Posts tagged with "New York City":
AN Media Group, the publisher of The Architect’s Newspaper, has announced its upcoming 2020 TECH+ Expo and Forum events in Los Angeles, New York, and Chicago. The conferences showcase the latest in AEC technological innovation, with presentations by industry thought leaders and hands-on demos from an array of companies both new and established showcasing the latest in smart building systems, advanced materials, and other products.
“I got the chance to speak with architects, engineers, construction managers, people from all across the industry” said Cody Kessler of the imaging company Nearmap, of a previous TECH+ conference. “Some of the biggest construction firms that I’ve ever talked to were here at the event.” Conceived as a day-long symposium and expo for both established and up-and-coming tech companies in the AEC realm, the symposium will bring together engineers, architects, real estate experts, app developers, and other industry insiders.
“When we started TECH+ three years ago we were the first conference of this nature focused entirely on the tech hitting the AEC community,” said Susan Kramer, programming and special events director at AN Media Group. “So much has changed in this short period, with architectural firms not only catching up to the construction industry in implementing tech, but with so many firms creating their own apps and platforms, which I think is revolutionary.”
Previous speakers have featured industry leaders including Dennis Sheldon from the Digital Building Lab, Gensler's Hao Ko, plus leaders from HOK, Thornton Tomasetti, IBM, SHoP, Gensler, Atelier Ten, Trimble, Turner Construction, Branch Technology, and the MIT Real Estate Innovation Lab. Past exhibitors have included PlanGrid, Propmodo, View Dynamic Glass, Morpholio, cove.tool, IrisVR, Kubity, Chaos Group, and Graphisoft, among others.
TECH+ will take place in Los Angeles at the LINE Hotel on February 6, 2020; speakers will be announced in mid-November. Following on last summer’s successful New York event, TECH+ will be returning to the city on July 16 at the New York Academy of Sciences. TECH+ will be held in Chicago on October 18. “We like championing these inventors and revolutionaries on the TECH+ stage, and sharing their knowledge and insights with our audience,” said Kramer. “The electricity of dialogue and engagement during these events could be its own power source.”
Historian and novelist John Freeman Gill, a friend and admirer of Gray and “avid Mystery Photo solver,” will now write the column, which will run every other week both online and in print.
“Those of you who know Streetscapes will understand what a humbling turn of events this is,” Gill wrote in a message on Facebook.
“To NYC geeks like me, the column is an institution, the creation of the brilliant, inimitable, and wickedly funny Christopher Gray,” Gill said. “I was lucky enough to call Christopher my friend in his latter years, so being able to carry on his legacy in even a small way is especially meaningful to me.”
Streetscapes, which ran between 1987 and 2014 in the newspaper’s Sunday Real Estate section, was a favorite with architects, historians, and all-around New York City lovers. Its goal was to explore New York City's real estate through its architecture.
Gray, described as an “architectural detective and social historian” in Sunday’s reboot, wrote more than 1,300 columns before he died in 2017 at the age of 66. His columns touched on the city’s architecture, history and preservation policies. He self-described his goal as “to write about the everyday buildings, to investigate even the most trivial, incidental, oddball structures.”
Gray also contributed to a Streetscapes page on Facebook, for which he chose a Mystery Photo of a building every Tuesday and invited readers to identify it.
Gill is the author of The Gargoyle Hunters, a historical novel set in New York City. His first Streetscapes column was about a series of Clinton Hill carriage houses that have had many different uses, including a stable, garage, photography studio, restaurant, and possibly a speakeasy.
The new author has asked readers to send him story ideas at email@example.com.
“Ours is a vibrant, textured city, and many of you know pockets of it in ways that I don’t,” wrote Gill. “I hope we can all do this column together.”
