Last year, New York City’s Parks Department announced plans to build a statue honoring women’s suffrage movement leaders Susan B. Anthony and Elizabeth Cady Stanton. The monument, designed by sculptor and human rights activist Meredith Bergmann, will be the first non-fictional female statue in Central Park. In a city where roughly 90 percent of its public monuments depict men, Bergmann intended for the sculpture to celebrate women and pay homage to those who actively fought for women’s rights, yet since it's unveiling, the piece has been met with a wave of online controversy over its subject. In January, the New York Times noted that women’s rights activists and historical scholars were among the first in recent years to call out Anthony and Stanton’s problematic history with race and more specifically, their focus on white women’s suffrage over voting rights for all women. Both figures were prominent abolitionists, but the passing of the 15th Amendment created a huge rift between those who fought for black men’s rights and those who strived for women’s rights. The frustrations voiced by white women like Anthony and Stanton, who were told to “wait their turn” as black men won the right to vote following the Civil War, often conveyed distasteful, racist undertones, according to History.com. In 1866, the two women formed the American Equal Rights Association (AERA) with Frederick Douglass, an organization whose goal was to grant equality and voting rights for both women and African Americans. But after just three years, the AERA disintegrated over debates about whether to support the 15th Amendment. The Villager wrote that at a 1869 convention, Stanton delivered a hateful speech filled with "classist, racist, and xenophobic" remarks against former slaves and immigrants, saying that uneducated and illiterate men should not be making laws for affluent women’s suffrage leaders. Bergmann, while aware of Stanton and Anthony’s shortcomings, created the sculpture to recognize their tireless efforts to mobilize an entire country toward acknowledging women as a powerful and resilient demographic. “It’s unfortunate that these two women did not transcend those prejudices,” Bergmann said in an interview with The Villager. “These things should be brought to light for sure.” The statue will feature a lengthy, 22-foot-long scroll, which will recognize the contributions of African American women, such as Mary Church Terrell, Sojourner Truth, and Ida B. Wells, who helped promote the advancement of all women’s rights. Bergmann told The Villager she hopes the presence of these black, Latina, and white women's names will "mitigate the [widespread and common] prejudices of Stanton and Anthony." The monument will be installed on Central Park's Literary Walk next year on the 100th anniversary of the 19th Amendment's passing.
Posts tagged with "Central Park":
The steeply-pitched mansard roof of 150 Central Park South, an iconic copper patinaed topper that stands out among its West 57th Street neighbors, will eventually be home to more than storage and HVAC equipment. SPAN Architecture is converting the previously-unused roof floors into a triplex condo unit with surround-views of Central Park, and AN got to tour the raw space before construction begins. 150 Central Park South, also known as Hampshire House, was completed in 1937 after six years of delays caused by the Great Depression. The 37-story, limestone-clad building is instantly recognizable owing to a cascading series of terraces on the northern face, and the two chimneys that bookend its massive copper top. Despite its age and famous tenants, the tower isn’t a landmarked building, allowing for significant interior alterations with the permission of the co-op board and Department of Buildings (DOB). Among them? Two floors could be added, punching 40-foot-tall windows into the roof (after a restoration), and a terrace could be built on the Central Park-facing side. According to SPAN principal Peter Pelsinski, the “eureka” moment came during a survey for the (then) top-floor apartment on the 37th floor. Questioning where the mechanical systems were held, SPAN discovered that the space inside of the roof directly above—also used as storage—could be converted into two new floors with 14-foot-tall ceilings. A tour of the current space revealed ample exposed terra-cotta block insulation (commonly used for fireproofing in older buildings), anchors connecting the copper cladding to the raw concrete walls inside, and a soaring vaulted ceiling reminiscent of a cathedral. With so much height to work with, SPAN ran through over 15 different schemes before arriving at their current layout, though it was also noted that any potential buyers would have the ability to customize the triplex. Some of the wilder schemes for the 39th floor involved leaving it out entirely and opening up the full height of the ceiling, running a pool from one end of the building to the other, or turning it into a gym, an office, or a full cinema. The current plan as approved by the DOB would see the renovation of the current 1,100-square-foot 39th-floor unit, the addition of living rooms on both the 38th and 39th floors, a bedroom and bathroom at each end of the 38th floor, a family room, and a full kitchen and dining room. The nearly-floor-to-ceiling windows in the top-floor living room will also have the ability to open up to the 39th-floor terrace facing the park and create a seamless indoor-outdoor space. When fully built out, the triplex will hold 8,585 square feet of interior space and 1,225 square feet of accessible outdoor space. SPAN went with a neutral palette for the interior, in part as a response to the colorful backdrop that Central Park presents. As the seasons change, so does the color of the foliage, and with so much of the penthouse’s view oriented towards the park, the firm didn’t want to lock themselves into a color or material scheme that would only sync up some of the time. With white walls, herringbone floors in light wood (already found in the 37th-floor unit), and white marble in the bathroom, the aim was to enhance, not detract from, the view.
