Launched by the Alliance for Downtown New York, a free interactive 3-D map (dubbed LM3D) uses real-time data to show all current and development projects one-square-mile south of Chamber Street. Although it may seem very specific, Lower Manhattan is the third largest central business district in the United States. The map will display all residential, office, retail, and hospitality developments, as well as open space and transit. Users can view information on individual buildings, select specific areas to learn about land use, building and unit counts, identify key corridors, see upcoming developments, and sort between residential, hotel, office, transportation, institutional, retail, and restaurant services. By the end of the year, LM3D should also provide historic data on the area’s development. The map is in beta and currently accessible through the latest versions of Chrome, Firefox, or Safari browsers. Learn more by watching this how-to video:
Posts tagged with "Lower Manhattan":
The City Council is considering adopting a zoning text amendment that would eliminate 110,000 square feet of “privately owned public space” (POPS) along 13 blocks of Water Street from Whitehall to Fulton Street by allowing developers to “infill” these “arcades” with retail stores. Approval of the Amendment would shred a long-honored promise made by the developers to forever preserve this space for use by the public. The promise was made in exchange for “bonus air rights” that enabled the developers to extend their buildings many floors higher which increased the value of their properties by millions of dollars. In recent months, the developers have waged a campaign to undo their promise. They have argued in the public forum and before our City institutions that the arcades are worthless, “outdated”, “unwelcoming”, “under–utilized”, “bleak”, used for “smoking” and the product of an earlier approach to design that is now disfavored. Contrary to these claims, most of the threatened arcade and plaza spaces are in excellent condition and people living and working in the neighborhood would like to see them stay. Two towers in particular—77 and 200 Water Street, both developed by Melvyn Kaufman—were once celebrated as having some of the most creative, playful, and useful public spaces in the city. One of the original architects of the arcades, Richard Roth Jr, a former principal of Emery Roth, has explained that he designed the arcades as a “very nice public convenience where people could take advantage of the covering in heat and inclement weather.” The Architect’s Newspaper (AN) strongly believes these public spaces have great aesthetic, financial and practical value, and should remain public amenities. If the Amendment is approved, the door would be flung open for developers to make similar land grabs of similar spaces across New York City, all on the spurious claim that the spaces are somehow imperfect. To ensure that everyone will have opportunity to consider the full value of these spaces, AN invites all members of the public to participate in a design charrette to recommend creative ways to use the arcades and adjacent plazas that surround the perimeter of 17 buildings along Water Street in the Financial District. The recommendations will be presented to the City Council in June 2016. Strong Entries will take the following factors into account: 1.In recognition of the fact that the City allows kiosks, cafes and events in these spaces, as well as trees, plants, benches, water fountains and bike racks, the entry may include one or more of these uses, or may recommend additional uses. 2.The entry should be conceived as an integral part of single plan for the street. 3. The entry should consider creative and economic ways to keep the public arcade and plaza spaces open to the public 24 hours a day. 4. The entry should consider ways for these spaces to be active and vital, responding to the Department of City Planning’s declared mission of “enlivening” the Water Street corridor. 5. The entry should take either or both of the two following forms: a) a design idea applicable for all the arcade spaces surrounding the 17 buildings or b) a design for a particular singular arcade space (including an adjacent plaza fronting on the arcade). Submission Requirements: The entry should include the following elements: 1.A brief half page introduction outlining your proposal and design objectives are required. This should be concise and addressed to the jury. 2. A site plan showing your design in its downtown Manhattan context and with a north arrow. 3. Up to 3 digital images of your design project and a plan that details the site. (Digital submissions can be represented through renderings, Cad Files, photos, digital, collage or drawings or any other medium that indicates JPAGS at 300 dpi.) All architects, designers, landscape architects, urban designers and planners are encouraged to apply. The top three entries will be featured in a story in The Architect’s Newspaper. The design charrette will end at 12:00am (midnight) on June 12 and should be sent to the following address: wmenking[at]archpaper.com Judges: William Menking, editor-in-chief, The Architects Newspaper Signe Nielsen, principal, Mathews Nielsen David Burney, Professor of Planning, Pratt Institute Alice Blank, principal, Alice Blank, Architect Olympia Kazi architecture critic Articles about the Arcade controversy: The Architect's Newspaper The Broadsheet The New York Times Downtown Express Politico New York Tribeca Citizen
