Posts tagged with "Central Park":

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New renderings and details of SHoP's supertall Midtown tower

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.
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Archtober Building of the Day #6> Central Park's Tavern on the Green

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. ckracauer@aiany.org Her daughter, Emily, is getting married at Tavern on the Green on Saturday, October 11th.
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On View> Dan Graham’s Rooftop Pavilion at the Metropolitan Museum Reflects on Public Space

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.
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Amid Horse Carriage Debate, Nostalgic New Yorkers Ponder a 21st Century Horseless Carriage

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.
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A Spruced Up Central Park Precinct Opens to Public

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.
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Photo of the Day: Central Park Aerial Panorama

We've all become accustomed to seeing aerial photography from apps like Google Maps, but this aerial panorama by Russian photographer Sergey Semonov presents Manhattan's Central Park and its surrounding cityscape with fascinating new detail. The Atlantic found the image, submitted as part of the Epson International Photographic Pano Awards. Created in collaboration with aerial-panorama-makers AirPano, the team photographed the park from a helicopter and later stitched the various images together creating the unique, albeit slightly distorted, view of the city.
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A Spinning Piper Seneca Lands in Central Park

It's a bird! It's a plane! No, it's actually a plane. On the corner of 60th Street and 5th Avenue in Manhattan, a six-seat, twin-engine Piper Seneca aircraft balances on two vertical steel posts positioned at the end of its wings, playfully rotating on its own axis and likely confusing visitors to Central Park. After doing a double take on the surreal scene, find a plaque located nearby and you'll learn that this mysterious aircraft is actually an installation by artist Paola Pivi, whose portfolio includes scenes of zebras on snowy mountaintops and arenas of screaming people. Working with the Public Art Fund, an organization dedicated to present artists’ work throughout New York City, Paola Pivi opened her newest installation featuring the Piper Seneca, How I Roll last Wednesday, June 20th. Like much of Paola Pivi's work, How I Roll challenges the onlookers to broaden their imagination and perceive something that's usually inconceivable in reality. Frozen in a continuous loop-the-loop at ground level, the aircraft dismisses its own identity as a flying machine, floating and spinning effortlessly on the edge of the park. By ignoring its own gargantuan weight and the context of flying high in the sky, plane becomes an object, a sculpture, perhaps finally linking industrial design and sculpture. Just take a look at it spinning in the video above, or, even better, get your own in-person dose of surrealism by visiting Pivi's How I Roll any time day or night through August 26th.
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Central Park Pavilion Restored with Historic and Contemporary Concerns in Mind

Until recently, the only way to enter Central Park's oldest and largest playground was through a chain-link fence. The great Heckscher Playground, impressive in scale and amenities, did not have an entrance to match, but a recently completed renovation to the building has retuned the structure to it's original use with a contemporary twist blending the building's history with contemporary needs. In 1926, an entrance gateway, similar to many classically-adorned brick breezeways in other New York City parks, was constructed concurrent with Heckscher Playground but did not last long. While Fredrick Law Olmstead's design for Central Park provided huge swaths of public space, there remained a need for maintenance areas, and the original entranceway was enlarged and the transversal passage enclosed. The Heckscher Building, with an arched copper roof and flemish bond brick, sat uninvitingly as a maintenance shed at the top of Heckscher Playground until 2004, when the Central Park Conservancy approached several architecture firms with a commission. The Conservancy wanted to retain the enclosed support space while restoring the breezeway entrance into Heckscher Playground. After consulting with several firms, Salam & Giacalone Architects was selected to design the building's renovation. The design posed several challenges to the architects. The Heckscher Building was designated a Scenic Landmark in 1974 as a part of Central Park. Under New York City Law, the "aggregate landscape features" in the park are under the control of the Landmarks Preservation Commission meaning the building with 1936 renovations was protected as well. Because the original playground gate had been significantly altered before landmark designation, restoration of a portal would need to respect both the original 1926 design and the 1936 enlargement while still addressing contemporary needs of the Conservancy. Another primary challenge for the architects was combining the two programmatic requirements: recreating a"portal for the playground" while preserving much needed space for maintenance staff and equipment. To preserve and renovate the exisiting structure, Salam & Giacalone raised the maintenance space to the second floor, opening space in what was once the original 1926 breezeway. The second story is hidden behind the copper roof and accessible by stairs, requiring a steel frame throughout the building for structural support. The Landmarks Preservation Commission, concerned with the appearance of the "relationship of the building to the historic landscape," prevented installing exterior windows on the second floor. To bring natural light to the new space, the architects created a central light-shaft they refer to as an "oculus," which also lights the passageway below. The interior passageway is decorated with ornamental pilasters, modern abstractions of those on the exterior.  
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Quick Clicks> Broken Houses, Tree Mapping, AIA Matchmaker, & Tiny Parks