Part of the appeal of Ladyfag’s parties is their transient nature, appearing in previously undiscovered spaces and always moving. “I like to create my own connection with a space, with my crowd,” she said. “That way, when they come there, they think of it as that party or that space that I created as opposed to something in a bigger picture.” Holy Mountain, which Ladyfag held at Slake on 30th Street for four years, exemplified her parties’ punk, trashy experience: The narrow staircases were always gridlocked, the air-conditioning regularly failed, and the lighting was mercifully low. “Everybody told me it will never work because it’s on 30th Street and nobody wants to go to Midtown,” she said. “And they’re right. But it worked, everybody loved it.” The party eventually moved to Brooklyn when Slake was bought for redevelopment. Queer nightlife has a knack for finding such disused venues, bringing them to filthy life for a year or two, and then slinking off as the development teams approach. Being so short-lived, such parties and venues become instantly mythologized. Andrew Durbin’s 2017 novel MacArthur Park reads as a nostalgic ode to the Bushwick nightclub Spectrum at 59 Montrose Street, which had only closed one year prior to the book’s release. Spectrum—where coats were checked into garbage bags and thrown onto a pile in a corner while sweat dripped from the so-low-I-can-touch-it ceiling; where you were discouraged from lingering on the street out front because the venue wasn’t, strictly speaking, legal—instantly became the epitome of the grungy, DIY sensibility of Brooklyn’s queer nightlife, a sensibility which welcomed a nostalgia for itself even as it was happening. For Ladyfag, who got started when no one wanted to come to Brooklyn to party, the tables have turned. “Now everyone’s in Brooklyn,” she said, “and I’m like, I’m going to go back to Manhattan.” In the past ten years, nothing has affected queer nightlife more than social media. When Ladyfag first moved to New York in 2005, social media hadn’t yet dominated our lives. “We had the internet, but we didn’t have that constant knowing where everyone is at all times,” she said. “If you didn’t go out, you were alone. It was a totally different New York.” The rise of social media—specifically dating and hookup apps—significantly changed queer people’s reliance on bars and parties to find each other. “People don’t have the need to go to bars as much,” Dolkart said. “Like other commercial places, the internet has really taken over. Bars were not only social spaces, they were spaces where people met for sex, and then on to meet people to go home with. That’s kind of petered out.” As bars could no longer solely rely on the promise of sex to entice patrons, the rise of drag culture offered an alternative drawcard. Drag has always been a fixture of LGBTQ venues, but as RuPaul’s Drag Race jump-started a resurgence of the art form, it underwent its own Brooklyn renaissance. The drag performer Untitled Queen discovered Brooklyn’s drag scene in 2012. “All of these creatives descended into this nightlife scene,” Untitled said. “I think we romanticize ourselves as dirty punk, but there really were a lot of people experimenting and trying new stuff out. At the time, the bar scene became really hungry for drag.”View this post on Instagram
This experimental drag scene congregated in warehouses in Greenpoint and Bushwick, bars such as Metropolitan, Tandem, and Sugarland, and parties like Bath Salts at Don Pedro, a venue that Untitled remembered being “disgusting. There was old carpet and all the performers did lots of stuff with food and blood and alcohol. It was a very liquidy, gross show, and it was awesome.” In 2012, Untitled Queen performed at the first Bushwig, a drag festival cofounded by drag performer Horrorchata. Bushwig initially took place at Secret Project Robot, another Bushwick venue that has since disappeared. “That was an art gallery space, very DIY,” Horrorchata said. “I don’t even know how we did three years there because by the second year it was just so big.” Now in its eighth year, Bushwig takes place at the Knockdown Center, the festival’s home for the past four years, an immense converted warehouse space with huge windows and masses of outdoor space. “I think for some people they imagined it would lose its edge, and it has not at all,” Untitled said. “The family and the door opens wider, and people still feel the same energy.” To define a space as queer comes, more than anything else, from those who inhabit and transform it. “I think a queer space for me is if the promoter is queer, the event is queer,” Horrorchata said. “For example, at Knockdown, whenever we have Bushwig, we have a meeting with security and make sure there’s no gendering, no ‘Mrs.,’ no ‘Ma’am.’ It’s super nonbinary. We try to educate them and let them know this is going to be a queer space for the next weekend, and these are the rules.” Ladyfag’s events invite the same openness. “Queer to me is still this radical kind of gayness,” she said, “and in a queer space, if you call it a queer space, you’re making a statement of inclusivity.” In 1994, on the 25th anniversary of Stonewall, Dolkart took part in a conference on gay space. “There was an interesting conclusion that was reached at the end of the day, that there were no gay spaces, with the exception of bathhouses. There were no gay spaces, there were spaces that gay people put to use. And I like that. I think that our site is very much about that. It’s about places that gay people have made their own, and with nothing unique about the design of those places—whether it’s a bar or a theater or an apartment—they’re the types of spaces that you find in New York but that gay people have made their own.”