Public space-fronting commercial buildings in New York City are under constant threat of privatization. The latest example: the public spaces along Water Street from Whitehall to Fulton Street. The area was heavily developed during the 1960s with a series of mostly bland towers (except 88 Pine by I.M. Pei Partners, 1968) that are noted more for their surrounding opens spaces than their corporate facades. Two towers in particular—77 and 200 Water Street, both developed by Melvyn Kaufman—have some of the most creative, playful, and useful public spaces in the city. Their designs were influenced by the writings of Holly Whyte and remain a testament to his belief in user-friendly public space. Back then, corporations were leaving the city in droves and New York developers fought back by creating useable, suburban mall-like public spaces. These Water Street plazas nearly all follow the same urban design pattern: a protected arcade just outside their lobby that works as a transition to a larger open plaza. In exchange for these public arcades, the owners and developers were given an extra 2.5 million square feet of floor space. Now the building owners, supported by the Downtown Alliance and an increasingly out-of-touch Department of City Planning (DCP)—led by former Downtown Alliance president Carl Weisbrod—are trying a land grab. They want to turn these spaces into rentable square footage. With the Downtown Alliance taking the lead, the DCP is seeking a zoning change that would allow more than 110,00 square feet of public space along the half-mile strip from Whitehall to Fulton Street to become rentable land. Jessica Lappin, the current Downtown Alliance president, claims these spaces are “uninviting and underutilized” and “serve little public purpose.” Downtown Express has reported that this would provide more than $250 million in annual rent for the building owners. This rezoning would set a dangerous precedent for all public space in New York. The plan labeled ‘The Water Street Text Amendment" has been presented to the members of Community Board 1, which turned it down on February 23, but has now been approved by a single vote in the March 22 board meeting. Its supporters continue to push for this problematic zoning change and it will receive a final vote by the New York City Council.
The Port Authority declines to celebrate the grand opening of the world’s most expensive train station
The Port Authority of New York and New Jersey has declined to celebrate the March grand opening of the Santiago Calatrava–designed World Trade Transportation Hub. Why is the agency snubbing its own baby? Because it's monstrously over-budget. The $4 billion taxpayer-financed project cost $1.8 billion more than expected, and construction extended years over schedule. These issues have dogged Calatrava personally and professionally, and cast a shadow on his otherwise bright reputation. Pat Foye, the Port Authority's executive director, told POLITICO New York that the project's been a fiscal fiasco from the start: “Since I arrived here, I have been troubled with the huge cost of the Hub at a time of limited resources for infrastructure so I’m passing on the [now-cancelled opening] event.” The Hub is expected to serve 100,000 daily passengers, far fewer than the Port Authority Bus Terminal (230,000), Grand Central (750,000), and Penn Station (906,708). In a follow up statement, Foye was unequivocal about what New York's newest piece of public infrastructure represents to him: “The thing is a symbol of excess.” In an interview with AN last year, Calatrava delineated the project's design goals and ethos behind the Hub:
I tried from the very beginning to do that whole network of connections extending from the oculus as a single unit. So the character of the structural members you can see with the ribs, and a certain character in the paving, and a certain character in the front of the shops is already delivering a character that a person will see all the way through. So if you are in the oculus or the mezzanine, or in the other corridors to Liberty Street or the other internal streets towards Liberty Plaza, or towards Wall Street or towards Fulton, all these areas are marked with the same character. My goal is to create a space where as soon as I arrive in the transportation hub I know I am in the transportation hub, no matter what corner I enter from. Also, something that the corridor delivers is a sense of quality of spaces. I have built seven of the major transportation hubs in Europe, in Lisbon, in Lyon, in Zurich, in Italy, and so on. Getting out of this experience, it’s very important to create places of quality, because people behave according to that. You see after all the enormous effort to bring all the subways and the trains to this place and see to maintain the service through all the construction—why shouldn’t these places have a certain material and structural quality that you can enjoy in a day-to-day way, not just commuters but visitors who arrive in this place. I think the station will match with the tradition in New York of great infrastructural works, as you see today in Grand Central and in the former Penn Station. If it had not been demolished it would be recognized as one of the greatest stations worldwide. I hope people can see some of these material qualities in the East/West corridor.On the eve of the opening, New York architecture critics are divided on the aesthetic and functional value of the Hub. AN toured the Hub this afternoon, so check back here for our assessment. In the meantime, picture Calatrava riding a Zamboni, polishing the smooth white Italian marble floors world's most expensive train station.
