Four blocks of Manhattan’s Far West Side were rezoned 14 years ago to accommodate New York real estate giant Related Companies’ dream to create the world’s largest private development. Set atop a cluster of rail yards between 10th and 11th avenues, the first phase of the multibillion-dollar megaproject known as Hudson Yards is set to open on March 15, when a cohort of towers and parkland previously inaccessible to the public will be unveiled. Ahead of the much-anticipated launch date, here’s a brief look at what’s already opened and what’s coming online this spring. 10 Hudson Yards Designed by Kohn Pedersen Fox Associates (KPF), this 895-foot-tall office tower was the first structure completed on-site in May of 2016 and features 1.8 million square feet of commercial space. It boasts tenants such as Coach, L’Oréal, Sidewalk Labs, VaynerMedia, and Boston Consulting Group, among others. 15 Hudson Yards Rising 917 feet in the sky, this residential tower will offer 285 luxury apartments and 100 affordable rentals come March. The skinny skyscraper was designed by Diller Scofidio + Renfro (DS+R) in collaboration with Rockwell Group. 30 Hudson Yards This commercial tower, also designed by KPF is the tallest in Hudson Yards, stretching 1,296 feet in the air, and is set to open in March. It features the city’s highest open-air observation deck, which will be open to the public in 2020. Major media groups such as HBO, CNN, Turner Broadcasting, Time Warner, and Wells Fargo Securities, are set to move in this March. 35 Hudson Yards Also opening this spring, this mixed-use supertall tower was designed by David Childs of Skidmore, Owings + Merrill. It will house 143 condominiums, as well a branded luxury hotel by Equinox at the base of its 92 floors. 55 Hudson Yards KPF worked alongside Kevin Roche John Dinkeloo and Associates to design this boxy, 780-foot office structure. Completed last year, it’s set to open this March and will serve as the headquarters of several law firms and financial groups. New York’s Staircase Heatherwick Studio’s monumental work, New York’s Staircase (formerly Vessel) was commissioned to become the development’s signature work of art. As the centerpiece of Hudson Yards’ five-acre public park, designed by Nelson Byrd Woltz Landscape Architects, the spiraling, copper-clad work stands 150 feet tall and weaves 2,500 steps throughout its structure. It will open to visitors starting in March. The Shops and Restaurants a.k.a. 20 Hudson Yards This seven-story structure, also designed by KPF, will contain 25 fast-casual dining options and restaurants helmed by famous chefs like Thomas Keller and David Chang. The one-million-square-foot building will also feature over 100 luxury shops, a Spanish food hall by José Andrés, and Snark Park, an immersive exhibition space by Snarkitecture. The Shed, a.k.a the Bloomberg Building This 200,000-square-foot structure features a retractable outer shell designed to open and enclose a year-round exhibition space and performing arts venue. Also designed by DS+R in collaboration with Rockwell Group, the structure sits at the base of 15 Hudson Yards and will serve as the city’s newest cultural center. The project will open on April 5.
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The first phase of Manhattan’s massive Hudson Yards project opens to the public in only a month, and AN took a behind-the-scenes look at the new neighborhood. Much of the office space in 10 Hudson Yards, the Kohn Pedersen Fox Associates (KPF)–designed glass tower at the corner of 30th Street and 10th Avenue, is occupied, but work on the neighborhood’s public-facing and retail components will continue until the March 15 opening. After that, the Shops and Restaurants at Hudson Yards, the seven-story, one-million-square-foot Elkus Manfredi Architects–designed retail hub will be open for business. Besides multi-floor retail outlets for a number of fashion stalwarts and brick-and-mortar space for formerly online-only retailers, the second floor of the Shops will hold a permanent exhibition space curated by Snarkitecture. The Snark Park will hold open its inaugural show, Lost and Found, on March 15 when visitors will weave between crumbling columns—limited edition recreations of which were given away at KITH’s SoHo store on January 31. That retail integration will follow through to all of Snarkitecture’s future installations in the space, and developer Related is planning to rotate exhibitions three times a year, with associated “retail drops.” The Shops building, which is wedged between KPF’s 10 and 30 Hudson Yards buildings, also features a cogeneration plant that can convert waste heat into thermal energy. All of the buildings are networked in a micro-grid and can send their waste heat to the plant, creating a system that uses less energy than comparably-sized towers. An outdoor dining terrace will also let visitors peer into the Thomas Heatherwick–designed New York Staircase (formerly known as the Vessel) as they eat. The entire building is designed to be porous and allow foot traffic in from the adjacent buildings, the 34th Street 7 train station via an underground corridor, and to visitors from the High Line. To the site’s west is the still-uncovered rail yard, which will eventually be decked over for Hudson Yards’ second phase. Whereas the first phase is 80 percent office and retail space, and 20 percent residential, the second phase will flip those numbers and create more housing. Related claims that the project will create 1,000 affordable units overall, though there is no target completion date for the second phase.
