While everyone was distracted by Monday's BIG news on the High Line, SHoP unveiled a three-tower complex on the waterfront in Long Island City, Queens. The tallest tower, at 45-40 Vernon Boulevard, will be 28 stories, with 296 residential units. The three towers will ring the Anable Basin, a human-made inlet off of the East river. The towers will sit ten blocks northeast of SHoP's Hunters Point South, a two-building, 900-unit development with 20,000 square feet of retail, where tenants love Airbnb-ing their taxpayer-subsidized pads. The development is part of a master plan to revive the Anable Basin (also known at the Eleventh Street Basin), site of the former Pepsi-Cola bottling plant, with public waterfront access and a refurbished pier. The towers, real estate blog 6sqft reports, will mostly replace the current building on site, 69,550 square foot Paragon Paint Factory, now defunct. The site, currently zoned for manufacturing, will require a zoning variance to build residential. There will also need to be environmental remediation performed on the land. The tallest, central tower partially cannibalizes the rear of the factory, rising into a decidedly non-industrial 300-foot-tall glass wall. Future residents will have expansive views of Manhattan and the East River. The two smaller towers, at 45-24 Vernon Boulevard and along 45th Road, will be copper clad at the base with angled windows on the upper stories to maximize views of the cityscape. The towers will rise 14 stories and eight stories, respectively. No word yet on the project's groundbreaking or expected completion date.
Posts tagged with "Long Island City":
Remember the Battery Park City wheatfield? Conceptual artist is back with a horticultural pyramid in Queens
[Editor's Note: Socrates Sculpture Park on the Queens waterfront installed The Living Pyramid, a public sculpture by Agnes Denes in May, when this article was originally published. They have just announced that they will extend the life of the sculpture through the end of October. The work is Denes’ first since her iconic Wheatfield – A Confrontation in 1982, sited on a waterfront landfill in what is now Battery Park City in Lower Manhattan. Do not miss this chance to see this important artwork before it comes down next month.] Monuments of pre-civilization feats in construction and engineering, pyramids are the latest muse of conceptual artist Agnes Denes who, in 1982, transformed what is now Battery Park City into a two-acre wheatfield. Titled Wheatfield - A Confrontation and featuring the backdrop of a construction site and jostling Manhattan skyscrapers, it’s not difficult to surmise Denes’ intentions. Likewise, her latest project, Living Pyramid resonates with a rebellious call to the wild. Made from soil and thousands of seeds, the pyramid will be erected in late April at the Socrates Sculpture Park in Long Island City, Queens. On May 17, the public is invited to plant the seeds, which, by early June, will have bloomed into wildflowers and leafy plants. Living Pyramid itself will remain on view until August 30, when cooler weather begins to encroach once again. The sculptural exhibition is Denes’ first major exhibition in the city since Wheatfield, although her work has been displayed at New York City’s prime museums including MoMA, the Metropolitan Museum of Art, and the Whitney Museum. “What [pyramids] all convey is the human drama, our hopes and dreams against great odds,” Denes said in a press release. “Transformed into blossoms, the pyramid renews itself as evolution does to our species.” Long a fixture in Denes’ work, pyramids are also central to her exhibition In the Realm of Pyramids: The Visual Philosophy of Agnes Denes on view at the Leslie Tonkonow Artworks + Projects from March 14–May 9.
A new tower designed by FXFowle will bring a touch of design to Long Island City’s ever-growing skyline of glassy and generic residential buildings. For starters, the 35-story luxury rental tower is differentiated by a rust-colored steel that encases the podium and runs up its sides, framing three glassy expanses. Yes, there is still a lot of glass on this one too, but FXFOWLE said the building is inspired by the area's “original industrial heritage and its new position as a fresh and modern NYC locale.” The profile of the building, with three stacked volumes, reminds us of Chad Oppenheim's Williamsburg Hotel project proposed a few years ago in Brooklyn. The designers and developers of the Purves Street Residential Development are also quick to point out the project's sustainable features. To hit LEED Silver certification, the tower's podium will be covered in an expansive green roof and common areas will be partially powered by solar and wind energy that is created on-site. In renderings, it is easy to spot a helix-shaped windmill on top of the building. But as the New York Times explained last year, the impact of these types of windmills that are now appearing across New York City can be pretty mixed. Inside the Long Island City building, the apartments and amenity spaces (of which there are many—in fact, there is a separate “amenity building”) are decked out with industrial materials like concrete and steel, alongside lots of wood. The building broke ground, not coincidentally, on Earth Day and is expected to be completed in two years.
The construction-watching site Field Condition recently toured phase one of the Hunters Point South development in Long Island City, Queens where a pair of SHoP-designed towers are wrapping up construction. The taller of the two buildings, Building A, stands 37 stories and has a primarily gray facade with pops of color from PTAC units that have been tinted orange. Building B has a much darker presence, with a primarily glassy black exterior. Field Condition noted that work is currently focused on finishing interior spaces before tenants start moving in this spring. In December, DNAinfo reported that 92,700 applicants had been received for the development's 924 affordable units. Check out the buildings—and their views—below.
