Posts tagged with "New York City":

Mayor de Blasio unveils new plan to fight homelessness in NYC

At a press conference last Tuesday, Mayor Bill de Blasio announced his plan to fight homelessness, aiming to decrease by 45% the number of hotels and cluster apartments being used to temporarily house the homeless over the next five years. (The latter are apartments rented by the city to house the homeless). As part of a more community-based approach, the city aims to create new neighborhood-specific shelters to help manage the transition. According to a representative from the Mayor’s Office, these new, larger shelters will keep the city’s overall homeless shelter capacity constant. New York City’s homeless population is at an all-time high, with about 60,000 people living in shelters, cluster apartments, and hotels around the city. The Mayor stated that rent has increased in the city by 19 percent since the economic recession while the average household income has decreased by 6.3 percent, leaving many families in a bind. These displaced families make up for 70 percent of people living in shelters, according to de Blasio. Because of the city’s legal obligation to house anyone who asks for shelter, it has been forced to move people into cluster apartments and even hotels, racking up a bill of $400,000 a day, according to The New York Times. These statistics are a large part of why the de Blasio administration has struggled to combat homelessness and income inequality; related tactics have included rent stabilization initiatives and rental assistance to those who are at risk of becoming homeless. The city currently has 647 buildings operating to accommodate the homeless, and de Blasio proposes to vacate a majority of those sites, predominantly cluster housing and hotels, within the next five years. The end goal is to have 364 total sites operating in the city. In order to do this, the system will become more dependent on shelters, adding 90 new shelters and expanding on 30 existing sites to accommodate for the shift. A representative from the Mayor’s press office said that 18 to 20 new shelters will be completed each year, several of which would be purpose-built new construction, over the same five-year span. The remainder will be existing buildings, and in some cases, empty cluster housing sites that will be repurposed and renovated to become new shelters. On top of the goal to decrease the number of shelter sites, the city also hopes to decrease the number of homeless in shelters by 2,500 in the next five years. The representative emphasized that despite the decrease in sites, the city is not decreasing its capacity to house the homeless, just reallocating it. The city also plans to refurbish existing shelters in poor condition. “We’re going to do a comprehensive effort around the city to bring all shelters to a better standard of quality,” said de Blasio. These renovations will create more appropriate spaces for the shelter’s occupants to stay during the day to participate in training and education programs. The city hopes this will keep residents off of the streets, a benefit for the community, and help get them back on their feet faster. Another major crux of de Blasio’s new strategy is to keep the homeless in their communities, where they are closer to their jobs, schools, and houses of worship. This community-based shelter system would place new shelters in neighborhoods with a high number of homeless currently in the system. The first of those facilities will open this April in the Crown Heights neighborhood of Brooklyn, which is home to 132 families currently in shelters and scattered throughout the city. de Blasio plans to continue pushing for more affordable housing, with 200,000 new and preserved affordable apartments on the way, providing options for seniors, veterans, and low-income families. The city would also increase supportive housing initiatives, which provide on-site support for substance abuse and mental illness, to help the homeless regain independence. The Mayor reiterated that these strategies are long term and iterative and that this process is something that will require patience. “We will be at this a long time,” said the Mayor. “We will make progress, but it will be incremental. It will be slow, and I hope and I believe it will be steady.” Meanwhile, on the other side of the country in Honolulu, Hawaii State Senator Josh Green introduced a bill that would allow doctors to prescribe housing to homeless patients that suffer from mental illness and addiction. In a study quoted by The Guardian, research has shown that healthcare spending for homeless patients, particularly those struggling with mental illness and addiction, decreases by 43 percent when they become housed and are provided with supportive services. These new initiatives suggest a change in the way governments are viewing and treating homelessness and, hopefully, will open the conversation to new and innovative solutions. To read more about Mayor de Blasio’s plan, click here.

