It's a bird! It's a plane! No, it's actually a plane. On the corner of 60th Street and 5th Avenue in Manhattan, a six-seat, twin-engine Piper Seneca aircraft balances on two vertical steel posts positioned at the end of its wings, playfully rotating on its own axis and likely confusing visitors to Central Park. After doing a double take on the surreal scene, find a plaque located nearby and you'll learn that this mysterious aircraft is actually an installation by artist Paola Pivi, whose portfolio includes scenes of zebras on snowy mountaintops and arenas of screaming people. Working with the Public Art Fund, an organization dedicated to present artists’ work throughout New York City, Paola Pivi opened her newest installation featuring the Piper Seneca, How I Roll last Wednesday, June 20th. Like much of Paola Pivi's work, How I Roll challenges the onlookers to broaden their imagination and perceive something that's usually inconceivable in reality. Frozen in a continuous loop-the-loop at ground level, the aircraft dismisses its own identity as a flying machine, floating and spinning effortlessly on the edge of the park. By ignoring its own gargantuan weight and the context of flying high in the sky, plane becomes an object, a sculpture, perhaps finally linking industrial design and sculpture. Just take a look at it spinning in the video above, or, even better, get your own in-person dose of surrealism by visiting Pivi's How I Roll any time day or night through August 26th.
Posts tagged with "Manhattan":
The PoMo aficionados were out in force at yesterday’s Landmarks Preservation hearing for the new proposal for South Street Seaport’s Pier 17. It would seem that just as debate on the value of 1970s Brutalism shifts into high gear, the 1980s PoMo crowd is revving its engines. As preservationists and developers whacked it out, some larger questions about context and neighborhood integration arose. The SHoP-designed tectonic glass response to Ben Thompson’s wood-clad gables of the exiting 1985 Pier 17 building is a clear break from the past, both literally and figuratively. SHoP’s Gregg Pasquarelli didn’t mince words when he told the New York Times “We’re taking away the po-mo and making it a real waterfront market building.” But Thompson, who died in 2002, had plenty of defenders on hand yesterday, including a statement from his wife Jane Thompson, who warned that real estate in the new plan “will inevitably rise to premium rates; privatization will intensify, which forces a turn to luxury retail.” Elise Quasebarth, of the preservation consultancy group Higgins Quasebarth, testified on behalf of Howard Hughes Corporation, the developer, that many of the upland elements planned in conjunction with the 1980s "festival marketplace" are still fundamentally robust. The SHoP worked with James Corner Field Operations to further integrate the street grid through a north-south connection to the East River Waterfront Esplanade and east-west connections to Beekman and Fulton streets. But the deal between NYC Economic Development Corporation and Howard Hughes has a distinct cutoff point at the so-called Tin Building. The empty 1907 structure, which formerly housed a market, sits at the river’s edge where the pier juts into the river. Though the plan has the support of Community Board 1, the board did encourage a master plan that carries through the entire South Street Seaport Historic District. Further complicating matters, the district actually cuts through half of Pier 17. The board resolved the districting by extending the boundary to incorporate the north section of the pier as well. The concern was driven home by local wine merchant Marco Pasanella who testified that the uplands should be considered as part and parcel pier plan and that only a “holistic” approach would work, particularly while the pier is under construction. Pasanella said the big picture should ensure that the plan attract similar tenants and “the right sort of visitors." Speaking on behalf of the Howard Hugh’s Corporation, senior executive vice president Chris Curry said the taking the nearby elements into account, particularly the Tin Building, would require a separate ULURP. He added that the company wants to make an immediate investment, though that wouldn't preclude additional investments down the line. For the time being however, the cutoff point leaves a few of Thompson’s gables left at the back of the pier. Pasquarelli said they would be painted a uniform color to visually drop away. The gables would still function as a mask for mechanical equipment. If all goes as planned, a little slice of PoMo might survive after all.
