Posts tagged with "Hudson Yards":

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Renderings revealed for Foster + Partners' new tower at Hudson Yards

Today the developer of Hudson Yards has revealed designs for the Far West Side's newest tower.

Related Companies and Oxford Properties Group unveiled the icy cloudbuster for 50 Hudson Yards, designed by global firm Foster + Partners. The 985-foot, 58-story structure covers an entire city block.

“50 Hudson Yards is envisaged as a vertical campus in the heart of Manhattan that is eminently readable at city scale with three distinct blocks stacked one above the other,” said Nigel Dancey, Foster + Partners' head of studio, in a statement. “Crafted from a simple palette of white stone and glass, the building’s primary structure has been pushed to the edges to create large-span flexible floorplates. It aspires to define the workplace of the future, bringing to the fore the practice’s values of innovation and creativity by producing a positive work environment that seeks to fulfill the needs and expectations of a demanding workforce.”

When complete, the 2.9 million-square-foot building at 33rd Street and 10th Avenue will be the city's fourth largest office tower. When the building opens in 2022, principal tenants like the financial company BlackRock will enjoy outdoor terraces and private "sky lobbies," as well as access to 30 Hudson Yards' outdoor observation platform.

The New York Times reports that New York State is giving Blackrock, a company with more than $5 trillion in assets, a $25 million tax break to stay in the state and move into the shiny new tower.

Construction is expected to begin next year on the white stone– and glass-clad building. In the renderings, glass windows are framed by stone while dark-outlined floors peek out from behind the glazed facade. Column-free floorplates that span a minimum of 50,000 square feet per floor are able to accommodate 500-plus people, and workers on some floors will enjoy expansive outdoor spaces, the result of periodic setbacks.

“Covering a full city block, the building is highly permeable at ground level, allowing it to engage fully with its urban location," Norman Foster, founding principal of Foster + Partners, said in a statement. "Designed for a sustainable future, the building makes an important contribution to the regeneration of the far west side of Manhattan.”

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Building of the Day: Hudson Yards

This is the twenty-fifth in a series of guests posts that feature Archtober Building of the Day tours! When approaching Hudson Yards from Pennsylvania Station, seeing parked buses and queues of travelers along 31st Street, it’s difficult to imagine that this 28-acre campus could shed its transitory reputation to become a final destination point for more than just Long Island Railroad cars. But by reclaiming square-footage currently lost to train exhaust, the architects and developers believe Hudson Yards will quickly emerge as a major retail and cultural hub in Manhattan. Today’s tour started on the 41st floor of 10 Hudson Yards (also known as the Coach Building for its primary tenant) and was led by Mark Boekenheide, AIA, and Sherry Tobak of Related Companies, Marianne Kwok of Kohn Pedersen Fox Associates (KPF), and Serena Nelson of Nelson Byrd Woltz Landscape Architects. Designed by KPF, the 895 foot-tall reinforced concrete tower boasts 1.8 million square feet of office and retail space and is currently home to a number of high-profile tenants. According to Boekenheide, concrete was an unusual material to use for a project of this size in New York City, but was chosen in order to meet Coach’s timeline for move-in. He also noted that many tenants in the building are now opting to keep the material exposed to add a loft-like atmosphere their offices. 10 Hudson Yards and its twin still under construction across the way carry the tradition of twin office towers that stretch down Manhattan avenues ending at the World Trade Center. Although the towers are not identical, Kwok said, both are oriented in such a way to direct energy down to the 14-acres of public space below, reinforcing the complex’s relationship to the city as a whole. Once 30 Hudson Yards is completed in 2018, visitors will be able to take in views of Manhattan from the tallest open air observatory deck. Half of the Hudson Yards’ acreage will remain open space, and will support the creation of interlocking green spaces intended to draw tenants and visitors into the campus. When designing the elliptical gardens, Nelson said, accounting for the heat generated by the trains parked below on the west campus was a unique challenge; on a summer day, when the trains are stalled with their ACs running, temperatures could rise up to 150 degrees Fahrenheit, and would effectively scorch much of the existing plant life. However, gardens will soon grow at Hudson Yards thanks to the design of a glycol cooling system suspended within concrete beneath the soil. As confirmed by a 360-virtual reality rendering of the five orbital gardens, the Trafalgar Square-like space will serve as an exceptional northern terminus to the High Line once completed. About the author: Kelly Felsberg is the Program Committees Coordinator at AIA New York.
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Plans filed for $3.2 billion Bjarke Ingels-designed tower at Hudson Yards

