New York City will receive $176 million in federal funding for disaster recovery. The funding would be put towards a section of the project extending from the northern portion of Battery Park City to Montgomery Street on the Lower East Side. The money is part of $181 million in funding for recovery projects in New York and New Jersey. The funds came from the National Disaster Resilience Competition, a U.S. Department Housing and Urban Development–sponsored competition to rebuild communities affected by natural disasters, The New York Times reports. The BIG–designed East Side Coastal Resiliency Project (scaled down, but known in former incarnations as the DryLine or the BIG U) calls for sea walls, retractable flood barriers, and grass berms that would double as riverside recreation areas, opening up the waterfront to create a shoreline comparable to the recreation-rich shores of Manhattan's West Side. The East Side Coastal Resiliency Project arose from Rebuild by Design, a 2014 competition to solicit ideas for six large-scale flood protection and resiliency measures in the tristate area. Rebuild by Design awarded New York City $335 million in federal funds for the East 23rd Street to Montgomery Street section. Mayor de Blasio has committed $100 million in capital funding to the project already.
Posts tagged with "Manhattan":
New York’s enormous Javits Center could grow $1 billion larger with Cuomo’s plan and FXFOWLE’s design
As part of a package of proposals for his 2016 agenda, development on Manhattan's West Side will intensify. Governor Andrew M. Cuomo recently revealed a $1 billion plan to expand the Jacob K. Javits Convention Center. The expansion, designed by New York–based FXFOWLE, calls for adding 1.2 million square feet of event and meeting space, as well as a four-story, 480,000-square-foot parking garage to house the 20,000 or so tractor-trailers that bring event supplies to and from the venue each year. The Javits Center, between West 34th and West 40th streets along 11th Avenue, is one of the nation's busiest convention centers. The state estimates that the convention center generated $1.8 billion in economic activity in 2014. Cuomo's proposal would add 1.2 million square feet of space to the 2.1 million-square-foot venue, increasing its size by 50 percent. Upgrades include 500,000 square feet of uninterrupted event space, as well as a 60,000-square-foot ballroom. The parking facility will improve pedestrian safety by diverting trucks from the streets surrounding the Javits Center into a central delivery area with 35 loading docks. The venue is aiming to up its current LEED Silver certification to LEED Platinum with energy-saving upgrades. 2014 renovations added a 6.75 acre green roof, new flooring, and a new facade. A 34,000-square-foot solar energy array, the largest on any public building in New York, will be installed to complement these upgrades. Additionally, a terrace with a 2,500 person capacity will be built to take advantage of sweeping Hudson River views. Construction is expected to begin in late 2016. See the gallery below for more images of the planned renovations.
2015 was a big year for for the Bjarke Ingels Group (BIG), but 2016 may be even BIG-ger. New renderings were revealed this week for 76 Eleventh Avenue, Bjarke Ingels' towers on the High Line in New York City. These new views are quite a lot different than images of the diamond-shaped towers that surfaced last November. At 28 and 38 stories, the towers are the same heights as before. It seems the developers, HFZ Capital, haven't finalized the program. The base will still include 85,000 square feet of retail, but office space may replace the hotel portion included in the project when it was first reported. Whatever arrangement HFZ decides on, it needs to be lucrative enough to recoup the (astonishing) $870 million that the site was purchased for in April 2014. Nevertheless, EB-5 materials received by real estate blog YIMBY indicate that the base will hold 85,000 square feet of retail space, 130 hotel rooms, 100 parking spaces, and 260 apartments on the upper floors. These are not the architect's only twisted towers. Construction on the Grove at Grand Bay, in Coconut Grove, Florida, is well underway. The two, 20-story towers swoop into scoliotic, 38-degree curves to optimize ocean views. Ingels posted a photo of the development's outdoor canopy on Instagram yesterday, pictured below. 2016 will be the year to see how the firm's bumper crop of projects from the past five years come to fruition. AN is on the lookout for updates to the Pittsburgh master plan, the East Side Coastal Resiliency Project, the "courtscraper," the Redskins' new stadium (maybe), and Two World Trade Center, among other projects.
Ian Schrager’s legacy of high design shines in marketing material for Herzog & de Meuron’s 160 Leroy Street
Property developer Ian Schrager has supported good architecture in New York City like no other developer. He pioneered distinguished hotel design at a time when "hospitality" design was an afterthought for hoteliers. For instance, in New York, Schrager built the Paramount, the Royalton, and the Morgan hotels. Then he heroically proposed to have Rem Koolhaas and Herzog & de Meuron work together to design a hotel at Cooper Square, but that project, not unsurprisingly, did not happen. Schrager has used many other architects for his various projects, but now Herzog & de Meuron seem to have become his go-to design firm. He has said that he asks them “to capture the details of life in the details of the architecture.” The architects have executed this request in projects like 40 Bond and 215 Chrystie. Now the Swiss architects have designed 160 Leroy Street, a building overlooking the Hudson River, and the developer claims it is influenced by Oscar Niemeyer. Not satisfied to promote the building as other less creative developers have, Schrager asked Herzog & de Meuron to create a small, wooden scale model of the curving facade of 160 Leroy, pictured above. If I were thinking of moving into the building, I would request one of these small sculptures in order to help make up my mind. Not sure, though, that they are really needed in this case as nearly 50 percent of the building is already in contract.
