The Manhattan-based architecture firm, Hou de Sousa, is on a winning streak this spring. This past March, the firm won Re-Ball!, a competition to repurpose over 650,000 plastic balls from a previous design exhibit into an installation for an abandoned underground trolley station in Washington D.C. (Their playful and interactive wonderland, titled Raise/RAZE, is set to open April 30.) And now the firm has won this year’s Folly competition in New York, hosted by the Architectural League of New York and the Socrates Sculpture Park. The theme this year was “function,” a break from the themes of years past, that drew from the literal meaning of folly: a blend of architecture and sculpture that doesn’t really serve a useful purpose. (These structures were once popular in 18th century England and French patrician gardens.) While the Folly competition is based in New York, it is open to global emerging architects. Hou de Sousa’s proposal, Sticks, addresses the function theme through an adaptable concept. Using interconnected lumber held together with webbing, the design supports an array of repurposed on-site scrap materials that provide shade and 18 inch deep shelves for possible future art exhibits. Their project takes advantage of an adjacent shipping container to help support the structure. It will serve as "a hub for Socrates Sculpture Park’s Education Studio, which hosts over 10,000 students annually," says the Socrates Sculpture Park in a press release. Hou de Sousa will build their project on site this May and June for a July 9 opening in the Socrates Sculpture Park in Long Island City, Queens. IK Studio won the competition last year, with the plywood pavilion Torqueing Spheres. Hou de Sousa’s Folly entry last year, Mochi, garnered a Notable Entry for their colorful domed quilt of ravioli-like inflated plastic bags. The Folly competition is privately and publicly supported, with public funds coming in part from the New York State Council on the Arts.
Posts tagged with "Queens":
Philip Johnson's New York State Pavilion, located in Queens, was once part of the 1964 Worlds Fair. Now it is the only remaining structure from the event. Years of neglect has seen the pavilion fall into a state of disrepair. However, all does not appear to be lost thanks to The National Trust for Historic Preservation, People for the Pavilion, and Queens Borough President Melinda Katz. Together, they have organized an ideas competition in an attempt to bring the pavilion back to life. The competition so far has received a number of submissions up for public vote. The current frontrunners are a hydroponic farm (essentially a farm that uses nutrient water instead of soil) and a flexible exhibition space. The former an ambitiously wants to demonstrate a process that could "feed cities into the next century" while the latter envisions an outdoor performance area and park. In recent memory, the pavilion's only claim to fame was its appearance in Iron Man 2 where it played host to the Stark Expo. https://www.youtube.com/watch?v=Bchp8boR0Dc The pavilion's appearance on screen however, has done little to bolster its circumstances, although a fresh coat of paint was added in fall last year. The New York State Pavilion Ideas Competition now hopes to "spark a conversation about the value of historic preservation," citing Johnson's work as an "irreplaceable structure" that is one of Queens' "most significant assets." Submissions so far mostly depict colorful scenes that refer back to the pavilion's original red and yellow coloring. These include the "Queens Pavilion Cheeseburger Museum," "Trampoline Castle," "The Funland of art" (that promises to be "the most fun your kids will ever have"), and the "Pavilion for the People." Others proposals include an observatory, ice-rink, and planetarium. There are few constraints on putting forward an idea. Participants must be over the age of 13 and submit an original idea complete with an image. A Sketchup model of the pavilion has been made available to download to aid contributors. The competition is also free to enter. For now, the public has until July 1 to submit their ideas, with Deborah Berke, founding partner of Deborah Berke Partners and soon to be Dean of the Yale Architecture School and critic Paul Goldberger among others judging the submissions. The jury will select first, second and third place, of which will receive $3,000, $1,000 and $500. The voting system however, will be used to select a "fan favorite" with the winner taking home $500.