The 467 foot tower is organized around the clean lines of a 4 mm thick aluminum composite material (ACM) panel system.Tourists in Manhattan might now be overheard saying something to the effect of: “Did you go to the observation deck at the Empire State building!?” "No, but I did stay at a Holiday Inn." Rightfully so, as there is a new way to experience the Big Apple: 50 stories in the air, in a bed, at the “world’s tallest” Holiday Inn just three blocks south of the World Trade Center. The 490-room, full-service hotel was designed by Gene Kaufman Architect (GKA) in collaboration with Gwathmey Siegel Kaufman & Associates Architects (GSKA), who created the façade. When asked about the “world’s tallest” designation, Kaufman recounts, “The building was originally 42 stories and after development rights were obtained for an additional seven stories, we figured out how to make it an even 50. Only then did someone suggest finding out if that would make it the tallest Holiday Inn.” The 176,600-square-foot Holiday Inn has a low-rise base that complements the surrounding streetscape. Atop the plinth is a dramatic tower with graduated setbacks, from which striking views of the city, the harbor and the Hudson River can be seen from a large number of rooms. A preliminary building shell design incorporating modular bricks presented both geometric and weight issues. Because the site has limited space for construction staging and is constrained by irregular property lines, Kaufman and his team sought out a more lightweight, flexible system that allowed for an angular floor plate. “Although we like brick and use it for most of our projects, we looked for and found a very slender metal panel system that could accommodate all of these conditions and all of the issues related to the building's height.” According to PG Drywall, installing the Reynobond material going up 467 feet with perfectly aligned metal panel joints running from the bottom to the top of the building was presented a unique challenge. The setbacks required frequent reworking and moving of swing scaffolding and mast climbers in a limited staging area. The project was completed in just 10 months. The installation was aided by the use of Allied Metal’s patented Dry-Seal Gasket System, an open V-joint system with snap-in silicone gasket (110 PSF) and locking progress that exceeds the New York City Building Code requirements and is compatible with the attachment and panel in the 1.5-inch space mandated by the limited space air rights. Another advantage to selecting a metal panel system was contextual, says Kaufman: “People refer to the streets in this area as ‘canyons’ because they are so narrow and the buildings so tall that the streets can be very dark. We chose a very light color with a metallic finish that would reflect light down into the streets. We also created a setback tower on a base. These decisions, and taking advantage of being only one block from the river, help light the streetscape.” The jewel-like, multifaceted facade, with its silver cladding that captures and reflects the light, creates a striking image while brightening the street-level pedestrian landscape.