News Paper Spires The Skyscraper Museum 39 Battery Pl. Through July 2012 Focusing on the years between 1870 and 1930, News Paper Spires at the Skyscraper Museum considers the buildings where the most important events of the day were committed to the public record with ever-increasing speed. Just after the Civil War, The New York Times, The New-York Tribune, and The New York Post all were headquartered on the so-called “Newspaper Row” to the east of City Hall Park (above), each headquartered in early skyscrapers, where writers and editors worked above, while below typesetters and steam-engine powered printing presses churned out morning, afternoon and evening editions. In this exhibition, the history of these vertical urban factories—including their migration from downtown to midtown—is considered through films, architectural renderings, photographs, typesetting equipment, and the archival newspapers themselves.
Tonight, the design team from the High Line will present plans for Section 3 to the community. Parks Commissioner Adrian Benepe will introduce James Corner from the project's lead team, James Corner Field Operations, and Ricardo Scofidio from Diller Scofidio + Renfro. High Line co-founder Robert Hammond will moderate a post presentation discussion. Unlike the last two sections of the High Line, Section 3 will be intimately integrated with one major developer, as opposed to a variety of property owners and stakeholders. From 30th to 34th Street, the High Line wraps around Hudson Yards, the 12 million square foot office and residential district being developed by Related Companies. Much of the new section will be built cheek by jowl with Related's construction. At the westernmost section overlooking the Hudson River, an interim walkway will span the existing self-seeded landscape, so as coordinated design efforts alongside Related's development and give Friends of the High Line time to raise more funds. The estimated total cost of capital construction on the High Line at the rail yards is $90 million. Construction is expected to be complete by the end of 2013 with a full public opening in spring 2014. All renderings courtesy Friends of the High Line. Click on a thumbnail to launch the slideshow.
The Greatest Grid: The Master Plan of Manhattan, 1811–2011 Museum of the City of New York 1220 Fifth Avenue Through April 6, 2012 In 1807, to head off health threats and a growing lack of habitable space, New York City’s Common Council commissioned a three-year project to organize massive land development north of Houston Street. The Museum of the City of New York presents The Greatest Grid: The Master Plan of Manhattan, 1811–2011 in honor of the bicentennial of the 1811 Commissioners’ Plan for New York, which established the iconic street grid from Houston to 155th Street. Along with the original, hand-drawn map of New York’s grid plan, other historic documents demonstrate the city’s physical development due to the grid’s application and evolution over time. Co-presented by the Museum of the City of New York, the New York Public Library, and The Architectural League of New York, and sponsored by the Office of the Manhattan Borough President, The Greatest Grid will be on display until April 6. Click on a thumbnail to launch the slideshow.
Neither blizzards, an earthquake, or Hurricane Irene slowed down work here at 21 Murray Street. Nor did any of these disrupt work down the street at the World Trade Center. The demonstrations at Zuccotti Park did not get in the way, nor the spontaneous turn out following the death of Osama bin Laden. Construction only paused for the tenth anniversary of the 9/11 attacks. Some of the year's biggest stories sat at our doorstep, and quite often, we only had to go downstairs to capture their images. Here are a few photos of the news and news-makers taken downtown, as well as a few from uptown, across town, and over the river...
DDG Partner's latest project uses a material often found under foot and gives it a hard-earned respect long deserved. New York State bluestone clads the entirety of 41 Bond's facade, a condo with four full floor units, a ground floor townhouse, a duplex, and a penthouse duplex. Over the past few months usual Bond Street soundscape of tires rumbling over cobblestone has been interrupted by the clangs of the quarry, as masons fit the stone into place. All of the stone carving was done on site. DDG's CEO Joseph McMillan, Jr. and chief creative officer Peter Guthrie give AN a tour...