Expanding on the East River Ferry system, Mayor de Blasio will see his $55 million plan for a five borough ferry network come to fruition summer 2017. At $2.75-a-ride, the system will be managed and operated by a California company, Hornblower, that has a proven track record in the industry, having run services in New York for ten years. Currently, the ferry caters to Manhattan residents and those on the shoreline between DUMBO, Brooklyn and Long Island City, Queens. The network will be expanded to escort people to Astoria, Queens; Sheepshead Bay, Brooklyn; and the Rockaways, Queens. Come 2018, Soundview will service the Upper and Lower East Side. Another proposal looks to extend the service further to Staten and Coney Island, though no completion date has yet been penned in. The cost of a ferry trip will align with the price of a single subway ride. Bicycles may be carried on for an extra dollar. This is less than half of what it costs for a standard weekend ferry fare at the moment. Such a pricing scheme is no accident, either, as de Blasio has his eyes on integrating the network with the rest of the MTA system. According to de Blasio, commuters will be able to enjoy the "fresh air, harbor views, and a fast ride on the open water" on the 20-minute journey between Astoria and Manhattan's East 34th Street, as well as being able to make the most of the ferry on the hour-long commute between the Rockaways and Wall Street. “Today I applaud Mayor de Blasio for his $55 million capital commitment to a 5-borough ferry system and declaring that New York City’s waterfront will be open for all. The ripple effect from this service will be felt throughout the entire city from Bay Ridge to Bayside; from Staten Island to Soundview,” said Councilman Vincent Gentile. “Access to a true 5-borough ferry system will be just another jewel to add to our crown here in southwest Brooklyn, one that will be a boon to small businesses and real estate alike.”
[beforeafter] [/beforeafter] (Renderings courtesy RethinkNYC, Cezar Nicolescu, and Sigmund Lerner) The New York Times published an editorial on February 24 called "Imagining a Rikers Island With No Jail" that proposes various uses for the East River island if its prison were closed. “As for the island, it should be given back to the sea gulls," the editorial concludes, "or used for affordable housing, or an extension of LaGuardia Airport.” https://www.youtube.com/watch?v=RaQpLe89kA4 If fact, AN published an Op-Ed piece with James Venturi on July 15, 2015, that presents a convincing argument for repurposing Rikers Island as an extension to LaGuardia. We thought it was time to revisit Venturi’s plan and bring it back for public discussion. Read Venturi's full proposal here.
Remember the New York City streetcar? Unless you're a New Yorker of a certain age, you definitely don't. Advances in transportation technology (what die-hard conspiracy theorists refer to as Great American Streetcar Scandal) drove streetcars all over the U.S. straight to the last stop. Yet, it's now very possible that two neighboring boroughs, Brooklyn and Queens, will be reunited once again via a new streetcar line of their very own. The streetcar plans legitimate what transportation planners (and Michael Kimmelman) have known for years: commuting patterns in the city have changed, and the hub-and-spoke model no longer serves diffuse, inter- outer-borough commuting patterns. In his State of the City address last week, Mayor de Blasio proposed a 16-mile waterside streetcar route, the Brooklyn-Queens Connector (BQX), that would run through 14 neighborhoods, from Brooklyn's Sunset Park through Astoria, Queens. These areas have seen swift transitions from their industrial origins and rapid population growth as the waterfront settles comfortably into its post-industrial future. Renderings are credited to a nonprofit called the Friends of the Brooklyn Queens Connector. According to The Daily News, members include "transit experts, community leaders and business giants like Doug Steiner of Steiner Studios, investor Fred Wilson of Union Square Ventures and Helena Durst of the Durst Organization real estate firm." When the plan was announced in January, AN reached out the the nonprofit repeatedly for comment to confirm stakeholders and received no response. With backers like these, concerns about gentrification and potentially developer-driven policy have been raised. Some see the streetcar idea as a way to spur already-high land values along the waterfront, although the streetcar could also provide the more than 40,000 residents of waterfront NYCHA complexes with better access to public transportation. Others have raised concerns about locating the line in a flood zone. Still others have questioned why the city needs to spend billions on a new form of transportation, one that moves at a pokey 12 miles-per-hour, when bus service could be offered along a similar route. There is time to debate: Although energy around the plan is high, the groundbreaking is a long way off. The plan's timeline states that construction is expected to begin in 2019, and service could begin in 2024. The city pegs the cost at around $2.5 billion, although earlier estimates ran $800 million lower.