World Trade Center Transportation Hub World Trade Center, Manhattan Downtown Design Partnership; STV, AECOM, and Santiago Calatrava A team from the Port Authority of New York & New Jersey wowed the crowd of lucky Archtober fans this morning with a full-length tour from the Hudson River to the beating heart of the new World Trade Center. Robert Eisenstat, the chief architect at the Port Authority Engineering Department, was joined by Thomas L. Grassi, a program manager on the World Trade Center construction, and a number of others along for the ride. These dedicated people, along with many others, have been working on the site since “the day.” Today was a little reminiscent of that day, over 14 years ago—a crisp sunny day with only wisps of clouds. It is hard to visit the site at all, for some of us. But now because of the sublime poetry of the World Trade Center Transportation Hub—they call it the “oculus”—a brighter future can be imagined. It is a futuristic creature born from the construction chaos that still defines the neighborhood, with white, spiked ribs rising up like the barbs of a chalky peace dove’s feather. Peace is not easy. I kept thinking, we have to tell the crowd how complicated this all was, how many levels, how many logistical nightmares, how many times its seemed like it could never be completed. I have to do my thing about how architects are problem solvers, which of course is true. But some problems are spiritual ones, hard to put in the brief for a nearly $4 billion transit integration project. This is where the architect’s special poetry comes in. Whatever you may say about this project, and there has been a lot of negative press with Santiago Calatrava certainly taking some knocks along the way, it is uplifting. The spirit soars; the room has an ineffable majesty of great architecture that defies easy explanation. While the Port Authority was getting its “network cohesion” out of the tangle of subway lines and trans-Hudson modalities, it also got a cathedral that looks like the waiting room for heaven. Cynthia Phifer Kracauer is the managing director of the Center for Architecture and the festival director for Archtober: Architecture & 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. Tomorrow: Brooklyn Botanic Garden Visitor Center, Entry Building, and Arch.
Bringing Street Art Back Downtown: Check out these enormous murals this weekend from New York City’s LoMan Fest
Even as Lower Manhattan has become increasingly filled with luxury condos and scrubbed of its grit, it has retained the legacy and image as a cultural hub. Though many artists who once thrived in downtown have left due to skyrocketing rents and a shrinking stock of available studio and living space, the desire to keep the arts alive there has not withered for some devoted New Yorkers. Wayne Rada, the founder/curator of the nonprofit L.I.S.A. Project NYC has launched the inaugural LoMan Arts Festival, inviting international mural artists—such as Ron English, Beau Stanton, Tatyana Fazlalizadeh, TATS CRU, and Ludo—to create large-scale works around 21 neighborhoods, stretching from 23rd Street down to the South Street Seaport. Starting August 5, two dozen artists, armed with spray paint cans, have transformed the city's barren walls into larger-than-life works of art. Ron English's muscular Pink Temper Tot stands next to her equally brawny green sibling on a wall at 114 Mulberry Street (dedicated to the artist's kids Zephyr and Mars). On another corner, Faith47's swan-like birds puff out their feathers as if about to take flight. “We conceived of this festival as a revitalization of the artistic energy of downtown Manhattan. NYC is such a nexus for art, but these days so many artists are being pushed to the outer boroughs. Following the success of The L.I.S.A project, we wanted to create a larger public arts district and community of support worthy of the city’s thriving art scene,” said Rada in a statement. “Though the events of the festival will only last a few days, the resulting artwork will leave a permanent, and extremely positive, mark on downtown Manhattan’s neighborhoods.” Through Sunday, the festival will host a variety of programming, including concerts, panels, and podcasts around downtown.
For Two World Trade Center, Bjarke Ingels has created a tower with multiple personalities. From the 9/11 Memorial, the building, with its seamless glass facade, appears like a somber glass giant huddled around the hallowed site with its peers. But from pretty much anywhere else, the building is quite expressive with a stepped massing scheme that appears like a stack of boxes, a ziggurat sliced in half, or a staircase for King King. To give New Yorkers a better sense of how the 1,340-foot-tall building will impact the city's skyline when it opens in 2020, the New York Times has created a nifty visualization that shows the tower's virtual appearance from Brooklyn Bridge Park, Staten Island, Flushing, Queens, the Bronx Zoo, and Hoboken. Brownstoner reported that Ingels and New York Times architecture critic Michael Kimmelman unveiled the visualization at the Times' Cities for Tomorrow Conference on Monday. For more on the tower's design, check out our Q+A with Ingels from the day he unveiled his design.
