Posts tagged with "Manhattan":

New York City launches interactive map of its privately owned public spaces

New Yorkers and open space enthusiasts have something to celebrate, as the NYC Department of City Planning (DCP) has released a map of the more than 550 privately owned public spaces (POPS) in the city. POPS have been an integral part of New York City’s zoning process since their introduction in the 1961 zoning code as an incentive to developers; in exchange for building public plazas, arcades, or outdoor spaces, the city allows private developers to add extra floor area to their buildings or grants other waivers. According to the DCP, POPS exist at over 350 buildings and account for more than 3.8 million square feet of open space. With the new searchable map, interested visitors can gather information on the location, amenities, hours of operation, year of construction, and designers behind each and every privately owned public space. Most of the aforementioned spaces are in Manhattan, and while Brooklyn and Queens only contain a smattering of such public areas, the DCP expects this number to grow dramatically as development in these boroughs increases. Despite the significance of POPS in Manhattan, they’re not untouchable. A furor arose in October of last year as the owner of 200 Water Street at the southern tip of Manhattan sought to convert half of their public plaza space into retail. Even the release of the DCP’s mapping tool wouldn’t have happened without pushback against developers who were misusing the extra space afforded by POPS. The city has been engaged in a tug-of-war with the Trump Organization since the 1980s over the removal of a 22-foot-long stone bench from the lobby of the Trump Tower on Fifth Avenue and East 56th Street. After Trump added two sales counters hawking Trump-branded merchandise to the public lobby, the city issued a series of fines, and the City Council ultimately passed legislation in 2017 to guard against the future misuse of POPS. Up until that point, nearly half of all POPS were being improperly used but the city lacked a stringent inspection protocol to verify this. A three-year inspection schedule, along with new signage requirements and the map released this week, arose directly from that vote to tighten POPS regulations.

Neighborhood sues to stop Sutton Place condo tower

The troubled tower originally designed by Foster + Partners in Manhattan's Sutton Place neighborhood has hit yet another speed bump. Crain's reported that local residents have filed a lawsuit to block the condo building from going up at 430 East 58th Street, claiming that it has run awry of recent zoning changes. Locals are unhappy with the tower's height. Its scale is closer to the skinny supertall towers of nearby 57th Street, which is also known somewhat pejoratively as Billionaire's Row and is the home of some of the city's most expensive apartments. Sutton Place is, however, an affluent mid-rise and low-rise area, home to historic townhouses and exclusive brick apartment buildings. The project has never been welcome in the area. In an attempt to block its rise, the local populace successfully lobbied the city government to change the area's zoning to exclude structures of the tower's proportions. The developers then scrambled to get the building grandfathered into compliance by finishing the building's foundation before the new restrictions took effect last December. The city gave the developers an extension to meet the deadline, which is what the neighborhood is objecting to and suing the project over. The suit is aimed at stopping construction and shrinking the tower, which is currently planned to be 68 stories. The original developer, Joe Beninati, was a relative newcomer to the New York City real estate scene, and after a series of bad financial decisions he lost control of the project, and it went into the hands of Gamma Real Estate. An earlier version of this article incorrectly stated that Foster + Partners is the current architect on the project. 

Costas Kondylis, architect of Trump’s New York City towers, dies at 78

Architect Costas Kondylis, the prolific designer behind over 86 buildings in Manhattan, died Friday at age 78, according to The Real Deal. The cause of death has not yet been announced. Kondylis was best known as one of Donald Trump’s closest and most frequent collaborators in New York City. He designed the 90-story Trump World Tower, formerly the world’s tallest residential structure, in Midtown East for the real estate mogul as well as the Trump International Hotel and Tower at Columbus Circle, and several buildings at Trump Place on Riverside Boulevard. While Kondylis’s extensive resume reveals a handful of projects associated with Trump, the architect’s 50 years designing in New York included countless high-rise designs for various local developers Born in Central Africa, Kondylis studied in his parent’s home country of Greece before earning a graduate degree at the University of Geneva in Switzerland. After finishing his second masters at Columbia University in 1967, he began working for Davis Brody & Associates. While employed by Philip Birnbaum & Associates, he designed his first notable building, Manhattan Place Condo, in 1984. As one of the first high-rise condo projects in the city, as well as one of the few to focus on luxury design at the time, it caught the eye of Trump who was then expanding his New York building empire. Five years later, Kondylis launched his own firm, Costas Kondylis and Partners in 1989. During this busy time in his career, he designed 65 buildings—one building every six weeks—from 2000 to 2007, TRD reported. Once the practice dissolved two decades later, Kondylis started his own firm, Kondylis Design. It’s argued that Kondylis influenced the New York skyline more than any other architect in history. His more recent projects, Silver Towers, River Place, and Atelier, all towering residential properties, have helped shape the newly-developed far west side of Manhattan. He was largely recognized as the “developer’s architect,” a term he grew to embrace, having worked well with everyone from Silverstein Properties to Moinian Group to Vornado Realty Trust and Related Companies. Though his work was usually on time and on budget, it wasn’t highly favored by critics who saw his large-scale structures as too conventional. Larry Silverstein told The New York Times in a 2007 interview that Kondylis’s name is almost synonymous with the city’s condominium architecture. “He designs an attractive, buildable, functional building,” he said. “If I’m going to do a residential building in New York, the most natural thing in the world is to pick up the phone and call Costas.” Kondylis repeatedly stated that his primary goal was always to please the client. He was regarded as one of the most professional, humble, and patient architects in the business despite criticism or praise of his work.  Kondylis died last week in his home and is survived by his two daughters, Alexia and Katherine. A service in his honor is scheduled for October.

