The New York Public Library's Board of Trustees unanimously selected the Dutch firm Mecanoo to lead the renovation of the NYPL's Stephen A. Schwarzman Building (the main branch at Fifth Avenue and 42nd Street), as well as the Mid-Manhattan Library at 455 5th Avenue. Mecanoo's creative director and founding parter Francine Houben will lead the design team. New York's Beyer Blinder Belle will be the architect of record. Construction begins in late 2017 and is expected to run through 2019. After the Board of Trustees nixed Norman Foster's renovation scheme, the board invited 24 firms to submit proposals for the redesign in February 2013. 21 proposals were received, and the pool of contenders was winnowed down to eight, four and then two over four months, from June to September, 2015. Mecanoo was announced at the September 16th meeting of the NYPL's Board of Trustees. Mecanoo's plan for the main branch will include 42 percent more space for scholarly research and exhibitions. The Mid-Manhattan Library will receive a complete interior renovation to accommodate classrooms, a circulating library, and a business library.
Posts tagged with "New York Public Library":
If these five architecture teams get their way, the library of the future will look a lot different than today
New York City’s public libraries need cash—and they need it fast. Over the years, the city's three library systems—the New York Public Library (serving Manhattan, the Bronx, and Staten Island), the Brooklyn Public Library, and the Queens Public Library—have racked up over one billion dollars in capital needs. And that's not money needed for new educational tech tools, like iPads and laptops, but for renovations just to keep the old buildings in a state of good repair. Making things more challenging is that over the last decade, as the city's libraries continued to fall into disrepair, circulation through the city's three systems increased by 46 percent and program attendance shot up 62 percent. That's all according to the Center for an Urban Future, which published a report on the dire state of New York City’s public libraries back in September. But the Center didn’t just drop the bad news and see itself out the back door. It partnered with the Architectural League and launched a design study to find architectural, financial, and programmatic tools to get the libraries out of the red. Now, five interdisciplinary teams have proposed a wide range of ideas that would supposedly do just that. To the team led by Andrew Berman Architect, the city's libraries must become more useful and accessible tools for the people they serve. So, for example, just keeping community rooms open later in the day could go a long way. The team also proposes creating 24-hour vestibules at libraries that function like the ATM room at your bank. The keycard-accessible space would have plugs for laptops, book drop-off, and information kiosks. Essentially, just a place to hang out and work. A proposal called L+ from the team led by SITU Studio has two main goals: to make library community rooms "register as an accessible and useful neighborhood asset" and to create an entirely new service model for the 21st century library. To Team Situ, this means creating library "retail" outposts that become an extension of the existing library system. These flexible and architecturally distinct structures would have strong graphic identities, and be built within existing library buildings, storefronts, and transit hubs. The proposal from Marble Fairbanks with James Lima Planning + Development, Leah Meisterlin, and Special Project Office is rooted in the weeds of city data. After overlaying existing branch locations with flood zones, development potential, and information about communities (population growth, diversity, age range, etc), the team proposed a mixed-use tower for Brighton Beach that has stacks, ground-floor retail, and a mix of affordable and market-rate apartments. To understand the pitfalls and potential of the city's library system, the MASS Design Group investigated all aspects of a few specific branches in south Brooklyn. The team concluded that the libraries' programmatic possibilities were limited by the physical form of the buildings—so what did they do? They changed the buildings. In Sheepshead Bay, for example, MASS creates a branch with flexible space for cultural events. And in Coney Island, they turn the second floor of a library into a food, health, and educational center. Team UNION takes a less architectural approach, focusing instead on how to make public library more recognizable as civic institutions. To boost the the systems' profile, UNION proposes a new identity system that has a more recognizable library icon and clearer signage. This strategy also includes a marketing campaign and a new library card that could “unlock services far beyond libraries.” The team would also use "architectural strategies that leverage needed investments in roof and facade repairs to create more distinctive, open and flexible facilities."