The biggest architecture news this week was obviously the unveiling of Bjarke Ingels' design for Two World Trade Center. The dramatic departure from Norman Foster's original proposal envisions the tower as a series of stepped volumes that gesture toward One World Trade. But does the step-ladder design—easily climbable by giant monsters like King Kong—pose a safety risk for New Yorkers? One petitioner is pleading with Ingels to change the design. Shortly after the scheme was unveiled, AN sat down with Ingels to discuss the project, Foster's previous design, and the World Trade Center redevelopment thus far. We failed to ask the architect if the new building would just be "a staircase for monsters" as concerned citizen Caragh Poh puts it in her Change.org petition that urges Ingels to reconsider his supposedly monster-friendly design. "Though you have designed this building with wonderful reasons in mind, such as completing the framing of the memorial, bringing an even more enhanced skyline to the beautiful city of New York, creating a physical symbol of healing and togetherness, there is one glaring oversight," she wrote. "Your building makes it easier for King Kong to climb." Poh readily admits that she does not have the solution, but suggests turning the building upside down might do the trick. But maybe Bjarke Ingels doesn't want a solution—could this have been all part of his plan? Hear us out: Back in 2011, Bjarke dressed up as King Kong for halloween with BIG's Daniel Kidd going as the Empire State Building—and there's photographic evidence. With this eery reality now staring us in the face, we decided to reach out to BIG to see if Two World Trade Center was, indeed, tailor-made to be a staircase for King Kong. We're waiting to hear back. As of press time, 30 concerned people had signed the petition. You can view the petition and sign for yourself here.
In late 2005, Norman Foster unveiled his design for Two World Trade Center—an 88-story tower capped in four diamonds to direct the eye down toward the 9/11 Memorial, which, at the time, was still years from completion. Then, the World Trade Center site was still in the design phase, and Bjarke Ingels was a little-known architect from Denmark. But in the decade since, Ingels' rise has been nothing short of meteoric. Now, Wired has the story that proves what has been reported for months: the Bjarke Ingels Group (BIG) will replace Foster + Partners at Two World Trade Center, the second-tallest of the cluster of towers in Lower Manhattan. The 1,340-foot-tall skyscraper is being developed by Silverstein Properties and will serve as the joint headquarters for Rupert Murdoch's News Corporation and 21st Century Fox. If BIG’s building does, in fact, rise, then the final tower at the 16-acre site will have been designed by a firm that did not even exist when rebuilding began. With BIG’s growing portfolio of push-the-envelope architecture, the easy assumption for Two World Trade was that the building would step into the complicated—and politically fraught—site and loosen its buttoned-up, corporate aesthetic. If the redesigned tower accomplishes that, then it certainly does so gently. From the memorial, the 80-story tower takes cues from its neighbors, Three World Trade and Four World Trade, with an uninterrupted glass curtain wall. (Santiago Calatrava’s soaring Transportation Hub creates a brief stylistic rift along the crystalline campus.) But from every other vantage point, the tower appears like a staircase—or a classic mid-20th century Manhattan ziggurat-style building. The structure's massing appears as a series of seven, 12-story boxes that climb upward, stepping toward SOM's One World Trade next door. “On one hand it’s about being respectful and about completing the frame around the memorial, and on the other hand it’s about revitalizing downtown Manhattan and making it a lively place to live and work,” Ingels told Wired. "From Tribeca, the home of lofts and roof gardens, [Two World Trade] will appear like a vertical village of singular buildings stacked on top of each other to create parks and plazas in the sky," Ingels said in a statement. "From the World Trade Center, the individual towers will appear unified, completing the colonnade of towers framing the 9/11 Memorial.” BIG's involvement with the project came about after James Murdoch, Rupert’s 42-year-old son and a 21st Century Fox executive, reportedly expressed concerns over Foster’s design. James Murdoch was looking to create a more open-plan work environment. And BIG has