding on the structure's skeletal wings. That project is scheduled to open in the second half of 2015, years behind schedule and at a cost of nearly $4 billion. A few blocks north of the winged creature is 7 World Trade, the David Childs–designed building that opened in 2006 and is fully leased. Across Vesey Street is another Child's tower—the site’s centerpiece—the 1,776-foot-tall One World Trade. After years of delays, the building is expected to open some time this fall. As of now, the tower is about 60 percent leased. The same can be said for 4 World Trade. "I am both humbled and inspired by the process. It is never an easy process, and why should it be?" asked Daniel Libeskind, who crafted the site's masterplan. "This is New York City, there are so many stakeholders, so much to be done, and so much to think about." But there is obviously so much more to be done still—so many missing pieces in Libeskind's plan. Just this month, the board of the World Trade Center's performing arts center announced it had scrapped Gehry's decade-old design for the project. The board told the New York Times that is currently looking for a new architect to take over. And then there is Calatrava's other project at the site, the new St. Nicholas Greek Orthodox Church, which is still a few years off. While looking straight down from 4 World Trade shows how much has been rebuilt since 9/11, looking straight out reveals how much has not. The Midtown skyline that served as a backdrop for the event's speakers may have been impressive, but it was a blatant reminder of what has not been accomplished since the Twin Towers came crashing down. Because, at this point in the reconstruction process, employees in 4 World Trade Center shouldn’t have an entirely unobstructed view of Midtown—there should be two other glass towers in the way: 3 World Trade by Richard Rogers and 2 World Trade by Norman Foster. Silverstein said that the former should be completed by 2018, but as for 2 World Trade Center, it’s anyone’s guess. In a fact sheet distributed by representatives of Silverstein Properties, the tower's completion date is conspicuously left off.

New Platform Opens at Calatrava’s WTC Transportation Hub
  Santiago Calatrava’s soaring World Trade Center Transportation Hub is still a year from completion, but major developments are happening as his winged-structure preps for flight. Earlier this week, the Port Authority of New York and New Jersey unveiled the first platform of the new World Trade Center PATH Station. And what a platform it is. To get a sense of it, picture the typical New York City subway platform in all of its glory. And now picture the exact opposite. That is the new Platform A. Calatrava’s signature beams are canopied like fabric above gleaming marble floors. The bright lighting, LED signage, and all that white marble give the subterranean station an incredible airiness. It is pristine – and not just for a public transit station. This week’s unveiling comes four months after the transit hub’s $225 million, 600-foot “West Concourse” opened to the public. For those trying to do the math, that's $375,000 a foot. And while that pricey marble might be aesthetically pleasing, it could certainly be a problem when it rains. After already spending so much money, those New York-New Jersey commuters better hope the Port Authority has some cash left over for rubber mats. 

World Trade Center Transit Hub Beginning to Soar
The World Trade Center Transportation Hub by Santiago Calatrava is the architect tells us "the image of a bird in flight." Yesterday we took a look at the interior retail corridor that will connect with the soaring transit hub oculus, but the structure has now just appeared above the scaffolding surrounding the entire Trade Center site and its looks nothing like a soaring bird but the bare bones of a beached carcass. It can only get better!

Photo of the Day> Inside the World Trade Center Transit Hub
wtc_transit_01 While Santiago Calatrava's soon-to-bo-soaring transportation hub at the World Trade Center is just not starting to rise from the ground, the Port Authority of New York and New Jersey has given us a glimpse of what's been going on underground, complete with the classic articulated ribs that make Calatrava's train stations so dynamic. And look at all that marble! Sure beats your standard New York City subway stop. This view is actually part of the east-west connector that will eventually be lined with retail shops.

High Standards

Less regulation is no way for the U.S. to produce better architecture

In a recent Crain’s New York Business editorial dated August 7, “Make architecture great again,” architect Garo Gumusyan argued, “architecturally, America isn’t great anymore.” He cited regulation as one of two reasons for a lack of great architecture in America. Regulation, he said, causes architects to suffer because of liability, too many oversight committees, and high taxes that make great architecture impossible.