Mayor Bloomberg and top city officials joined executives from the Related Companies, Oxford Properties, and fashion label Coach underneath the northernmost spur of the High Line on Tuesday to announce the first anchor tenant at Hudson Yards on Manhattan's West Side. "Today we announce Coach as the anchor tenant at Hudson Yards," said Related CEO Stephen Ross. He told the crowd that construction could start in a few months. Coach will relocate 1,500 employees currently scattered across three buildings nearby into a sleek glass and steel KPF-designed tower overlooking the High Line, occupying about a third of the planned first tower. Covering 26 acres along the Hudson River and spanning a LIRR train storage yard, Hudson Yards will mix residential, commercial, retail, and cultural space to create what Ross described as the "Rockefeller Center of the 21st century." Two tapering buildings on the eastern edge of the site—the first to be built—tilt away from each other, appearing to peek overtop of their neighbors. They are joined by a seven-story glass-enclosed retail podium, forming a twin-towers-over-a-mall typology that Related made famous at the Time Warner Center in Columbus Circle. At 5.5 million square feet and three city blocks long, Related says the "superblock building" will be the largest commercial building in New York. "Finally you're going to get a building as nice as your pocket books," said New York City Council Speaker Christine Quinn. The neighborhood is poised to become a center of fashion and culture in Manhattan, a point Bloomberg made in declaring that Fashion Week will someday take place at the Culture Shed, an arts center designed by Diller, Scofidio & Renfro with Rockwell Group planned at Hudson Yards. While not on stage for the announcement, Bill Pedersen of KPF remarked on the mega-project's design in a statement. "Hudson Yards must link to the prevailing industrial character of the West Side, while also summarizing this context with a fresh visual dynamic. As a time when extraordinary urban projects are arising around the world, Hudson Yards will be an important symbol of New York's continued leadership in global urbanism." The development of Hudson Yards is aided by the extension of the number 7 subway line from Times Square that officials said is on schedule to open at the end of 2013. New glass-canopied subway entrances designed by Toshiko Mori Architect will be located in Hudson Park designed by Michael Van Valkenburgh north of the site. The announcement is also a boon to the third and final segment of the High Line, which wraps around the Hudson Yards site. Coach's new global headquarters is located in the shorter, southern tower straddling a section of the elevated park and a large glass atrium will eventually face the park. All parties involved—Related, Coach, and the city—agreed that the High Line should play a prominent role in Hudson Yards. "We at Related look forward to continuing to work with the city, and the Friends of the High Line to transform segment three, and make it a very special place," said Ross. Bloomberg noted that the city is working with CSX to transfer the final segment of rail to the city.
If Bjarke Ingels' ascension into starchitecture hasn't been dramatic enough, the Danish architect is again moving up in the world. On Friday, Ingels' firm BIG threw a party to christen their new office space in Manhattan. BIG has expanded its Chelsea presence, moving up from the third to the twelfth floor of the Starrett-Lehigh Building. A press preview of the new space preceded the party a couple floors above. Among those in attendance were Crown Prince Frederik and Princess Mary of Denmark, who earlier this month awarded Ingels the $90,000 Culture Prize—the MacArthur of Scandinavia—for his emerging work in architecture. Now it looks like Ingels' October has just been getting started. The Wall Street Journal Magazine will declare the Danish architect among its inaugural Innovators of the Year. Bjarke, seemingly by-passing starchitect status directly to super-starchitect, wins in the architecture category for "his wildly expressive structures, including the radical re-imagining of the New York high-rise apartment building, his commitment to sustainability and his philosophy of 'pragmatic utopianism.'" Richard Wurman, architect, author, and founder of the TED conferences (at which Bjarke has spoken) will present the trailblazing award to Ingels this Thursday at the Museum of Modern Art. No word yet on whether royalty will be in attendance. Ai Weiwei took the innovator award for art, Katie Grand for fashion, Elon Musk for technology, Steve Ells for food, Joris Laarman for design, and Bill Gates' and Warren Buffett's The Giving Pledge for philanthropy. Profiles of each of these Innovators of the Year will be featured in the October 29 issue of WSJ Magazine.