Friends of the High Line founder raises concern about park’s success

Robert Hammond, founder and executive director of the nonprofit Friends of the High Line (FHL), the organization that funds and maintains the High Line in Manhattan, recently expressed doubts about whether the park has fulfilled its original purpose. “We were from the community. We wanted to do it for the neighborhood,” said Hammond in an interview with City Lab. “Ultimately, we failed.” The article points to issues of equity and inclusivity in public space as the cause for concern. The success of the High Line has far outpaced the FHL's original estimates of 300,000 visitors a year; the linear park attracted 7.6 million visitors in 2015 alone. However, in an FHL report of the same year, the data shows that only 458,000 were from the “High Line area” and on average 45% of the visitors were nonwhite. While the report notes these numbers are much better than previous years, the question of whether the High Line has produced equitable urban space is still up for debate. Increases in real estate values due to development in the neighborhoods that touch the High Line are estimated to generate almost $1 billion dollars in tax revenues over the next 20 years. Further investigation is needed to see how those funds will directly benefit lower income residents in the area.   Hammond penned a note on the FHL website saying his previous statement was truncated and “inadvertently gives the impression that I think the High Line has not been a success. That couldn't be farther from the truth or what I believe personally.” The organization has in recent years sought to broaden its coalition and recalibrate its efforts to address the issues of access to high-quality parks for diverse stakeholders. This has manifested into the creation of more public programming and the High Line Network, a coalition of designers invested in developing parks projects in other cities across the U.S. and Canada. The Network has met several times since its inception and has focused on projects like the L.A. River rehabilitation and Atlanta’s rail-to-trails Beltline.

Meet the 10 artists who will install artworks in NYC parks this June

NYC Parks and UNIQLO USA announced the ten artists selected for the Art in the Parks: UNIQLO Park Expressions Grant for 2017. The UNIQLO grant, which accepted proposals last fall, is part of NYC Parks’ initiative to increase cultural and arts programming in previously underserved parks. Each artist will receive $10,000 to execute his or her piece and installation will begin this June. The chosen locations are Joyce Kilmer Park and Virginia Park in the Bronx; Fort Greene Park and Herbert Von King Park in Brooklyn; Thomas Jefferson Park and Seward Park in Manhattan; Flushing Meadows Corona Park and Rufus King Park in Queens; and Tappen Park and Faber Park in Staten Island. The judges, a committee of art professionals and community members, selected proposals that not only had creative and artistic merit, but also responded to the park and its surroundings. The winning artists and their submissions for each borough are: Manhattan     Brooklyn Bronx Queens Staten Island

Can the Municipal Art Society save itself?

The Municipal Art Society of New York (MAS) has a proud history but today is a broken organization. It was founded in 1893 to modernize and professionalize city government, and in the 20th century it led the charge for better planning and historic preservation in the city. In the society’s “glory days” of the 1960s and 70s it helped save Grand Central Terminal, Radio City Music Hall, and the Jefferson Market Courthouse in Greenwich Village. It also helped win passage of the city’s landmark law. But its own website stops listing its achievements or milestones in 2012 with the convening of a planning group studying East Midtown. Since that time, the organization has sputtered to remain relevant, making controversial decisions and reinventing itself in a changing city. In a 2015 editorial, we wrote, “What was once one of the fiercest and most devoted New York City organizations that would litigate when it thought the best interests of the city were threatened, has now become a defanged real estate and developer-led organization that serves as a cheerleader for major development.”

In retrospect, the beginning of this period of uncertainty started when it moved out of the Urban Center in the Madison Avenue Villard Houses and received a multi-million dollar settlement for leaving before its lease expired. It then moved into the Steinway building on 57th Street until it was paid again to leave that building early and received yet another financial settlement. While any nonprofit would be thrilled to receive huge financial gifts like this, the MAS board relied too heavily on these on windfalls and did not continue to raise the money needed to keep the organization strong. Then, in 2014, it moved into another larger (but much needed) space in the Look Building on Madison Avenue, where the rent is a reported $600,000 a year. The board, while it has had several generous members, stopped raising the funds needed to keep the organization healthy and robust. Furthermore, it did not continue to develop a board of directors with the appropriate mix of well-connected advocates and wealthy contributors.

But financial issues are not the only problem for the MAS and its board of directors. Over the last month, we have been reporting on the board’s decision to fire its third director—President Gina Pollara—and hire yet another leader: Elizabeth Goldstein from the California State Parks Foundation. We reported on an open letter from the City Club, another civic organization (with many former MAS leaders in its leadership) that asked the board to “to defer any action with regard to President Gina Pollara,” because, it continued, to “move forward with this action would be an unhappy step backward and a display of internal governance disarray at MAS.” But the letter also asked the MAS board to “consider an independent review of governance and management structure accepting one of the following alternatives to pursue: appointment of a balanced committee of emeritus directors; retention of an outside professional consultant (such as McKinsey); or consultation with an experienced non-profit organization professional.” We agree with the City Club that it is time for the MAS board of directors to be more transparent about its actions, change how it views its fiduciary responsibilities, and rethink its board structure and decision-making process.