Design worth its salt: Dattner and WXY team up for municipal infrastructure on Manhattan’s West Side
The New York City Department of Sanitation's (DSNY) Soho facilities prove that design for trash need not be rubbish. On a grey December day, five architects gave a tour of two buildings—the Spring Street Salt Shed and Manhattan Districts 1/2/5 Garage—that comprise DSNY's new facilities on Spring Street at the West Side Highway. The five architects leading the tour included WXY principal Claire Weisz, Dattner Architects principals Kirsten A. Sibilia and Paul Bauer, Dattner associate Gia Mainiero and Rick Bell, executive director of the Office of the Chief Architect at the NYC Department of Design and Construction (DDC). The first stop on the tour was the Spring Street Salt Shed. The structure is a textbook take on "form follows function." Designed to resemble a salt crystal, the cast-in-place concrete shed can hold up to 5,000 tons of road salt. When salt is piled up, Mainiero explained, it assumes an "angle of repose." The roof is slanted to match that angle, with walls ranging from two to six feet thick. While the structure's form embraces salt, the materials were chosen to prevent its corrosive effects: the concrete admixture is self waterproofing and architects applied a hardener to the concrete floor. Trucks drive into the salt shed to pick up their loads, so the lower portion of the walls are plated with steel to prevent errant shovel dings. In New York City, each Community Board (the neighborhood-level governing body) is responsible for its own sanitation. The Spring Street facilities are shared by Community Board 1, 2, and 5, as well as UPS, and a Con Ed substation. The garage can hold 150 sanitation trucks, and contains fueling, washing, and repair stations for vehicles, as well as administrative offices. Though the building is four stories, it feels more like eight, with interior ceilings up to 30 feet high. Citing community concerns about a potentially loud, unsightly sanitation facility in the neighborhood, the DDC and the design team worked closely with area stakeholders to create a facility with curb appeal. Walking from the salt shed to the garage, the architects pointed out the double-skin facade that wraps the 425,000 square foot building. Each floor has a different, but equally cheery, color-code. 2,600, 30 inch wide fins made of perforated, coated aluminum line the exterior. The panels are timed to move with changing position of the sun, though workers can manually override the settings to control light flow. "The color is interesting and subtle from the outside," explains Weisz. "The louvers create a composition and a scrim, yet the facade is very calm." In a nod to surrounding tall luxury developments, the design team treated the roofs of both buildings as facades. A 1.5-acre green roof, planted with 25 different species of succulents and perennials, helps control runoff, cool the building, counts towards the building's (eventual) LEED Gold certification, and could be used as an events space. Party planners take note: there are sweeping views of the Hudson on three sides. Design decisions were made to reduce the overall mass of the garage. At the rear of the building, the roof slants, mirroring the angle of the three lane driveway, one story below.
The Ford Foundation announced today that Gensler will lead a $190 million renovation of its Manhattan headquarters in East Midtown. The renovation will bring the building up to code while preserving the 1967 modernist design by Kevin Roche and John Dinkeloo. The renovation will double the square footage available for nonprofits (in part by reducing Ford’s own office footprint) with two floors dedicated to nonprofit organizations, create a new visitor center, art gallery, and event spaces, and open up the existing layout. The foundation is aiming for Gold LEED certification and will be investing in sustainable LED lighting, mechanical and ductwork, and HVAC systems. The building will also be equipped to harvest stormwater and natural daylight. A near-perfect square, the building is distinguished by its 174-foot-high atrium full of fern pines, weeping figs, bougainvillea, and camellia—plantings that will all be replaced with a new design by landscape architect Raymond Jungles. However, the nearly 5,000 pieces of furniture by Warren Platner and Charles and Ray Eames will be reused “as much as possible.” The renovation is expected to be complete summer 2018. Kevin Roche’s original 12-story concrete-and-steel, International Style building was widely praised when it was first built. In The New York Times, Ada Louise Huxtable wrote that the Ford Foundation headquarters is “that rarity, a building aware of its world.” She also quoted Roche on the design, who reportedly said “It will be possible in this building to look across the court and see your fellow man or sit on a bench and discuss the problems of Southeast Asia. There will be a total awareness of the foundation’s activities.” In 1995, the building won the AIA Twenty-Five Year award and in 1997 New York City’s Landmarks Preservation Commission designated the exterior, atrium glass walls, and garden of the foundation headquarters as an official landmark. This morning, The New York Times reported that the current president of the Ford Foundation, Darren Walker, takes his responsibility of the building very seriously. “We’re not only grant-makers but stewards of a building that Henry Ford II commissioned and was deeply involved with. This building is part of our legacy and was a gift to the city,” Walker said.
