Affordable housing has been a critical part of New York City Mayor Bill de Blasio’s agenda since taking office, promising to create or preserve 200,000 affordable units over the next decade. At a press conference last week, the mayor announced that his administration has made headway toward achieving this ambitious goal, financing over 17,300 affordable homes in the last year (whether his predecessor, Mayor Michael Bloomberg, should have received some credit for this accomplishment has spurred debate). But even with this good news, the demand for affordable housing continues to grow. To help fix this shortage, the administration might want to take a cue from Dutch developer, Heijmans ONE, which has come up with its own win-win idea for alleviating the housing crunch in the Netherlands: putting vacant land to good use with temporary, portable housing. Heijmans ONE designed a one-bedroom prefab house that can be easily assembled in just one day. The house, which rents for 700 euros or $900, kills two birds with one stone: provides an affordable dwelling and activates empty land while construction is stalled on a project. These sleek, pentagonal-shaped homes are designed to have a small carbon footprint, using sustainable wood and solar panels. Once constructed, the house can be connected to the city’s water and sewage, but also designed to operate off the grid. New York City, with its paucity of affordable housing and glut of vacant land, could benefit from this model. Mayor de Blasio and the Department of Housing Preservation & Development have already started rolling out a plan to develop over a 1,000 city-owned properties. In the meantime, why not bring some temporary, affordable housing to sites waiting for long-term development?
Posts tagged with "Housing":
With the great big residential boom in Brooklyn, the typical housing stock (brownstones, apartment complexes, and the like) has grown scarce steering developers to set their sights on the properties most readily available and ripe for conversion: churches, schools, banks, hospitals, libraries, and even municipal buildings (who needs amenities or services, anyway?!). Now, two of Brooklyn’s landmarked movie theaters—The Brooklyn Heights Cinema and Park Slope’s Pavilion Theater—have been scooped up by different developers who have proposed residential conversions. The Pavilion Theater, with its Moorish brick facade and old-fashioned marquee, first opened in the early 20th century and has had several incarnations, first as the Marathon Theatre, and then as the Sanders Theatre in in 1928. The historic cinema, however, has seen better days: According to 6sqft, the interior, which does not have landmark status, is in ramshackle condition, and has been said to have had a bed bug problem in the past few years. Developer Ben Kafash, who purchased the theater three years ago, plans to revamp the building and transform it into housing. New York City firm Architecture Outfit released two schemes, perhaps in anticipation of an obligatory review by the Landmarks Preservation Commission at some future date. One proposal turns the theater into a 6-story residential apartment complex (preserving the facade), building new apartment units facing the circle, Bartel-Pritchard Square, and adjoining a row of contemporary townhouses, outfitted with protruding windows, along 14th Street. The second scheme keeps the entire theater and replaces a one-story building at 190 Prospect Park West with new construction. The one-story, white brick building, formally housing the cozy Brooklyn Heights Cinema, has been sold to local developers Madison Estates and JMH Development for $7.5 million. The theater closed its door this past August and had been in operation for over four decades, way before Lena Dunham was buying up property in the historic neighborhood. While the new owners have yet to reveal plans for the modest structure, the Daily News said it is likely to be converted into a low-rise condo or condo building. If Brooklyn Heights residents want to see a movie, they will just have to mosey on down to DUMBO where the two-screen movie theater is moving to.