Finally, the MAS board has not only mismanaged its mandate to stand up for New York but should explain its management of the Gina Pollara presidency.

According to sources, Pollara asked the board when she began her term to give her a year to re-engage with the community that they depended on for funding and memberships. In the year of her presidency, she reportedly brought in nearly $1 million to the society. Pollara seemed be on track to making this happen after she canceled “The MAS Summit,” its largely irrelevant two-day non-event of tweets and advertorials for MAS board members and their friends. Instead, Pollara created a successful (and less expensive to convene) one-day summit that engaged with and discussed important and controversial issues in New York in 2016. The board has been mysterious about why it fired Pollara, and while it doesn’t have to explain all of its decisions, hiring yet another president makes one wonder if the members are serious about continuing to be a civic organization worthy of respect—and financial support. We hope Goldstein can make the society respected and relevant again, but she has serious bridges to build in the New York preservation and planning communities. And she has to have the ability to work with its board.

NYC increases Percent for Art program funding for the first time in 35 years

Since its inception in 1982, New York City's Percent for Art program hasn't seen a funding increase, though that changed last Wednesday with new legislation signed by Mayor Bill de Blasio. The 35-year-old program provides funding for public art, requiring that one percent of the city budget for construction projects is allocated for public artwork. To date, the program has commissioned more than 350 artworks in public spaces and currently has almost 100 works in progress. “Public art plays a crucial role in capturing the extraordinary energy and diversity of this city,” said de Blasio in a press release. “The improvement of the Percent for Art program strengthens the City’s ability to invest in public works of art and the local artists who create it.” In its original form, the program set aside one percent of the first $20 million intended for public projects for public works of art, approximately $1.5 million annually. The new legislation sets aside one percent of the first $50 million instead, increasing the annual budget to $4 million in order to account for inflation. “We’re ready to work with residents more closely than ever before on bringing extraordinary works of art to their communities, and to bring the amount of funding available in line with the law’s original intent,” said Cultural Affairs Commissioner Tom Finkelpearl. Other new bills passed with this legislation aim to increase the transparency of the program and ensure diversity and community involvement. For example, the city hopes that providing artwork submission information in multiple languages will increase community input. Additionally, the Department of Cultural Affairs will collect and share data about the artists selected to ensure a diverse group is receiving these commissions. This is the largest package of bills signed into law in the history of the Committee on Cultural Affairs, according to Majority Leader Jimmy Van Bramer, who chairs the committee and helped sponsor the bills. For more information about the Percent for Art program or to see other works of art the program has sponsored, visit here.

Port Authority approves $32 billion capital plan with funding for new tunnels and terminals

After months of planning, the Port Authority of New York and New Jersey has approved a $32.2 billion capital plan, the largest in the agency's history. The 10-year plan is bullish on public-private partnerships to support the costs of its projects at the region's airports, bridges, tunnels, and terminals. Although some big-ticket items, like the Port Authority Bus Terminal in Manhattan, are new construction, much of the budget goes towards repairing or upgrading existing infrastructure. See the highlights from the plan, below:
Planes This $11.6 billion segment allocates $4 billion for a LaGuardia Terminal B replacement and puts funds toward the revitalization of John F. Kennedy International Airport. In New Jersey, work will move forward at Terminal A at Newark Liberty International Airport. Trains The agency is putting $2.7 billion towards debt service on to-be-borrowed money for a new and sorely needed trans-Hudson rail line between New York and New Jersey. In Jersey, the PATH's older stations will be rebuilt, as well, and new infrastructure will enable PATH trains to run from Newark Penn Station (the current terminus) to Newark Liberty's AirLink station. Additional dollars will support an AirTrain to LaGuardia, a sister link to the line that already serves JFK. Automobiles Another $10 billion will go towards the Goethals Bridge replacement, the rebuilding of the Bayonne Bridge, renovations to the George Washington Bridge, and the planning and construction for the new Port Authority Bus Terminal. The capital plan puts $3.5 billion towards this item, but stakeholders are still discussing where, exactly, the new terminal should go. Proposals from a September design competition pegged the cost of a new terminal at $3 billion to $15 billion, so the agency's allocation may be too low. “This region needs state-of-the-art airports, new mass transit infrastructure and bridges designed to handle 21st-century traffic levels if we are to meet growth projections,” said Port Authority executive director Pat Foye, in a statement. “This 10-year plan provides a record level of investment in all of these areas that will meet and support the region’s growth and serve as a major job creator for the next decade.”