New York-based developer Tishman Speyer officially filed their plans for the $3.2 billion, 65-story office skyscraper designed by Copenhagen-based Bjarke Ingels Group (BIG). Dubbed the Spiral for its continuous band of terraces, the tower will reach a height of 1,005 feet. BIG has been quite busy in New York—they just wrapped Via 57 West and The Architect's Newspaper has even heard they're being passed over for projects because clients fear their office is too busy. Though the plans filed with the city only call for 2.2 million square feet, Tishman Speyer is marketing the property at 2.85 million square feet in size; the project will also include 27,000 square feet of retail space on the ground floor. The Spiral is one of two towers in Hudson Yards already being considered by investment firm BlackRock (if the company decides to leave its Park Avenue home, according to a report by Crain’s New York Business). Back in 2014, Tishman Speyer paid $438 million for the two parcels of land where the Spiral will stand; the company also received a $170 million, 25-year tax abatement on the project later that year. When tenants of two townhouse apartments at 35th Street and 10th Ave. refused to move out, Tishman Speyer paid them a $25 million settlement to vacate the premises in order to move forward with their plans, instead of spending years in court battling it out against the now infamous tenant attorney David Rozenholc, according to Gothamist Tishman Speyer has received over $1 billion from international investors to move the project forward and the developer hopes to pre-lease a third of the building to cover the remaining costs of construction, as reported by The Real Deal. The company also purchased two additional parcels of land across from the Javits Center at 11th Avenue earlier this year, with plans to build another 1.3 million-square-foot office tower.
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Heatherwick Studio unveils design for new device at Hudson Yards

Over the din of construction on nearby towers, today Anderson Cooper moderated a panel discussion and design unveiling of Vessel, Heatherwick Studio's new public work at Hudson Yards
Stephen M. Ross, president of Related Companies, Thomas Woltz, founding principal of Nelson Byrd Woltz Landscape Architects (NBW), and Thomas Heatherwick of Heatherwick Studios spoke with Cooper about the value of public space in New York and the opportunities that designing a park and plaza ab ova present. The project's cost was previously reported as $200 million, though there's been no update on whether that's changed with the just-unveiled design.
"Vessel was really unlike anything I've ever seen in New York. We wanted something great. The city is about having great public places," gushed Ross, whose real estate firm is a co-developer of Hudson Yards, the 365-acre mixed-used development on Manhattan's Far West Side. Heatherwick's design, he said, "was love at first sight.”

In a see-and-be-seen city where even the ultra-rich schlep in and out of the subway, Vessel elevates the time-honored art of flânerie to civic priority. Its 154 vertiginous steel-and-concrete staircases are meant to help visitors experience Hudson Yards and surrounding people from as many angles as desired (or, perhaps, angles unintended). The stairs and viewing platforms converge in a lattice that suggests a panopticon with the geometry of an inverted beehive. When complete, the 16-story structure will be the tallest freestanding observation platform in the city (at least until the New York Wheel starts rolling).

"So often, historic public spaces are commemorating kings, or battles, or tragedies. But this is a new public space. It would be a fake duty to look back," Heatherwick told The Architect's Newspaper. Instead, the project reacts to a 21st-century urban condition: "Buildings are getting bigger and bigger—that mega-scale, it's something new. But 2,000 years ago, humans were mostly the same size we are now. The human scale stays true. This project was not driven by fitness or health alone, but more by how we could nurture the human scale."

Hudson Yards, Cooper maintained, needed an attraction for those humans—a Christmas tree 365 days per year but also something the public could interact with. “It was an extraordinary thing, to make a new public square, in the center of the city," Heatherwick said, comparing Hudson Yards to Trafalgar Square and Bryant Park. "We felt enormous pressure to not make gardens but to make an urban square, an extension of New York."

The design blends a key cue from the High Line—elevation—and reacts to the city’s fire escapes, stoops, and the countless staircases that facilitate the flow of people in the city. “We wanted to make a project out of just stairs, an ultimate body thing,” Heatherwick explained. Visitors can hit their FitBit goals twice over by climbing 250 flights to the structure's top.