Yet another tower could rise in Long Island City, Queens. Citigroup is expected to sell a prime development site next to its SOM-designed, 51-story turquoise office tower that dominates the neighborhood’s skyline. The New York Times reported that when Citi built the structure in 1989, the city expected Long Island City to blossom into a major commercial hub. That hope did not pan out. But the neighborhood has seen a boom in residential development in recent years and now Citi wants to take advantage of it. The bank will reportedly sell the development site for $150 million, likely giving way to an apartment or hotel high-rise.
The New York City and Madrid-based architecture firm Andres Jaque Architects/Office for Political Innovation has released a wonky video explaining its mobile, water purifying installation which recently won MoMA PS 1's Young Architects Program. The futuristic-looking structure, called COSMO, is comprised primarily of suspended hoses that will filter 3,000 gallons of water over the course of four days. Check out the video above to see how COSMO will work its magic. But before you do, just a quick heads up that there are some black-and-white photos of naked people hanging out on a beach at the top of the video. (Honestly, it's probably pretty SFW so don't worry.) [h/t The Dirt]
The Louis Armstrong House Museum, a National Historic Landmark in Corona, Queens, has received the green light from the city to start construction on its long awaited expansion plans. Located across the street from the renowned jazz trumpeter and singer’s restored home, the new $20 million addition, designed by Long Island City-based firm Caples Jefferson, will house exhibition space, designated research areas, and a “Jazz Room” for musicians. The center, featuring a gently undulating glass facade, will be roughly 9,000 square feet and is designed to respect the scale of the neighborhood while providing views of the musician’s home from inside the building. The firm plans on seeking LEED Gold certification for the structure by employing green strategies such as a green roof and the use of sustainable materials. Louis and Lucille Armstrong moved into the house as newlyweds in 1943, and lived there for nearly three decades before the musician’s death in 1971. Caples Jefferson has designed several local cultural institutions, including Queens' Theatre-in-the-Park, the Queens Museum of Art, and the recently completed Weeksville Heritage Center.
Demolition of the graffiti mecca known as “5Pointz” in Long Island City, Queens has become a flashpoint in New York City development. The iconic arts institution was literally whitewashed by the developer last spring and has since been turned to rubble to make way for two rental towers. As the controversial project continues in Queens, the destruction of another world-renowned graffiti forum, just a few miles away in the South Bronx, has gone largely unnoticed. The graffiti-covered walls of Boone Avenue are currently being demolished to make way for a massive housing development. For decades, some of the world's most respected street artists came to this desolate, industrial stretch, turning warehouses into canvases. The result was a constantly-evolving public gallery, curated by Cope2, a living legend in the street art world. But, let's be clear, this is not the same story as 5Pointz—the new development will not be luxury towers, but much-needed affordable housing. Still, the loss of a cultural institution is the loss of a cultural institution. Since the city broke ground on the development, a coalition of artists, architects, and students has formed to preserve as much of the site's history as it can. The project is called The Boone Room and its being run by SLO Architecture, the Bronx River Art Center, and students from Fannie Lou Hamer High School in the Bronx, and The New School in Manhattan. Last spring, students conducted video interviews with local artists and photographed existing work as part of an online exhibition that will go live in January. To create new, permanent street art in the neighborhood, artists, under the curatorship of Cope2, were commissioned to paint an interior wall of the Fannie Lou Hamer High School. The team behind The Boone Room has also worked with the developer to preserve some of Boone Avenue's colorful, roll-down gates which are being repurposed into a canopy for a performance space outside of the Bronx River Art Center. When AN recently visited Boone Avenue, local artist and resident David Yearwood, was working on what's known as Boone Avenue's "practice wall.” (This wall is expected to be demolished by a later stage in the development.) “Doing art in the neighborhood is a hard thing to do,” said Yearwood. “I’ve got a lot of friends that don’t like art, so you’ve got to find things to do get out of the neighborhood.” So Boone Avenue is where Yearwood comes, almost every single day. Finding somewhere else like Boone won’t be easy. "It’s basically a rough life right now for a lot of people,” he said. “There’s nowhere else to go.”
In an effort to supposedly streamline New York City’s landmarking process, the Landmarks Preservation Commission (LPC) will drop 96 buildings and sites from consideration for historic preservation. These sites span all five boroughs and include Union Square, Greenwood Cemetery in Brooklyn, and the Pepsi-Cola sign in Long Island City (above). Of the nearly 96 sites (94 structures and two historic districts), 80 have been calendared for more than 20 years.“The buildings considered for this action were placed on the Commission's calendar, public hearings were held, and they currently remain inactive,” explained the LPC in a statement. While being calendared is kind of like landmarks limbo, it comes with significant protections. “Calendaring means that no demolition, construction, or alteration permits can be granted for a site without first notifying the LPC and allowing them up to forty days to designate the structure or negotiate a change or withdrawal of the permit applications,” explained Andrew Berman, the executive director of the Greenwich Village Society for Historic Preservation (GVSHP), in a statement. The Society has called upon the LPC to drop its so-called "mass de-calendaring." Landmarks West!, a committee to promote historic preservation on Manhattan’s Upper West Side, has also slammed the LPC’s planned action, saying the commission is “essentially sentencing [the buildings and sites]to death by bulldozer.” The LPC contends that removing the sites will make the landmarks process smoother. "Cleaning up that backlog will ensure the LPC can much more effectively fulfill its mission of responding to the landmarking issues of today in real time," de Blasio spokesperson Wiley Norvell told DNAinfo. The Commission adds that this action would not stop it from reconsidering landmark status for any of these sites or buildings. After some pressure from DNAinfo and the Manhattan Borough President's office, the LPC has made the list of sites available to the public. The Commission will vote on its "administrative action," this upcoming Monday.