Archtober Building of the Day #4 Stapleton Library 132 Canal Street, Staten Island Andrew Berman Architects Libraries, according to architect Andrew Berman, principal of Andrew Berman Architect, do not age gracefully. As technological innovations and transforming communities change the role of these public institutions, fixed programmatic layouts become obsolete. During a tour of Stapleton Library in Staten Island, Berman explained that flexibility and openness became two key components that guided its renovation and expansion. Originally designed by Carrère and Hastings, fathers of the main New York Public Library on 5th Avenue, the Stapleton Library was suited to its small community. High ceilings and lofty proportions imbued the small structure with dignity, while varnished oak molding gave it a decidedly more rustic feel than its Manhattan relative. However, as Stapleton’s population increased and diversified, the Staten Island neighborhood outgrew its library, which became cluttered and poorly lit. Berman’s firm has carefully renovated the original 1907 building that now serves as a playful children’s area. The size of this space, he believes, is ideal for kids: large enough to create discrete areas for different programmatic needs. The new expansion has also doubled the space available to adult and young adult users. Afraid of compromising the building’s integrity through mimicry, Berman opted to handle the expansion as a separate structure, but one that remained in dialogue with the old. From the outside, the original masonry construction contrasts with the sleek transparency of the new space. However, Berman’s careful use of proportion allows the two structures to harmonize. Meanwhile, the library’s interior is unified through the use of wooden structural beams, which reference the moldings and shelving in the original space. Books line the walls, freeing up corridors for study tables and computers. In addition, the central mechanical core is clad in translucent polycarbonate, adding to the sense of openness. A community room is used for group study sessions, and also houses programs from arts and crafts to aerobics classes. Today, Stapleton Library is, quite literally, a beacon for its community. Berman’s expansion glows like a lantern at night, welcoming neighbors who often hang around outside even after closing hours to use the library’s Wi-Fi network. The architect hopes that the warmth, openness, and accessibility of the building will make it an inviting community space. Camila Schaulsohn is Communications Director and Editor-in-Chief of e-Oculus. She was born and raised in Santiago, Chile.
After the New York Public Library scrapped Foster + Partners’ controversial redesign of its main branch—which would have removed the famous book stacks to create an atrium-like research library—the institution has announced a more modest path forward. The cost of Foster's plan was originally slated to cost $300 million, but, according to independent estimates, the final tab could have topped $500 million. Now, the project has been scaled back. The New York Times reported that in the new plan the stacks themselves will stay, but as a cost-saving measure, the books will be kept in storage under the building. An architect for the plan has not yet been announced for the project, but according to the Times, one floor of the revamped building will house a media and computer lab, and back offices will be replaced by public space. There will also be an adult education center "to focus on the needs of service workers with classes in English-language instruction, citizenship and computer training." Construction on the project is expected to take four to five years.
The New York Public Library has canceled its controversial renovation plan by Foster + Partners, according to a report in the New York Times. The plan, which would have removed the historic book stacks and turned the non-lending research library into a circulating library, was widely opposed by scholars, writers, and architectural historians. In addition, the library planned to sell their Mid-Manhattan branch and their Science, Industry and Business Library. Now they plan to renovate the Mid-Manhattan branch and maintain the 42nd Street Library as a research library. “When the facts change, the only right thing to do as a public-serving institution is to take a look with fresh eyes and see if there is a way to improve the plans and to stay on budget,” Tony Marx, the library’s president, told the Times. Foster-designed Central Library Plan would have turned the area housing the stacks into new reading room overlooking Bryant Park. While campaigning, Mayor Bill de Blasio opposed the library plan. According to the Times, the mayor recently met with NYPL's Marx to reiterate his opposition. The Huxtable Initiative (named for the late Ada Louise Huxtable), a group of architects, critics, and historians opposed the Central Library Plan, released the following statement:
It sounds too good to be true. But it goes to show that criticism can actually change things! Ada Louise Huxtable writing in the Wall Street Journal inspired us all—and particularly prompted the formation of the Huxtable Initiative (a group of architectural journalists, critics and historians) to protest the insertion of the Foster scheme in the grand Carrere and Hastings structure. Then architecture critic Michael Kimmelman put the problem on the front burner by writing about the weaknesses of the library's plans in the New York Times. Charles Warren, the architect, advanced the discussion by revealing the engineering distinctiveness of the stacks that were about to be destroyed. And then of course, there was The Committee to Save the New York Public Library, which just never gave up. When you don't have big money, you do need a lot of perseverance and people.
