Posts tagged with "Sasaki Associates":
- Roger Schluntz, FAIA (Chair), School of Architecture and Planning, University of Mexico
- Lisa Chronister, AIA, City of Oklahoma City Planning Department
- Suzanne DiGeronimo, FAIA, DiGeronimo Architects
- Tim Griffin, AIA, Minnesota Design Center
- Gerry Tierney, AIA, Perkins+Will.
- Lee Becker, FAIA (Chair), Hartman-Cox Architects
- Anne Marie Decker, FAIA, Duvall Decker Architects
- Susan Johnson, AIA, Strata; Anna Jones, Assoc. AIA, MOD Design
- Caitlin Kessler, AIAS Student Representative, University of Arizona
- Merilee Meacock, AIA, KSS Architects
- Robert Miller, FAIA, Bohlin Cywinski Jackson
- Sharon Prince, Grace Farms Foundation
- Rob Rogers, FAIA, Rogers Partners.
The application before the Commission on March 21st was limited to the building’s façade. The applicant represented to the Commission that they had valid DOB permits for the work on the plaza that pre-dated designation and, as a result, that portion of the work was not before the Commission. During the process, the Commissioner’s reference was based on the representation by the applicant. If there were no valid DOB permits for the work on the plaza issued prior to designation, the applicant would be required to obtain an LPC permit prior to the issuance of a DOB permit.A site visit this week revealed that there is construction fencing surrounding the perimeter of the plaza, though the stair to the subway through the sunken plaza remains unimpeded. Signs show a Gensler rendering of the revamped plaza and office building, above, but the only permits posted are for work on the 29th floor: Boston Properties could not be reached for comment on the current status of the renovations or the approvals process. The changes that DCP approved in Boston Properties’ land use application would add benches and would not reduce the total area of the POPS's sunken plaza. (Technically, to the DCP, the plaza is an "open air concourse," an exposed area that sits more than 12 feet below-grade and provides access to the subway. Here, at its lowest, the tiered public space sits 13 feet below grade.) Its 6,000 square feet of tables, chairs, and concrete gave the Citicorp Center a FAR bonus of almost 59,000 square feet. In exchange, the public received six trees, 19 tables, 76 chairs, and a designer fountain, plus retail at the western edge of the concourse. The DCP-approved changes would add two tables, eight chairs, and 153 feet of benches to the count, and a new fountain would replace the Sasaki fountain in "approximately the same location." Among other changes, the plans call for a stairway from the concourse to the sidewalk would be widened, and repositioned to improved pedestrian circulation from the subway to the street. The land use review application says the changes would "improve public access, provide better circulation and connectivity, and create a more visible and vibrant Public Spaces [sic]." This fountain-for-fountain, space-for-space tradeoff is acceptable per City Planning but for preservationists, the thought of losing Sasaki fountain is devastating. “The Citicorp Center is about public space—that’s what makes it architecturally interesting and designation-worthy,” said preservation activist Theodore Gruenwald. “We are seeing all of these changes done very much behind the scenes, without public oversight.” Designed by Sasaki Associates principal emeritus Stuart Dawson, the Citicorp Center's plaza and fountain is just one of the city’s 333 POPS, the essential New York City micro-spaces that make public places out of office building plazas, atria, and concourses. Introduced as a development incentive in the 1960s, POPS let developers build taller than zoning allowed in exchange for open space. Recently, though, the public-ness of these public spaces has come under threat. The election propelled Trump Tower's inaccessible POPS into the limelight, and the loss of the Water Street arcades last year has further highlighted the vulnerability of POPS, especially those that are more marginal. Though not a POPS, the owners of SOM's landmarked One Chase Manhattan Plaza tried—and failed—to build three glass pavilions on the building's plaza, a move that would have segmented the public space and blocked views of a massive Dubuffet sculpture. Rule-breaking POPS have caught the attention of the law, too. This month the office of the New York City comptroller released the results of a POPS audit (PDF), which found that more than half of the city's privately owned public spaces did not provide mandated access or amenities (though the POPS at Citicorp Center was in-compliance—at least by this measure). UPDATE 5/8/17: The DOB initially represented to AN that there were no permits issued for the work on the sunken plaza and Sasaki fountain. On May 5, 2017, the agency informed AN that an ALT–2 permit to remake the plaza was filed on November 18, 2016 and issued on December 2, 2016. The LPC signed off on the permits that same day, four days before Citicorp's landmarking on December 6 and well after the conclusion of the public comment period. AN plans to update readers on this developing story.