The style of architecture known as "mid-century modern" is a cousin to the "International style." A popular combination of European stylistic tendencies and domestic American influences, including furniture design, it has become an influential catch all term for distinguished post-World War II structures and commercial tract homes (like the Eichler Homes). While the style has become widely popular in lifestyle magazines like Dwell and even replicated in new suburban developments, the original homes are being regularly torn down and being replaced with bloated McMansions that have shoe closets the size of the former mid-century living rooms. But the style has a huge following and a number of organizations to highlight and preserve is monuments. Docomomo has been in the lead highlighting these structures and Palm Springs was one of the first city to host a "modernism week." The latest city to create a week of activities devoted to the style is Sarasota, Florida, which along with Palm Springs and New Canaan, Connecticut, were experimental centers of the style. The Florida city also had a gifted number of architects working in the style: Paul Rudolph and his early mentor Ralph Twitchell, Gene Leedy, Victor Lundy, Tim Seibert, and Carl Abbott. The four day event of lectures, city and house tours that took place this fall was a model of how a community can highlight its unique but disappearing history. The week was created the Sarasota Architectural Foundation (founded by Martie Lieberman, a realtor who specializes in the style of homes) which is trying to promote the city's modern architecture. It hopes to raise awareness of the style so its buildings can be preserved, updated, and even become a model of a future architecture that is more responsive to needs and demands than the typical McMansion. Sarasota prides itself on its modern history and was a unique crossroads of culture, commerce, and environment after World War II that helped birth this style. The week also highlighted the fascinating figure of Philip Hiss III who moved to the beach community in 1948 and became a major figure in the community. He was chair of its education department (which commissioned Paul Rudolph to design two high schools) and a developer of the modernist community Lido Shores. The Foundation is hoping to make their week an annual affair and the area has the modern assets to make it work.
Architects, perhaps more than any other professional group, understand property and real estate and the role it plays in the construction of buildings. But it's not often talked about it in their monographs or symposia where they prefer to speak about their designs as internally generated or part of a closed history of architecture. A new website, House Housing: An Untimely History of Architecture and Real Estate, from Columbia University's Temple Hoyne Buell Center for the Study of American Architecture, hopes to help foreground the importance of real estate in the design, development, and construction of buildings. House Housing will attempt, as it grows in content and reach, to focus on the repetitious themes, tendencies, and actions of property relations on which architecture rests. Finally, it will broaden these themes by locating housing at the center of the current economic regime, with the United States as an influential node in a transnational network. This website could not be more timely or needed as a reference point in the discussion between real estate and architecture. Have a look!
Philip Johnson’s only Dallas residential design, The Beck House (1964), has hit the market with a $27.5 million asking price. Current owners Naomi Aberly and Larry Lebowitz—who famously hosted President Barack H. Obama twice within the home’s white walls at fundraising events—recently spent seven years conducting a detailed modernization and renovation of the modernist palace, as well as a re-landscaping of the 6.45-acre park that surrounds it. Dallas firm Bodron + Fruit touched up the architecture, including adding a pavilion beside the new pool, while Massachusetts-based Reed Hilderbrand worked on the grounds.
Preservation and new development are often at odds, but sometimes Chicago has its cake and eats it, too. Case-in-point: the Harriet F. Rees House, a landmark on both local and national lists that happens to share an address with an arena and hotel complex planned for the South Loop. The Rees House is currently the only building on the 2100 block of S. Prairie Ave., but on Tuesday it begins its two day journey 600 feet north to 2017 S. Prairie Ave. The Metropolitan Pier and Exposition Authority (McPier), a semi-public entity that oversees Navy Pier and the McCormick Place Convention Center, sued to gain control of the property earlier this year. Now McPier is paying $6 million to move the remarkably well-preserved 19th century townhouse to make room for a Pelli Clarke Pelli–designed arena for DePaul University that is expected by the end of 2016. They will also pay $1.9 million to acquire the land and $450,000 to compensate Rees house owner Sam Martorina for loss of use of the property during the moving process this summer, reported Crain's Chicago Business. This feat of engineering will clear land in the South Loop for a series of developments including a hotel, office space and an arena that the city has agreed to help finance with public tax benefits—not without controversy—because it is intended to boost economic activity associated with the massive convention center. Construction firm Bulley & Andrews is working with Wolfe House Building & Movers to roll the 762-ton house up the street, employing massive dollies and a steel exoskeleton to stabilize the historic structure during its journey. The wheeled dollies are semi-automated and will begin the move Tuesday morning. The Rees House is expected to arrive in its new location by Wednesday afternoon. A webcam will monitor the move here. Built in 1888, the three-story brick and limestone mansion won recognition from the national register of historic places in 2012. It was built for the widow of real estate pioneer and land surveyor James H. Rees, and remains a well-maintained example of Romanesque Revival architecture. Impressive though the move is, it's not the only time Chicago has heaved hefty buildings instead of opting for demolition. As Josh Mogerman wrote for Chicagoist earlier this year, Chicago's oldest house—the nearby Henry Clarke Mansion—was lifted and relocated twice. Much of Chicago itself was hoisted hydraulically as the booming city overwhelmed its swampy foundations. The Rees House will be registered once again as a national landmark at its new address—assuming it gets there in one piece.
