To honor its 30th birthday, Socrates Sculpture Park, the former dump-turned-art park on the banks of the East River, is presenting LANDMARK, a summer series of land art installations by eight artists, including a new earthwork, Concave Room for Bees, by New York–based Meg Webster. The series is a reflection on the changing neighborhood surrounding Socrates; the works engage gentrified Long Island City's cultural shifts and interrogate its economic transition. Webster's 70-foot-wide earthwork, which incorporates 300 cubic yards of dirt, attracts the flora and fauna of New York with a sculptural display of various soil compositions, and native flowering vegetation that attract pollinators. Nature-starved visitors can walk through the Concave Room for Bees on loamy paths to get a closer look at ecology in action. Since the 1970s, Webster has created indoor and outdoor work that features elements like water, salt, or moss, all arranged into geometric forms. When this piece is dismantled, the earth will be distributed across the park to give the topsoil a jolt of nutrients. Other works include a new piece, Half Moon, by artist Abigail DeVille, that uses found materials to explore the site's former role as a ferry slip and landfill. DeVille's scraggly shipwreck is a meditation on decay, public neglect, and contemporary issues of migration in Long Island City. Jonathan Odom's Open Seating is a series of 50 open-source chairs crafted from CNC-cut plywood and held together by ratchet straps (Odom created the designs and has released them online for others to replicate, gratis). The chairs, painted in languid pastels by volunteers, give visitors an opportunity to socialize, relax, and enjoy giant installations framed by the Manhattan skyline. LANDMARK is on view through August 28.
Posts tagged with "Queens":
Queens looks to be in line for it's first supertall skyscraper, situated on 23-15 44th Drive in Long Island City. Rising to 984 feet, the building will house 774 luxury apartment units inside 78 stories, as well as just under 20,000 square feet of retail and commercial space and 225 parking spots, located between the basement and second floor. New York practice Goldstein, Hill & West Architects are behind the project, which totals 969,000 square feet. With Midtown Manhattan less than five minutes away (by car/subway), the tower, known by its official name as "City View Tower," is in a prime location. Neighboring upmarket restaurants, the building is also joined by nearby Gantry State Park (which features a riverside esplanade, a fishing pier, and a playgrounds), and a host of art galleries, notably the MoMA PS1 and Sculpture Center. Other transportation links include walkable access to the East River Ferry and the Long Island Rail Road. Originally, development firm United Construction and Development had planned for a 963-foot tower, however, a 21 foot increase allows the skyscraper to be classified as a "supertall" due it being 300 meters (984 feet) or over. Due to a site elevation of 16 feet, the building will reach a height of 1,000 feet above sea level, and the project has to submit a request to the Federal Aviation Administration for approval to build. According to New York Yimby, plans are also progressing through the Department of Buildings with few alterations being made over the past couple of months. That said, they report a supposed increase of 114 from the planned 660 housing units listed on the developer's page. Ground is set to break on the project at some point next year with completion penned for 2019. Goldstein, Hill & West Architects also have another luxury tower in the making for the area. Located on 42-12 on 28th Street in Long Island City, the tower will be smaller than their "City View Tower" accommodating only 477 units, reaching 634 foot. Amenities are set to include a resident lounge, pool house, full spa and observation deck.
In latest push to clear backlog, NYC Landmarks Preservation Commission designates nine new landmarks
Tasked with clearing its 95-item backlog, New York City's Landmarks Preservation Commission (LPC) is moving swiftly to shape the future of historic structures in the Big Apple by clearing its docket. On Tuesday, the LPC voted to designate nine items—eight individual structures and one historic district—as New York City Landmarks.
Perhaps the most recognizable item on the list was the Pepsi Cola Sign, which has graced the shores of Long Island City, Queens, since 1936. The sign is not a typical landmark. It's an ad for a beverage conglomerate, albeit a charming, retro ad. A debate arose around the nuances of the designation at a meeting in February to present evidence in favor of preservation. Supporters' eyes ping-ponged anxiously as LPC members brought up possible obstacles objections: Would designation cover the metal scaffolding that the bottle and logo are attached to, or would designation encompass just the signs' iconic appendages, leaving a loophole to alter the sign's arrangement?
The LPC decided to landmark the Pepsi sign, noting in its recommendation that the sign was preserved once before, as the factory it flanked was sold in 1999. The LPC's decision recognizes the city's manufacturing heritage, and preserves the spirit of place that's otherwise the face of bland waterfront luxury condo development. The grassroots Historic Districts Council (HDC) recommends that the LPC "investigate additional preservation protections, such as an easement or some other form of legal contract to help ensure this landmark’s continued presence."
