During the height of rush hour this morning, a construction crane collapsed on Worth Street between Church Street and West Broadway in Tribeca, mere blocks from AN's New York headquarters. One person is dead and three others are injured in a collapse that occurred around 8:25 AM, the FDNY reports. The collapsed crane also damaged surrounding buildings and crushed cars parked on the street. As firefighters, police, and personnel from the NYC Office of Emergency Management (OEM) assess the scene, there is no 1 train service at Franklin and Chambers streets until further notice. The OEM notes that there will be significant gridlock surrounding the affected block. https://twitter.com/FDNY/status/695622838988963840 Sadly, the accident today is not the first New York crane collapse in recent memory. Bay Crane, the Queens–based company that owns the crane, was also implicated in a 2015 crane collapse that injured ten people in Midtown, The New York Post reports. New York Crane and Equipment Corporation's crane collapsed on a Long Island City job in 2013, injuring seven.
Posts tagged with "Construction":
James S. Russell has been appointed the Director of Design Strategic Initiatives at the New York City Department of Design and Construction. Leading a research team, he will help the agency to build its already impressive capacity to deliver equitable growth through environmental sustainability and resiliency.
Russell has been a long-time critic, journalist, and consultant on architecture and evolving cities. He has written most recently for The Economist, New York Times, and Wall Street Journal. He was for nine years the architecture critic at Bloomberg News and an editor in several capacities at Architectural Record. He has also practiced architecture with several firms and was made a fellow of the American Institute of Architects. Russell also authored The Agile City: Building Well Being and Wealth in an Era of Climate Change. "As urban challenges grow and diversify, I have gotten an itch to become involved in many of these issues in a deeper, more hands-on way,” Russell told AN. "The DDC challenges me to ‘walk’ my years of journalistic 'talk.’ It is an extraordinary opportunity.”
Despite a smattering of gray skies, Chicago inaugurated another stretch of its revamped riverwalk this Memorial Day weekend, and visitors were eager to explore the newly expanded public space. Kayakers, pedestrians, locals and tourists alike came to check out the partially opened project, which will remain under construction through the summer. Along with Ross Barney Architects, Benesch, and Jacobs Ryan and the Chicago Department of Transportation, Sasaki Associates led design on the project—a major component of Mayor Rahm Emanuel's bid to rebrand the Chicago River as the city's “second shoreline.” Work began in 2013, and many of the storefronts built along the riverwalk's newest section—from State Street to Clark Street—still await tenants. Construction work continued right up until opening day.
https://twitter.com/DillonGoodson/status/603226446484656128 https://twitter.com/MASContext/status/602684099443105792 https://twitter.com/chrisdmerritt/status/602313220930560002 https://twitter.com/mdsmith577/status/602261780560277504 Curbed Chicago rounded up some more photos of the riverwalk from this weekend.
Developers Related completed its resurrection of 111 West Wacker Drive earlier this year, opening a luxury rental tower on the Chicago River where for years stood a ghostly concrete frame left over from a previous owner's attempt to build. The site was originally intended to house the first Shangri-La Hotel in the U.S. Four years after the recession halted construction with just 28 stories of structural skeleton complete, Related broke "ground" again, this time planning about 60 stories and about 500 luxury apartments. That redevelopment finished up this summer, opening in July. About 60 percent of the units have since been rented, said Related spokeswoman Tricia Van Horn. Renting is the only option for the 504 units, which range from 575-square-foot studios to three-bedroom, three-bath residences of 2,400 square feet. They cost anywhere from $2,395 to $11,500 a month for one of the four penthouses. OneEleven's segmented construction led to some interesting design adaptations. Having scaled back from pre-recession ambitions, the new owners stacked a smaller building on top of the 28-story base, bifurcating the floorplate and creating some interesting outdoor spaces where the Shangri-La plan juts out at the 28th floor. A recessed zig-zag in the facade references datum lines of nearby buildings and alludes to the unusual construction history while shielding the transition between its disjointed floorplans. Views from outdoor “Club OneEleven” down Clark Street are spectacular, if marred a bit by the building's neighbor to the south. But rather than cram lower south-facing floors with low-light apartments, Related conceded that space to back-of-house, building systems and some amenities. The luxury rentals are targeted to “people who are really interested in having an urban life,” Van Horn said, underscoring the building's singular position in this section of the Loop not typically known for residential developments. Take a look inside OneEleven with these photos by Scott Frances.