Brought to you with support fromDiller Scofidio + Renfro (DS+R) and Rockwell Group's first skyscraper, 15 Hudson Yards, is now complete after four years of construction. The 88-story residential tower fuses the largest cold-warped glass curtain wall in North America with a louver and limestone base. The tower is located on the southwestern flank of Hudson Yards's first phase located on 28 acres between 30th and 34th Streets, and 10th and 11th Avenues. One of the sites many towers, 15 Hudson Yards alone will enclose a whopping 980,000 square feet. The 914-foot-tall project rises from a CNC-fabricated limestone base sourced from Carrara, Italy. According to the design team, parametric guidelines and 3-D modeling facilitated a seamless design-to-fabrication process for both the approximately 1800 stone panels and their steel support systems produced in Queens and New Jersey. The rear of each panel is studded with metal angles fastened to a network of bent plates attached to the steel support system.
The Shed, also designed by DS+R and Rockwell Group, adjoins the smooth limestone surface of 15 Hudson Yards along a diagonal seam defined by polished and formed steelwork by CIG Architecture. Incorporating the dynamic performance arts space into the base of the tower presented a number of mechanical and structural challenges for the design team. The 48.7-inch-wide modules all have both a glass and ventilation louver component. The designers varied the ratio of the two pieces parametrically to best ventilate interior mechanical equipment, with the widths of the louvers ranging from 4 to 31 inches. Beginning at the 20th story, the tower dramatically curves using a cold-warped unitized glass curtain wall system. The individual glazing units, produced by German manufacturer Interpane, were cold-warped on site. To warp the glass components, the panels were held in trapezoidal frames with silicone seal joints that anticipated the final form of the panels once they were bent into place. While early renderings of the project depicted 15 Hudson Yards with anatomical undulations, cost constraints and manufacturer warranties straightened the design into its current form. “We worked very closely with curtain wall fabricators from concept through execution, and the tower’s form is a product of this close collaboration,” said facade consultant Neil Thelen. “Using a collaborative parametric approach, we were able to iterate and analyze the impact of the tower’s curved forms on critical parameters such as IGU cold-warping, aluminum extrusion die option, unique part and assembly reduction, gasket engagement, and window operation.” Above the amenity spaces located roughly halfway up the tower—which are clad with glass mega panels—the facade's curvature increases dramatically, effectively breaking into four turrets. The glass panels deflect up to 8 inches at the skyscraper's summit. Although the dimensions and material of the facade differ throughout the tower, the cladding all attaches to the structural frame with a similar technique. “There are embedded plates in the slab edges to which faceplates are bolted with adjustable screws to align bearing points for each wall unit. Each curtain wall unit has a pair of load bearing hooks at the top where the dead load is transferred to the building structure from the hooks,” said DS+R project director John Newman. “It hangs from there and interlocks with a large, gasketted tongue-and-groove extrusion at the top of the unit below.” In response to river-borne gusts, the facade is designed to withstand 100-year wind loads with a system of structural silicone profiles, mullions, and steel reinforcements for spans greater than twelve feet. Additionally, testing conducted by an independent lab determined the placement of supplemental-load bearing aluminum extrusions.