Jail tower proposed by New York City officials

As part of the plan to close Rikers Island by redistributing inmates to smaller jails across four of the five boroughs, the Daily News reports that city officials are looking to build a 40-story jail tower at 80 Centre Street in Lower Manhattan. Perkins Eastman, along with 17 subcontractors, has been tapped to redesign the smaller community-oriented jails in each borough and orient the new developments toward a rehabilitative model. New York City Mayor Bill de Blasio’s office had released a list of preferred community-chosen locations in each borough back in February, but ran into opposition with their sites in the Bronx. Now the plan for the Manhattan location appears to have changed as well, as the city is looking to top the nine-story 80 Centre Street with a jail tower that could contain affordable housing. The initial location in Manhattan, an expansion of the Manhattan Detention Complex at 125 White Street, was deemed infeasible for the number of inmates that would need to be housed. Rikers currently houses 9,000 inmates, but the city is hoping to cut that number to 5,000 through bail and sentencing reform and distribute the population throughout the new sites. Closing the jail has been the goal of vocal activists for whom the facility embodies gross abuses of the criminal justice system. Mayor de Blasio has recently come to support the push for closure. If the jail tower moves forward–80 Centre St. is one of two sites under consideration–the 700,000-square-foot Louis J. Lefkowitz State Office Building would be gutted and the preserved facade would serve as the tower's base. The granite, art deco building is currently home to the marriage bureau, and was completed in 1930 and designed by William Haugaard; according to the city’s official building description, Haugaard kept the building squat to avoid casting shadows on the nearby courthouses and Foley Square. The jail’s vertical shape would mean that men and women would need to be separated on different floors, as would the hospital area, outdoor space, recreation areas, and classrooms. AN will follow this story up as more details become available.

The MIT Self-Assembly Lab prints squishy, tactile lighting fixtures

The MIT Self-Assembly Lab and Swiss designer Christophe Guberan have unveiled a range of new lighting and household items that are 3D-printed in soft materials and then inflated to their proper sizes. Liquid to Air: Pneumatic Objects is currently on display at the Patrick Parrish Gallery at 50 Lispenard Street in Manhattan through August 26. The Self-Assembly Lab team, consisting of Björn Sparrman, Schendy Kernizan, Jared Laucks, and Skylar Tibbits, were able to “draw” the malleable objects using rapid liquid printing. The experimental process is a collaboration between the lab and furniture company Steelcase and can be used to rapidly print large-scale products in a variety of materials. Prints are “drawn” in a vat of gel using a variety of extruded materials–everything from rubber to plastic–that only stick to themselves and not the gel. The prints are limited only by the size of the container holding them, don’t require supports, and can contain variable thicknesses within a single object, representing a huge leap forward for 3D printing technology. For Liquid to Air, the team printed table lamps, pendants, and sconces from silicone rubber and inflated them into round, buoyant fixtures with a malleable finish. Walking through Patrick Parrish Gallery, visitors are encouraged to touch the final products, which also include multi-chambered vessels used as vases and holders for stationery. A hands-on exploration reveals that everything is soft to the touch and rebounds after squeezing, demonstrating the potential of rapid liquid printing to create complex but durable objects. Liquid to Air isn’t the first collaboration between the Self-Assembly Lab and Guberan. The team has worked together since 2014, and last year they printed a series of mesh handbags and lighting fixtures for Design Miami 2017 and used rapid liquid printing to churn out unique pieces in a matter of minutes.