NYC could create a whole new neighborhood over a Queens rail yard

Mayor Bill de Blasio’s feasibility study for a possible Sunnyside Yard “overbuild” project is complete and suggests that the project could cost anywhere from $16 to $19 billion, according to the New York City Economic Development Corporation (NYCEDC). “In Western Queens, there remains one of New York City’s last great opportunities to solve many of these challenges in one place,” said Alicia Glen, deputy mayor for housing and economic development, calling the development a “new and innovative solution” to meet New York City’s growing housing and transportation needs. The 180-acre rail yard, which sits in the center of Western Queens, is a major transportation center owned by Amtrak and Metropolitan Transit Authority (MTA) that services the New Jersey Transit and the Long Island Rail Road. Some entities are already proposing updates to the site—Amtrack, in particular, is planning a new High-Speed Rail facility that will open by 2030. The feasibility study took many of these developments into account, focusing on the engineering, economic, and urban design implications of the project, and after almost two years of study, the report concludes that the project is feasible, albeit costly. In the study, the NYCEDC establishes three case study plans with different program focuses. The first proposes almost entirely residential development, adding up to 24,000 units of housing. Of those residences, 30% would be allocated for affordable housing, part of de Blasio’s affordable housing goals outlined for New York City. The proposal would also add up to 19 schools and almost 50 acres of open space. The second study, dubbed the “live/work/play” proposal, was designed to offer a well-rounded program with residential, cultural centers, and office space. This proposal is the only proposal to include office space and would still incorporate up to 19,000 units of mixed-income housing and up to 14 schools. The third and final study is the “destination” proposal, which focuses on residential and cultural spaces. The proposal features almost 1.5 million square feet of mixed-use space and up to 22,000 units of housing, still allowing for retail spaces and up to 14 schools. Each of the three proposals focuses on developing the 80 to 85 percent of the site the NYCEDC has deemed viable and connecting it to the surrounding neighborhoods using existing bridges and roads and adding significant green space to the area. During their study, the NYCEDC selected a 70-acre portion of the site, called the “Core Yard,” as an optimal place to begin the development, with a price tag of approximately $10 billion. The area features enough space to create a complete neighborhood and is well-located to incorporate the Amtrak master plan. In the second phase of the master plan, the NYCEDC plans to look in greater detail at how to avoid significant impact on transportation infrastructure. They also hope to create a detailed urban plan and consider sustainable initiatives and architectural standards for future buildings. Before that phase, however, de Blasio and the NYCEDC will collect feedback from the community and work with Amtrak, who plans to begin construction on a High-Speedeed Rail facility at Sunnyside Yard in early 2018, according to QNS. You can read the full report about the feasibility of Sunnyside Yards here.