Goldstein, Hill & West Architects (GHWA), in partnership with developer Chris Xu, just unleashed a 79-story residential tower on Long Island City, Queens. At 963 feet tall, the tower will be 305 feet taller than its neighbor, CitiGroup's 50-story One Court Square, already one of the tallest buildings in the neighborhood. The ground floor will sport 19,721 square feet of retail, while 774 apartments will be spread over 759,412 square feet of residential space. Xu bought the 79,000-square-foot site for $143 million from Citigroup in July 2015, YIMBY reports. This is not the New York–based firm's first high rise: GHWA is behind Long Island City's 42–12 28th Street, a 57-story residential tower, as well as 605 West 42nd Street, a glassy 60-story residential tower "detailed in a clean modernist idiom." Walking down Jackson Avenue, it's hard not to notice all the new high rises going up in the neighborhood. Walking down Jackson Avenue in the late afternoon, though, and it's hard not to be blinded by the sunlight that reflects from all those new buildings. The so-called Court Square City View Tower is a mere four blocks from MoMA PS1, and, although there's no word yet on when construction will begin, visitors to PS1 this summer will be thankful for the central feature of Escobedo Solíz Studio's Young Architects Program installation. The colorful rope canopy promises to shade visitors from skyscraper sunburns, giving a whole new meaning to Warm Up.
Mexico City–based Escobedo Solíz Studio is the winner of the 17th annual MoMA PS1 Young Architects Program (YAP) in Queens, New York. Escobedo Solíz Studio, beat five finalists to design a temporary urban landscape for the courtyard of the 2016 Warm Up summer music series. Weaving the Courtyard, will open at MoMA PS1 in Long Island City in early June. According to the architects, the installation will be “neither an object nor a sculpture standing in the courtyard, but a series of simple, powerful actions that generate new and different atmospheres.” The canopy departs from the last few object-based interventions, such as Wendy, Hy-Fi, and COSMO. A vibrant, colorful landscape will be created by using the formwork holes in the walls to anchor colored bands. Water will again be an experiential component, as a wading pool will allow visitors to cool off in fresh water. “This year’s finalists of the Young Architects Program explored a range of approaches, materials, and scales to effectively question the MoMA PS1 courtyard as an arena for escape. Escobedo Solíz’s ingenious proposal speaks to both the ephemerality of architectural imagery today but also to the nature of spatial transactions more broadly. From the evocative woven canopy that will engage visitors overhead to a reflective wading pool, Weaving the Courtyard sensitively brings together elements of MoMA PS1’s Warm Up Series with an exuberant collection of zones and environments,” said Sean Anderson, Associate Curator in MoMA’s Department of Architecture and Design, in a statement. Klaus Biesenbach, MoMA PS1 Director and MoMA Chief Curator at Large added, "This year marks the 40th anniversary of MoMA PS1 and the 17th joint annual competition brought together by the Architecture and Design Department at MoMA and MoMA PS1. The Mexico City-based team will work on a colorful, celebratory intervention that takes its point of departure to be the existing geometric concrete forms in the courtyard of MoMA PS1 simultaneously creating an urban beach of sand, water, and vibrant colors.” https://youtu.be/aH72lU4AGpU The other finalists for this year’s MoMA PS1 Young Architects Program were First Office (Andrew Atwood and Anna Neimark), Ultramoderne (Yasmin Vorbis and Aaron Forrest), COBALT OFFICE (Andrew Colopy and Robert Booth), and Frida Escobedo. An exhibition of the five finalists' proposed projects will be on view at MoMA over the summer, organized by Sean Anderson, Associate Curator, with Arièle Dionne-Krosnick, Curatorial Assistant, Department of Architecture and Design, MoMA.
The holidays are here when the Coniferous Tree Exception kicks in. This New York City ordinance allows dead pine trees to be sold on city sidewalks in the weeks leading up to Christmas. One true marker of the season's end is the Christmas trees that line those same sidewalks in January, awaiting DSNY pickup. In years past, one artist has revivified these trees, albeit illegally, creating semi-real pine forests from discarded trees in marginal urban spaces. This year, the trees will have a second chance at life in the most popular place for dead New Yorkers: Queens. In 2012 and 2013, San Francisco–based artist Michael Neff rounded up 35 Christmas trees from the curbs of Brooklyn. He hung them with twine from a metal pipe and displayed them under a BQE overpass, at Metropolitan Avenue and North 6th Street, in Williamsburg. Within a matter of hours, the trees were removed and discarded by the city. https://vimeo.com/150815655 This year, Neff is reprising his installation, legitimated and indoors, at the Knockdown Center, in Maspeth, Queens. A time-lapse video (above) shows the installation in process. Working a cherry picker, Neff and his team suspend coniferous trees of slightly varying sizes from the ceiling in a neat grid. In a statement on the exhibition's event page, Neff describes the advantages that a change of venue con(i)fers:
The exhibition at Knockdown Center allows for a much different experience, most importantly time for the trees to shed their needles into halos on the smooth concrete floor below. Paired with the subtle pine fragrance of the trees and the opportunity for quiet contemplation, the exhibition encourages repeated viewing.Suspended Forest is on view from January 9th to January 31st.