In all, there were ten items recommended for designation, including two whose eclecticism and allure rival the Pepsi sign (the commission delayed a vote on Immaculate Conception Church in the South Bronx.). One residence is a Gravesend landmark: The Lady Moody-Van Sicklen House, a stone, 18th-century Dutch-American-style farmhouse, is a rare survivor from Brooklyn's agrarian past. Local lore holds that the house belonged to Lady Deborah Moody, one of the area's first European women landowners.
New Yorkers thrilled by the Neoclassical flourishes of the Fifth Avenue facade of the Metropolitan Museum of Art will be delighted by the LPC's recognition of the Vanderbilt Mausoleum, a diminutive-by-comparison and little-known work by the same architect. École des Beaux Arts–trained Richard Morris Hunt designed the Romanesque Revival final resting place for the titans of industry, located in Staten Island's Frederick Law Olmsted–designed Moravian Cemetery. The Vanderbilts were so impressed by the meeting of minds that they hired Hunt and Olmstead to collaborate on the clan's low-key country house in North Carolina.
With that memento mori, the LPC voted to designate a few 19th-century structures within Brooklyn's Green-Wood Cemetery. Although the entire cemetery, a National Historic Landmark, was up for local designation, even ardent preservationists advocated against the designation, noting that landmark status could place onerous restrictions on the 478-acre cemetery's operations: The plots, headstones, and mausoleums are owned by individuals, with 1,200 new "permanent residents" added annually, potentially complicating the regulation process.
The largest rural cemetery in the U.S., Green-Wood was designed by David Bates Douglass under the guiding landscape principles of Andrew Jackson Downing. The Gothic Revival entrance on Fifth Avenue, designed by Richard Upjohn and home to a vigorous parakeet colony, was declared an Individual Landmark in 1966. A chapel in the same style by Warren & Wetmore (the same firm behind Grand Central Terminal) received designation this time around, as did the Gatehouse and Gatehouse Cottage at the Fort Hamilton Parkway entrance.
The Manhattan-based architecture firm, Hou de Sousa, is on a winning streak this spring. This past March, the firm won Re-Ball!, a competition to repurpose over 650,000 plastic balls from a previous design exhibit into an installation for an abandoned underground trolley station in Washington D.C. (Their playful and interactive wonderland, titled Raise/RAZE, is set to open April 30.) And now the firm has won this year’s Folly competition in New York, hosted by the Architectural League of New York and the Socrates Sculpture Park. The theme this year was “function,” a break from the themes of years past, that drew from the literal meaning of folly: a blend of architecture and sculpture that doesn’t really serve a useful purpose. (These structures were once popular in 18th century England and French patrician gardens.) While the Folly competition is based in New York, it is open to global emerging architects. Hou de Sousa’s proposal, Sticks, addresses the function theme through an adaptable concept. Using interconnected lumber held together with webbing, the design supports an array of repurposed on-site scrap materials that provide shade and 18 inch deep shelves for possible future art exhibits. Their project takes advantage of an adjacent shipping container to help support the structure. It will serve as "a hub for Socrates Sculpture Park’s Education Studio, which hosts over 10,000 students annually," says the Socrates Sculpture Park in a press release. Hou de Sousa will build their project on site this May and June for a July 9 opening in the Socrates Sculpture Park in Long Island City, Queens. IK Studio won the competition last year, with the plywood pavilion Torqueing Spheres. Hou de Sousa’s Folly entry last year, Mochi, garnered a Notable Entry for their colorful domed quilt of ravioli-like inflated plastic bags. The Folly competition is privately and publicly supported, with public funds coming in part from the New York State Council on the Arts.