This tired argument is made over and over by those opposed to regulation. More often than not, they are champions of market-driven private industry, which they believe can innovate us out of our problems, from the economy to the healthcare system. It is a position that never seems to go away, despite decades of evidence to the contrary in Europe, Asia, and even here in the U.S.

The New York Times recently published an article that provides quantitative evidence in support of regulation. “The Path to Prosperity Is Blue,” Jacob S.Hacker and Paul Pierson’s July 30 opinion piece, argues that, according to many economic and quality of life indicators—median household income, life expectancy at birth, taxation of the top one percent, patent rate, and number of citizens with a bachelors degree or higher—traditionally “blue,” or liberal-leaning, and mostly more highly regulated states perform better on these metrics.

How does regulation affect architecture? Like Donald Trump, Gumusyan’s claim first invents some kind of “Golden Era” when architecture was “great.” I wonder what he considers “great?” It is the robber baron estates or the postwar sprawl that brought us decimated urban cores and, later, suburban strip malls?

We aren’t sure why the author would claim that architecture is not “great” today. Here at the paper, we cover important and “great” architecture projects every day. Several very good—if not great—buildings have come online just in the last two months, including Diller Scofidio + Renfro’s Columbia University Roy and Diana Vagelos Education Center, BIG’s VIA 57 West condominium complex, (arguably) the World Trade Center Transportation Hub by Santiago Calatrava, as well as Herzog + de Meuron’s 56 Leonard, just to name a few.

It is hard to argue, as Gumusyan does, that taxes are making architecture suffer by driving up the cost of development. On the contrary, developers are chomping at the bit to develop each last plot of unused—and often used—land for the wealthiest one percent of the population. Often, these people are not even paying their fair share of taxes, let alone being burdened by them.

Condos are selling for record prices, and architecture is cited as one of the main drivers of the ultra-luxury market. And it is no coincidence that Douglas Durst will be living in the top of VIA 57 West. Regulation, especially design standards and reviews, is what would bring great architecture to the rest of us.

As for oversight, it could be argued that oversight and regulation by city agencies actually make architecture better. Amanda Burden is famous for having pressured developers into making better designs, resulting in buildings like VIA 57 West. They may otherwise have been the boring, developer-driven glass boxes that we see across New York City. It wasn’t the city that killed Frank Gehry’s Barclay’s Center—it was developer greed.

Gumusyan does rightly cite the bureaucratic shuffle as an impediment that architects must weave through—that can always be improved. David Burney and the Department of Design and Construction have made much progress in streamlining the process, which will we hope will continue to be improved under Mayor de Blasio and future administrations.

However, the author also claimed, “We are being left with blocks that blur together like rest stops on a godforsaken interstate.” It is an odd argument, as the land along the desolate stretches of the American freeway system is some of the least regulated, and thus the corresponding architecture is perhaps the ultimate expression of “freedom from regulation.” If there is a preferred site for outstanding architecture it is certainly not the highway off-ramp, but the downtowns of the U.S.’s largest and most regulated cities, like New York.

For a real test case, we would need to look to Europe. There, for the most part, everything from design to environmental standards are higher and more regulated than in this country. Norman Foster once famously said that he had been making buildings like the Hearst Tower for years in Europe. Everyday architecture there, from housing and civic buildings to urban infrastructure and parks, is of a higher quality. 

More regulation is not only good for design innovation like the step-back New York skyscraper that came from the 1916 Zoning Law, but it is also good business for architects. What is holding the U.S. back from producing great architecture is a lack of regulation, not more.