On the ground, NBW collaborated with Heatherwick to create the Public Square and Gardens at Hudson Yards, a six-acre public space that links Hudson Yards with Hudson River Park and the High Line, which will get a new on-site entrance at Tenth Avenue and 30th Street.

Like Heatherwick, who designed Vessel's teacup form with upper-story office workers in mind, Woltz wanted "to create a site that was quite graphic" for the square and gardens. The firm consulted 400-year-old maps to determine the site's original environmental conditions (it was a wet meadow) and captured a snapshot of native flora from that time, Woltz told AN.

This is one of NBW's two active commissions for landscapes over infrastructure: The platform the park sits on is the ventilation cover for the rail yard below, and the platform had to be engineered to support 200 mature trees. “The landscape operates in a seven-foot-thick sandwich of structure. I will never in my life take for granted being on real earth, because everything here is constructed,” Woltz said.

Amid exhalations on Twitter, some raised concerns about the accessibility of the public spaces, especially Vessel, whose stair-fixation seemed to exclude parents with strollers and people who use wheelchairs.

A model depicted elevators on a fixed track—hardly the expansive views and exuberant movement promised by the architects. The project is inclusive, Heatherwick maintained. He told AN that the model is outdated; new renderings, including the bird's eye view, below, were captured from elevators that snake around Vessel's insides on curving tracks.

The High Line, with the new perspectives it gives people on public (and private) space, was key to Heatherwick's approach to Vessel, which he calls "a device, not a sculpture." In the most successful public spaces, there's a chemistry to seeing that's aided by human interaction, he said. A good public space, too, should offer an element of play. "I asked, 'Why are playgrounds only made for children?' We're creating a vertical structure for all of us."

Vessel will be complete in 2018.

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Watch Diller Scofidio + Renfro and Rockwell Group’s versatile telescopic Shed in action

By 2019, the Hudson Yards on Manhattan's West Side will host The Shed. Half a century ago, chances are most people would have presumed that any mention of a "shed" in the rail yards would be used to house locomotives. Now, that couldn't be farther from the truth. Designed by New York-based Diller Scofidio + Renfro in collaboration with Rockwell Group, The Shed will be home to New York City’s "first newly established 21st-century center for the arts." Rising to six stories and covering 200,000-square-feet, The Shed will comprise a museum, theater/performance space, rehearsal area, and an artists' lab. "We will work with original artists and thinkers from across all art forms and disciplines, to produce and present their new work for the widest range of audiences from NYC and around the world," said The Shed in its mission statement. "We will welcome those artists who take risks, advance their fields, and address the significant issues of our time." "As NYC’s first newly established 21st-century center for the arts, we will benefit from the latest technology, offering powerful opportunities for our artists and our audiences," the mission statement continued. This leads to The Shed's most defining feature: a telescoping shell mounted on rails. Mimicking the great cranes that were once commonplace on the piers stretching into the Hudson River, the shell can support (literally and figuratively) a wide range of activities when it's rolled onto the adjacent plaza. The 20,000 square-foot public plaza can be transformed into an multitude of venues, most notably a 1,250-seat theater (up from its other 500-seater capacity venue). The theater will be created by lifting a screen on one of the main building's upper levels and replacing it with seating. At 120 feet high, the space can be a sound- and temperature-controlled hall that can also cater for an audience of 3,000 members around a performance space. It can also house large-scale artwork. When not covering the plaza, the shell can be used as a canvas for screenings. Watch the telescopic framework in action in the video below:
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Thomas Heatherwick–designed sculpture for Hudson Yards will cost mind-boggling $200 million

According to Crain’s, the Thomas Heatherwick–designed sculpture that will stand at the center of Hudson Yard’s Public Square will cost a casino-breaking $200 million. Related Companies chairman Stephen Ross foresees that “It will become to New York what the Eiffel Tower is to Paris.” [NB: The Eiffel Tower only cost about the equivalent of $36 million in 1889.] The sculpture’s exact design remains a mystery. In July 2015, a New York Times article said Heatherwick imagined a “vessel” that would be shot through with dozens of stairways. It would be “shaped like a chalice” and “would rise higher than the adjacent, cavernous [100-foot-tall] Culture Shed” designed by DS+R.