Water, water, everywhere, Nor any drop to drink. —Samuel Taylor Coleridge, The Rime of the Ancient MarinerThough New York has the some of the cleanest municipal tap water, New Yorkers now consume 1.25 billion bottles of water annually. A contributing factor to the rise in bottled water consumption is the decline in the number of public drinking fountains. New York–based Pilot Projects would like to revive the grand tradition of public bubblers through a novel design/build competition. Pilot Project's 100 Fountains competition, launched September of this year, will tap artists and designers to build 100 fountains citywide in 2016. Each participant receives $5,000 to develop his or her team's design. According to the project proposal, the competition area will be divided into 30–40 zones, with two or three fountains per zone. The public judging period starts June 2016 and runs through September 2016. The original fountains will be auctioned off for charity, and ten designs from the pool will be chosen and duplicated for permanent installation at to-be-determined locations citywide. https://www.youtube.com/watch?v=ZFq8z96zbQQ In 2012, Pilot Projects hosted a campaign to raise awareness around the lack of drinking fountains. In the video above, passerbys in Union Square traipse over a red carpet to a (pre-existing, functioning) fountain operated by white-gloved servers. Per a 2007 zoning text amendment, the Department of City Planning (DCP) requires a fountain in every newly-built Privately Owned Public Space (POPS). The report suggests that, in lieu of vending machines offering sweetened beverages and bottled water, designers should incorporate public drinking fountains into the POPS. To justify their economic reason-for-being, 100 Fountains points to large-scale public art installations that overtook city streets in the late 1990s and 2000s: Christo and Jeanne-Claude's The Gates, Olafur Eliasson's New York City Waterfalls, and CowParade. The economic impacts of these project were estimated in the tens to hundreds of millions of dollars. 100 Fountains also takes direct inspiration from the Minneapolis Arts Commission. The commission highlighted Minneapolis' connection to surrounding rivers and lakes by installing ten custom fountains to celebrate the city's 150th anniversary. Pilot Projects will partner with the NYC Department of Cultural Affairs, the Department of Education, Office of the Arts and Special Projects, as well as Yale University’s Environmental Protection Clinic and Parsons The New School For Design to carry out the project. Expect to see fountains on the streets beginning June of next year.
While everyone was distracted by Monday's BIG news on the High Line, SHoP unveiled a three-tower complex on the waterfront in Long Island City, Queens. The tallest tower, at 45-40 Vernon Boulevard, will be 28 stories, with 296 residential units. The three towers will ring the Anable Basin, a human-made inlet off of the East river. The towers will sit ten blocks northeast of SHoP's Hunters Point South, a two-building, 900-unit development with 20,000 square feet of retail, where tenants love Airbnb-ing their taxpayer-subsidized pads. The development is part of a master plan to revive the Anable Basin (also known at the Eleventh Street Basin), site of the former Pepsi-Cola bottling plant, with public waterfront access and a refurbished pier. The towers, real estate blog 6sqft reports, will mostly replace the current building on site, 69,550 square foot Paragon Paint Factory, now defunct. The site, currently zoned for manufacturing, will require a zoning variance to build residential. There will also need to be environmental remediation performed on the land. The tallest, central tower partially cannibalizes the rear of the factory, rising into a decidedly non-industrial 300-foot-tall glass wall. Future residents will have expansive views of Manhattan and the East River. The two smaller towers, at 45-24 Vernon Boulevard and along 45th Road, will be copper clad at the base with angled windows on the upper stories to maximize views of the cityscape. The towers will rise 14 stories and eight stories, respectively. No word yet on the project's groundbreaking or expected completion date.