Looks like women are finally getting honored for their monumental achievements in both American and New York City history thanks to two initiatives pushing for more female representation in the city’s statues. The Elizabeth Cady Stanton and Susan B. Anthony Statue Fund and She Built NYC are setting precedents for bringing permanent public works depicting women to the streets in monument form. Last month, The Elizabeth Cady Stanton and Susan B. Anthony Statue Fund announced the winning design for an upcoming statue of the famed female suffragettes by sculptor Meredith Bergmann, whose piece will be erected in the park on August 26, 2020, just in time for the centennial anniversary of the establishment of women’s right to vote. Gothamist reported that the statue will showcase the figures cast in bronze and writing out arguments for women's rights on an elongated scroll. The pair is well-known for penning the lady’s liberation paper, The Revolution, which ran in print from 1868 to 1872. According to Gothamist, the organization said in a press release that they’re proud “to have broken the bronze ceiling to finally start the creation of the first statue of REAL women in Central Park’s 164-year history.” A monument for the women's suffrage movement has been in planning for several years. A request for proposals went out last November, to which 90 sculptors submitted designs. As Bergman's chosen design awaits approval by the New York Public Design Commission, a model of the statue is on view at the New York Historical Society through August 26. Another program helping to elevate women’s historical contributions to New York is She Built NYC, a new advisory panel put together by the De Blasio administration that’s dedicated to preserving and highlighting female figures in New York from 20 years ago or more. Through the City's Percent for Art program, She Built NYC will select nominated figures for public works projects to go up over the next four years. This fall, the panel will vote on the first submitted nominations, which were collected during an open call this summer. The Department of Cultural Affairs has already committed up to $10 million for these new public monuments. The chosen subject and site of the first project will be announced in January. “There are big gaps in our City’s public art, with few statues of women, trans, and gender nonconforming people,” said First Lady Chirlane McCray in a press release. “The message that lack of representation sends is that these people have no value and did not make contributions to our city. This first step we are taking will help us more accurately show the diversity in the people who helped make New York City so great.” The upcoming Elizabeth C. Stanton and Susan B. Anthony statue will mark the sixth statue in all of New York depicting a female historical figure. The others depict Joan of Arc, Golda Meir, Gertrude Stein, Eleanor Roosevelt, and Harriet Tubman. It will also be the first statue in Central Park’s 840 acres to honor real women. The other 23 statues are of men while the only two female statues are fictional characters Juliet and Alice in Wonderland.
The Central Park Conservancy is embarking on a big fundraising campaign: The nonprofit is seeking $300 million for the care and upkeep of Manhattan’s largest park. The Central Park Conservancy receives only about a quarter of its funding from taxpayers, leaving the other 75 percent to be funded by private donations. Even with a yearly budget of $65 million, many necessary repairs are now long overdue. Its crews must maintain a 693 acres of parkland filled with 20,000 trees. The program is called “Forever Green: Ensuring the Future of Central Park,” and the money it raises will go towards improvements like replacing the pipes in the Conservatory Garden fountain, a new facade for the Naumburg Bandshell, and the restoration of Belvedere Castle. It also seeks to restore Frederick Law Olmsted and Calvert Vaux's original vision for the space, and will focus on on historic features like The Ramble and the North Woods. While upkeep is costly, the Conservancy claims they help generate over $1 billion in economic activity yearly. The park now gets 42 million visitors, compared to 12 million a few decades ago. That booming number of guests has been hard on the park’s infrastructure. Luckily the conservation effort has no lack of donations from residents who have benefited from having the park in their backyard, including $100 million from hedge fund manager John A. Paulson and $25 million from the Thompson Family Foundation. The fundraising effort, having raised $112 million so far, is already more than a third complete.
