A controversial $1.2 billion mixed-use project designed by Los Angeles—based architecture firms P-A-T-T-E-R-N-S and Gensler has won unanimous approval from the Los Angeles City Council, pushing Downtown L.A.’s booming, luxury-driven growth into one of Los Angeles’s most economically disadvantaged neighborhoods. According to documentation supplied to the City of Los Angeles, the project aims to generate 1,400 market-rate housing units coupled with office, restaurant, and art gallery programs totaling up to 1,664,000-square feet of floor area. The development features a smattering of canted, glass-clad towers surrounded by a mid-rise layer of articulated apartment blocks with punched openings and projecting and recessed volumes. The project is to be divided up between two adjacent blocks and built in phases, with the so-called “West Block” containing an existing, 12-story, 180,000-square foot office tower with 30,000-square feet of restaurant and retail spaces on the ground floor as well as an 8,000 square foot rooftop terrace and restaurant space. Plans for that site, to be built first, also call for a 20-story, 208-room hotel tower. A shorter, seven-story tall apartment tower containing 100 units and an eight-story, 1,158-stall parking garage with ground floor commercial areas will also occupy the site. The second phase of the project, referred to in documentation submitted to the city as “East Bock,” will host two towers, 32-stories and 35-stories in height, respectively, adding 895 for-sale units with a cluster of three- to seven-story apartment blocks adding a further 428 rental and 14 live-work units. This block will also contain a four-story subterranean parking garage with 1,354 parking stalls. With only a paltry five percent of the overall units to be reserved as affordable housing, the project has been controversial among community and working class housing activists due to the impact it will have on current residents' ability to remain in the area. The project’s size, scale, and location threaten to fracture a largely working class, renter-occupied neighborhood with a relatively low-to-average median income by introducing high-end, transit-oriented development. The developers behind the project have promised to add $15 million to an affordable housing fund as well as providing $3 million for community organizations for job training and youth programs, but activists caution that it will not be enough to stem large-scale displacement. Construction on the project is due to start by the end of 2017 or early 2017, with the completion of the second phase of the project wrapping up in late 2021.
Posts tagged with "Reef":
At first glance, this may look like state-funded environmental pollution: New York's Metropolitan Transport Authority (MTA) regularly dumps unwanted subway cars into the Atlantic. However, these New York City subway cars are now a happy home for fish. The MTA aims to create artificial marine environments, similar to those created by sunken ships, that will foster aquatic life. While most of this activity has gone under the radar, the MTA has been dumping subway cars since the turn of the 21st century. To date, after ten years worth of dumping, 2,400 subway cars currently lie on the ocean floor. https://www.youtube.com/watch?v=tPzRibWesyo Man-made reefs are nothing new, either. U.S. fishermen have engaged in the practice since the 1830s using structures of logs joined together. Turning relics to reefs with other refuse quickly followed; now unwanted subway cars turn the barren stretches of the eastern Atlantic seaboard into thriving habitats. The subway car shells create surfaces upon which oysters, clams, barnacles, and vegetation can live and grow. They also provide useful hiding places for fish that would otherwise be easy prey in the open ocean, all of which is good news for local fishermen. The move from the MTA appears to be a stroke of financial genius, too. While dumping subway cars into the ocean is convenient, the nonprofit Ocean City Reef Foundation has also paid $600 per car to ship them 30-hours away from NYC and create the reef. So far, six states have jumped on the bandwagon, and Michael Zacchea, director of the MTA Artificial Reef Program, describes it as "the ultimate form of recycling." Additionally, Jeff Tinsman, Delaware's reef program coordinator, has stated that fishing activity has seen a 30,000 percent increase in the vicinity of the artificial reefs. Myrtle Beach is a hotspot for the subway cars: that's where the MTA unceremoniously dumps them off a barge with the help of a mechanical arm. Now at their final final stop, they'll lay there for approximately 40 years with some cars having been in service just 10 days prior. Despite the project's praise and apparent success, there has been skepticism, notably from the National Resources Defense Council. They say the scheme has "less to do with conserving fish than saving and making money. Sport fishers and divers have actively lobbied for artificial reefs for the fish and tourism dollars they can attract. And, by donating old equipment to the cause, private industries and governments save millions of dollars." "You can basically put anything in the ocean and call it a reef as long as it stays there," says scientist Kristin Milligan. It's also worth mentioning Osborne Reef catastrophe, which saw thousands of car tires dumped with good intentions, ultimately required cleanup by the U.S. military.