A new online archive reveals how HIV/AIDS activism shapes New York

Most New Yorkers know Housing Works though cheerfully crammed thrift stores where vintage blazers, crystal candy dishes, and nice books can be had for good prices. Yet the storefronts are infrastructure for a larger mission: As its name suggests, Housing Works provides housing and social services to homeless New Yorkers living with HIV and AIDS. A new project by a Columbia curator teases many stories out of the documents stretching back to its founding in 1990, when the city had few of supportive housing for an estimated 13,000 homeless citizens with HIV/AIDS. Housing Works History is a meticulous digital archive that covers the organization from its founding 27 years ago to its work today in a multimedia timeline that's as elegant as it is thorough. Timed to the 30th anniversary of ACT UP (AIDS Coalition to Unleash Power), the grassroots group and Housing Works precursor that formed in response to government inaction around HIV/AIDS, Housing Works History speaks to the past and future of supportive housing in New York for the most marginalized groups. That housing, and the activism that made it happen, shaped the city subtly but profoundly. "Focusing on physical spaces gave me a way in, a way to talk about the history, the stories, and the different voices from those spaces," said Gavin Browning, the curator behind Housing Works History. Drawing on his academic background in urban planning and his work at Columbia University (he's the director of public programs and engagement at Columbia University School of the Arts, and the inaugural director of Studio-X), Browning's project provides a forum for a distinctly New York story. Inspired by oral history and the Howard Zinn–esque bottom-up approach to historiography, Housing Works History sorts each significant event, program, or housing milestone chronologically along with links to important court rulings, scanned newspaper clippings, photographs, video, and other ephemera, grounded by parallel timelines of diagnosis and infection rates. The juxtaposed timelines, Browning said, help connect data to lived experience to "expose an archive that wasn't being seen or used, or really acknowledged. Most people don't know this history, and how it's connected to the development of the city. It's really essential New York City history." A click on the year 2000 brings viewers, via archival footage, to the Housing Works Gay Pride parade float, and to the organization's stewardship of two brownstones on West 130th Street, a project started by community group Stand Up Harlem. The project is a platform for collective voices that have shaped the organization and the movement it foregrounds, as well as a window into how a social movement shaped architecture and design in New York. Long abandoned, those brownstones were transformed into supportive housing for substance users. Designed by architect Benjamin Kracauer, the Stand Up Harlem House opened in 2008 and provides 16 units for single adults and families affected by HIV/AIDS. The design connects two adjacent brownstones but moves entryways to the garden level, providing streetscape continuity while allowing for greater accessibility. In addition to the timeline, Browning collaborated with Laura Hanna to shoot five original films featuring the architects, activists, and Housing Works employees behind five of the organization's housing projects. In one, Browning interviews, roundtable-style, a Stand Up Harlem resident, Desi Glazier, program director Ivan Gonzales, a Housing Works attorney, and Kracauer. For the spatially-inclined, there's a map, too, that organizes the group's projects and significant sites. Housing Works History, Browning said, was influenced by Group Material's 1989 installation, AIDS Timeline, which used media, artifacts, and ephemera to document AIDS's evolution from its roots as a health issue to one that shaped LGBT and dominant culture. Close to home, the project grew from a 2012 project Browning curated with Karen Kubey in New York. Living Room: Housing Works Builds Housing explored the group's activism and advocacy that led to the construction of 170 units in three neighborhoods for its target population. Despite his work, Browning isn't employed by for Housing Works; he obtained project funding from the Graham Foundation. Though the website officially debuts today, Housing Works History's official launch party is next week at the New York Pubic Library's main branch (details here). Browning sees the project as a "stepping stone" for other's work—he hopes, for example, the work could inspire others' academic research or ground perspectives on today's struggles for equity and visibility.

New photography exhibition explores four Marcel Breuer projects from all over the world

For the Met Breuer’s first architecture exhibition, curator Beatrice Galilee has commissioned photographers Luisa Lambri and Bas Princen to revisit the iconic work of Marcel Breuer. The exhibition presents two distinct series of photographs paying homage to Breuer’s still-existing monumental modernist buildings from the 1950s and 1960s. The selected buildings include Saint John’s Abbey Church in Collegeville, Minnesota and the UNESCO headquarters in Paris which are Breuer’s first two important institutional buildings. These buildings were significant because they allowed Breuer to expand beyond what was essentially a residential practice. The IBM Research center in La Gaude, France (which is Breuer’s personal favorite) is known for its modular prefabricated concrete facade panels and distinctive double Y-shaped plan. The final building selected for the exhibition is the former Whitney Museum of American Art (now the Met Breuer). The museum is a New York City landmark known for its strong urban form as an inverted ziggurat. Lambri and Princen’s uniquely idiosyncratic approaches to the commission provide a welcoming juxtaposition of photographs. Lambri’s work documents the ephemeral experience of interior space through focused studies of light and materiality. The hexagonal screen at Saint John’s and the trapezoidal window at the Met Breuer are each documented as a series of photographs displaying the calm modulation of light over time. Princen’s dramatically large scale photographs document the post-occupancy use of buildings and their evolving relationship with nature. The sculptural, tree-like pillars at Saint John’s library are framed by a row of ordinary public library book shelves in the foreground. Upon revisiting the unoccupied IBM research center, Princen’s photos place the building within what appears to be an overgrown forest—a distinct contrast to the 1965 site which was sparsely covered by small trees. Long after Marcel Breuer’s passing in 1981, the influence of his work continues to gradually develop much like the life of buildings after they leave the drafting table. Both Lambri’s and Princen’s photos present us the opportunity to contemplate Breuer’s work unencumbered by the great modernist architect’s own intentions. Breuer Revisited: New Photographs runs through May 21, 2017, at The Met Breuer.

100 screens host public art throughout New York City

When almost everyone stumbles blindly through the city, glued to a phone, a new series of digital works from the Public Art Fund is asking New Yorkers to pause their small screens to look at art on bigger screens around the city. Now through March 5, the nonprofit will display Commercial Break at roughly four sites: the Brooklyn Barclays Center's circular LED marquee; the Westfield World Trade Center mall in lower Manhattan; hundreds of porn-free LinkNYC kiosks; and on one of the most famous screens of all—a Times Square billboard. Notably, this is the organization's first show to simultaneously display work in all five boroughs. Commercial Break's antecedent is the Public Art Fund's Messages to the Public, a series that ran on a Times Square lightboard through most of the 1980s, displacing the usual ads. Similarly, the 23 participating artists in this show interrogate the omnipresence of digital imagery, especially advertising, and its effect on real spaces, online and off. The Public Art Fund's website is the final venue—work by Casey Jane Ellison is paired with showtimes and more information about each IRL site.