The Richard Dattner–designed Adventure Playground, one of New York City's most beloved recreational spaces, recently reopened after a yearlong renovation by the Central Park Conservancy. A companion Dattner park, Ancient Playground, underwent extensive renovations in 2009. Despite Ancient's ostensible claim to primacy, Adventure Playground opened in May 1967. Though the playground, at Central Park's well-trafficked West 67th Street entrance, has been popular since its unveiling, adventure playgrounds are an old idea. First conceived by modernist landscape architect C.Th. Sørensen, adventure playgrounds are quirky spaces that engender curiosity and encourages a range of passive and active recreation. In sharp contrast to mass-manufactured playsets, the playgrounds feature tree forts, mounds, tunnels, raw dirt, and water. Adventure playgrounds encourage prosocial behavior like cooperation and planning: children are given tools and materials for contributing to, and reshaping, the space. Emphasis is on calculated risk in a loosely controlled environment. The Land, Europe's newest adventure playground, permits children to use sharp tools and start fires under the watchful eyes of trained play facilitators. In Europe, adventure playgrounds incorporate more natural and found elements, while their U.S. counterparts are more designed. For his playground, Dattner was inspired by Isamu Noguchi's landforms, as well as the work of M. Paul Friedberg, one of the first architects to put the idea of "linked play" into practice. Dattner looked to Noguchi's 1933 proposal for Play Mountain, a block-long sculptural installation that could be used for sunbathing, lounging, and sledding in the wintertime. (Over 40 years later, Noguchi did get to build a playground, of a different design and scale, for Piedmont Park in Atlanta.) As part of a plaza design at the Jacob Riis Houses in the East Village, Friedberg conceived of the playground as an immersive environment, creating mounds, pyramids, and treehouses that would intrigue and engage children. In the 1960s, Central Park was a small forum for the larger fight against encroaching decay that occupied much of the city. Activists and parents, dissatisfied with the quality of the park's play spaces, agitated for the rebuilding of nine of Central Park's 18 playgrounds. With help from a Lauder Foundation grant, Dattner designed five of these. Adventure playgrounds fell out of favor as a growing culture of litigiousness prioritized safety over the risk inherent in the adventure playground's design. Consequently, the renovations align with contemporary standards of safety and accessibility, while restoring features lost over time. The renovation of Adventure Playground is part of the Central Park Conservancy's comprehensive plan to renovate or rebuild all 21 of the park's playgrounds. The grade of the maze will be changed, and railings modified or added. Tunnels that were closed in the 1970s on the conical climber will be reopened, and a new wood climber that aligns closely with the original design will be installed. The water feature will be rebuild, based on its original design. New fences are lower, integrating the playgrounds with the surrounding park. Adventure playground enthusiasts can visit the park's four other adventure playgrounds, as well as the one uptown, in Highbridge Park.
The Metropolitan Museum of Art has announced that David Chipperfield has been selected to "develop a new design for the Southwest Wing for modern and contemporary art, and potentially for adjacent galleries for the Arts of Africa, Oceania, and the Americas, as well as additional operational spaces." In a statement, Thomas P. Campbell, the director and CEO of The Met, said Chipperfield's firm was selected after a year-long process because of its global experience and sense of collaboration. Campbell also noted the firm's extensive museum work, calling it "brilliantly coherent, elegant, and accessible." Chipperfield's team is now tasked with increasing gallery space, enhancing visitor circulation, doubling the Roof Garden, and creating accessible on-site storage. “We are delighted to have been selected for this extraordinary commission," David Chipperfield said in a statement. "During the competition we developed an understanding and fondness for this amazing institution and we look forward to working with Tom Campbell and his colleagues on the development of the design.” While the design process is just beginning, the Met said the renovation will support "a more open dialogue between the Museum and Central Park." The potential impact of this renovation on the park itself could be the most controversial aspect of this project and will surely be closely watched. While construction is underway, the Met's collection will be temporarily moved to the Breuer Building, the former home of the Whitney, which is moving into a new Renzo Piano–designed space near the High Line. The old Whitney building will open to the public next spring as a satellite campus of the Met.
Preservationists watchful as New York’s American Museum of Natural History taps Jeanne Gang for addition
Last year, Chicago-based Studio Gang Architects opened a New York office, and now it is clear they made a smart decision in doing so: the firm has been selected to design a six story addition to the American Museum of Natural History (AMNH) on Manhattan's Upper West Side. The current museum complex is an eclectic jumble of architecture styles, and it's most recent addition is the Rose Center for Earth and Space by the Polshek Partnership (now Ennead). The project is likely to be controversial, as it will encroach on Theodore Roosevelt Park, a small neighborhood park immediately adjacent to Central Park. Preservationists and neighborhood advocates are watching the project closely. "Because the 'plans' announced by the American Museum of Natural History are long on laudatory sounding goals but short on details, Landmark West! (LW) is in a wait and see mode regarding the expansion plan. Once the full details of the plans are known, LW will carefully review them and formulate a response. However, the AMNH's publicly stated intention of encroaching on the surrounding park land is of serious concern to LW. We would prefer that the AMNH use the park land to further the study of natural history and redouble its commitment to conserve it," wrote Arlene Simon, the president of the board of Landmark West!, in an email to AN.