As we speak, Long Island City’s graffiti mecca, 5Pointz, is being demolished so two beige apartment towers can rise in its place. But lest we forget the history of the iconic institution, Jerry Wolkoff, the owner of 5Pointz, wants to trademark its name so he can spray it on the residential replacement he is developing. DNAInfo reported that Wolkoff’s company G&M Realty filed an application in March with the United States Patent and Trademark Office to do just that. That request was apparently denied in June, but Wolkoff has some time to respond. As the New York Times explained last year, the name was originally coined by graffiti artist Meres One back in 2002. Unsurprisingly, the attempt to trademark the name has been blasted by 5Pointz artists. But Wolkoff has defended his actions, saying that all is not lost with the new development as space will be reserved in his towers for artists' work. "I'm bringing the artists back," he told DNAinfo. "The building is going to be back and the artists are going to be back." Well clearly not everyone sees it that way. [h/t 6sqft]
As the Rebuild By Design jury mulls over a winner of its resiliency-based design competition to re-imagine the East Coast in light of Hurricane Sandy, students in Harvard’s Graduate School of Design have been creating their own ways to protect against the Next Big Storm. While their studio, titled “Design and Politics,” was purely academic, it was modeled on the Department of Housing and Urban Development’s official competition. The Dutchman in charge of Rebuild, Henk Ovink, oversaw the interdisciplinary teams of students, and representatives from half of Rebuild’s final ten teams served as jurors at the studio review. But where the Rebuild by Design teams re-imagined the East Coast with bold interventions and flashy renderings, the GSD students took a much more, well, academic approach. Their proposals were less flare, and a whole lot more wonk. “We actually asked the students to design nothing at the beginning,” Ovink told AN. “We divided them into groups and they had to research the [local] ecology, water systems, energy, and economy.” Needless to say, the presentations were pretty technical. Students Alison Tramba and Trevor Johnson, for example, laid out the shortfalls of the indebted National Flood Insurance Program and offered ways to get it back in the black. To do so, they plan to disincentivize waterfront living with higher insurance rates for those living along the coast, while providing subsidies to protect low-income residents from spiking rates. At the same time, they offer a host of incentives to increase the storm proofing of residences and businesses. It is not sexy stuff, but it is important. Similarly, there were tax credits for “green” infrastructure in Jersey City, a smart-grid for Long Island City, interventions to protect the drinking-water supply in Ocean County, and a wall to reduce runoff from a sewage plant in Newark. The review was at its most fascinating—and challenging—when students grappled with the issue of relocation in the face of climate change. To Chris Donohue, there is too much residential and economic vitality along the Jersey's coast to just force folks to pack it up and head inland. To protect them—at least in the short-term—he would create barrier islands to keep the storms back. Daniel Feldman took a different approach, opening development opportunities farther from the shore to move communities away from the sea. Both of these students, though, understand that neither of these proposals are adequate given the daunting reality of rising sea levels. Because within a matter of decades, the entire Eastern seaboard could be gone. And with it will go all the dunes, berms, and seawalls that fought back for as long as they could. The question of what to do in the interim, then, is an entirely unanswerable one. But it is one that hangs about above all architects, planners, politicians, and those living on the water’s edge. As for the official Rebuild By Design competition, Ovink told AN that an announcement about a winner, or winners, will be made in the next few weeks. “It could be that there’s a certain condition that asks for another year of research, study, and planning," he said. "And it could easily be that we jump forward to a site specific implementation."
As development along the Brooklyn and Queens’ waterfront has increased dramatically over the years, transportation options—for residents old and new—has not. The number of glass towers, startups, and parks along the East River has only been matched by style pieces on new “it” neighborhoods from Astoria to Red Hook. But, now, the New York Times' Michael Kimmelman has used his platform to launch a plan to change that equation, and give these neighborhoods the transportation system they deserve. Kimmelman is proposing a modern streetcar to better connect these waterfront neighborhoods. He explained that a streetcar system takes less time to build than a new subway line, needs less space on the road than light-rail, and is more romantic than a city bus. “By providing an alternative to cars, streetcars also dovetail with Mayor De Blasio’s vow to improve pedestrian safety,” Kimmelman said, adding that the mayor wouldn’t need Albany’s blessing for this plan. The streetcar would, of course, not run cheap, but Kimmelman said the upfront costs are more than worth it. “The city’s urban fabric can’t be an afterthought,” says Kimmelman. “The keys to improved city life—better health care, housing, schools, culture, business, tourism and recreation—all have spatial implications.” Read Kimmelman's full proposal at the NY Times.