Meet The Green Line: How Perkins Eastman would remake Broadway through Manhattan into a 40-block linear park
By now, the "Bilbao Effect" is metonymy for a culture-led revitalization of a postindustrial city driven by a single institution housed in a starchitect-designed complex. The wild success of Manhattan's High Line generates regional seismic effects—the Lowline, the QueensWay, and the Lowline: Bronx Edition all cite the high queen of linear parks as their inspiration. Upping the ante, Perkins Eastman unfurls the Green Line, a plan to convert one of New York's busiest streets into a park. The Green Line would overtake Broadway for 40 blocks, from Columbus Circle to Union Square, connecting Columbus Circle, Times Square, Herald Square, Madison Square, and Union Square with pedestrian and cyclists' paths. Except for emergency vehicles, automobiles would be banned from the Green Line. The proposal has precedent in Bloomberg-era "rightsizing" of Broadway. Traffic calming measures closed Times Square to cars, increased the number of pedestrian-only spaces, and installed bike lanes along Broadway, reducing vehicular traffic overall. In conversation with Dezeen, Perkins Eastman principal Jonathan Cohn noted that "green public space is at a premium in the city, and proximity to it is perhaps the best single indicator of value in real estate. [The] Green Line proposes a new green recreational space that is totally integrated with the form of the city." Value, moreover, isn't linked exclusively to price per square foot. Replacing two miles of asphalt with bioswales and permeable paving could help regulate stormwater flow for the city's overburdened stormwater management infrastructure. Right now, rain falling to the west of Broadway discharges, untreated, into the Hudson, while east of Broadway, stormwater gushes straight into the Hudson. What do you think: is the Green Line on Broadway feasible, or totally fantastical?
Water, water, everywhere, Nor any drop to drink. —Samuel Taylor Coleridge, The Rime of the Ancient MarinerThough New York has the some of the cleanest municipal tap water, New Yorkers now consume 1.25 billion bottles of water annually. A contributing factor to the rise in bottled water consumption is the decline in the number of public drinking fountains. New York–based Pilot Projects would like to revive the grand tradition of public bubblers through a novel design/build competition. Pilot Project's 100 Fountains competition, launched September of this year, will tap artists and designers to build 100 fountains citywide in 2016. Each participant receives $5,000 to develop his or her team's design. According to the project proposal, the competition area will be divided into 30–40 zones, with two or three fountains per zone. The public judging period starts June 2016 and runs through September 2016. The original fountains will be auctioned off for charity, and ten designs from the pool will be chosen and duplicated for permanent installation at to-be-determined locations citywide. https://www.youtube.com/watch?v=ZFq8z96zbQQ In 2012, Pilot Projects hosted a campaign to raise awareness around the lack of drinking fountains. In the video above, passerbys in Union Square traipse over a red carpet to a (pre-existing, functioning) fountain operated by white-gloved servers. Per a 2007 zoning text amendment, the Department of City Planning (DCP) requires a fountain in every newly-built Privately Owned Public Space (POPS). The report suggests that, in lieu of vending machines offering sweetened beverages and bottled water, designers should incorporate public drinking fountains into the POPS. To justify their economic reason-for-being, 100 Fountains points to large-scale public art installations that overtook city streets in the late 1990s and 2000s: Christo and Jeanne-Claude's The Gates, Olafur Eliasson's New York City Waterfalls, and CowParade. The economic impacts of these project were estimated in the tens to hundreds of millions of dollars. 100 Fountains also takes direct inspiration from the Minneapolis Arts Commission. The commission highlighted Minneapolis' connection to surrounding rivers and lakes by installing ten custom fountains to celebrate the city's 150th anniversary. Pilot Projects will partner with the NYC Department of Cultural Affairs, the Department of Education, Office of the Arts and Special Projects, as well as Yale University’s Environmental Protection Clinic and Parsons The New School For Design to carry out the project. Expect to see fountains on the streets beginning June of next year.