For over three years, New York City has anticipated the debut of Hudson Yard’s enigmatic “Shed”: the eight-level, 200,000-square-foot art center with a massive, telescoping outer shell. On April 5, the new center will finally open its doors, hosting a variety of exhibitions, lectures, and events related to the performing arts, visual arts, and pop culture. The innovative building was designed by Diller Scofidio + Renfro, lead architect, and Rockwell Group, collaborating architect. Its sleek, flexible, and mobile layout was inspired by the industrial past of the High Line and West Side Rail Yard, and the building’s form is intended to physically transform depending on artists’ visions. Its blueprint includes two levels of gallery space, a multipurpose theater, a rehearsal space, a creative lab, and a 9,500-square-foot sky-lit space for large-scale events. Reminiscent of a train car, the building’s semi-transparent outer shell can glide along rails onto a neighboring plaza to nearly double the building’s footprint for grandiose concerts and performances. The massive light, sound, and temperature-controlled hall can be used as a blank slate to support artists' and performers’ most creative and ambitious ideas. “We have built a home where established and emerging artists working in all disciplines can create new work in ways that we cannot even imagine,” said The Shed’s Artistic Director and CEO, Alex Poots. The venue will host an assortment of events ranging from comedy shows to concerts. The first year of programming will include lectures by filmmaker Boots Riley, a Björk concert directed by John Tiffany, and a Kung Fu musical featuring songs by Sia. The building will be named to “The Bloomberg Building” after a generous, $75 million donation from Michael Bloomberg, the former mayor who oversaw the dramatic gentrification of Manhattan’s Westside and Hudson Yards. With only three months until its launch, The Shed will go through the final phases of construction, which includes the installation of metal cladding and other architectural finishes. Correction: A previous version of this article said that The Shed's name will change, but only the building the institution is housed in will be known at The Bloomberg Building.
Icelandic pop pioneer Björk will be world premiering a new concert at The Shed, the cultural institution set to open in Manhattan's Hudson Yards in 2019. Titled Cornucopia, the show will see Björk performing with a seven-piece female Icelandic flute ensemble and other supporting musicians in The McCourt, the forthcoming venue's largest space. "this winter i will prepare my most elaborate stage concert yet, where the acoustic and digital will shake hands, encouraged by a bespoke team of collaborators,” said the singer in a statement. Björk will work with Tony-winning director John Tiffany who will direct the show, Dutch fashion designer Iris Van Herpen on costumes, and Chloe Lamford on set design, along with media artist Tobias Gremmler and frequent Björk collaborator James Merry. Specific dates have not yet been announced for Cornucopia, and tickets are not yet available. There is no word as to whether the show will include new music, or will feature tracks from her extensive back catalog. Björk's most recent album, Utopia, was released in 2017 and imagined an emotional paradise in the wake of her breakup of her longtime partner the artist Matthew Barney. Björk has not yet toured with that album in the U.S. Utopia also used a backing flute ensemble, suggesting that the new concert will work with that material. The Shed is a massive new space designed by DS+R and Rockwell Group that features a retractable ETFE-paneled facade mounted on massive wheels. It is one of the centerpieces of the Hudson Yards development built over train yards overlooking the Hudson River. Alex Poots was hired as the founding artistic director and CEO of the new artspace after stints at the Park Avenue Armory and the Manchester International Festival. The Shed is scheduled to open in the spring of 2019, with the Björk show presumably being one of the inaugural performances.
Finally, we have a visual of what the rest of the rail yards at New York City's Hudson Yards will become. CityRealty reported that new renderings have been revealed of the expansion of the 17-million-square-foot megaproject, detailing how the development will take over the entirety of the Amtrak railyard. Phase two of construction on Hudson Yards’ intertwining parkland will add winding stone paths, a lush open lawn, food kiosks, and a bright children’s playground overlooking the Hudson River next to the High Line. Manhattan-based landscape architecture firm Nelson Byrd Woltz (NBWLA)—which also designed the currently-under-construction Public Square and Gardens at Hudson Yards—will bring more, much-needed green space to the West Side enclave that’s recently gotten flack for its record-breaking price tag. The expansion also includes the final build-out of Michael Van Valkenburgh (MVVA)’s Hudson Boulevard Park that runs directly through the site from 33rd to 36th Streets. Once complete, the extension will bring it up to 39th Street. MVVA finished the first phase of the elongated greenway in 2015, which included the MTA’s 7 train extension in what’s known as Eastern Yards. Together with the boulevard and far West Side parkland, the long-awaited landscape at Hudson Yards will cover a total of 12 acres. NBWLA’s renderings show that the park will sit on the same level as the adjacent High Line, meaning the team will likely use the same engineering to construct a ventilation cover for the rail yard below and a deck to support the landscape. Officials say groundbreaking on the second phase of parkland at Hudson Yards will begin in late 2020 and is slated to open in winter 2023. Once complete, Hudson Yards Development Corporation, which is building out the plan, will transfer care of the parkland over to the city’s parks and transportation departments.