Bach to the Future: Gabriel Calatrava creates malleable architecture for “The Art of the Fugue”
Like cheese and crackers, music and architecture is a natural pairing. Last November, Steven Holl debuted his ballet, Tesseracts of Time. This year is shaping up to be a promising one for synergy between the two practices: A Marvelous Orderthe opera based on Jane Jacobs' and Robert Moses' epic feud, is in previews this March, and last weekend, concertgoers at the 92nd Street Y's "Seeing Music" festival were treated to a Gabriel Calatrava–designed installation that dialogues with Bach's “The Art of the Fugue." The installation, mounted in a 24-foot-by-17-foot frame, is meant to evoke the strings on musical instruments, Bach's fugues, and a game of Cat's Cradle, the children's game played with an endlessly transfigured loop of string. While the Brentano String Quartet performed Bach's piece live, dancers manipulated Calatrava's installation in response to the music. https://www.youtube.com/watch?v=d2ePyvNgVJA New shapes, spaces, and patterns are created as the dancers work. “My fascination with moving architecture inspired me to design a set piece that serves as both a work of art and a functional installation that reacts to music,” Calatrava said in a statement. In the video below, he dives into the design process and the challenge of syncing architecture, a medium with material products, to music, tangible but non-physical. https://www.youtube.com/watch?v=wsHXd-8p0PE The Calatrava name should be eminently familiar to anyone who follows architecture. The younger Calatrava, trained as an engineer, is now an architect, working on his own and with his father's firm, Santiago Calatrava Architects & Engineers. An affinity for white, sinewy geometries may run in the family: the 92Y piece recalls the elder Calatrava's recently completed Museum of Tomorrow and the soon-to-open World Trade Center Transportation Hub, below. For those interested in checking out more musical pairings, the 92Y’s “Seeing Music” festival runs through February 18.

Santiago Calatrava awarded European Prize for Architecture
Tuesday night at a ceremony on the 33rd floor of World Trade Center 7, high above his World Trade Center Transportation Hub, Spanish architect Santiago Calatrava was awarded the European Prize for Architecture by the Chicago Athenaeum Museum of Architecture and Design and the European Centre for Architecture. The accolade is awarded to architects each year who have made substantial contributions to the field. Last year's winner was Alessandro Mendini, who was given the award at a ceremony in Milan. In the crowd was a host of construction industry professionals, each with a table. Calatrava and his family had a table in the front, and Calatrava was giddy as the representatives of the Chicago Athenaeum and European Centre praised his long and prolific career. The highlight of the night was then he was presented with a crown made of olive leaves from the Parthenon in Athens. Calatrava gave a short lecture about his work, from his first projects in Zurich and Spain to his over 50 bridges around the world. He explained how he was trained as an engineer, but was eventually inspired by the human form and eyebrows, which evolved into his signature reptilian style.    

Santiago Calatrava awarded 2015 European Prize for Architecture
The Chicago Athenaeum  and the European Centre for Architecture, Art, Design and Urban Studies have revealed Spanish architect Santiago Calatrava as the 2015 winner of the European Prize for Architecture. In awarding Calatrava the European Prize, the jury recognized the Spaniard's notable works including the Stadelholfen Railway Station in Zurich, the Bac de Roda Bridge in Barcelona, the Peace Bridge in Calgary, Canada, the Milwaukee Art Museum in Milwaukee, Wisconsin, the Innovation, Science and Technology Building at Florida Polytechnic University in Lakeland, Florida and the City of Arts and Sciences of Valencia, Spain. “Calatrava is more than just an architect,” explained Christian Narkiewicz-Laine, the president of the Chicago Athenaeum, in a statement. “He is a visionary theorist, philosopher and utopian and a true artist in the craft of engineering and architectonic expressionism. His buildings are not just ‘buildings.’ They are powerful works of art, inspired by a master’s gifted hand and sculpted by a superior, critical eye: immensely evocative and fiercely intellectual.” The award ceremony will be held at the World Trade Center in New York City on November 17 this year. Calatrava's works are set to be published the Metropolitan Arts Press and will be available via the European Center. Past winners include Finnish architect Marco Casagrande (2013), Italian architect Alessandro Mendini (2014), and Dane Bjarke Ingels (2010).