StructureCraft fabricates an orchid-shaped roof that supports vegetation and Living Building Challenge principles.After serving patrons at one of Vancouver’s oldest botanical gardens for nearly 100 years, the VanDusen Gardens Visitors Centre had fallen dangerously into disrepair. Perkins+Will Canada conceived of a new, orchid-shaped center that meets CaGBC’s LEED Platinum ratings, and is the country’s first structure to target the International Living Building Challenge with features like geothermal boreholes, a 75-square meter photovoltaic array, and a timber roof that supports vegetation. To help fabricate the wooden structure to Perkins + Will Canada’s vision, the team contracted StructureCraft, a Vancouver-based design-build studio specializing in timber craftsmanship and structural solutions. Initial designs for the 19,000-square-foot building were delivered to StructureCraft as Rhino files. The uniquely shaped rooftop, which mimics an outline of the indigenous British Columbia orchid, had to be economically fabricated in a way that took net carbon effects into account. Within Rhino plugins—mainly Grasshopper—and with the help of strucutral engineers Fast + Epp, the StructureCraft team sliced the shape of the building into 71 long, curved panels of repeatable geometries. “Each curve is unique, so there’s a different radii for each beam,” said Lucas Epp, a structural engineer who worked on the project. “We optimized the global geometry of the roof so the radii of all the beams were in our fabrication tolerances but still achieved the architect’s desired aesthetic.” Also within Rhino, the team integrated all of the building’s services into each of the panels. Since much of the piping and wiring for other trades like insulation, sprinklers, and electric utilize flexible formats and conduits, modularizing the panels significantly reduced site time from months, to weeks. And to protect the wooden structures, moisture barriers and closed-cell thermal insulation were applied throughout. The parametric model was then imported to Solids modeling software to develop a bespoke fastening system. StructureCraft used jig and table sawing methods to mill panels of Glulam, chosen for its flexibility and strength. Timber battens were affixed as cladding in sizes that were thin enough to naturally accommodate the curves of each panel. Solid timber support columns, carved on StructureCraft’s in-house lathe, taper at both ends to Perkins + Will Canada’s design specifications. Business development engineer Brian Woudstra, who worked on the project, attributed the accuracy of fabrication and the speed of installation to the expansive capabilities of parametric modeling. “We could model every joist, Glulam panel, and ceiling batten to help with conflict detection and feasibility,” he said. “We always prefabricate our projects in our shop, so it’s like a kit of assemblies that all clicks into place.”
Numbers are staying strong. AIA's Architecture Billing Index for the month of June has revealed steady, but positive growth. The June ABI score of 51.6 reflected only a slight drop from May's score of 52.9, and still indicates a general upswing for the non-residential construction industry. More projects will likely be on the horizon. The new projects inquiry index reported a significant climb in numbers to 62.6 from 59.1 the previous month. “With steady demand for design work in all major nonresidential building categories, the construction sector seems to be stabilizing,” said AIA Chief Economist, Kermit Baker, in a statement. “Threats to a sustained recovery include construction costs and labor availability, inability to access financing for real estate projects, and possible adverse effects in the coming months from sequestration and the looming federal debt ceiling debate.” Across the country, the numbers were generally up with the exception of the West, which experienced a slight dip to 51.2 from 52.1 in May. It was, however, a particularly robust month for the Northeast which came out with a score of 55.6. The South also finished strong with an uptick to 54.8 from 50.9 last month in June. And even the Midwest saw progress with a score of 48.3. All sectors remain on solid footing but institutional has slowed down a smidgen: commercial / industrial (54.7), multi-family residential (54.0), mixed practice (52.4), institutional (51.8).