New York City’s building trades unions rally at City Hall for higher wages, better working conditions
Today, members of New York's building trades unions marched on City Hall for wages that correspond to the rising cost of living, safer working conditions, more diversity, and strong unions to advocate on behalf of all workers. Middle Class Strong, a grassroots coalition administered through the Building & Construction Trades Council of Greater New York, organized the march and rally. https://twitter.com/LiUNALocal55/status/675041988228620289 Richard Jacobs Jr., business development specialist at D.C. 9 1974 (International Union of Painters & Allied Trades), noted that unions oppose "contractors and businesses that skirt paying a fair wage." The unions, moreover, provide for worker's economic security by ensuring that its members have another job lined up when their current job wraps up. Many protesters held "Middle Class Strong" signs. Middle Class Strong protects the rights of union and nonunion laborers. Coffins in front of the speaker's podium represent lives lost on the job. https://twitter.com/AffordabilityNY/status/675016785406595073 Real Affordability for All (RAFA), a coalition of affordable housing organizations in New York, pledged solidarity with workers protesting for fair wages. RAFA's advocacy underscores the connection between a living wage and housing access. The group's ongoing projects include proposing alternatives to the rezoning of East New York and other low-income neighborhoods. https://twitter.com/ALIGNny/status/675032433448873984 Public Advocate Letitia James, New York State Assembly Representative Francisco Moya, City Council majority leader Jimmy Van Bramer, and others spoke at the rally in support of the union's objectives. Developers, architects, and other builders, what do you think? Are the unions' demands fair? https://twitter.com/RoryLancman/status/675028656146751488 https://twitter.com/TishJames/status/675048530688503809
Perhaps following up on its Halloween Party this year that explored the theme "DEMO," as in DEMO-lition among other words sharing the root, the Storefront for Art & Architecture has launched a competition called "Taking Buildings Down," where “removal is all that is allowed.” The competition takes what is usually considered to be a violent act and calls upon “anyone interested in articulating visions for the future of our built environment” to submit proposals for “the production of voids; the demolition of buildings, structures, and infrastructures; or the subtraction of objects and/or matter as a creative act.” The intent of the “competition of the competition of competitions” is to elicit ideas about demolition, to provoke criticism, and to speculate. Judges include Jeff Byles, author of Rubble: Unearthing the History of Demolition; architect and professor at Yale University, Keller Easterling; associate professor and associate dean at the New School’s School of Media Studies and adjunct curator of new media arts at the Whitney Museum of American Art, Christiane Paul; and principal of Selldorf Architects, Annabelle Selldorf. Monetary prizes will be awarded to first, second, and third place winners; winning entries and “any additional entries deemed to be worthy of publication” will be published by Storefront for Art & Architecture. Entries are due on January 20th. More information, including specific eligibility and criteria, can be found here.
The Museum of Modern Art (MoMA) in New York has selected Sean Anderson as its new associate curator in the department of architecture and design. Anderson will work alongside fellow department employees to create collections, exhibitions, and public programs that focus on contemporary architecture. Anderson will also assist in managing MoMA's Issues in Contemporary Architecture exhibition series and the Young Architects Program, as well as serve as the main contact for both local and global architecture communities. He holds degrees in architectural design and the history of architecture and urban development from Cornell University, a master’s degree in architectural design from Princeton University, and a PhD in art history from the University of California, Los Angeles. Anderson most recently served as the senior lecturer of design and history and undergraduate program director at the University of Sydney in Australia, and he has worked as an architect in Afghanistan, India, Morocco, Sri Lanka, and the United States. "As both an architect and an academic, Sean brings a unique and global perspective to contemporary architecture. He has the capacity to balance the experience of practicing architecture with an intellectually rigorous inquiry into the field, framing contemporary issues in a fascinating and engaging way. We are excited to have him expand our curatorial understanding of contemporary architecture," Martino Stierli, Philip Johnson Chief Curator of Architecture and Design, said in a statement. Anderson’s appointment will be effective on November 30, 2015.
Clearly, higher ups at the Bjarke Ingels Group (BIG) are channeling beloved New York rapper Notorious B.I.G.'s approach to urban space. The firm's recent high-profile commissions (hello, Pittsburgh!) reflect Biggie's mantra: "the sky is the limit, and [you] know that you can have what you want, be what you want, have what you want, be what you want," ad infinitum. Now, Ingels is again looking skyward with a new project along New York's High Line. Today, YIMBY reported that BIG has released preliminary renderings for its project on the High Line, at Eleventh Avenue and 17th Street. The eastern tower will rise 28 floors (302 feet) adjacent to its 38 story (402 feet) western sibling. The buildings will feature 300 apartments (most with two and three bedrooms), retail space, and a hotel. Apartments will sit above a three-level, 150,000-square-foot hotel, and 50,00 square feet of ground floor retail. HFZ Capital paid an astonishing $870 million for the site last summer. The tower's aggressive diagonal cut will allow views of the High Line from the southern side of the western tower. The project's expected completion date is 2018. Just keep pressin' on, BIG. Just as newsworthy, perhaps: Why has it taken BIG so long to land a High Line commission alongside fellow starchitects Zaha Hadid, Frank Gehry, Jean Nouvel, Norman Foster, and countless others?