Posts tagged with "New York":
A new PABT is also essential to the trans-Hudson transportation question; the current station will require replacement in 15 to 20 years due to structural deterioration, said Andrew Lynn, director of the Port Authority of New York & New Jersey (PANYNJ)'s Planning and Regional Development Department. (Lynn sometimes holds meetings with local officials and stakeholders in the PABT, using the shaking walls to drive home his point.) The PANYNJ has about $3.5 billion set aside for the terminal, but despite numerous attempts to formulate a plan over the years, none have been successful. The PANYNJ is effectively "pushing the reset button" on the project, and while the group will learn from past failures, "we're really starting over," he said. (Gordon suggested expanding the current PABT upwards by building off the current structure. This would expand capacity while minimzing local impact.)
"You need to start shouting about how bad things are, how irresponsible" we've been as a nation. - Joe Biden pic.twitter.com/eIcQScJwTX— Architects Newspaper (@archpaper) April 21, 2017
However, Polly Trottenberg, commissioner of the New York City Department of Transportation (NYC DOT), countered that "global cities are not building big bus terminals"; rail is much more efficient. "One enormous bus terminal" is not the solution, she said, citing the failings of Robert Moses and how "we don't think that way now." Lastly, the panel touched on the replacement and expansion of Penn Station. Vishaan Chakrabarti, founder of Practice for Architecture Urbanism, who has put forward a plan to adapt the existing structure, explained his plan to move Madison Square Garden to the back of the old Farley Building, allowing the adaptive reuse of the current Garden's superstructure for a new train station that would make the neighborhood a "world-class address." (ReThink Studio, who was also present at the Assembly, has critiqued aspects of this plan.) Chakrabarti also sounded the alarm that office space might be built in the back of the Farley Building to fund Amtrack's construction of a new Amtrack platforms on the rails that run under the Farley Building. Those platforms, he added, would only serve Amtrack and exclude regional rail. He also warned that the current Penn Station was a safety hazard awaiting disaster: with such low ceilings, for instance, a smoke event would be disastrous in the already-overcapacity space. In sum, the panel portrayed a moment of crises but also a potential reconsideration of the current status quo. Once the current crises have been averted, panelists agreed it would make the most sense for New Jersey to emphasize trains over buses for a trans-Hudson commute, as rail is overall far more efficient (albeit also more expensive) a system for moving people. After this, an afternoon panel, "Planning for the Transportation Revolution," sought to address how ride sharing and autonomous vehicle could reshape the urban landscape. Bruce Schaller, principal at Schaller Consulting (which specializes in urban transportation policy), and Matt Wing, corporate communications lead at Uber, both highlighted how Transportation Network Companies (TNCs, such as Uber and Lyft) have filled in gaps created by public transportation. Forty percent of Uber's New York City rides are in the outer boroughs and never touch Manhattan, which serves as little surprise given only one subway line (the G) doesn't pass through Manhattan. TNCs, Wing explained, are also serving as critical links in the "last mile" problem of getting people to mass transit stations. (See AN's transportation feature on Miami for more on this.) Jessica Robinson, director of city solutions at Ford Smart Mobility, revealed that Ford aimed to have a production-ready Level 4 self-driving car by 2021. (Level 4 means no steering wheel, gas pedal, or anything else drivers must operate.) Given their cost, said Robinson, such cars will almost certainly be owned and operated by ride-sharing companies. Seeking to stay at the forefront of mobility solutions, Ford also bought Chariot, a TNC that operates 14-passenger ride-sharing vehicles and aims to reinvent mass transit. It was Robin Chase, the co-founder and former CEO of Zipcar, who gave the most impassioned presentation. "Cities are in a one-time position of power," she said, to dictate the terms of how autonomous vehicles should operate before they're legally allowed in major cities. She's currently organizing a global coalition of mayor to negotiate with large companies. Her top priorities include: ensuring all vehicles are electric, creating a level playing field for competition among ride-sharing companies, and negotiating new forms of ride sharing taxation based on distance traveled, curb rights, fuel type, and other factors. Conventional taxation based on registration fees, gasoline tax, and tolls may not be an option when autonomous vehicles hit the road. Overall, the panel argued that anything less than all-electronic fleets of competing ride share companies would be a major loss for cities. In that scenario, there are fewer and much cleaner cars on the road, and vast amounts of parking and curbside space would be made available for public use.