Today, AN reported on Detroit's lone house designed by architect Paul Rudolph called the Parcells House. According to our article, "The waterfront home faces Lake Saint Clair and was designed to give waterfront views to almost every room. As the home sits on a lot at the end of a cul-de-sac where heavy plantings and trees cover the driveway and maintain privacy, it is, for the most part, only viewable by boat." Check out a slideshow of the inside and outside of the house below and be sure to learn more about the property, currently on the market, over here.
Home: My San Francisco AIA San Francisco Center For Architecture + Design Gallery San Francisco Through October 31 Home: My San Francisco is an exhibition designed by Julie Blankenship in collaboration with photographer Julie Sadowski examining the rapidly evolving design of domestic space in response to changing views of identity, family, work, life, technology, and sustainability. The show captures the narrative environments contained within the city’s indoor and built environments through photographs, supplemented with an online collection of images, interviews with residents, architectural drawings, and texts. Contents span a wide variety of architectural styles and neighborhoods, including single-family homes, contemporary renovations, cohousing, and multi-family residences. A few of the examples are Curran House, high-density affordable housing in the Tenderloin by David Baker Architects; Embassy in Lower Haight, an example of creative cohousing and the home of Reallocate.org; and a mid-century Forest Hills mansion built for baseball hero Willie Mays by Al Maisin.
In 1948, Paul Rudolph was residing at the American Academy in Rome. He had traveled there to study classical architecture, but was instead spending his days designing modern houses for Sarasota, Florida. In fact, Sarasota, according to Timothy Rohan who has recently published a monograph on Rudolph, made a huge impression on the architect and defined his work for the rest of his career. He had moved there to apprentice and work for the local architect Ralph Twitchell, who in the 1940s helped create a style of modern house that eventually became known as the Sarasota school. The sleepy seaside village had become like Palm Springs, California and New Canaan, Connecticut—a laboratory of modernism—because, as Rohan explains, its "cultured winter time residents were open to architectural experimentation in their second homes." From October 9–12, 2014, the Sarasota Architectural Foundation, will be staging “SarasotaMOD Week[end],” a four-day celebration of the region’s iconic mid-20th-century architecture, particularly its oceanside houses and famous public schools. Leading architects, designers, historians, and authors like Carl Abbott, John Howey, Joe King (co-author of Paul Rudolph: The Florida Houses), Lawrence Scarpa, Tim Seibert, landscape architect Raymond Jungles, and author, critic, and filmmaker Alastair Gordon will explore the ongoing impact of this movement through presentations, panel discussions and tours. For more information and to register for the weekend, click here.
Thomas Gluck, of GLUCK+, has built himself one heck of a vacation home in upstate New York. The glassy residence, known as the Tower House, is separated into two main volumes: a transparent, three-story vertical column that is defined by a bright, yellow stairwell, and a horizontal living space that cantilevers 30 feet above the ground. The firm described the project as “a stairway to the treetops.” To minimize the home’s footprint, Gluck kept the vertical column narrow quite narrow, only allowing space for a small bedroom and bathroom on each floor. The larger living area is placed up within the horizontal section, which offers panoramic views of the Catskills. To further camouflage the structure within the surrounding environment, its exterior is partially clad in a “dark green enameled back-painted glass” that reflects the trees. “Tower house is part of the canopy,” explained the firm in a video about the project. "A gesture as whimsical as it is rational.” [ht 6sqft.]