An extension to the park running through New York City's Hudson Yards development could become the most expensive park per acre in the history of the city. As Crain's reported last week, the new section of Hudson Park and Boulevard will cost $125 million per acre. The extension will cost $374 million total. For reference, the city's next most expensive parks per acre were Bushwick Inlet Park at $54 million per acre, and the High Line at $36 million per acre. The sky-high cost is apparently a result of real estate prices. The city has to buy all of the property from private owners, and it will have to cover sunken railroad tracks that run under the site. The park lies between 10th and 11th Avenues and currently runs between 33rd and 36th Streets. The extension will go up to 39th Street. Hudson Yards, which calls itself "the largest private real estate development in the history of the United States," covers 14 acres of Manhattan's West Side, covering former rail yards with almost 20 million square feet of retail, office, and residential space. The first phase of the development, which includes towers designed by DS+R, SOM, and KPF around a public sculpture by Heatherwick Studio, is nearing completion, and some of the spaces are already occupied. Residences in the development are largely for the super-affluent, and the neighborhood more generally is booming with construction catering to the city's wealthiest. Michael Van Valkenburgh Associates designed the park spaces, which extend northward through the center of the development's site. The relatively-straightforward design creates a central "greenway and boulevard" with a mix of paving, fountains, and plantings. The park's extremely high cost has come under criticism as the rest of the city's park system has struggled to find funding for basic maintenance and operations. A report earlier this year painted a dire picture of the NYC Parks Department being underfunded and overburdened. The city's Community Parks Initiative, an effort to upgrade 65 parks across the city, has a budget of $318 million, less than what the city will spend on the Hudson Boulevard Park expansion.
Hundreds of construction workers crowded New York City's Park Avenue on Wednesday during rush hour in protest against Related Companies, developer of New York’s $20-billion Hudson Yards project. Hudson Yards is the massive real estate development on Manhattan's West Side that has towers by DS+R, SOM, and KPF along with DS+R and Rockwell Group's The Shed and Heatherwick Studio's Vessel. As part of the #CountMeIn movement to fight against open shop or non-unionized workplaces, 37 people were arrested at the scene according to Crain’s New York. The demonstration shut down the street at 345 Park Avenue, an office tower home to the headquarters of the National Football League where billionaire Miami Dolphins owner and Related chairman Stephen Ross works. Protestors called for Ross’s resignation from his new seat on the NFL’s social justice committee, which seeks to appease the professional players who oppose the league’s ban on kneeling during the national anthem. Crain’s said that the #CountMeIn protestors—who claim Ross is anti-union—wore teal T-shirts designed to mimic a Dolphins’ jersey that read “Step Down Steve” in orange lettering.
The large-scale gathering is the biggest public display so far from organized labor groups in their ongoing dispute with Related, which wants to use nonunion labor for the second phase of construction at Hudson Yards. Crain’s reported the company filed a $100-million lawsuit earlier this year to undercut the efforts of the city’s strongest labor organizer, the Building and Construction Trades Council of Greater New York, in negotiating new union opportunities for the construction of the upcoming towers at Hudson Yards. The real estate and construction powerhouse believes union workers abused their hours on site and caused inflation over the last five years while working on the first phase. Crain’s wrote that Wednesday’s protests were seen by many as a personal attack on Ross and that he’s discriminating against laborers by condoning racism, sexism, and union-busting. Targeting Ross’s new position on the NFL’s social justice committee is an avenue for the union groups to bring greater awareness to this ongoing fight.