Andrew Lynn of PANYNJ: "We're pushing a reset button" on the new PABT. pic.twitter.com/zQiMHvj0j2— Architects Newspaper (@archpaper) April 21, 2017
For more on major transportations plans, don't miss the upcoming Plan 2050 at the Cooper Union, this May 9!
- Keynote Presenter: Hao Ko, Principal at Gensler
- Zachary Aarons, Co-Founder MetaProp NYC
- Daniel Diez, EVP, Chief Marketing Officer, R/GA
- Cindy McLaughlin, CEO, Envelope
- Kerenza Harris, Morphosis Architects
- Jerrod Kennard, Architectural Designer at KPF
- Alexandra Pollock, Director of Design Technology at FXFOWLE
- Robert Otani, Principal at CORE Studio, Thornton Tomasetti
- Joseph Romano, VP Surveying & Mapping, Langan Engineering
- Jonathan Schwartz, Co-Founder + CPO Voodoo Manufacturing
- Zoltan Toth, BIM Implementation Consultant, GRAPHISOFT
- Luc Wilson, Associate Principal and Director at KPF Urban Interface
The result of seven month’s work, involving copious amounts of organizing, planning, scheduling, revising, assembling, testing and eleventh-hour tweaking, culminated in a five-day art frenzy: The Armory Show 2017. Held on Piers 92 and 94 in New York City, this year's fair hosted 200 galleries from 30 different countries—a significant reduction from the previous year's showing (230). However, Bade Stageberg Cox Architects (BSC) designed the layout of the show and the New York firm was on hand to remind visitors how effective the Miesian principle, "less is more" can be.
"We're always playing with scale," said Jane Stageberg, a principle at BSC who showed The Architect's Newspaper around. "The art is big, so the space must be big!" One way to get more space is to have fewer galleries, argued Stageberg, who added that on the flip side, this afforded galleries more floor space to work with themselves. The result was a more fluid and dynamic experience of The Armory Show.
In 2016, Pier 94 had three aisles of circulation, whereas this year two were employed, facilitating a much smoother and more logical route up and down the pier. This also allowed BSC to create what Stageberg called "town squares." For an experience that had the potential to feel like a head-spinning cavalcade of art, the open spaces offered visual relief and acted as convenient meeting points. They also housed "big" public art, making them handy tools for way-finding. Saying "meet by the red and white polka-dotted mushrooms" (or to the more sophisticated "Yayoi Kusama's 2016 work, Guidepost to the New World") made for an easy-to-find reference point. Or, if that didn't take your fancy: the champagne bar by the hanging piano (Sebastian Errazuriz's 2017 piece, The awareness of uncertainty).
"Our goal was to open up the plan and create sight-lines, carving away corners to create diagonal views," Stageberg explained. "The galleries realized that this was good for them too as it meant more exposure. Their goal is to sell art and that's our goal too." The risk paid off, though, as galleries did well. “We sold an enormous amount,” said Sean Kelly, whose Chelsea gallery can be found on 475 10th Avenue.
Additionally, Stageberg said that the bones (especially the roof) of Pier 94 itself were also exposed to acknowledge the site's industrial past. In a refined environment predominantly comprised of white gallery walls, the juxtaposition of evident decay seen on the roof and odd bits of wall was a welcome sight.
On Pier 92, this was less the case, but the inclusion of generous amounts of daylight made possible by numerous windows, supplemented the sense of place BSC strove for. Around these areas of fenestration was more "public space." (This year, public space made up more than a third of the square footage allocated to galleries.) In a setting where square footage and wall space are prime real estate for galleries, the decision to do so was justified as visitors came in record numbers (65,000 over five days—the most ever). In addition to this, the show's busiest days over the weekend were gloriously sunny. Light shimmered off the Hudson and the pier—which is roughly 30 feet narrower than its neighbor—felt open and breathable.