Gazing at Chicago from the east, it’s impossible to ignore the city’s towering skyline. But the latest gem on the southwest shores of Lake Michigan won’t be made from glass and steel—it’s prairie grass and wetlands. Northerly Island, a 91-acre peninsula that juts into Lake Michigan just south of the Loop, was promised a visionary makeover from Studio Gang and landscape architects JJR in 2010. Now the Chicago Park District and the U.S. Army Corps of Engineers are preparing to break ground this fall. The plan is to cultivate six distinct ecosystems throughout the park, to the tune of $6.65 million. From oak savannah to deep-water lagoon with underwater vegetation, the Corps will open each area of the island as it is completed. While the project includes a concert pavilion and will still house the Adler Planetarium, Northerly Island is imagined as an oasis for nature in a state that has eradicated nearly all of the tallgrass prairie for which it was nicknamed. It’s a deferential vision of environment as architecture. Formerly home to the Meigs Field airstrip, the manmade “island” (it’s connected to the shore by a small causeway) was planned by Daniel Burnham as the northernmost in a string of five islands extending south to Jackson Park. It was the only one actually built. While work may begin soon on Northerly’s latest transformation, the plan calls for 20-30 years of development and ecological rehabilitation. The first portion—the island’s southern half—may be open for use within five years.
Architect and man about town Kevin Greenberg sends along this dispatch from Kenmare Street. Reef, a new kinetic installation at the Storefront for Art and Architecture, exists at the intersection of “the super-exclusive and the trite,” according to its creators, Rob Ley and Joshua Stein. Composed primarily of densely-packed rows of lightweight fins anchored by Shape Memory Alloys (SMAs) across a metal armature, Reef simulates the unmistakable movement of muscle on bone, eschewing the jerky mechanical inelegance of a previous age in favor of bio-mimesis and the “semi-conscious willfulness” of a school of startled guppies or a field of flowers in thrall to the sun. The materials that afford Reef its movement profile (each fin commands a 160-degree range of motion) have previously been applied to both military technology and cheap toys—Stein and Ley initially were inspired by a $10 plastic butterfly—imbuing the system with a pleasant friction between the high and low. Reef’s ambiguity extends beyond its material composition. By design, Reef occupies a grey area between sculpture and structure, and its subtle, fluid movements evoke a basic form of life. Stein and Ley hope that those who encounter Reef will be forced to engage it in an unfamiliar way—to, in their words, “befriend” the softly undulating fins, or to be repelled by them. For its creators, Reef represents a new model for architecture: sidestepping usefulness, it is a study for environment as companion, or at least co-presence. Stein and Ley envision users eventually experiencing a biokinetic environment like Reef in the same way one might approach an encounter with a domestic robot or other form of semi-sentient intelligence. “It’s a type of movement that connotes consciousness,” Ley told us. “Like a Venus flytrap, or a sea anemone.” And Stein added: “We asked ourselves, could you get the average person to project consciousness onto the installation?” Depending on your perspective, the elegant palpitation of the fins is, according to Ley, “creepy, sexy, friendly, or bizarre.” It’s also capricious. “We were very conscious that we were treading in a territory that’s the realm of novelty toys,” Stein says. At a glance, it’s clear that Reef’s moving parts are not in any sense functional. Although the architects concede that the technology that animates Reef could be tailored to a more practical application (they’ve been approached to conduct façade studies and climate control modeling), for Ley and Stein such concerns are beside the point. Reef is an attempt to create a new kind of relationship between structure and end user. For Stein and Ley, who both have training in the visual arts as well as architecture, Storefront was the perfect setting for Reef. From the street, Reef’s long, sinuous profile, with its rows of translucent plastic fins, contrasts beautifully with the hard angles of Storefront’s signature swiveling apertures. Lit from above, the installation takes on the luminous quality of an alien form nestled in the ocean’s silent depths. On Tuesday night, as curious visitors filled the space and (as is often the case at Storefront events) spilled out into the humid evening air, Reef’s fins billowed coolly beneath the lights, seductively evoking a quality of animal potential. Reef will be on display through August 1. And next Thursday, June 4th, Ley and Stein will make an appearance at Storefront to discuss Reef and their collaborative practice.