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Hudson Yards Is Reshaping NYC's Skyline and Streetscape

New York City's waterfront Hudson Yards development is a big deal—literally. The largest private real estate development in the history of the United States, the project comprises 17 million square feet of commercial and residential space and 14 acres of public open space. Hudson Yards is having "a catalytic effect in terms of kicking off an entire new neighborhood," said Related Companies' Michael Samuelian. (Related and Oxford Properties Group have partnered with a number of high-profile architecture firms to design and build the project.) "We don't just focus on a building, but on the relationships between buildings—the spaces between the buildings themselves are just as important." Samuelian and KPF's William Pedersen, whose firm is designing three skyscrapers for Hudson Yards, will deliver up-to-date information on the work in progress at next month's Facades+NYC conference. Hudson Yards promises to reshape the city on multiple scales. On the larger end, "the development of Hudson Yards fills a void in Manhattan's fabric which has prevented the city from having a dialogue with the Hudson River," explained Pedersen. Related commissioned a wide slate of architects "to purposely create variety and juxtaposition, which is the dominant characteristic of Manhattan's iconic skyline," he said. As important as Hudson Yards' impact on New York City's skyline, said Samuelian, is its capacity to create a welcoming streetscape. "We put considerable effort into ensuring we have warm, appropriate materials below 150 feet," he said. "Each building changes as it comes down to grade to give civility to the skyscrapers, to make them more humane participants in the street life of the city." Pedersen concurred. "The dominant characteristic of our buildings is their gestural capacity," he said. "They do not stand in isolation but rather seek an active relationship with every aspect of the context they engage, including the pedestrian on the street." Catch up with Samuelian, Pedersen, and other AEC industry leaders reshaping New York's built environment at Facades+NYC. Register today to secure your space at the symposium and in a lab or dialog workshop of your choice.
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Bjarke Ingels brings the park up to the tower in a new skyscraper at Hudson Yards

In a new Manhattan skyscraper, Bjarke Ingels Group (BIG) reinterprets the tower-in-the-park by bringing the park up into the tower. https://vimeo.com/154626810 Today, the New York–based firm unveiled The Spiral, a 65-story skyscraper at Hudson Yards. The tower, programmed for offices and 27,000 square feet of retail, is located along the High Line, with a front entrance facing under-construction Hudson Park and Hudson Boulevard East. For those tracking the recent explosion of supertalls, The Spiral, at 1,005 feet, is eye-level with 1,004-foot One57. The prevailing visual element is a stepped group of terraces and hanging gardens, connected to double height atria, that wrap around the side of the building. For tenants renting out multiple floors, the atria can be programmed to connect to other floors, a tweak that could reduce reliance on elevators. Storytelling plays a strong role BIG's practice. The firm has a knack for delivering chronicles that distill the complexity of urban space and the ambiguities of history into a straightforward narrative that situates a project in time and place just so. “The Spiral will punctuate the northern end of the High Line, and the linear park will appear to carry through into the tower, forming an ascending ribbon of lively green spaces, extending the High Line to the skyline," asserted BIG founding principal Bjarke Ingels, in a statement. "The Spiral combines the classic Ziggurat silhouette of the premodern skyscraper with the slender proportions and efficient layouts of the modern high-rise. Designed for the people that occupy it, The Spiral ensures that every floor of the tower opens up to the outdoors creating hanging gardens and cascading atria that connect the open floor plates from the ground floor to the summit into a single uninterrupted work space. The string of terraces wrapping around the building expand the daily life of the tenants to the outside air and light.” In a video accompanying today's announcement, Ingels nails down the appeal of the swirl with pretty motifs from science and nature: "The spiral's immaculate geometry, and its suggestion of the infinite, that has mesmerized us in all cultures, and across time and place." The Spiral, he posits, will be "a new tower that stands out among its neighbors, yet feels completely at home." As buildings should? With BIG's unveil, Phase 1 development is continuing apace at Hudson Yards. When complete, the new neighborhood will allow for 26 million square feet of office space, 20,000 units of new housing, three million square feet for hotels, and two million square feet of retail. Hudson Yards first skyscraper, KPF's 10 Hudson Yards, topped out last October, with construction on 15, 30, 35, 50, and 55 Hudson Yards well underway.
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M-Rad unveils design for a many-colored Hudson Yards hotel