Construction workers are risking arrest today to stand up against unscrupulous, anti-union developers like @RelatedCos who place workers in unsafe conditions and deny them the respect they deserve on the job. #CountMeIn pic.twitter.com/K9161BzwfU— NYC CLC (@CentralLaborNYC) August 22, 2018
Rafael Viñoly Architects recently released new renderings for the renovation of 787 Eleventh Avenue. The renderings show how the large industrial building is revamped into an array of car showroom and office spaces for Packard Motor Company. The renovation of the historic building along 11th and 12th Avenues in Hell’s Kitchen was originally announced in 2016. Located in proximity to the iconic Via 57 West, Mercedes House and Hudson Yards, the Rafael Viñoly-designed edifice will be a new addition to the already crowded architectural scene. It will add to Manhattan Midtown’s westward expansion to the Hudson River. The existing eight-story Art Deco building was originally designed by the late Albert Kahn in 1927. Viñoly’s renovation adds two upper floors to the building. The new ninth and tenth floors recedes from the periphery of the building to produce an uninterrupted private outdoor green terrace.The lower floors will remain a car showroom and contain service areas, while the upper floors will become commercial office space to accommodate the expanded workforce. Viñoly envisions a work environment with upgrades such as a 12,000-square-foot green roof deck. The roof was originally allocated as employee parking, which is now moved to the basement. In the original structure, widely spaced columns support one-acre-large floor slabs, which permit open office layouts. To further enlarge the volumes of spaces, the seventh floor slab is removed to create a double-height office. Other features of the new design include the renovation of the facade, the ground-floor entrance, the building lobby and modern infrastructure. The architects will install floor to ceiling windows as large as ten feet by ten feet to allow for better lighting into the offices, as well as expanded views to the city and the river.
In the run-up to the opening of The Shed, Diller Scofidio + Renfro and the Rockwell Group’s new arts center in the Hudson Yards development, a 2-week program called A Prelude to The Shed, featuring free performances, talks and events, took place in a temporary structure designed by Kunlé Adeyemi of NLÉ Works. A Stroll Through the Fun Palace, British architect Cedric Price’s 1961 project, developed with theater director Joan Littlewood, was presented in dynamic form by architects wheeling models and items from the project archives at the Canadian Centre for Architecture on carts throughout the site, and interacting with curious visitors. A Stroll was originally presented at the 2014 Venice Architecture Biennale at the Swiss Pavilion, where it was curated by Hans Ulrich Obrist, who is also Senior Program Advisor at The Shed. On May 1, the evening panel discussion centered on Price’s Fun Palace and its impact on The Shed. Obrist and Prelude co-programmer Dorothea von Hantelmann set the stage by explaining why they included this work in the roster, and how its presentation explores the exhibition form itself. They correlated the Fun Palace’s interdisciplinary nature—opera, visual art, theater, dance—with Artistic Director Alex Poots’s background at the Manchester International Festival, the Park Avenue Armory and now The Shed. They were followed by Eleanor Bron, Cedric Price’s concubine (her preferred term for life partner), an actor best known for film roles in Help!, Alfie, Two for the Road, Bedazzled, and Women in Love, and Samantha Hardingham, interim director of the AA and author of Cedric Price Works, 1952–2003: A Forward-Minded Retrospective. They described the challenge for the self-described “anti-architect" to create a home for as many forms of fun in one spot as possible, and to open up science and culture to all. The Fun Palace, intended for the Olympics site in East London, was conceived as a permeable, moveable, gravity-defying open space without beginning or end, in contrast to the prevalent earthbound style of the times in Britain, Brutalism. It counted among is trustees Buckminster Fuller and violinist Yehudi Menuhin, and it nearly happened except for a drainage problem on the site. In another connection to The Shed, in 1999, Price submitted a proposal for Phyllis Lambert’s Hudson Yards competition, the current site of The Shed. Titled A Lung for Midtown Manhattan, Price was one of five finalists, who also included Ben van Berkel and Caroline Bos, Morphosis, Reiser + Umemoto, and winner Peter Eisenman. The jury consisted of Frank Gehry, Arata Isozaki, Philip Johnson, Rafael Moneo, Joseph Rose (City Planning Commissioner), and Elizabeth Diller. Notably, Diller voted for Price’s entry, which proposed leaving the space open with “wind-blinkers” to encourage breezes from the river to waft over Manhattan. Diller recounted the competition in the next panel, which also included David Rockwell and Kunlé Adeyemi. Diller and Rockwell discussed their approach to the design of The Shed: to be forever contemporary, flexible but not generic, scalable, indoor and outdoor, unbranded and entrepreneurial. They said their key architecture reference was the Fun Palace, which was an architecture of infrastructure. They also questioned why we need one more cultural institution, since New York City already boasts 12,000. Referring to the moveable portion of The Shed, Rockwell pointed out that many theaters are meant to be flexible (think Zankel Hall at Carnegie Hall), which are rarely utilized because it’s too difficult or expensive. For him, another lesson was from his TED Theater in Vancouver, an annual pop-up meant to be “live.” Here, the architecture does not dictate what happens inside. The evening was rounded out with Keller Easterling, an architect and Yale professor, who spoke on notions of theater in architectural spaces (in addition to being an architect, she has a background as a performance artist) and Caroline A. Jones, a professor at MIT Architecture, who found parallels in electronic technological modes of production in the art world. They commented that presenters on stage facing the audience was the antithesis of the future Shed.