Archtober Building of the Day 4> Queens Botanical Garden Visitor and Administration Building
It makes sense that one of New York City's exceptional botanical gardens would develop what would become one of the city's first green buildings. What is extraordinary is that the Queens Botanical Garden (QBG) began its new Visitor and Administration Building in 2000 – the year LEED certification was launched – and achieved LEED Platinum for a building that ambitiously demonstrates what designed harmony between buildings and nature can be. Patrice Kleinberg, garden educator for the QBG, and Joan Krevlin, FAIA, LEED AP BD+C, partner at BKSK Architects, led today’s tour, providing perspectives on both the garden’s unique public engagement challenges and the design solutions. At the earliest stages of the project, the QBG engaged the community to find out what would serve them; across all sectors, they heard “water.” What subsequently evolved was a series of water systems that were both experiential and functional – the building houses not only administrative operations and diverse public programming, but also collects, conserves, cleans, and recycles water. Three different sustainable roofs serve different purposes. The main structure hosts a solar-powered roof, which generates enough power for about 20% of the building’s operations. The roof of the auditorium is planted with local species, cooling the building. The forecourt’s soaring roof canopy, which provides a shady transition space between the gardens and the interior, doubles as a rainwater collection unit. The water collected by the canopy is stored in a subterranean 26,000-gallon cistern that is pumped up into the Fountain of Life, which leads to a leafy stream and eventually into a moving body of water that is terraced between the buildings and culminates in a moat-like pond. The Visitor and Administration Building also sustains a grey water system, wherein water from sinks, toilets, dishwashers, and showers moves through a sandy, planted biotope, from which it can be repurposed. These innovations have inspired and expanded the QBG’s educational offerings, engendering green cleaning job training, and leading to the development of new K-12 curricula. Importantly, the project's bioswales have greatly decreased storm run-off in the area’s sewage systems. Tomorrow, we’ll head over to the World Trade Center Transportation Hub.

Santiago Calatrava brings his signature style to Park Avenue with seven sculptures
Santiago Calatrava, currently the darling of George Clooney, has set up seven blade-like sculptures along Park Avenue in New York City. The installation is a collaboration between the Marlborough Gallery, the New York City Parks Department, and the Fund for Park Avenue. The aluminum sculptures each have an expressive form that is classic Calatrava, but are not the all-white creations that we have come to expect from the architect. No, these pieces are painted red, black, and silver. The installation runs until mid-November meaning that it should close right around the time that Calatrava's long-delayed World Trade Center Transportation Hub finally opens. Take a look at the gallery below for a closer look at the sculptures, and if you're in New York and want to see for yourself, the pieces are on Park Avenue's median between 52nd and 55th streets.

Santiago Calatrava
Inside the World Trade Center Transportation Hub
Courtesy Santiago Calatrava

With the World Trade Center site incrementally becoming more a part of Lower Manhattan, and the blades of the Transit Hub peaking interest from behind the fence, Santiago Calatrava sat down with former AN executive editor Alan G. Brake to discuss the civic role of his architecture, which he hopes will rank among New York’s great infrastructural works of the past. He is also completing the Greek Orthodox Church at the south side of the site, his first religious structure, which is scheduled to open for Easter 2017.

 
Santiago Calatrava.
Michael Falco
 

Alan G Brake: You’ve been working on the World Trade Center site for a long time, what do you think of how it’s coming together as an urban composition, now that people are able to access it more?

Santiago Calatrava: You see, it’s a little bit early to judge it. Fulton is not yet open. Greenwich is also cut in two, or is only accessible at one end. And at this point the platform where the Greek Orthodox Church is is still a construction site. Even the skyline is not finished, but in any case it’s very promising. You see that the site will be concluded. Once Greenwich is open and you have the church in place and then the skyline is concluded and the PATH is working and the plaza we have done is also accessible, it will become a very interesting site, just from the pure urban point of view. You see I always considered my project from beyond just the architectural aspects and the engineering aspects—very much from the urban point of view. The mezzanine under the 1 and 9 [subway] is like a plaza. The oculus is like a plaza, very light with open views out to the skyscrapers. My project was always about the urban configuration and even complementing the original master plan. I proposed detaching the station from Tower Three and making it an autonomous building in a plaza, which was different from the master plan. My approach has been looking at it as a contribution to the city. I think the whole scheme with the memorial gardens and the enormous towers is very powerful, and also the station is like one block of New York with a plaza around. We create a lower scale, it brings the scale of towers to the scale of the pedestrian.