New York Public Library (NYPL) president Anthony Marx has commissioned a third-party review of the projected $300 million cost to implement Norman Foster’s redesign of its central branch. To pay for this costly renovation, dubbed The Central Library Plan, the library will use $150 million allocated by the city for this specific project and raise an additional $200 million from the sale of the Mid-Manhattan and the Science, Industry, and Business Libraries. NYPL says consolidation will save it $7.5 million a year. Critics of the plan advocate preserving the central branch’s stacks and renovating the Mid-Manhattan Library instead. Marx said to the New York Times, “we know there is skepticism about our numbers. We understand that there needs to be an independent cost estimate and will provide one as soon as we have a design.” Marx also mentioned that both the estimated cost and Foster’s design are subject to change. More specifics will be released in the fall, but for now Foster’s design would swap the stacks for a circulating library overlooking Bryant Park that features a four-level atrium with bookshelves, sitting areas and desks. Critics argue against removing the stacks and are skeptical of the financial estimates NYPL president Marx has put forward. State Assemblyman Micah Z. Kellner, chairman of the Committee on Libraries and Education Technology, questions why the NYPL has applied for and been granted building permits without a detailed design and specific cost. Construction has been announced to start this summer and to be completed by 2018.
As cities across the country struggle to bring new life to aging athenaeums and cash-strapped local libraries, the AIA has honored six outstanding examples of library design in this year’s AIA/ALA Library Building Awards. In the past we have seen a Walmart transformed into a library, a controversial starchitect renovation in New York, and an interactive, LED light-show—now take a look at these honored projects. From democratic design in the nation’s capital to a stunning Beaux-Arts restoration in St. Louis and high-tech solutions in North Carolina, this year's winning projects present a range of answers to the challenges facing our fading repositories. The jury for the biannual award included Jeanne M. Jackson, FAIA, Chair, VCBO Architecture; John R. Dale, FAIA, Harley Ellis Devereaux; Charles Forrest, Emory University Libraries; Kathleen Imhoff, Library Consultant; J. Stuart Pettitt, AIA, Straub Pettitt Yaste and John F. Szabo, Los Angeles Public Library. Anacostia Neighborhood Library Washington, D.C. The Freelon Group From the AIA: The small-scale residential context provided the inspiration for the design of this new branch library, located in a low-income, underserved neighborhood in Washington, D.C. The project not only fulfilled programmatic needs but also provided a stimulus for community pride and economic development. The residential scale is reflected in the library design as a series of pavilions for program areas that require enclosure: the children’s program room, the young adults’ area, support spaces, and public meeting rooms. The remainder of the level one plan is high, open space for the main reading room, stacks, computers, and public seating areas. A large green roof structure provides shelter over all program areas. Central Library Renovation St. Louis Cannon Design From the AIA: Cass Gilbert’s grand Beaux-Arts library, now 100 years old and a St. Louis cultural landmark, was in need of a transformative restoration that would increase public access and modernize it for the 21st century. On the interior, the centrally located Great Hall is surrounded by five wings, four dedicated to public reading rooms and the fifth, the north wing, to a multistory book depository closed to the public. The transformation of the north wing truly rejuvenated the library and brought it into the next century. Old book stacks were removed, and a new “building within a building” was inserted. Now, a multistory public atrium provides an accessible and welcoming entry. The new “floating platforms” surround the atrium without touching existing interior walls. Glass-enclosed upper levels house the collection with compact high-density bookshelves. The windows of the north wall, now clear glass, bounce