Philip Johnson's New York State Pavilion, located in Queens, was once part of the 1964 Worlds Fair. Now it is the only remaining structure from the event. Years of neglect has seen the pavilion fall into a state of disrepair. However, all does not appear to be lost thanks to The National Trust for Historic Preservation, People for the Pavilion, and Queens Borough President Melinda Katz. Together, they have organized an ideas competition in an attempt to bring the pavilion back to life. The competition so far has received a number of submissions up for public vote. The current frontrunners are a hydroponic farm (essentially a farm that uses nutrient water instead of soil) and a flexible exhibition space. The former an ambitiously wants to demonstrate a process that could "feed cities into the next century" while the latter envisions an outdoor performance area and park. In recent memory, the pavilion's only claim to fame was its appearance in Iron Man 2 where it played host to the Stark Expo. https://www.youtube.com/watch?v=Bchp8boR0Dc The pavilion's appearance on screen however, has done little to bolster its circumstances, although a fresh coat of paint was added in fall last year. The New York State Pavilion Ideas Competition now hopes to "spark a conversation about the value of historic preservation," citing Johnson's work as an "irreplaceable structure" that is one of Queens' "most significant assets." Submissions so far mostly depict colorful scenes that refer back to the pavilion's original red and yellow coloring. These include the "Queens Pavilion Cheeseburger Museum," "Trampoline Castle," "The Funland of art" (that promises to be "the most fun your kids will ever have"), and the "Pavilion for the People." Others proposals include an observatory, ice-rink, and planetarium. There are few constraints on putting forward an idea. Participants must be over the age of 13 and submit an original idea complete with an image. A Sketchup model of the pavilion has been made available to download to aid contributors. The competition is also free to enter. For now, the public has until July 1 to submit their ideas, with Deborah Berke, founding partner of Deborah Berke Partners and soon to be Dean of the Yale Architecture School and critic Paul Goldberger among others judging the submissions. The jury will select first, second and third place, of which will receive $3,000, $1,000 and $500. The voting system however, will be used to select a "fan favorite" with the winner taking home $500.
Expanding on the East River Ferry system, Mayor de Blasio will see his $55 million plan for a five borough ferry network come to fruition summer 2017. At $2.75-a-ride, the system will be managed and operated by a California company, Hornblower, that has a proven track record in the industry, having run services in New York for ten years. Currently, the ferry caters to Manhattan residents and those on the shoreline between DUMBO, Brooklyn and Long Island City, Queens. The network will be expanded to escort people to Astoria, Queens; Sheepshead Bay, Brooklyn; and the Rockaways, Queens. Come 2018, Soundview will service the Upper and Lower East Side. Another proposal looks to extend the service further to Staten and Coney Island, though no completion date has yet been penned in. The cost of a ferry trip will align with the price of a single subway ride. Bicycles may be carried on for an extra dollar. This is less than half of what it costs for a standard weekend ferry fare at the moment. Such a pricing scheme is no accident, either, as de Blasio has his eyes on integrating the network with the rest of the MTA system. According to de Blasio, commuters will be able to enjoy the "fresh air, harbor views, and a fast ride on the open water" on the 20-minute journey between Astoria and Manhattan's East 34th Street, as well as being able to make the most of the ferry on the hour-long commute between the Rockaways and Wall Street. “Today I applaud Mayor de Blasio for his $55 million capital commitment to a 5-borough ferry system and declaring that New York City’s waterfront will be open for all. The ripple effect from this service will be felt throughout the entire city from Bay Ridge to Bayside; from Staten Island to Soundview,” said Councilman Vincent Gentile. “Access to a true 5-borough ferry system will be just another jewel to add to our crown here in southwest Brooklyn, one that will be a boon to small businesses and real estate alike.”
[beforeafter] [/beforeafter] (Renderings courtesy RethinkNYC, Cezar Nicolescu, and Sigmund Lerner) The New York Times published an editorial on February 24 called "Imagining a Rikers Island With No Jail" that proposes various uses for the East River island if its prison were closed. “As for the island, it should be given back to the sea gulls," the editorial concludes, "or used for affordable housing, or an extension of LaGuardia Airport.” https://www.youtube.com/watch?v=RaQpLe89kA4 If fact, AN published an Op-Ed piece with James Venturi on July 15, 2015, that presents a convincing argument for repurposing Rikers Island as an extension to LaGuardia. We thought it was time to revisit Venturi’s plan and bring it back for public discussion. Read Venturi's full proposal here.