The East/West Corridor has opened, and it’s giving people a preview of what’s to come. How does it relate to the larger composition of the station?

I tried from the very beginning to do that whole network of connections extending from the oculus as a single unit. So the character of the structural members you can see with the ribs, and a certain character in the paving, and a certain character in the front of the shops is already delivering a character that a person will see all the way through. So if you are in the oculus or the mezzanine, or in the other corridors to Liberty Street or the other internal streets towards Liberty Plaza, or towards Wall Street or towards Fulton, all these areas are marked with the same character. My goal is to create a space where as soon as I arrive in the transportation hub I know I am in the transportation hub, no matter what corner I enter from. Also, something that the corridor delivers is a sense of quality of spaces. I have built seven of the major transportation hubs in Europe, in Lisbon, in Lyon, in Zurich, in Italy, and so on. Getting out of this experience, it’s very important to create places of quality, because people behave according to that. You see after all the enormous effort to bring all the subways and the trains to this place and see to maintain the service through all the construction—why shouldn’t these places have a certain material and structural quality that you can enjoy in a day-to-day way, not just commuters but visitors who arrive in this place. I think the station will match with the tradition in New York of great infrastructural works, as you see today in Grand Central and in the former Penn Station. If it had not been demolished it would be recognized as one of the greatest stations worldwide. I hope people can see some of these material qualities in the East/West corridor.

 

The development of the World Trade Center site as a whole has been very complex, and there have been a lot of delays, and changes of authority and ownership. Can you talk about how that has impacted the transit hub and what you have fought to keep through all those changes?

The transit hub is more than just a series of stations that are linked together, and maybe that is difficult a priori to understand. It is conceived to represent all the transit access to the towers, also all the vehicular access of cars and lorries, it represents the energy center for many of the towers, for the museum, the memorial. The transit hub is also the basement of Towers Two and Three. The first three or four floors of Tower Three have been built as a part of the Port Authority’s commitment. It is also the support for the memorial plaza. It is the support to the entry to the museum, and the support for the future art center. All these things will let you understand materially what extends into the transit hub. It is also the 1 train diagonally crossing the site, which we have had to underpin, and keep in service the whole time. All of this has been done while fully preserving service of the subway lines and the commuter trains to New Jersey. To build the hub has been an enormous challenge.

 
Greek Orthodox Church.
Courtesy Santiago Calatrava
 

Your work has often been described as cathedral-like. What has it been like to work on your first religious structure, the Greek Orthodox Church?

I have been working in Greece for a number of years because of the Olympics in 2004, on the Olympic Ring covering the stadium and the velodrome. So I have an enormous sympathy for the culture and for the Greek diaspora. I discovered the beauty of the Orthodoxy. I knew Hagia Sophia, but I had never approached it from a religious point of view. I approached it as you approach the Parthenon. You can study it. You can buy books. But you can never fully understand it as a religious place. If you look at the project, it’s very anomalous with the rest of my work. I’ve never used a dome before, except in the competition for the Reichstag in Berlin, where I proposed a dome. Also there is the problem with scale, simply because the building is very small. The restraints that the Greek Orthodox Church negotiated with the Port Authority and the Lower Manhattan Development Corporation is a small building where the height is limited, the width is limited. But I knew that the monumentality was important. It will bring an accent to the site, as the entry to the PATH will do. This building will bring you a relation to the scale of the person because they have almost a domestic scale. I like that. We try with these two buildings to give a sense of the human being, the scale of man. It’s like a three-story house. I have to say it was a great idea from the Port Authority and the church to put it on a podium, which is the vehicular entry for security screening. It’s a small church floating above an oak forest. The oaks will not become enormous because they are in planters. I like this scale in relation to the pools of the memorial. We came up with this idea of making the dome out of translucent stone, so the light from the interior will have a little glow. It will never be excessive, but it will help give the impression of a 24-hour open place. So that people who need help, they will be able to find a place to go. Finally, the interiors, we are trying to do a place for everybody, an open place.