On Tuesday, the LIC Post reported that some residents who received units through the affordable housing lottery in a (SHoP-designed) Hunters Point South high-rise are renting out their units on Airbnb. Market rate tenants expressed righteous indignation, and poor-shamed their neighbors for "gaming the system." In New York City, renting out your rented place on Airbnb is illegal, but is it really wrong? A Hunters Point South Commons tenant named Nathalye listed her two bedroom apartment on the site for $50o per night, plus a service and cleaning fee. Two other units in the development's two buildings were listed for rent, as well. Designated affordable units in the Related Companies development range from $494 to $1,997 for a studio, and $743 to $4,346 for a three-bedroom, depending on household earnings. The New York Post asked building resident Chris Dyer for his take on tenants renting out their affordable units: “they should be super grateful because so many people applied to try to get in, and they should not be taking advantage of the situation. I think those people should be held accountable and kicked out of their lease.” Proponents of sites like Airbnb claim that the site fills an unmet need for less expensive accommodations in a city where the average hotel room costs $297 per night. Opponents note that Airbnb inflates housing costs in the long run and displaces lower-income residents. It's easy to invoke tropes of the "worthy poor" to shame affordable housing tenants who earn extra income through Airbnb. In May, Gothamist outlined the subsidies and incentives that this (mostly market rate) development received: "While Related is not receiving 421-a subsidies for the Hunter's Point South apartments, [the developer] told us that his company is benefiting from a 'one-off' deal, which includes a 40-year tax break agreement (details were not disclosed). As an affordable housing project, the project also got $185 million in tax-exempt bonds from Cuomo, $236 million in said bonds from the Housing Development Corporation, and $68 million in subsidies from Housing Preservation and Development." A full discussion of ethics and affordability is outside the scope of this short post. But, in a city that's increasingly unaffordable for all but the very rich, it's worth asking: are tenants in affordable units so very different from market rate neighbors units or homeowners using Airbnb to make a buck?
Archtober Building of the Day #31 SculptureCenter Renovation and Expansion 44-19 Purves Street Queens Andrew Berman, Architect An enthusiastic group of Archtoberites came out today to bid adieu to this year’s Building of the Day series. Cloistered away on a dead-end street in Long Island City, SculptureCenter offers underrepresented and emerging artists an opportunity to develop site-specific works in this former trolley repair shop. This is, of course, a neighborhood that has gone through a tremendous amount of change in recent years. When the project began, the surrounding block held a chop shop and not much else. Now, brand new apartment buildings line the street. In this renovation of the SculptureCenter, Andrew Berman, FAIA, strove to honor the character of the original building and neighborhood without competing with it. The addition is “sympathetic to the original, not vying for attention,” he explained. The project was born from an RFP for a new stairwell, but Berman decided to take it a step further, with Executive Director Mary Ceruti’s go-ahead. His goal was to make a space that was flexible, not in the sense of moving parts, but one that would create exhibition spaces with just the right feel for all of the artists who would come to inhabit the building. Between exhibitions, the solid door to the forecourt swings shut, presenting a wall of weathered steel to passersby. According to Ben Whine, associate director of the ScultpureCenter, it is always quite a show when the building reopens. It is during the weeks of installation that the institution returns to its roots as a studio space for artists who create site-specific pieces to show in the industrial space. Downstairs, we entered what appeared to be a functional hallway. A low, whirring sound could be heard in the background as Berman and Whine spoke, but it wasn’t until an “exit sign” had wended its way halfway down the hall that I realized it was part of a show. Gabriel Sierra, an artist interested in architecture, design, institutional critique, and structural interventions, had installed this simulacrum of an exit sign that was slowly making its way across the space. Because of the nature of Sierra’s work, I found myself constantly searching for additional interventions, to the point that I no longer trusted my ability to discern the functional elements of the building from the installation within. Berman seemed most proud of the masonry wall that had been cut with a circular saw to reveal its cross-section, marking the transition between the original building and the addition. This cut is “all but invisible, but here to be discovered,” he explained. Also true of the SculptureCenter, a gem of an organization tucked away on a narrow street, but just a hop, skip, and a jump away from Manhattan.