Remember the New York City streetcar? Unless you're a New Yorker of a certain age, you definitely don't. Advances in transportation technology (what die-hard conspiracy theorists refer to as Great American Streetcar Scandal) drove streetcars all over the U.S. straight to the last stop. Yet, it's now very possible that two neighboring boroughs, Brooklyn and Queens, will be reunited once again via a new streetcar line of their very own. The streetcar plans legitimate what transportation planners (and Michael Kimmelman) have known for years: commuting patterns in the city have changed, and the hub-and-spoke model no longer serves diffuse, inter- outer-borough commuting patterns. In his State of the City address last week, Mayor de Blasio proposed a 16-mile waterside streetcar route, the Brooklyn-Queens Connector (BQX), that would run through 14 neighborhoods, from Brooklyn's Sunset Park through Astoria, Queens. These areas have seen swift transitions from their industrial origins and rapid population growth as the waterfront settles comfortably into its post-industrial future. Renderings are credited to a nonprofit called the Friends of the Brooklyn Queens Connector. According to The Daily News, members include "transit experts, community leaders and business giants like Doug Steiner of Steiner Studios, investor Fred Wilson of Union Square Ventures and Helena Durst of the Durst Organization real estate firm." When the plan was announced in January, AN reached out the the nonprofit repeatedly for comment to confirm stakeholders and received no response. With backers like these, concerns about gentrification and potentially developer-driven policy have been raised. Some see the streetcar idea as a way to spur already-high land values along the waterfront, although the streetcar could also provide the more than 40,000 residents of waterfront NYCHA complexes with better access to public transportation. Others have raised concerns about locating the line in a flood zone. Still others have questioned why the city needs to spend billions on a new form of transportation, one that moves at a pokey 12 miles-per-hour, when bus service could be offered along a similar route. There is time to debate: Although energy around the plan is high, the groundbreaking is a long way off. The plan's timeline states that construction is expected to begin in 2019, and service could begin in 2024. The city pegs the cost at around $2.5 billion, although earlier estimates ran $800 million lower.
Goldstein, Hill & West Architects (GHWA), in partnership with developer Chris Xu, just unleashed a 79-story residential tower on Long Island City, Queens. At 963 feet tall, the tower will be 305 feet taller than its neighbor, CitiGroup's 50-story One Court Square, already one of the tallest buildings in the neighborhood. The ground floor will sport 19,721 square feet of retail, while 774 apartments will be spread over 759,412 square feet of residential space. Xu bought the 79,000-square-foot site for $143 million from Citigroup in July 2015, YIMBY reports. This is not the New York–based firm's first high rise: GHWA is behind Long Island City's 42–12 28th Street, a 57-story residential tower, as well as 605 West 42nd Street, a glassy 60-story residential tower "detailed in a clean modernist idiom." Walking down Jackson Avenue, it's hard not to notice all the new high rises going up in the neighborhood. Walking down Jackson Avenue in the late afternoon, though, and it's hard not to be blinded by the sunlight that reflects from all those new buildings. The so-called Court Square City View Tower is a mere four blocks from MoMA PS1, and, although there's no word yet on when construction will begin, visitors to PS1 this summer will be thankful for the central feature of Escobedo Solíz Studio's Young Architects Program installation. The colorful rope canopy promises to shade visitors from skyscraper sunburns, giving a whole new meaning to Warm Up.
Mexico City–based Escobedo Solíz Studio is the winner of the 17th annual MoMA PS1 Young Architects Program (YAP) in Queens, New York. Escobedo Solíz Studio, beat five finalists to design a temporary urban landscape for the courtyard of the 2016 Warm Up summer music series. Weaving the Courtyard, will open at MoMA PS1 in Long Island City in early June. According to the architects, the installation will be “neither an object nor a sculpture standing in the courtyard, but a series of simple, powerful actions that generate new and different atmospheres.” The canopy departs from the last few object-based interventions, such as Wendy, Hy-Fi, and COSMO. A vibrant, colorful landscape will be created by using the formwork holes in the walls to anchor colored bands. Water will again be an experiential component, as a wading pool will allow visitors to cool off in fresh water. “This year’s finalists of the Young Architects Program explored a range of approaches, materials, and scales to effectively question the MoMA PS1 courtyard as an arena for escape. Escobedo Solíz’s ingenious proposal speaks to both the ephemerality of architectural imagery today but also to the nature of spatial transactions more broadly. From the evocative woven canopy that will engage visitors overhead to a reflective wading pool, Weaving the Courtyard sensitively brings together elements of MoMA PS1’s Warm Up Series with an exuberant collection of zones and environments,” said Sean Anderson, Associate Curator in MoMA’s Department of Architecture and Design, in a statement. Klaus Biesenbach, MoMA PS1 Director and MoMA Chief Curator at Large added, "This year marks the 40th anniversary of MoMA PS1 and the 17th joint annual competition brought together by the Architecture and Design Department at MoMA and MoMA PS1. The Mexico City-based team will work on a colorful, celebratory intervention that takes its point of departure to be the existing geometric concrete forms in the courtyard of MoMA PS1 simultaneously creating an urban beach of sand, water, and vibrant colors.” https://youtu.be/aH72lU4AGpU The other finalists for this year’s MoMA PS1 Young Architects Program were First Office (Andrew Atwood and Anna Neimark), Ultramoderne (Yasmin Vorbis and Aaron Forrest), COBALT OFFICE (Andrew Colopy and Robert Booth), and Frida Escobedo. An exhibition of the five finalists' proposed projects will be on view at MoMA over the summer, organized by Sean Anderson, Associate Curator, with Arièle Dionne-Krosnick, Curatorial Assistant, Department of Architecture and Design, MoMA.