Despite concerns that New York City’s high-end housing bubble is about to burst, the supertall towers that have come to symbolize that upper-echelon of the market keep coming, one after the other. Now, with One57 open, and 432 Park topped off, SHoP’s 111 W. 57th Street—widely seen as the most attractive of the bunch—is preparing to head skyward. As the tower begins its roughly 1,400-foot climb, new renderings and details of the project have surfaced. The new information about the highly-anticipated tower was divulged by Simon Koster, principal at the JDS Development Group, at the Municipal Arts Society's 2014 Summit for New York. CityRealty's 6sqft blog was there and reports back on the latest plans. Along with a floorplan of a typical unit in the building, 6sqft unveiled some new, detailed images of the tower's skin. On its east and west-facing sides, 111 W. 57th, is clad in a terra cotta panels separated by glass, and bronze filigree details. The other two sides of the building are primarily glass—to provide optimal views of Central Park to the north and Lower Manhattan to the south. For residents of 111 W. 57th Street, this presents a conundrum: which view to pick. Just kidding, no it doesn't—apartments take up entire floors. When complete, the tower won't just be one of the tallest buildings in New York, it will be the skinniest skyscraper in the world with a floor plate of only 60 feet by 80 feet.
Archtober Building of the Day #6 Tavern on the Green Central Park West & 67th Street Swanke Hayden Connell Architects The Swanke Hayden Connell Architects team was well represented on today's Archtober tour with Elizabeth Moss, How Zan, and landscape architect Robin Key, principal of Robin Key Landscape Architecture. Our tour focused on the technical aspects of the restoration of the Tavern on the Green. With a detailed look at the removal of excrescences layered on from the 1930s conversion of the Jacob Wray Mould Sheepfold to the Robert Moses Tavern on the Green. Plenty of other architects, in earlier times, have had their hands on this subtle folksy Victorian decorated with polychromed brick, slate, stone, and Minton tiles. Aymar Embury executed the original ’30s conversion from a barn to a restaurant. Even Skidmore, Owings & Merrill had a turn in the 1940s with the Elm Room (mercifully gone!). Thank goodness the original roof trusses are still intact. It is a beautiful restoration, masterfully executed, bringing new life to a site that has struggled in recent years to find its footing. Warner LeRoy went bankrupt in 2009 forcing the restaurant to close until its revival in May, 2014. The jury is still out on the success of its food service component (yes, it’s still a restaurant—and under siege from the foodies), but the architecture is splendid, and you can’t beat the location. The Tavern is definitely an icon of New York, not only because of its totally satisfying Central Park architecture and fantastic location, but also because of the social goings-on it has seen and been host to over the years. John Lennon was a habitué, celebrating first his October birthday, then with his son Sean, who shared the same birthday (October 9, 1940 and 1975). Parties at the Tavern have been the stuff of legends, and we are looking forward to having a chance to make some of our own. Pull up to the grab-and-go for a coffee off the Bridle Path. Dine under the trees with visions of the 200 Southdown sheep that used to blissfully graze in Sheep Meadow. Enjoy! Tomorrow’s tour is of the Virgin Atlantic Clubhouse at JFK Airport.
Cynthia Phifer Kracauer, AIA, is the Managing Director of the Center for Architecture and the festival director for Archtober: Architecture and Design Month NYC. She was previously a partner at Butler Rogers Baskett, and from 1989-2005 at Swanke Hayden Connell. After graduating from Princeton (AB 1975, M.Arch 1979) she worked for Philip Johnson, held faculty appointments at the University of Virginia, NJIT, and her alma mater. email@example.com Her daughter, Emily, is getting married at Tavern on the Green on Saturday, October 11th.