San Francisco’s Instagram-famous Color Factory is headed to New York

Explosions of summer color are coming to New York City as San Francisco’s sold-out Color Factory pop-up installation is set to brighten Manhattan's streets starting on August 20. A 20,000-square-foot interactive exhibition from artist collaborative Color Factory will open in SoHo and will be accompanied by 20 “secret” color installations hidden across Lower Manhattan. The original Color Factory installation opened last August in San Francisco for a four-week run that eventually expanded to last nearly eight months. That show brought together a star-studded roster of local and international artists to create an exploration of color that went viral on Instagram, and Color Factory is looking to replicate that success in New York. Instagram-friendly installations and pavilions have exploded in recent years, and lauded firms from AGENCY to Snarkitecture have all jumped on the bandwagon, delivering selfie walls and all-white takes on the form. Let's not forget pop-ups like the Museum of Ice Cream, either, soon to be joined by its long-lost cousin the Museum of Pizza. The California version of Color Factory involved multiple explorations of color in light works, several monochrome rooms (currently all the rage), rainbow decals, fabric, balloons, and technicolor plastic furniture. The New York version seems like it will keep to the same vein; visitors will be able to experience 16 rooms, including a bar filled with mocha in every color of the rainbow, a light-up dance floor, a room full of ombré balloons, a room where participants can walk through a guided experience to discover their own “personal color," an enormous full-room ball pit, and custom illustrations from New York artists. After guests are finished at the exhibition, they can pick up a map to the 20 “secret experiences” Color Factory has hidden across the island, and the group says that the installation will be inspired by the colors of New York. Manhattan Color Walk from Color Factory on Vimeo. Color Factory is no stranger to New York’s streets. Manhattan Color Walk, a survey of colors from 265 individual Manhattan blocks, recently wrapped up at the Cooper Hewitt. The free installation was on display through June and adorned the museum’s terrace, garden, and walkways with colored bands pulled from New York’s most unique and ubiquitous colors. Color Factory staff walked and biked from West 220th Street all the way down to Battery Park and translated one color per block into a stripe at the museum and released an accompanying guide. General admission tickets for Color Factory are now on sale for $38, and the exhibition will be open at 251 Spring Street after August 20 from Thursday to Tuesday, 10:00 AM through 11:00 PM.

Target opens in the East Village with polarizing faux-urbanism

The East Village outpost of Target opened in lower Manhattan this weekend and kicked off the festivities by draping a vinyl facade of long-gone East Village institutions down a stretch of the street. The installation concocted Target-ized versions of long-gone cultural institutions, including riffs on CBGB, the Village Voice, a local laundromat, and more, drawing the ire of preservationists.
The 27,000-square-foot Target is a smaller, “urban” offshoot at the base of the Beyer Blinder Belle-designed luxury EVGB (“East Village’s Greatest Building”) tower at the intersection of 14th Street and Avenue A. The kiosks around EVGB’s base were all throwbacks to the neighborhood’s punk 1970s past and included a wrapping reminiscent of the tenement buildings that existed before Extell developed EVGB. The online responses were, predictably, divided. Preservationists viewed the stunt akin to a facadectomy and accused Target of appropriating the area’s past to promote a gentrifying store. On the other side, most of the visitors this weekend seemed happy to snag free swag the “TRGT”, fake pizza places, and “palm readers”. Jeremiah Moss of Vanishing New York was particularly scathing in his assessment, calling it a “Potemkin Village from Hell” and decrying the commodification of his formative experiences. Still, this kind of thing happens regularly, as facades and nods to an area’s past are frequently appropriated in the marketing for whatever comes next, whether it be an addition or wholesale replacement.