experience doing just that—the firm recently presented designs with Heatherwick Studio for a sprawling Google headquarters complex comprising a series of glass canopies. At the World Trade Center site, BIG's main assignment was to take the spirit of a Silicon Valley, open-air campus and squeeze it into a Manhattan skyscraper. On a practical level, that's no easy assignment. But through generous setbacks, the building offers space for heavily planted gardens that at least serve as a nod toward the corporate campuses on the West Coast. Or so it would seem; Wired reported that the gardens are “supposed to evoke varying climates, from tropical to arctic.” But this is New York, not California, so by December all the gardens might lean toward the latter. Underneath these gardens, on the tower's cantilever reveals, are digital news tickers that will display headlines from the news giant operating inside. https://vimeo.com/130120622 Among the other challenges for BIG in redesigning Two World Trade was working within existing realities of the World Trade Center site—and a foundation structure that had already begun construction. The tower’s foundation is already set according to Foster's plan and includes air vents from the neighboring transportation hub. The new tower is also aligned along the axis laid out in Daniel Libeskind's master plan. When it came time to sell BIG's new design to the developer and client, Silverstein and Murdoch were initially skeptical. “I hadn’t seen a building like this beforehand, I hadn’t considered a building like this before, and certainly there was nothing down at the Trade Center to indicate that this would be a trend for tomorrow,” developer Larry Silverstein told Wired. Rupert Murdoch apparently agreed, but after the philosophy of the building was explained—and Ingels is a talented storyteller—Silverstein and Murdoch were on board. The architects behind the World Trade Center’s other three towers—David Childs, Richard Rogers, and Fumihiko Maki—all gave their blessing as well. News Corp. and 21st Century Fox recently signed a non-binding letter of intent to build Two World Trade, which brings the project closer to reality. And if all goes according to plan, Murdoch’s media empire should be setting up shop in Lower Manhattan as soon as 2020.
With the recent opening of One World Trade Center, the folks over at EarthCam have reshared their 2013 timelapse of the tower's 1,776 foot rise. There's not too much else to say about the video, other than that it sure makes the building's very long and arduous climb seem pretty quick and easy. It's also set to some very Game of Thrones-y music, so it has that going for it too. https://www.youtube.com/watch?v=Nn11DWH_LEA You can check out the video above to see One World Trade, and some other pieces of the World Trade Center site (hello, Four World Trade!), take shape over what has been a very fraught time frame. And, hey, maybe in another year or so, we'll be back here watching a timelapse of Calatrava's Transportation Hub. And after that, how about the rise of (maybe) Bjarke Ingels' 2 World Trade Center?
Hot Tub Design Machine: New York’s Van Alen Institute launches its annual auction of out-of-the-box architectural experiences
If you have ever longed to explore nature with your favorite architect or discuss the built environment in your bikini, now you'll have the chance. Well, for a few bucks, but in the good name of architecture. The Van Alen Institute has launched its online auction of Art + Design Experiences to coincide with its Spring Party, going down this Wednesday in Lower Manhattan. The auction list boasts exclusive and out-of-the-box experiences with top critics, famed architects, and professionals in the arts and design fields. Some of the more compelling items, or activities, to bid on, include: —A Fire Island hot tub roundtable with architect Charles Renfro at his mid-century modern beach house. —Testing the smoke ring generator at Copenhagen’s new waste-to-energy power plant with Bjarke Ingels. —A helicopter ride on Norman Foster's personal helicopter through London’s skyline, including the architect’s own icons. —A bird watching expedition in an iconic urban park with Jeanne Gang. —Joining Sotheby’s chairman Lisa Dennison for her daily salon blowout ritual as she offers tips on building a blue-chip art collection, followed by a personalized tour of MoMA's permanent holdings. Visit the auction site to check out and bid on the offerings. Bidding closes on Wednesday, May 20. Get your digital paddles ready.