natural light deep into the interior and provide striking views. New York Public Library, Hamilton Grange Teen Center New York City Rice + Libpka Architects From the AIA: The center, located on the previously empty third-floor space of Harlem’s Hamilton Grange branch library, designed by McKim, Mead and White, is NYPL’s first full-floor space dedicated to teens. In an effort to attract and engage neighborhood youth, the 4,400-square-foot space challenges the norms of library design. The light-filled floor is divided into specific zones that foster small-group interaction and socialization. Visibility is maintained across the entire floor. Two programmatic elements—a 20-foot-diameter Media Vitrine and a bamboo bleacher—occupy the center of the space and work to define the seven zones between and around them. The vitrine’s open-top glass enclosure upends the notion that multimedia spaces must be dark, hyperisolated rooms. The bleacher allows views out to the street from the existing high south-facing windows and provides a sunny hang-out for a range of group sizes. Custom L-shaped lounge benches bracket this space and can be rolled away to allow for other uses and activities. James B. Hunt Library Raleigh, North Carolina Snøhetta and Pear Brinkley Cease + Lee From the AIA: An $11 million reduction in the budget for this library during the schematic design phase prompted the design, construction, and client teams to formulate a range of new ideas to maintain functionality and quality. The building would need to be highly programmed and reasonably versatile as well as comfortable and stimulating to visitors. One innovation was the introduction of an automated book delivery system (ABDS), which effectively reduced the total area of the building by 200,000 gross square feet and allowed more space for collaboration and technology. The ABDS is supported by user-friendly browsing software that matches and even enhances the traditional pleasure of browsing a collection. Oak Forest Neighborhood Library Houston NAAA + AWI + JRA From the AIA: This 7,600-square-foot modern brick and glass structure opened in 1961. Fifty years later, there was still great nostalgia for the library’s mid-century modern design, but the building no longer met the standards of the Houston Public Library system or the needs of the surrounding neighborhood. The 2011 renovations and additions respect the character of the existing library and enhance its accessibility and functionality. The original building’s restored signature green tile mosaic still graces the parking entry area on the north, but now the neighborhood is welcomed by a tree-shaded second entry and outdoor reading room framed by new dedicated adult and teen areas on the west. The original tile mosaic and globe light canopy of the old circulation desk were restored to create a toddler-sized reading nook. Each age group—from toddlers through teens and adults—now has appropriate facilities, furnishings, and technology. A new lobby and circulation space, lit by a continuous shaded clerestory, occupies the seam between old and new and unites the two entries. South Mountain Community Library Phoenix richärd+brauer From the AIA: The building integrates the varied uses of a contemporary public library with the needs of a state-of-the-art central campus library, allowing each to function both independently and collaboratively. The design is modeled after that of an integrated circuit, providing insulation between disparate functions and promoting interaction and connection between like functions and spaces. The simple massing of the building is attenuated to focus views on the surrounding mountains and provide shade and transparency. The site was once home to fertile agricultural valleys and citrus groves, and the building consciously merges interior and exterior spaces to connect to the area’s rich history. A series of rooftop monitors and light shafts flood natural light into the first-level core. The rain screen, formed of bent planks of copper, calls to mind the pattern of an abstracted bar code. Variegated cedar strips reinforce the digital aesthetic of the building. Further echoing the design of a circuit board, building systems are organized and expressed within an internally lit independent distribution soffit.