Yale University and UN Environment design self-sufficient tiny home

Yale University and Gray Organschi Architecture have designed and built a self-sufficient tiny house for UN Environment and UN Habitat, and the building is on display in UN Plaza in Midtown Manhattan until August 11. The Ecological Living Module contains 215 square feet of occupiable interior space and carves out another 16 square feet for a rear mechanical closet. The unit uses passive lighting and moisture collection, structural cross-laminated timber (CLT), food-growing green walls, and sun-tracking solar panels to shrink both the building’s embodied energy and resource needs. According to UN Environment, housing construction worldwide uses 40 percent of all resources produced every year and accounts for one-third of greenhouse gas emissions (not to mention the conflicts being fought over rapidly dwindling materials like sand). The module was commissioned just in time for the United Nations High-level Political Forum on Sustainable Development, to illustrate the idea that sustainable urbanization can only be accomplished if buildings minimize their contribution to climate change. The Yale Center for Ecosystems in Architecture and Gray Organschi worked together to design and install the module in only four weeks. The building was fabricated partially in New Haven and partially in Brooklyn and assembled on the UN campus amidst heavy security and tight construction restrictions. In order to balance maximum sun exposure with thermal comfort, the module was designed with New York’s specific micro-climate in mind. The dramatically-sloped building is clad in dark cedar planks and is home to two cascading “farm walls”, one on either side, and Gray Organschi claims that in New York the home can produce over 260 servings of vegetables. Plants were used inside as well in the loft area, and a living wall in the upper loft area purifies air for the inhabitants. “Structure was used as finish,” explains Gray Organschi founding principle Alan Organschi. The same pale CLT used to support the building was left exposed inside to create all of the finished surfaces, from countertops to stairs. The timber was sourced from the northeastern U.S. and sequestered more carbon than the effort used to harvest it. The team optimized daylighting in the building by carving strategic cuts into the back and roof. An Integrated Concentrating Solar Facade was installed to both reduce the amount of incoming sunlight and harvest solar power; an array of tiny panels track the sun’s movement and focus light on the minimally-sized solar receivers. The team wanted to build a system that could be assembled with the least amount of effort, and that would use the minimal amount of toxic materials to create. After August 11, the Ecological Living Module will be partially disassembled and brought to San Francisco; the structure was built narrow enough to be towed by truck. After that, the module will be flown out for demonstration in Quito, Ecuador, and then Nairobi, Kenya.

SHoP and Field Operations bring a mall, public space, and balloons to Lower Manhattan

As SHoP Architects and the Howard Hughes Corporation continue to put the finishing touches on Pier 17, AN took a behind-the-scenes look at the Manhattan seaport’s reinterpretation of the big-box mall and the massive rooftop gathering space above. The 300,000-square-foot mall and public space has been under construction since 2013 and has undergone several design tweaks since its original presentation before the Landmarks Preservation Commission (LPC). The proposed glass pergola on the roof has been cut, as has the lawn shown in earlier renderings. The roof is now covered in pavers and designed for flexibility; the planters are modular and can be moved to accommodate larger crowds, and a freight elevator allows food trucks onto the roof directly from the adjacent FDR parkway. According to Howard Hughes, the roof can accommodate up to 3,400 (standing) guests. SHoP took suggestions from the LPC and surrounding community into account when linking Pier 17 with the surrounding waterfront and in their decision to wrap the East River Esplanade around the building. The Esplanade extends into the interior of the first floor, as the building’s base is wrapped in double-height glass doors that can be fully raised if weather permits. The restaurant and retail sections have been reimagined as two-story 'buildings', separate from but still attached to the main structure and aligned on a grid that preserves views of the Brooklyn Bridge and surrounding skyline. SHoP has clad each building-within-a-building in materials that correspond to the area’s nautical heritage, including sustainably harvested tropical hardwood, corrugated zinc sheets, and overlapping zinc tiles. Howard Hughes has already locked down several big-name anchor tenants for Pier 17, including a two-floor restaurant from David Chang and upper-floor office space and a green room for ESPN. Outside, SHoP has collaborated with James Corner Field Operations for the landscaping and furniture, and global firm Woods Bagot has designed the Heineken pavilions. Visitors looking to soak in views of Brooklyn will also find a bar and lounge on the eastern side of the building in the shadows of artist Geronimo’s massive multicolored balloon sculpture. Her creative process is documented in the video below: The top half of Pier 17 has been clad in vertical panes of foggy green-gray channel glass, which rises and falls as it wraps around, in reference to the passing East River below. Some of the crazier renderings have shown the building’s upper floors lit up in technicolor at night, and internet-connected color-changing lights have been embedded in the facade. The public can experience Pier 17’s rooftop when it opens to the public on July 28, complete with an accompanying concert series.

At Roman and Williams’ flagship restaurant-store, everything is for sale

As restaurants try to drum up alternative revenue and traditional retail outlets continue to feel the squeeze from online shopping, Roman and Williams Buildings and Interiors has brought the best of both worlds at their new flagship store in SoHo. The 7,000-square-foot design store, café, and flower shop, neé Roman and Williams Guild, is a showcase of Roman and Williams’ work. Here, diners can lick the plate clean and then buy it. Roman and Williams is well known for their work at the Standard Highline and ACE Hotels as well as high-end residential projects. Expanding into a consumer-facing brick-and-mortar space in an expensive Manhattan neighborhood seemed like a natural progression. The 44-seat La Mercerie café within the Guild is built out with pieces from Roman and Williams' new Founding Collection, and everything is for sale. The café’s light interior palette of blonde wood and pastel blues, described by Roman and Williams as “watery-blue cast, pale-gray floors and an indigo enameled kitchen” matches the exterior of the landmarked building. But walk to the back of the restaurant and through the arched threshold, and those muted colors are replaced by deeper hues of blue and a more rustic tone in the back showroom. This is where interested customers can pick up pieces in a more traditional design setting, with a heavy emphasis on wood, leathers, and fabrics. The Guild also houses a flower shop helmed by local botanist Emily Thompson, and her arrangements can be found throughout the entirety of 53 Howard Street.