So it won’t have heavy religious iconography?

Certainly it will have the necessary iconography to officiate the liturgy. People can enter and light a candle if they are believers or not believers, if they are Christians or not, they can light a candle close to the memorial.

There has been a certain architectural language that runs throughout much of your work. Can you talk about the shared language of the church and the transit hub, and what you are working toward in terms of light, space, and structure?

I am also an engineer. If you look at my work, there is a very marked presence of structure. This is without any doubt the case with the hub. All these beams are steel and they are carrying the weight. The structure is used as an expressive element. So if you look back at all of the transportation hubs and railway stations in Europe, this is the case. In the hub you see the idea of bringing in light and making a very clear place. I employ it because it is also a matter of comfort. In places with high levels of security concerns, the feeling of safety is not only an objective feeling, it is also a subjective aspect. So a woman waiting for a train at midnight when the station is not so busy has to feel comfortable. For that, the ambience of clarity. Also orientation, if you take the East/West corridor as you see today you end up in the Fulton corridor. And you can see that optically through, because easy orientation, particularly in chaotic or dangerous circumstances is the most important aspect. So I am mixing architectural aspects—the color and the light—with functional aspects and the sensation of comfort for the users and also the quality of the spaces.

It’s interesting to compare with the Greek Orthodox Church. These aspects are much more mitigated because we’re not making an expressed structure. We’re trying to make a building that is expressive through the relation of the volumes. So I am stepping into a more complex and maybe a more classical aspect of architecture: the game of the volumes and delight. There are the four towers, the front facade, and the dome. Not the expression of the nerves or the tendons or the muscles of the body, but an expression of the relations of volumes and proportions, related to the person. It is much more classical. The Hagia Sophia, why is it what it is? You see the effort of carrying this enormous dome, but you do not feel it in the interior—it is all sublimated by the light. And also you enter the narthex and the anti-narthex and then into the nave. It’s a continuous crescendo. We also have this in our building.

Calatrava Must Pay: Spanish Architect Loses Latest Legal Saga
Santiago Calatrava has been ordered by a Spanish court to pay $4 million for problems plaguing a municipal building he designed in Oviedo in Northwest Spain. While the final fee is lower than an initial ruling, such legal problems have become something of an unfortunate calling card for the Spanish architect. The Palacio de Congresos de Oviedo was completed in 2011 and features the soaring forms and white ribs that tend to populate Calatrava's work. The suit stems from issues involving the construction of the building as well as the project's final budget, which exceeded original estimates. Calatrava's fairly loose interpretation of budgetary restrictions has come under fire throughout the architect's prolific career. He is also in the midst of a legal battle regarding an opera house in Valencia whose final cost of $455.6 million—four times greater than its original budget—was not enough to ensure structural stability for more than a decade. Part of Valencia's City of Arts and Sciences that the architect had a major role in designing, the concert hall is the biggest fish in a sea of problems besetting the complex. Practicality has also not always been a strong suit for the architect. Bridges in Venice and Bilbao have both developed reputations for the extreme slipperiness among other issues. An airport he designed for the latter city was found lacking in a sheltered arrivals hall, a problem that Calatrava himself was forced to remedy. And the list continues. Assuming all goes according to plan, by 2015 New Yorkers will be able to witness what may be the zenith of the troubled beauty that has come to define Calatrava's works. The World Trade Center Transporation Hub represents his avian aesthetic at its most striking. However, the project's completion date is six years behind schedule, while its initial budget of $2 billion has since swelled to $4 billion.