A group of prominent architecture editors and critics, including AN's William Menking, have written a letter to the New York Public Library (NYPL) protesting the proposed renovation by Foster + Partners, under the banner of the "Huxtable Initiative." The letters requests that the NYPL's Board of Trustees reconsider the current plan to remove the library's massive iron and steel stacks for a new atrium and reading room "before such an irreversible decision is made." Letter to the Board of Trustees of the New York Public Library February 4, 2013 The late Ada Louise Huxtable’s last essay (Wall Street Journal, December 3, 2012) criticized the New York Public Library’s plan to remove its seven stories of stacks in the main branch at 42nd Street and Fifth Avenue to make room for a circulating library designed by Foster + Partners. While she had not been able to convince the library to show her Foster’s scheme by that date, Huxtable contended that the 19th-century iron and steel stacks were an important engineering feat and should be preserved. Now Michael Kimmelman, the architecture critic for the New York Times, argues on the front page of the newspaper (January 30, 2013) that the schematic design Norman Foster presented on December 20, 2012 has “the elegance and distinction of a suburban mall,” and is an “awkward, cramped, banal pastiche of tiers facing claustrophobia-inducing windows.” He further questions a plan where the budget of $300 million keeps rising, and asserts that the trade-off in square feet simply does not make a strong case for proceeding. We architecture writers, editors, critics, and historians urge the trustees of the New York Public Library to reconsider their plans for the 42nd Street building. The library’s lack of transparency in involving the public in its planning process angered Huxtable, as it has us. We, like Kimmelman, are convinced the proposed intervention would do much to damage the architectural character and experience of Carrère and Hasting’s magnificent Beaux Arts landmark. The scholars among us do not object to the public or to teenagers sharing this space. But considering all the trade-offs, the library should seriously reconsider renovating the 40th Street branch for a circulating library where Foster’s talents could be used more appropriately. Why is the board of the New York Public Library in such a rush that it remains deaf to the well-publicized misgivings of so many in the community? Before such an irreversible decision is made, we ask the board to stop and open the proposal affecting such a significant public institution to significant public discussion. Thomas Bender Mosette Broderick Rosemarie Bletter Elisabeth Broome Martin Filler Joseph Giovannini Carol Krinsky Mark Lamster Paul Makovsky Cathleen McGuigan Mary McLeod William Menking David Morton Victoria Newhouse Joan Ockman Clifford Pearson Mildred Schmertz Suzanne Stephens Carol Willis Gwendolyn Wright
Preservationists who have waged a battle against Foster + Partners' planned renovations of the New York Public Library received bad news Tuesday: The Landmarks Preservation Commission approved the library’s application for changes to its Beaux-Arts exterior, mostly on the side facing Bryant Park, in a six-to-two vote. The $300 million renovation calls for removing seven floors of stacks beneath the famous Rose Main Reading Room to accommodate a large workspace and the collections from the Mid-Manhattan and the Innovative Science, Industry, and Business Libraries. This might be a major step forward for the library, but the approval process is not yet over. The Wall Street Journal reported that the Landmarks Commission can only vote on changes proposed to the landmarked exterior—the decision about the stacks is out of their hands.
Last week, AN reported on Norman Foster's newly-rendered plans to transform the landmark New York Public Library at Bryant Park. Foster's $300 million plan will, most dramatically, gut the off-limits-to-the-public book stacks and replace them with a light-filled atrium and reading space. The NYPL has now released a video fly-through of the project, above. Enjoy!
New Yorkers, not to mention architecture critics, have been waiting with bated breath to see the plans for the controversial $300 million overhaul of the New York Public Library's historic flagship branch on Fifth Avenue. And today, the designs by Foster + Partners, were finally unveiled. The renovation of the Beaux Arts-style library, completed in 1911 by Carrère and Hastings, will remove seven floors of stacks under the grand Rose Main Reading Room to make way for a 300-person workspace with an expansive atrium, balconies, floor-to-ceiling windows, bookshelves, and new areas devoted to classrooms and computer labs. As of now, interior finishes will include a combination of bronze, wood, and stone. The plan is to transfer approximately 3 million books to new storage spaces beneath Bryant Park, and then send the remaining 1.2 million books to an off-site location in New Jersey. The newly renovated NYPL building on 42nd would then house the collections from the Mid-Manhattan Library and the Innovative Science, Industry, and Business Library. “We are reasserting the library’s main axis and its very special sequence of spaces, from the main Fifth Avenue entrance and the Astor Hall, through the Gottesman Hall, into the dramatic volume of the new circulating library, with views through to the park,” Foster said in a statement on the firm’s website. “Our design does not seek to alter the character of the building, which will remain unmistakably a library in its feel, in its details, materials, and lighting. It will remain a wonderful place to study. The parts that are currently inaccessible will be opened up, inviting the whole of the community—it is a strategy that reflects the principles of a free institution upon which the library was first founded.”