This interactive map lets you see what buildings are rising in your neighborhood

From tenements to today's skyscrapers, adequate light and air are essential to a livable New York. The city's first zoning code enshrined access to these elements, and now, with supertalls ringing Central Park and cropping up in downtown Brooklyn, sunlight and fresh air are again central considerations in debates around the city's current and future form. To keep tabs on the dizzying array of new construction (supertall and less so) in New York, DNAinfo has put together an interactive 3D map that lets residents track development in their neighborhoods. "How Tall Will New Buildings in My NYC Neighborhood Be?" highlights buildings in two main categories. The first, in turquoise, maps permitted construction, while the second, in royal blue, illustrates proposed buildings—those that have been presented to the community, but haven't been approved by the city. Yellow boxes represent DNAinfo partners, and users are encouraged to add projects the paper hasn't reported on (these items appear on the map in red). The volumes depict height (not design) as reported by the city, the developer, or other relevant agency. The map asks users to enter a neighborhood to see new buildings are going up. This reporter zeroed in on Tribeca, The Architect's Newspaper's home base, and selected a proposed structure on Park Row. Hovering over the rectangle revealed a DNAinfo story on the building, which is being developed by L+M. Other items that are going up but haven't been written about by the outlet have links to DOB documents or information that corroborates the building's height. Here are the sexy details: The paper used the city's MapPluto for the base map, which combines tax lot–level data from the Department of City Planning with data from the Department of Finance's Digital Tax Map. Building heights are calculated using the Council on Tall Buildings and Urban Habitat's formula, and all data is September 2016.

Flying dormers and a gridded facade in Lower Manhattan

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Celebrated as one of a handful of single-block streets in New York City, Renwick Street was once known as an historic printing district and creative area that championed both artistry and industry. New York-based ODA Architecture, the firm behind 15 Renwick Street, said the project works within the constraints of NYC’s zoning code to expand the outdoor rooftop living space of the building.
  • Facade Manufacturer NYR Building Facades
  • Architects ODA Architecture
  • Facade Installer NYR Building Facades
  • Facade Consultants Forst Consulting and Architecture, PLLC
  • Location New York, NY
  • Date of Completion 2015
  • System unitized curtain wall, curtain wall, punched windows on concrete structure
  • Products aluminum fins & window units (sourced and installed by NYR Building Facades); Zebrano 2403 aluminum inserts (profile color: sublimation wood effects); Stucco byBravo Construction (rear facade); Zahner Metal copper pre-patina sheets (“Dirty Penny” finish); Alucobond metal panels
Coining this massing strategy as a “dormer manipulation,” the architects rearranged allowable volumes of space above the setback line throughout the width of the building. This produces 15 percent more outdoor terrace space and serves twice as many units, extending across the uppermost floors of the building. As a result, the facade appears as a gridded block that fragments at the top, revealing an inner layer to the building. The architects said 15 Renwick was the first in a long line of designs that employ this massing strategy which has evolved into a common practice for their firm. The 31-unit building contains a unique mix of townhouses with private yards, penthouse duplexes, and two- and three-bedrooms. The building is composed of a typical concrete structure with added lateral bracing in the 15-foot cantilevered "flying dormer" massing. The residential units are clad with a carefully detailed unitized curtain wall system that was delivered in collaboration with NYR Building Facades who integrated design, fabrication, and installation of the facade. The unitized systems were prefabricated for each residence and transported to the site where they were quickly and easily installed. Among the most notable features of the facade are the 10-inch-deep projecting fins clad in a dark anodized aluminum. While the fins taper to a narrow width, ODA said their depth helps to provide privacy, blocking views into the units from the sidewalk. The fins feature a wood grain insert on the exterior side which produces a visually striking aesthetic. “The wood trim inserts around the aluminum windows give a warm tint to the facade and create layers of color with different sun exposures.” Beyond the dark anodized fins, copper is utilized as an accent material. ODA said the success of this project stems from the material qualities of the facade: “The integration of the hand-installed copper on the ground floor with the unitized facade system show the level of bespoke design of the facade and the richness of materials and their own requirements for detail solutions.”