Another advantage of this was simply being able to see where you were in the scope of the city. Be it views of BIG's Via 57 or simply Pier 94, the windows aided orientation and provided a pleasing change of focus. This was particularly the case in the VIP Lounge on Pier 92 where a large window punched through the end of the pier was the highlight of the show’s premium venue.
BSC has been working The Armory Show since 2011 when the firm began designing the 2012 edition of the fair. Between then and now, two directors (Paul Morris and Noah Horowitz) have come and gone, but this year marked the second year BSC had been working with its current director, Ben Genocchio.
For the 2017 show, Genocchio wanted Piers 92 and 94 to be in greater unison. Curatorial programming at previous shows had created a disconnect between the two piers, a phenomenon amplified further due to their differences in elevation (Pier 92 is almost one story higher than its neighbor) resulting in tricky circulation. To challenge this, both modern and contemporary galleries could be found on the two piers and emphasis was placed on the corridor that linked them.
It wasn't all smooth sailing on the water, however. While an oversized floating concrete block (Drifter, by Studio Drift) did well to draw visitors to the connecting stairwell, traveling between the two piers was still awkward. This problem, though, may be impossible to solve. Stageberg was disappointed in the food outlet "Mile End" at the end of Pier 94. "It felt like a dead-end space," she said. Likewise, it's hard to see how such an issue will be resolved without sacrificing more gallery space.
Stageberg, though, took this as a positive. "We're learning what we can do next year," she said. “We’re very pleased with how the public spaces in general turned out, they were really needed.” In the end, it's the piers' quirks that make The Armory Show what it is. There are few, if any, places where you can gaze over millions of dollars worth of art amid expertly organized chaos, all under one, slowly dying roof in the middle of New York.
If you think public libraries are an institution with a proud past but a problematic future you have to visit the new Elmhurst Public Library by Marpillero Pollak Architects. Commissioned in 2004 by New York’s Department of Design and Construction (DDC), it’s not just a triumphant work of civic architecture, but one that creates community and celebrates what it means to be a public institution in 2017.
The building is entered through a small community park on the corner of Broadway and 51st Avenue and transforms this amorphous Queens corner adjacent to Queens Boulevard into a centralized urban core. Its primary envelope is a terra-cotta rainscreen facade with aluminum inserts that mark the floor slabs and act as a connector to front and back double height glass cubes. These two structural glass spaces position patrons in the larger environment: a rear community park and the urban thoroughfare of Broadway. The Cubes, which glow as luminous beacons after dark, are calibrated to relate to the scale of the existing historical fabric, including the landmark 1760 St. James Episcopal Church Parish Hall across Broadway. They announce the library’s presence and the front cube floats above the main entry’s “memory wall,” which is made of bricks salvaged from the original Carnegie building. The interior of the Broadway cube is covered by a relief in elm wood from the artist Allan McCollum and is visible through the glass walls from the street.
Elmhurst badly needs this new facility, as it is one of the most diverse residential neighborhoods in the world and home to mostly poor immigrants from 80 countries. It had long been served by a vaguely classical Lord & Hewlett–designed Carnegie library that was built to house 3,000 volumes in 1904, and has had to adapt to changing populations with major renovations and additions in 1920, 1926, 1949, and 1965. These changes led to an interior that was broken into small, fragmented spaces that were insufficient for what had become the second busiest location in the Queens library system.
The original library was centered in a small park, but over time a large adjacent residential building put the space in permanent shadow. In addition, circulation through the old building spilled over into reading and stacks, limiting reading space and other program requirements. The Carnegie library design emphasized the visual control of the library, but this can be intimidating for immigrants and even the ground floor windows were permanently covered. All of these were inadequate to serve a huge population that requires new and different services. The architects were hired to design a modern library able to accommodate the branch’s enormous number of patrons and make it an open, transparent, and welcoming center for the community.
The interior of the new library is color-coded by use: children, teen, media, etc. It is also full of every imaginable representative of this diverse community, who are not just reading books, but doing school homework, playing games on computers, and seeking help from the librarians. The architects intend for the glass structure to open the library up to the side parklet and rear garden, which serves as an outdoor learning center for this dense urban community. Commissioned by the DDC, this design delivers on nearly everything promised by the agency’s Design and Construction Excellence program created under Commissioner David Burney.