Rem Koolhaas cut the interviewer short when asked if he had any regrets: “That’s a private matter and therefore not one I will answer.” And yet the entire hour-long conversation provided what seemed to be almost shockingly intimate glimpses into the architect’s state of mind, where feelings of being lonely, isolated, ineffectual, nostalgic, and even old seemed simmering. The event was LIVE, a series offering public interviews of topical characters, held in a sumptuous Victorian-age hall at the New York Public Library. And Rem Koolhaas with Hans Ulrich Obrist were there to talk with event curator Paul Holdengraber about their new book Project Japan: Metabolism Talks. The capacity audience numbered over 400, strong in architect professionals, including Marion Weiss, Michael Manfredi, SO-IL’s Jing Liu, Beatriz Colomina, Paul Goldberger, Suzanne Stephens, MoMA’s Pedro Gadhano, and Family’s Dong-Ping Wong among so many others. And they were all ears when Holdengraber said he had asked Koolhaas and Obrist to define themselves in seven words: Koolhaas gave a clear-cut six: mystic, rational, sober, baroque, patient, immediate. Obrist, sort of eight: catalyst, conversation, curating curiosity, guidance-making, and protest against forgetting. In a brief introduction, Koolhaas returned to a subject he’d addressed at the Japan Society a few nights before: How Kisho Kurokawa managed to be a magazine-posing celebrity architect in his day (1950s and 60s) who was still taken seriously enough to influence the direction of postwar Japan. “He was prominent enough to interview the prime minister,” Koolhaas noted, and you could almost feel the waves of longing and envy welling up. Today, he said, the effect is the opposite: the more media exposure, the less architects are taken seriously. Even more, the architect said, Kurokawa provided a postwar model for being male in Japan. (And that without wearing a black turtleneck.) The Metabolists worked together, and with the country almost entirely in ruins, their thinking as a group became “an extension of the imagination of the state.” Perhaps. What the Metabolists actually recommended in terms of architecture—floating fortresses, sky villas, pod-dwellings—seemed less of interest than the camaraderie of ideas. In contrast, Koolhaas said, “We are all lonely operators with very little cooperation. They could stand together and work in a movement.” And though the work itself dealt with impossibilities of scale and entirely broken down systems in desperate need, the united effort was “a miracle to behold.” Glossing over the homogeneity of postwar Japanese society with competitive zeal fueled by peer humiliations, Koolhaas apparently finds that zeitgeist preferable to today’s market economy where “architecture has been warped and separated from anything important and no longer serves the public good, but only the good of private interests.” The sheer Japanoiserie of Japanese architecture impressed both Obrist and Koolhaas who attribute that quality to modern architects having never cut off tradition but allowing it to flow continuously from the past and into their work. The same, he said, could never be said of a French, Dutch, or Swiss architect (pace Zumthor). It means something to be a Japanese architect, Koolhaas contended, while elsewhere, “architects have disintegrated to insignificance.” Such self-flagellating remarks have been voiced before by the profession’s most Sphinxian sage. And yet when he spoke of meeting with surviving Metabolists—some of them politically reactionary, to his surprise— it was how they coped with their advancing years that seems to have caught his attention most: "Perhaps old age requires strategy more than any other point in life. The conversations demonstrated touchingly that it is more crucial to exploit your limitations than to survive your gifts. As memory weakens, vision is your only option," Koolhaas said at the end, paraphrasing his book and, still marveling, added “It was magnificent to see the tactical ticking in their brains on how to make a good impression.” And so it was.