The holidays are here when the Coniferous Tree Exception kicks in. This New York City ordinance allows dead pine trees to be sold on city sidewalks in the weeks leading up to Christmas. One true marker of the season's end is the Christmas trees that line those same sidewalks in January, awaiting DSNY pickup. In years past, one artist has revivified these trees, albeit illegally, creating semi-real pine forests from discarded trees in marginal urban spaces. This year, the trees will have a second chance at life in the most popular place for dead New Yorkers: Queens. In 2012 and 2013, San Francisco–based artist Michael Neff rounded up 35 Christmas trees from the curbs of Brooklyn. He hung them with twine from a metal pipe and displayed them under a BQE overpass, at Metropolitan Avenue and North 6th Street, in Williamsburg. Within a matter of hours, the trees were removed and discarded by the city. https://vimeo.com/150815655 This year, Neff is reprising his installation, legitimated and indoors, at the Knockdown Center, in Maspeth, Queens. A time-lapse video (above) shows the installation in process. Working a cherry picker, Neff and his team suspend coniferous trees of slightly varying sizes from the ceiling in a neat grid. In a statement on the exhibition's event page, Neff describes the advantages that a change of venue con(i)fers:
The exhibition at Knockdown Center allows for a much different experience, most importantly time for the trees to shed their needles into halos on the smooth concrete floor below. Paired with the subtle pine fragrance of the trees and the opportunity for quiet contemplation, the exhibition encourages repeated viewing.Suspended Forest is on view from January 9th to January 31st.
Water, water, everywhere, Nor any drop to drink. —Samuel Taylor Coleridge, The Rime of the Ancient MarinerThough New York has the some of the cleanest municipal tap water, New Yorkers now consume 1.25 billion bottles of water annually. A contributing factor to the rise in bottled water consumption is the decline in the number of public drinking fountains. New York–based Pilot Projects would like to revive the grand tradition of public bubblers through a novel design/build competition. Pilot Project's 100 Fountains competition, launched September of this year, will tap artists and designers to build 100 fountains citywide in 2016. Each participant receives $5,000 to develop his or her team's design. According to the project proposal, the competition area will be divided into 30–40 zones, with two or three fountains per zone. The public judging period starts June 2016 and runs through September 2016. The original fountains will be auctioned off for charity, and ten designs from the pool will be chosen and duplicated for permanent installation at to-be-determined locations citywide. https://www.youtube.com/watch?v=ZFq8z96zbQQ In 2012, Pilot Projects hosted a campaign to raise awareness around the lack of drinking fountains. In the video above, passerbys in Union Square traipse over a red carpet to a (pre-existing, functioning) fountain operated by white-gloved servers. Per a 2007 zoning text amendment, the Department of City Planning (DCP) requires a fountain in every newly-built Privately Owned Public Space (POPS). The report suggests that, in lieu of vending machines offering sweetened beverages and bottled water, designers should incorporate public drinking fountains into the POPS. To justify their economic reason-for-being, 100 Fountains points to large-scale public art installations that overtook city streets in the late 1990s and 2000s: Christo and Jeanne-Claude's The Gates, Olafur Eliasson's New York City Waterfalls, and CowParade. The economic impacts of these project were estimated in the tens to hundreds of millions of dollars. 100 Fountains also takes direct inspiration from the Minneapolis Arts Commission. The commission highlighted Minneapolis' connection to surrounding rivers and lakes by installing ten custom fountains to celebrate the city's 150th anniversary. Pilot Projects will partner with the NYC Department of Cultural Affairs, the Department of Education, Office of the Arts and Special Projects, as well as Yale University’s Environmental Protection Clinic and Parsons The New School For Design to carry out the project. Expect to see fountains on the streets beginning June of next year.