Back in October 2010, ground was broken at 19 Park Place—which also has frontage on Murray Street directly across from AN's office. As Curbed reported nearly three years ago, the 25-foot-wide site was set to be the home of the Tribeca Royale, a futuristic, 21-story condominium tower designed by New York-based Ismael Leyva Architects and developed by ABN Reality. Signage on the construction site and a press release that landed in our mailbox today assure that the project is still going forward as planned, but a peek out of the office window confirms that progress on this Jetsonian tower has been moving at a stone-aged pace. Ismael Leyva Architects' design fits 24 residences into a 292-foot tower on the narrow site. The upper 11 floors contain full-floor units, with duplexes on the 7th and 8th floors. Every unit will feature windows on Park as well as Murray. The 53,000-square-foot project also includes a double height lobby, gym, residents’ lounges, and ample terraces. “Our goal with the Tribeca Royale was to create a state-of-the-art residential building that showcases unique urban design given the constraints of the site, while efficiently maximizing space,” said Ismael Leyva in a statement. “This design offers unique residences in a very desirable downtown location” While AN eagerly awaits its shinny new neighbor, it seams like construction crews have been doing more digging than building over the past few years. A worker on site confirmed that problems with the foundation have been the cause of the delay, but with activity on the site seemingly never ceasing, one can assume that something must be going up soon.
Grimshaw has released a video in which firm partner Mark Middleton along with several members of the project team take viewers to the construction site of Pulkovo Airport in St. Petersburg, Russia. Appearing in and around the cavernous terminal, which will one day service 17 million passengers per year, the architects break down the cultural and geographic inspirations behind the design (golden onion domes, the city's islands and rivers) as well as its environmental and structural considerations (low-angle sunlight, expressive steel vaulting). The result is as clear and concise a description of the motivations and preoccupations of contemporary international architecture as can be found anywhere.
On Friday we revealed Francois Perrin's precariously-situated house, a sleek stack of glass boxes embedded into the Hollywood Hills on a concrete base. Terrain aside, the project is stunning for its views of the city, for its glassy connection between indoor and outdoor space, and for its minimal lines. Perhaps even more amazing, though, is how the house was built in the first place, requiring crews to literally move mountains and dangle from cables off the side of a ravine. To reveal the process beneath the building, AN compiled a slideshow of the work in action.
Who builds your architecture? "Not architects," said Reinhold Martin. "By definition, architects do not build; they make drawings, write contracts, and do all these other things." At New School's Vera List Center on May 3, a roundtable facilitated debate and speculation on the rights of the lesser-discussed "workers" that make architecture happen. Organized by Kadambari Baxi, Mabel Wilson, and Beth Stryker, in collaboration with The New School's Vera List Center for Art and Politics, the discussion focused on Dubai and the Middle East, but the implications of these issues are felt world-wide. Reports of widespread worker abuse in global projects in developing countries are common now, and the panel sought to shed light on these sometimes horrific problems. Reinhold Martin, author of The Organizational Complex: Architecture, Media, and Corporate Space, moderated the panel consisting of sociologist Andrew Ross, architects Peggy Deamer and Fred Levrat as well as Human Rights Watch senior researcher on the Middle East Bill Van Esveld. The problem is that the high cost of architecture is often offset by the low cost of labor. Big name architects often continue practicing despite the possibility of potential human rights abuses. Nicolai Ouroussoff said that Steven Holl Architects' Vanke Center in Shenzhen, China "demonstrates what can happen when talented architects are allowed to practice their craft uninhibited by creative restrictions (or, to be fair, by the high labor costs of most developed societies)." There are reports that workers immigrate from one country to another, are misled into jobs that they did not sign up for—jobs that pay much less than they were told—and they sign contracts that make them essentially indentured servants, as they cannot quit due to immigration and labor laws. What are the responsibilities of the architect in this scenario? Deamer