Next time you are in Times Square, don't be shy when you see a spotlight-- no matter how lame your dance moves are, you are guaranteed an explosive roar of applause from an invisible, enthusiastic crowd of people as long as you are moving. (What a refreshing departure from the notorious American Idol jury.) This location-appropriate spotlight installation is an interactive public art work by Adam Frank, an installation artist and a product inventor, whose body of work "represents an ongoing investigation of light and interactivity." His shadow-casting oil lamp, LUMEN, is one of the MoMA Store’s best-selling items. Frank's Performer installation near Times Square--a spotlight, speakers, and an "auto-affirmation" machine--provides a virtual 500-person audience culled from hundreds of live recorded reactions, such as clapping, whistling, hooting, and mumbling. Unsuspecting visitors passing by will only see a spotlight, while speakers, motion sensor, and wiring are cleverly hidden in the semi-enclosed breezeway, a location that effectively provides an open acoustic environment that can make the mechanics of the installation invisible. While the recorded enthusiasm begins when someone walks into the spotlight, it will increase or decrease depending on the performer's motion. There are even uncomfortable coughs and awkward throat-clearings if you stop being charming by standing still. "Performer flips the typical viewer-and-artwork relationship: the viewer's performance is necessary to activate and control the work," said Frank. This reversal of roles is especially potent against the backdrop of the flashy Theater District, where normally a passive, receptive role is expected. "Over a year ago, we got over 400 responses to our open call for art projects in Times Square--the second we saw this, we knew we wanted to do it, " said Tim Tompkins, president of the Times Square Alliance. "For over 100 years, Times Square has been a magnet for people who love being in the spotlight, and that particular phenomenon has only intensified, with technology's help, in recent years." While Tompkins rightly points out the relationship between technology and stardom--what with all the Youtube fames, blog stardom and whatnot--what modern technology enabled us to do may not be true to the classic concept of being a star, a performer--a light-and-stage kind, a la old Broadway. Instead, more and more "stars" are born off-stage, often secluded in their dark room with a brightly-lit Macbook. Frank's Performer, then, is a classic throwback, demanding a public performance with a physical spotlight (but with a forgiving audience). So next time you want to practice for that dreaded final review or presentation, bring your architectural models to the most easygoing 500-people panel of all. WHEN: Open to the public Oct 13th to Nov 22nd WHERE: Anita's Way at the Bank of America Tower, One Bryant Park (Passageway connecting West 42nd and West 43rd St.) Photos by Ariel Rosenstock.
PIIOTOS_WTC 1500 Gallery 511 W 25th St. #607 Through September 17 In honor of the tenth anniversary of September 11th, 1500 Gallery in West Chelsea will present PIIOTOS_WTC, an exhibition of photographs of the Twin Towers taken by 22 of Brazil’s most notable photographers. The images, which all have the World Trade Center site as their subject, span the last three decades of the 20th century. Selected photographers include Victor Andrade, Ali Karakas, and Roberto Linsker, among others. The selection is diverse, with works ranging from distant portrait landscapes of the towers from the Hudson River, to bold aerial views, black and white night shots, glowing, hazy sunsets, andclose-up structural shots, like the work of Tuca Reines, above. Gallery 1500—the only gallery in the world to focus specifically on Brazilian photography—brings together these poetic works, capturing the power, strength, and beauty of the city as it is no longer. Click on a thumbnail to launch the slideshow.
On Thursday, the East River Waterfront Esplanade officially opened to the public. Last week, while the paint on the new bike lanes was still drying, City Planning Commissioner Amanda Burden took AN on a walk through of the first section. The commissioner barely contained her excitement while showing off design details by landscape architect Ken Smith and SHoP Architects. Follow the commissioner as she takes us through the dog run and points out clever details like the "Get-Downs," the riverside bar stools, and "seat walls."