Objects of Ruin. Israeli artist Ofra Lapid has taken society's obsession with ruin to a whole new level. Inspired by amateur photographs from North Dakota's urban and rural decay, Lapid's Broken Houses series consists of small models of the dilapidated buildings that are re-photographed without their original context. Her work produces an eerie sense of reality set against a stark grey background. Check out more images after the jump. Tree Time. A place for every tree, and every tree in its place. Two maps from New York and Philadelphia are pinpointing the exact location of trees in each city. The Dirt reported that Edward S. Bernard and Ken Chaya have produced an  illustrated map entitled Central Park Entire that seeks to honor the work of landscape architects Frederick Law Olmsted and Calvert Vaux by graphically representing all of the flora and fauna of Central Park. In Philadelphia, the PhillyTreeMap provides a similarly detailed online database that crowdsources each green public and private property. Making Connections. According to the Daily Joural of Commerce Oregon, the AIA will launch an online matchmaking service in September for stalled development projects and their potential real-estate investors in hopes of giving life to long-stalled projects while compiling data that helps identify problem developments. Parklet, PA. Philly is the latest city to jump off the bandwagon and set up a park, joining pavement-to-parks pioneers New York and San Francisco. The city will convert parking spots into miniature parks as a low-cost way to open up green space in University City. Additional parklets could be introduced the upcoming years pending the success of their pilot project.
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Quick Clicks: Ruination, Context, Issues, Movement, Resolutions

[ Quick Clicks> A hand-selected tour of links from around the world. ] Ruination. Mayor Bloomberg received an angry letter in the mail last week from Zahi Hawass, the secretary general of Egypt's Supreme Council of Antiquities. According to the NY Times, Hawass is threatening to take back the circa-1500 B.C. monument if the city doesn't properly care for the inscribed hieroglyphics. Heavily eroded, the obelisk was a gifted to the United States in 1869 to celebrate the completion of the Suez Canal. Out of Context. After last week's unveiling of the Broad Art Foundation in Los Angeles, NY Times architecture critic Nicolai Ouroussoff penned a rather scathing critique of of the Diller Scofidio + Renfro designed museum. Among his jabs was a note that the design was out of context to LA's landscape of freeways and sprawl causing Charles Siegel (Preservation Institute Blog) to wonder whether it's appropriate to build to the context of autopian sprawl. Planning Issues. Planetizen has compiled a list of 2010's "Top Planning Issues." Last year was great for renting, bikes, and China but not so hot for city finances, McMansions, or free parking. Movement. The Sydney Morning Herald weighs in on Frank Gehry's recently unveiled UTS building in Sydney, and architect Elizabeth Farrelly raises her concerns. "It's not a choice between the dull box and the exuberant PR-driven sculpture. There is a third option: architecture. We deserve it." (Via ArchNewsNow.) Resolutions. Chicago is going on a road diet. The Chicago Tribune says the city will undertake the traffic experiment on a mile-long stretch of Lawrence Street. The four-lane road will be trimmed down to three lanes with widened sidewalks, landscaped islands, and, of course, bike lanes. While Chicago has already slimmed down nearly a dozen other neighborhood streets in recent years, this example is the first time it's being done on a major arterial road. Construction will begin next year if funding comes through.
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James Gardner Goes Gaga for Central Park Kiosk

As editors ourselves, we know writers don't usually write the headlines. Still, we were struck by one atop a recent review by our friend and sometimes contributor James Gardner in The Real Deal, which declared, "Central Park's Le Pain Quotidien ranks as one of the best things about New York City." You don't say. And yet, for all the hyperbole, the guy's got a point:
Properly understood, the opening of Le Pain Quotidien, deep in the heart of Central Park, represents one of the most momentous changes to the park in half a century. This highly respected Belgian purveyor of fine breads, salads and soups now has 21 stores in the city, but none of them is as delightful as its newest, on the northern edge of Sheep Meadow. [...] Once it had been far otherwise. For the structure you see today is really a replacement for a lovely Moorish pavilion designed by Jacob Wrey Mould in the 1860s. Known as the Mineral Springs Pavilion, it offered up a variety of salubrious waters to the thirsty citizenry. But with his habitual philistinism, Robert Moses, the once all-powerful parks commissioner, demolished Mould's vision and in its place he erected the unprepossessing structure you see today. For more than half a century it presented itself to the world as nothing more than a narrow concession area looking east, its vague interior filled with storage space for the park department's sundry fences and gardening paraphernalia. The revelation of the new Pain Quotidien starts with the fact that it fully occupies and opens to the public the interior spaces of the pavilion, which turn out to be far vaster than one ever imagined. Like most of this brand's interiors throughout the city, and indeed the world, the present space is adorned with pale woods in the French provincial style, a fully stocked bakery and a long, communal table, as well as individual tables.
For it's true, nothing improves the taste of a fresh tartine, or most things in life, like being at the park.
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Pop-Up Hadid

“Don’t panic, don’t wander off…. Open my bag, as they say in French…” Thus begins the audio-tour of the Chanel pop-up architecture pavilion designed by Zaha Hadid and launched this morning in Central Park (Fifth Avenue and 69th Street). The throaty dominatrix on the tape could have been Zaha herself, but is actually the ageless actress Jean Moreau.

The installation is a fine example of the collapse between art and commerce that architecture feeds into so well. Zaha’s billowing pod with entrances stapled into the base offers an almost too inner-uterine experience as visitors glide around slick white fiberglass folds detailed in padded black leather and across scarlet, maroon, purple, and aqua glass tiles blooming into high-kitsch floral patterns. “Don’t go up the stairs,” the voice commands.

In another unfolding folded space, art works—that is, installations inspired by “an iconic accessory”—are on display, including a gigantic purse with a fur-lined interior and an open compact (pace Meret Oppenheim). Other works show erupting pearls, ingested gold watches, and perhaps inevitably swings suspended from the gold roping handle of the famed Chanel quilted bag.

The pavilion itself is by far the most accomplished interpretation of Chanel’s power to be seductive, and temptingly threatening at the same time. And do go up those stairs.