LinkedIn page lists a J.D. from Quinnipiac University but includes a "N/A"; Yale University is also listed but with no additional information. The New York Attorney General also began "looking into" The Eric Trump Foundation after a report from Forbes appeared to expose practices that broke state laws. Patton's directorship at HUD will include block grants and rental vouchers that go toward senior citizen programs and housing inspections; The New York Daily News reports that HUD funds 100 percent of the New York City Housing Authority (NYCHA)'s capital repair budget and 70 percent of its operational budget. The role Patton is filling has been vacant since January 20.
“Never heard of her before and it’s surprising to say the least,” says @NYCmayor of Lynne Patton, who is said named HUD regional director— J. David Goodman (@jdavidgoodman) June 16, 2017
Posts tagged with "New York":
The creation of a new or renovated Pennsylvania Station for New York has become a staple for the local daily news.
It is often presented as an architecture issue: the need for an alternative to the seriously flawed 1968 building on the site, or a quick fix for its 21 aging rail tracks. But ReThink Studio, a transportation think tank, has a well-thought proposal that considers a future for the station as a node in a much larger regional plan. It makes the point that any proposal to transform the station is meaningless unless its relationship to a much larger area is considered and well thought out. It is not just an architectural issue, but a planning issue that needs to be addressed by all levels of government.
Today, New York’s commuter rail infrastructure is a nightmare. Fixing this starts with phase one of Amtrak’s Gateway project for two new Hudson River Tunnels. Former Vice President Joe Biden has said that all of us need to push for this effort.
You can watch a video of ReThink Studio's plans below. If you are convinced by its conclusions, there is now a way to contact our elected officials and ask them to support the plan. By signing this petition, the studio will send a letter to President Donald Trump; Senator Mitch McConnell; Representatives Paul Ryan, Bill Shuster, Rodney Frelinghuysen; and Senators Mitch McConnell, James Inhofe, and Thad Cochran.
Governor Andrew Cuomo unveiled the 2018 state budget this month, nine days behind schedule. State operating funds (excluding federal and capital) stood at $98.1 billion—up two percent from 2017. All in all, New York will receive $153.1 billion in funding (including federal and capital funds).
Much of this money will be spent on infrastructure. The Greater Rochester International Airport will receive an initial $39.8 million to kick-start its transformation, with overall project costs estimated at $53.7 million. JFK too is in line for major—and much-needed—changes. The Kew Gardens Interchange will receive $564 million to aid the reconstruction of and expand capacity along the Van Wyck, improving access to the airport. Most of the changes to JFK Airport itself will come from a $7 billion private investment that will modernize terminals and accommodate a projected increase in passengers.
However, Governor Cuomo’s statement also burned bridges. The 77-year-old Kosciuszko Bridge, to be specific, will be demolished (a celebration party is being held on July 11). In its wake, two new state-of-the-art bridges, one Queens-bound and one Brooklyn-bound are to be constructed with a dedicated $270 million.
Meanwhile, $15 million will supplement a new Amtrak Station in Schenectady. Improved parking, lighting, and landscaping will fall under this allotted budget as will new walkways leading to the bus and rapid transit areas on State Street and the new parking area on Liberty Street.
But what about housing? Governor Cuomo’s “Vital Brooklyn” plan, which targets health, violence, and poverty in low-income communities around Brownsville, East New York, Flatbush, Crown Heights, and Bedford-Stuyvesant will receive $700 million.
Initially outlined (albeit vaguely) in early March, the $1.4 billion plan asserts itself as a “national paradigm.” It calls for more than 3,000 new multifamily units to be built on six state-owned sites, with options for supportive housing, public green space, and a home-ownership plan.
As part of Governor Cuomo’s “Affordable New York” Housing Program, developers of new residential projects with 300 units or more in certain areas of Manhattan, Brooklyn, and Queens will be eligible for a full property tax abatement for 35 years. This is, however, if the project creates a specific number of affordable rental units and meets newly established minimum construction wage requirements and the units remain affordable for four decades. Governor Cuomo estimates that the program will create roughly 2,500 new units of affordable housing each year.
Governor Cuomo also outlined plans to fund state parks and protect the environment. As per the $900 million New York Parks’ 2020 initiative, $120 million from the budget will further the “transformation of the state’s flagship parks” and “strategically leverage private funding to improve New York State Parks Recreation and Historic Preservation facilities and services.”
Moreover, Governor Cuomo disclosed $300 million for the Environmental Protection Fund, the most the state has ever pledged toward this. Within this sum, $41 million will be for solid waste programs, $86 million for parks and recreation, $154 million for open space programs, and $19 million for the climate change mitigation and adaptation programs.
Since early 2016, when images surfaced showing the skeletal condition of Paul Rudolph’s Orange County Government Center, construction has continued at a fast pace in the Village of Goshen, New York to renovate and expand the iconic Brutalist building. New pictures reveal the scope and scale of the renovations. This saga began in 2011 when the municipal occupants vacated the complex citing damages from Hurricane Irene and began the process of planning its remodeling. After Boston-based designLAB withdrew its proposal because of ethical concerns over the project’s scope, Rochester, New York–based Clark Patterson Lee took on the renovations. Against the almost united outcry of architects and preservationists, the county government ultimately decided to demolish roughly one-third of the complex and replace it with a new architectural appendage. The new wing cuts off access to the central courtyard from the outermost corners of the site and leveled much of the exterior site design, dramatically changing the building's relationship to the ground. Additionally, the corrugated concrete blocks from the facade were stripped from the reinforced concrete frame and replaced only after the interior walls and windows were gutted. The video below, from early April, shows construction in progress: In a meeting with the Orange County Building Committee in March of this year, Clark Patterson Lee presented a full set of floor plans. They show an extensive revision of the interior organization of space, favoring conventional double loaded hallways instead of Rudolph's more organic layout. The plans also indicate a subdued sectional profile that eliminates many of the dynamic elevational changes found in Rudolph's seminal sectional perspective drawing of the building. County officials were not immediately available for comment regarding their motivations for the interior refiguring or decision to demolish part of the historic structure. However, a recent report from The Warwick Advertiser does cite a county official who stated that the project would be done “on time and on budget.” For others though, discontent with the project persists. Liz Waytkus, executive director of Docomomo US, a nonprofit dedicated to the preservation of modern architecture, recently visited the site, calling the renovations a “cultural crime.” She also highlighted the precarious future for Rudolph's other buildings around the country, including Government Civic Center in Boston. As construction comes to an end, loyal disciples of the Brutalist style may elegize the Orange County Government Center such as Rudolph designed it; however, architects may yet find value in the final building as a cautionary case study for how to strategize future preservation efforts.
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.