Hedge Two-Way Mirror Walkabout Metropolitan Museum of Art 1000 5th Avenue, New York Through November 2. 2014 One of the great gifts bestowed on New York in the summer is the Metropolitan Museum of Art’s roof garden. You are thrust into Olmsted’s Central Park from a promontory surrounded by the perimeter skyline on all sides. The trick with the rooftop art commissions is to play with the space, the views, and the interrelationships between the two. The goal is to make the viewer see them differently—you want to feel like the rooftop is your personal terrace in the sky while sharing it with others in a magnificent secret shared space. Dan Graham’s Hedge Two-Way Mirror Walkabout plays with what he calls this “leftover space” of rooftop by framing the viewer's “elliptical experience” with various man-made and natural elements: glass, steel, stone, hedgerows, chairs, and ForeverLawn (definitely not AstroTurf). Stepping from the fake grass that covers the rooftop—green mixed with yellow and brown in different blade thicknesses—one climbs almost imperceptibly onto a slightly-raised platform of granite slabs that forms a square. These pavers support a sinuous bisecting slab of steel-trimmed, S-shaped, mirrored glass, a staple of modern skyscrapers, that is supported on the east and west sides by hedges, that, as Graham noted, demarcate property lines. If you enter from the north side, you can gaze through the glass barrier to those on other side and to Central Park South beyond. When you approach from the south side, you are struck by the reflections of the skyline behind. It’s a concave/convex funhouse, where one is constantly catching glimpses oneself. Graham has been working with “pavilions” for a long time, and Hedge Two-Way Mirror Walkabout feels like a more rural version of his much-missed Rooftop Urban Park Project (1991) atop the Dia Center for the Arts on West 22nd Street. You want to sit on the lawn and have a picnic. At the Met, Graham worked with Swiss landscape architect Günther Vogt, who also designed the stainless steel moveable chairs with recycled rubber coating manufactured by Burri. On the museum’s second floor are related projects by Graham which attest to his long-standing interest in architecture and public space. A 20-minute video called Two-Way Mirror Cylinder inside Cube and a Video Salon (1992), commissioned by Dia, investigates atria, shopping arcades, and winter gardens, both historical and contemporary ranging from the Crystal Palace, Galleria Vittorio Emanuele, the Ford Foundation, Citicorp Park Avenue Atrium, Charles deGaul airport, Parc de La Villette, World Financial Center’s Winter Garden, and the IBM Building. Graham narrates, as he does in Two-Way Mirror Hedge Labyrinth (1991), a short video centered on a pavilion installed at a private home in La Jolla, CA, where he muses on the city—how landscape architecture redefines it, how the labyrinth is a metaphor for it, and how two-way mirrored glass’ transparency and reflectivity mimics it. Graham’s concerns with movement and time, human interplay and asymmetrical procession, all take place on a mirrored stage.
In what sounds like a flashback to the turn of the 20th century, curious New Yorkers peered inquisitively at a new horseless carriage model on display at the New York International Auto Show. The old-timey vehicle is actually a high-tech electric vehicle at the center of the heated fight to ban horse carriages from Central Park in New York City. Just feet from the buffed and polished BMWs and Aston Martins, the eight-seat “Horseless eCarriage” made its global debut. The prototype is designed as an homage to brass-era vehicles, with plenty of brass detailing, tufted leather seats, and an over-sized windshield. It even sported some classic books on New York City history tucked into a vintage glove compartment. “My distinct honor and challenge has been to design a vehicle that celebrates the nostalgia and romance of the early 1900s, while eliminating a lot of the not-so great qualities of that time,” said Jason Wenig, who designed the vehicle. He said he took the style of the time, but created a car that has the comfort and technical capabilities of today’s automobile. This prototype was commissioned by New Yorkers for Clean, Livable, and Safe Streets (NYClass), a group which has been leading the charge to ban horse carriages, and just happened to donate $1.3 million to Bill de Blasio’s mayoral campaign. As mayor, de Blasio has pledged to ban the carriages and replace them with something like the eCarriage. But doing so won’t be easy. He’s facing sustained backlash from carriage drivers, the press, locals, and even Liam Neeson who expressed his support for horse carriages in a recent New York Times op-ed. And, for now, all that backlash has reportedly stalled the mayor’s plans. De Blasio still contends that the carriages will be gone by year's end. If that does happen, it still remains to be seen if the over-size wheels of the Horseless eCarriage—or something like it—will follow in the horse’s footsteps.
Mayor Bloomberg and the NYPD gathered yesterday to unveil the newly renovated Central Park Precinct, the oldest stationhouse in the city. According to DNAinfo, the $61 million project included repairs to the crumbling building and a new canopy and glass atrium over the lobby, with the help of Karlsberger Architects.