Though New York has over 100,000 hotel rooms, developers on Manhattan's Far West Side feel there's room for more. Matthew Rosenberg, founding principal of Los Angeles–based M-Rad Architecture, has completed the concept design of Hudson Americano, a 740-foot-tall, 160-suite hotel at Hudson Yards. Commissioned by New York developer Black House, Hudson Americano is targeted towards wealthy international visitors. Per the luxury amenities arms race, the hotel will have a three level spa and two pools. The checkered glass, metal, and concrete facade reflects excess light during the warmer months and absorbs heat in the winter to balance the ambient temperature inside. M-Rad will strive to achieve LEED Gold certification for the completed structure. Hudson Americano is not M-Rad's first try at a splashy facade. Earlier this year, the firm unveiled a live-work tower for downtown Las Vegas that requires residents to travel through community spaces—a cafe, grocery stores, or an extensive spiral ramp—to reach their destination.
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Topping Out 10 Hudson Yards: KPF's Manhattan tower reaches new heights

The final bucket of concrete anointed the top of Kohn Pedersen Fox's 10 Hudson Yards today. Built to LEED Platinum standards, the 52 story office building, at 30th Street and Tenth Avenue in New York City, is the first of sixteen buildings on the 28 acre site. Unusual among commercial skyscrapers in New York, a concrete superstructure and a concrete shear wall account for 98 percent of the building's weight. So far, SAP, VaynerMedia, Coach, and L'Oréal, as well as four other undisclosed tenants, will move into the 1.7-million-square-foot tower beginning March 2016. If they leave their desks, workers can enjoy direct access to the High Line from the building, as well as Hudson Yard's 14 acres of open space. Developers Oxford Properties Group, Related Companies, and Tutor Perini reinforce the building's luxury branding by noting that its three stormwater tanks can hold 1.3 million grande pumpkin spice lattes.  
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Are glass skyscrapers still the way forward?

In the wake of a slew of criticisms on numerous glass skyscrapers' over-reflective properties, some architects and critics are asking if it's time to reassess our view on using glass facades in the future. Contemporary architecture today is at a crossroads: Do we continue to enamor the structures that reach up into the sky in a display of corporate might with reflective sheaths of glass? Take advantage of the new technology that is allowing the sun to power these buildings? Or do we take a step back and re-evaluate our position on the all-glass facade altogether? Fred A. Bernstein of the Architectural Record laments that today the "relentless repetition of glass facades leads to a numbing sameness." "Is that a building?" said a designer to Bernstein , "I thought it was a pavilion for a plexiglass convention." It's no surprise that the person, who was passing by Fumihiko Maki's creation at 51 Astor Place, feels disillusioned. At one end of the spectrum, you have cities like Bath in England where such glass behemoths are nowhere to be found. You are surrounded by the Georgian works of John Palmer, who's Lansdown Crescent, despite its scale, is not overwhelming. At the other end, you have cities like Hong Kong and Shanghai, which are filled with an unprecedented amount of glass high-rise structures, their facades lost in the sky with light bouncing off one another. Where then, do we draw the line? With modern skyscrapers being the architectural product of an ever changing, neo-liberalist, globalization obsessed corporate society, such a line may even be impossible to draw. The case for glass—to pardon the pun—is clear. For companies, having floor to ceiling windows helps break down the stratified hierarchy that was once commonplace in such office buildings by giving all employees, not just the boss, a panoramic view. When used effectively, an elegant glass facade can convey honesty and open-mindedness and even perhaps financial transparency. This may be why the style is so popular amongst financial firms, despite the fact this isn't always the case. Developers are also under pressure to maximize space. Having a thin skin such as glass is an easy solution that enables the architect to sell the building's space as good value for money. Plus, the advancement of photovoltaic cells now means that they can be installed as windows, further advocating the facade style as an economically viable asset. PV company SolarWindow, which specializes in PV-based window solutions claims that when installed on four sides of a 50-story building, 1.3 gigawatt-hours of energy can be generated. Architect Ken Shuttleworth however, has different ideas. Despite being part of the team behind the glass clad Swiss Rae building in London, he has since done a U-turn by stating that he is "rethinking" everything he as done in the last 40 years. Shuttleworth's voice is echoed by many in what is an emerging discourse on the glass structures that run the risk of becoming the scourge of the skyline. "We need to be much more responsible in terms of the way we shade our buildings and the way we thermally think about our buildings," he told the BBC last year. The only thing that appears to be halting the perpetual rise of the glass facade in the United States is a shortage in the material. Failure of the market to produce however, has not stopped developers, who according to WSJ’s Robbie Whelan, have now delved into the glass manufacturing industry. Developer, Related Cos has even gone so far as to take production methods into its own hands—building its own glass factory to create the largest private development in American history. Bruce Beal Jr., Related’s president chose to embark on the endeavor for a handful of skyscrapers and apartments on Manhattan’s West Side as part of the Hudson Yards scheme. Across the Atlantic, the trade association "Glass for Europe" is understandably keen to dismiss the growing concern about the once ubiquitous glass facade and advocate the fact that glass is fully recyclable. Pressure from trade unions isn't enough it seems to sway architecture critic Tom Dyckhoff who, like Shuttleworth, isn't a fan of the glass skyscraper. Speaking to the BBC he said, "as someone who spends their entire life staring at buildings, I am a bit bored by the glass box. They were radical in the 1920s and now they are just cliches, expensive ones at that," he said. "Now we are having to be more thoughtful about how and where we use glass. Maybe architects will become more inventive in how they use windows, instead of plastering them across whole facades." Technological advancements may be the only way this question will truly be answered, but for now, money talks and that appears to be what governs the modern architectural style today.
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How architects are building a "soil sandwich" to keep plants from cooking at Hudson Yards' rail-yard-topping Public Square