David Adjaye reveals new renderings for Financial District tower

Ahead of the sales launch for the Adjaye Associates-designed 130 William condo tower in lower Manhattan, Sir David Adjaye sat down with the New York Times to discuss the building’s design philosophy and to drop new renderings of the arch-wrapped tower. Construction on the tower, with its gothic-flair and inverted take (and massing) on the arches seen in classic New York masonry, is already well above grade. Unlike many of its glass-clad contemporaries, dark, angled concrete panels as being used for the building’s facade, which Adjaye described to the Times as acting to break up rainwater running down the face of the building. A new detail revealed in the interview is the deeply gauged and pocked texture of the concrete, reminiscent of fresh volcanic rock. The arches-all-over motif is repeated in the lobby according to the new renderings, with arched book nooks notched from concrete and arching transoms over the main entrance doors. Like the building’s facade and the black tiling in the pool room, Adjaye and Hill West Architects have gone with a heavy dark material palette for the lobby. This is in stark contrast to the all-white residential unit interiors and they’re brass-burnished finishes. Adjaye Associates and Weintraub Diaz Landscape Architecture will also be designing a planted plaza at ground level inspired by the city’s historic pocket parks, though from the construction photos the building appears to be tightly slotted into the site. Potential residents can purchase units starting from $650,000 for a studio all the way up to a $5.42 million 4-bedroom condo, with an expected move-in date of 2020.

Manhattan’s Garment District is next on the rezoning block, with some bright spots for manufacturers

Hot off of a contentious rezoning of East Harlem and in the middle of spinning up the Inwood rezoning, the de Blasio administration has once again turned its attention to the Garment District in Midtown. While a previous attempt to transition the neighborhood away from manufacturing failed last year, the Wall Street Journal is reporting that a revised plan will be presented any day now. New York City’s Economic Development Corporation (EDC) has reportedly worked out a plan, with input from advocates and manufacturers in the area, that would ease some of the area’s restrictive manufacturing requirements and open the neighborhood up to commercial development. A major sticking point of the prior plan, and part of the reason that neighborhood manufacturers opposed the initial rezoning, was that the city had floated the idea of relocating most of the manufacturers to Brooklyn's Sunset Park. From the details that have been made public so far, it looks like the city will lift certain zoning restrictions along the neighborhood’s side streets rather than the whole district, which is located between West 35th and West 40th streets and Broadway and West 9th Avenue. The city will spend up to $20 million to acquire a building that will solely house manufacturing, and developers will be given tax incentives for allocating at least 25,000 square feet for clothing manufacturing in any new buildings. It’s likely that the restrictions on building new hotels from the older plan will be included in the final revision. Under the 1987 zoning code that the new plan addresses, developers converting buildings in the district were required to maintain a 50-50 split between manufacturing space and offices. The new plan is likely a win for manufacturers looking to stay in Manhattan. Despite the district’s central location, many of the small clothing and cloth shops that lined the neighborhood’s streets have left due to unaffordable rent and overseas competition. The WSJ notes that of the 9 million square feet of space within the 1987 zoning regulation’s boundaries, only 700,000 to 900,000 square feet is being used for manufacturing today. Much of New York’s manufacturing base has already shifted to Brooklyn, with a sizable chunk moving to the Navy Yard because of the ability to vertically integrate their production; the latest rezoning plan is a direct effort to address this.  In a press release, the EDC put forth a commitment to preserve at least 300,000 square feet of manufacturing space in the neighborhood, noting that 25 percent of all garment manufacturing in the city is still done in the area. "The Garment Center's unique ecosystem of skilled workers and specialty suppliers clustered in one place is the foundation that the wider New York fashion world is built on. What we've negotiated here is a real plan to preserve it for years to come," said Manhattan Borough President Gale A. Brewer in the release. "This is much more than just a tax benefit program, although the IDA benefits are central.  It’s an IDA program combined with a real commitment of resources to purchase permanent space. This package will help keep the fashion industry anchored here in New York."