George Lucas is making architectural waves again. And it has nothing to do with a museum. In 2012 AN reported that Lucas had torn down 3389 Padaro Lane, a 1981 Modernist masterpiece on the beach by sculptor and architect Sherrill Broudy in Carpinteria, just east of Santa Barbara. Now he's finished the replacement—designed by Appleton & Associates. And let's just say it's less of a masterpiece. Featuring colonial detailing and a wrap around porch, it looks like it would be more at home on the East Coast than on the West. Los Angeles architect Tom Marble (who previously wrote about the house for AN) described Lucas's new abode as "Cape Cod Light, an invasive non-native systematically destroying a strain of modernism that evolved in this part of Carpenteria." Built in 1981, 3389 Padaro—known in the area as the best house on the beach—was one of just a few buildings designed by Broudy, who had initially worked as a sculptor. That background allowed him to create wood and copper detailing that gave the compound a warm, and somewhat Asian aesthetic. His excellent eye extended throughout the site, where he laid out a gym, an art studio, and a lap pool in such a way as to create a tropical oasis. Appleton has not yet posted the home to its web site, which is unusual since it's shared homes by David Zucker, Mitch Glazer, Phil Gersh, and other Hollywood A-listers. Lucas is busy talking with much more contemporary-style architects for his Chicago endeavor, including MAD and Jeanne Gang.
Blair Kamin convened a panel of designers at the Chicago Architecture Foundation last Wednesday for a discussion around themes explored in his recent series “Designed in Chicago, Made in China,” in which the Chicago Tribune architecture critic assessed the effects of that country’s rapid development on urbanism and design. “It’s often said that architecture is the inescapable art,” Kamin said to lead off the talk. “If that’s true then China’s urbanization is the inescapable story.” Joining Kamin were Jonathan D. Solomon, associate dean at the School of Architecture at Syracuse University; Thomas Hussey of Skidmore, Owings & Merrill; Ralph Johnson of Perkins + Will; and Silas Chiow, SOM’s China director. The event was part of the Tribune's "Press Pass" series. If you haven’t read Kamin's series, you should. It examined contemporary Chinese cities and some U.S. designers thereof, giving special attention to trends in three categories: work, live, and play. Photographer John J. Kim illustrated with visuals. “In regards to street life and public space,” said SOM’s Hussey, “there can be a lack of an attitude towards it.” Long Chinese “megablocks” in Shanghai’s soaring Pudong district facilitate an urbanism not on the street, which few Americans would find walkable, but it has given rise to a kind of vertical urbanism within mixed-use towers and urban malls. Hussey pointed to SOM’s plan for a new financial district in the port area of Tianjin, China’s fourth largest city, which seeks to restore the street life present in Chinese cities before rapid modern development. And while Chinese cities are growing up, they’re also growing out. Ralph Johnson of Perkins + Will reminded the audience that in the absence of property taxes, Chinese municipalities make money for new development by selling off land. That creates a ripple effect of rising property values and a pressure to sell that is devouring arable farmland. That trend’s not likely to slow down, said SOM’s Silas Chiow, since part of China’s national strategy to turn the largely manufacturing nation into a consumer country is to continue its rapid urbanization. That pressure helped produce China’s enviable mass transit systems and light rail connectivity, but also a homogeneity of design that some have called dehumanizing. Height limits, uniform standards for south-facing units and other design requirements that by themselves improve standard of living can breed sprawling, cookie-cutter developments that are easy to get lost in. Still, housing projects in China don’t carry the social stigma that they do in the U.S., commented a few panel members, in part because they’ve brought modern amenities to so many. Where China’s urbanization goes from here, however, is an open question. Images of smog-choked skylines remind some of Chicago in 1900, but the situation is not a perfect analogue. For one, the problem of carbon pollution is far more urgent now than it was then, and its sources far more potent. “Will China be the death of the urban world,” asked Kamin at the panel’s close, “or its savior?”