Building America’s largest private real estate development in history would be a tricky proposition whether or not it was taking shape over an active rail yard in the middle of the densest city in the country. But, of course, that is exactly where Hudson Yards—the mega development with those superlative bragging rights—is taking shape. To support the 17-million-square-foot project, Kohn Pedersen Fox (KPF), alongside Thornton Tomasetti, designed a massive steel platform (video below) that caps the rail yard allowing trains to move below and towers to rise into the Manhattan skyline. After years of failed attempts to build at the site, the project finally broke ground in 2012. Today, the platform is expanding horizontally and the first glass tower, also designed by KPF, is nearing completion. https://www.youtube.com/watch?t=35&v=PuxMfQ8UTG4 Planting a forest of skyscrapers above the rail yard has obviously required some engineering ingenuity, but planting an actual forest—or at least 200 trees—at Hudson Yards is no easy task task, either. To ensure that all of the trees, flowers, and plantings in Hudson Yards’ 4.5-acre “Public Square” flourish, landscape architecture firm Nelson Byrd Woltz had to solve a tricky equation of its own. Since the green space sits atop the new platform, the firm created a special soil to provide necessary drainage and nutrients for the plantings. There is also a “soil sandwich” of sand, gravel, and concrete slab to help trees’ roots expand horizontally. In the mix, plans also call for a rainwater collection system that will irrigate the space by pooling “every drop of rainwater that falls on the Hudson Yards Public Square". Er, maybe not every rain drop will be collected but we get the idea. There's another hidden challenge for sustaining plant life in the Public Square lurking just beneath the surface, as well: the heat rising from train tracks below. That heat, if left alone, would essentially cook the roots of any plants sitting above it. To keep the trees and plants comfortable, coolant is being pumped into the concrete slab. There are also 15 jet-engine-sized fans to further dissipate the heat. The site’s developers—Related and Oxford Properties Group—are celebrating the space as a great new public amenity (it’s right there in the name: Public Square). But while the space is open to the public and can be used for cultural events and movie screenings, it’s pretty clear that it is designed to be a money-maker for the development. The Hudson Yards’ website boasts that the Public Square can be used for “marquee events” like “signature product launches” and “brand installations.” You can also expect plenty of models during Fashion Week, which will relocate to the complex's Culture Shed. Speaking of money, the day after the Public Square plan was revealed by the developer, the Independent Budget Office projected that Hudson Yards will cost the city an additional $368 million through 2019, bringing the price tag for the entire project to $947 million, as reported by DNAinfo. The city has provided $3 billion in bonds for the project along with the 7 train extension that will service the site. Revenue from residential and commercial tenants at Hudson yards was supposed to offset the cost, but that hasn't happened just yet.