feels that the problem is two-fold. It is a problem of the owners, not the architects. The owner has the power to change how things are done. What architects can do is think of everyone as a designer, from the fabricator to the bricklayer. Then, architects start to see themselves as workers, not as annointed ones. Everyone is equal. Ross agreed. "The creative profession has been degraded...we are no longer in control," he said. His work with the Gulf Labor Coalition has been to pressure NYU, the Guggenheim, and the Abu Dhabi Government into fair labor practices at sites in the Middle East. He said that often architects do not respond to his pleas to cooperate with human rights groups and unions. These are often difficult situations, with clients' interests and authoritarian states making the contracts, making activism more complicated. Schools are implicated, too. Often schools teach students how to subvert union labor, or at least they teach that architects cannot have a say in this debate. Does "Who builds?" come down to criticism? By using the word "starchitect," a term Martin prefers not to use, critics are not only elevating them above the realm of "service" or labor, into "anointed ones," using Deamer's term. These architects often cannot even pay their own employees a fair wage, so how would we expect them to care about workers half-way around the world? The panel raised many initial questions, while searching for answers. Will solutions come from architects, or are they impotent to change anything, given their role within the forces of capital? Will change come from an engaging conversation aimed at clients? Or will this be a student-led movement? From the tenor of the discussion, what is important is that we are finally talking about these issues, and that these abuses are being brought to light.
Carlo Scarpa: The Architect at Work The Arthur A. Houghton Jr. Gallery The Cooper Union 7 E. 7th Street Through April 21 A collection of hand drawings and photographs of work by renowned postwar Italian architect Carlo Scarpa is on view for the first time in New York. The exhibition depicts the conception and realization of two major works, the renowned Villa Ottolenghi (Bardolino, Verona, 1974–79) and the Il Palazzetto series of imagined interventions in a 17th-century villa (Monselice, Padua, 1969–78). Scarpa is renowned for his poetic expression of space through the use of materials and ornamentation, and visitors to the gallery will witness the architect’s development of spatial ideas through 22 original hand drawings of Villa Ottolenghi and 11 of Villa Il Palazzetto. Reproductions of historical photos taken of the Villa Ottolenghi before it was completed as well as recent and historical photos of Scarpa’s work at Villa Il Palazzetto are included, along with reproductions of his drawings for the Museo di Castelvecchio and the Museo Nazionale dell Arti del XXI secolo.
Mapping Visage. Canadian artist Ingrid Dabringer has attracted attention for her unique map paintings, finding countenances in irregular land masses. The artist explained that she draws inspiration from large-scale topography and lines on detailed maps. Dabringer believes that maps hold meaning and by adding her own touches, she seeks a more personal interpretation within a traditional tool. More at Core77. In Situ Study. Recently on Building Design, third-year architecture student Jonathan Brown posed the following question, “Do architecture students today focus too heavily on design theory and practice and consequently, neglect construction skills that cannot be taught in a classroom?” Not alone in his query, the latest RIBA (Royal Institute of British Architects) “Part of the Picture” campaign permits graduates to credit three months of on-site experience toward their education. Now and then. Technology and the internet have transformed the way we preserve and promote history, particularly our photographs. Trendcentral highlighted three exciting websites: Historypin, where users can upload historic photos and search geo-tagged photos by time, period, and address; Dear Photograph posts reader-submitted photographs of historic photos in context; and the Flickr group, Looking into the Past, includes a diverse range of historic-current photo collages. Troubled Bridge over Water. Conservationists and architects have rejected the Venetian superintendent’s call to replace the historic Ponte del Accademia with a glass and steel substitute, reported Building Design. Although architects Schiavina of Bologna have incorporated an Istrian stone version of the iconic bridge’s gentle arch in their design, prominent art critic Francesco Bonami has dubbed the plans a “bad crash.” Plans remain on hold while the city seeks funding for the €6 million design.