In Manhattan, there are two things we keep seeing everywhere: WeWork and Bjarke Ingels. From its signature coworking office spaces to an elementary school, WeWork cofounder Adam Neumann seems intent on infiltrating every aspect of people’s lives. According to WeWork’s blog, the plan “starts with every space for every member and scales to every building in every city.” Danish architect Bjarke Ingels is also cropping up around NYC (quite literally as the BIG U will encircle downtown Manhattan) as well as VIA 57 West, Two World Trade, 40th Precinct Police Station, the Spiral at Hudson Yards, and the Eleventh. With all of this in mind, it seems inevitable that the two would team up for dual domination: WeWork has hired Ingels as its first “chief architect.” Ingels will continue to lead his offices out of Copenhagen and London as he creates more WeWork spaces. “WeWork was founded at the exact same time as when I had arrived to New York. In that short amount of time – the blink of an eye at the time scale of architecture–they have accomplished incredible things and they are committed to continuing their trajectory to places we can only imagine. WeWork’s commitment to community and culturally driven development is perfectly aligned with our active, social and environmental agendas. As WeWork takes on larger and more holistic urban and architectural challenges, I am very excited to contribute with my insights and ideas to extend their community-oriented vision to ground-up buildings and urban neighborhoods,” Ingels said in a statement. His first task will be to transform the former Lord & Taylor building into WeWork’s new headquarters. He is also working on the aforementioned school, WeGrow. As Fast Company reported, Neumann and Ingels have a shared, confident vision:
“I [Neumann] said, ‘Give me your favorite building.’ “He [Ingels] said, ‘I don’t have one favorite building because of the design-by-committee situation. I get one or three amazing original ideas that I’ve been working on for a decade in a building, but there were seven other ideas that were not exactly mine.’ “I said, ‘I want all your best ideas in one building.’ “He said, ‘If someone actually allowed me to do it, I could design the perfect office building or perfect residential building.’ “I said, ‘Perfect, that’s a big word.’ “He said, ‘No one’s ever given me a shot.'”Sounds like the beginning of a beautiful relationship.
Hudson Yards isn’t the only megaproject on Manhattan’s far west side. Developer Brookfield Properties has released a new set of renderings and a fly-through video of what the area will look like once its Manhattan West development is complete. Once complete, the seven-million-square-foot “neighborhood” will link Hudson Yards on the far west side with Penn Station’s renovated Moynihan Train Hall. Hemmed between Ninth and Tenth Avenues and 31st to 33rd Streets, Manhattan West will hold offices, retail, hotels, and residential units, with most of the buildings featuring sleek glass facades. REX’s recent retrofit of 5 Manhattan West; the rising 69 stories of Skidmore, Owings & Merrill’s (SOM) One Manhattan West office tower; SLCE’s recently completed The Eugene, a 62-story residential tower and the tallest of its type in Midtown Manhattan; SOM’s Two Manhattan West, a 59-story office tower which recently filed DOB permits and the 13-story “The Loft” are all on track to finish construction by either 2019 or 2020. Fewer details have been released about the more mysterious Four Manhattan West, which will be a 30-story boutique hotel with condo units. A 60,000-square-foot public plaza designed by James Corner Field Operations and 200,000 square feet of ground floor shops and restaurants will round out the public amenities. Now, Brookfield has released a flythrough of the project, starting at a revitalized Empire Station (the forthcoming rebrand of the new Penn Station complex) with stops along each of the campus’s towers. Watch the video below: Brookfield has also created a VR walkthrough of the entire development, including interior views from each of the office towers, as well as street-level shots. Construction on the $1.6 billion Moynihan Train Hall is ongoing, and it may be a number of years before the area comes into its own. That doesn’t seem to be a hurdle for Amazon (who are already renting space in 5 Manhattan West), and reps from the tech giant will soon visit New York to scout out prospective HQ2 office space on the far west side.