I was and am incredibly proud of the work we did on the sidewalks, plaza, cascading fountain, and interior atrium of the Citicorp Center. The response from the public was immediate and strong: they loved it. As the fate of this work is up in the air I cannot help but to return to the original idea that carried through all aspects of the project: the idea of connection. At the time, we asked why not carry the fountain and broad steps all the way from street level; to chapel and atrium entrance level; to the subway level? While it required difficult permitting and multiple bureaucratic maneuvers, it seemed well worth the effort—and it was. It was a first! And today, as I learn that the plaza we designed is in danger of demolition I ask that we consider connection once more. I would like to see the plaza live on, connecting one era of design into the next. Once again, it may take some persistent maneuvering but I believe it will once more be worth it.
Christabel Gough of the advocacy group Society for the Architecture of the City told AN that the Sasaki project has "fallen between the cracks of arcane inter-agency procedures and is not protected. Boston Properties would earn the gratitude of so many New Yorkers by abandoning the demolition plan revealed today."
According to the LPC, the changes put forward by Gensler and Boston Properties were approved by the City Planning Commission prior to 601 Lexington Avenue’s designation as a landmark in December 2016 and that permits to alter the plaza had already been filed with the Department of Buildings (DOB). Despite an extensive search, at press time AN was unable to locate the permits on the DOB's website.At the hearing, preservationists and commissioners raised questions about the missing foundation. "The HDC wishes to express its regret at reports that the water feature may be removed from the space, which seems like an unfortunate loss," said Barbara Zay, of advocacy group the Historic Districts Council. "We would suggest that the LPC retain a seat at the table in discussions for the fate of courtyard by working closely with the owner, and perhaps the MTA, to find an alternative or return this decorative feature which provides an element of civility and whimsy to the space.” Echoing Zay, Commissioner Michael Goldblum expressed regret about the turn of events. "It’s a shame that the plaza will be changed and the fountain lost," he said, adding that the fountain was a "key element of how the public experience this complex." Fellow commissioner John Gustafsson clarified that no decision on the plaza could be made. "We’re not expressing an opinion here because we can’t," he said. The only changes on the agenda then, were to that of the facade, particularly on 53rd Street. Here, a recessed entrance would be eradicated, but the LPC voiced weariness ahead of this decision.
AN asked representatives from Gensler and Boston Properties at the hearing about why they are eliminating the plaza. Both declined to comment.In her closing statement, chair Meenakshi Srinivasan noted that "the Citicorp Building has a long history of changes... We recognized that these spaces will continue to change." She concluded that the proposed modifications were consistent with the building's history, and retained the spirit of the original design intent, particularly with the building's zoning history in mind. Prior to granting its approval, the LPC suggested that the proposed changes to the recessed entranceway be reconsidered. But questions remain as to why a plaza so integral to the landmark is beyond the LPC's oversight in the first place. AN will keep readers updated on this story as it develops. Update 3/22/17: This article originally stated that Sasaki's plaza was not included in the building's December 2016 landmark designation. It was in fact included in the designation. The post was also updated to include clarifying information about the plaza's jurisdiction and additional background on the statement of regulatory intent. The text was updated to reflect that Sasaki Associates principal emeritus Stuart Dawson designed the fountain.
The much-anticipated final phase of the Chicago Riverwalk is complete after years of planning and construction
It has been over a decade since Chicago began to redevelop its downtown riverfront, with Ross Barney Architects and Sasaki leading the design. With the recent completion of Phase III, the new mile-and-a-half public park known as the Riverwalk is now open. Divided into separate “rooms” between the famed bascule bridges, the Riverwalk provides a series of new programs for the downtown.
While the dream of swimming in the Chicago River is still far from reality, Chicagoans are now able to get closer to the river than ever before. Since the completion of phase two, the Riverwalk has become a favorite gathering space for downtown business people at lunchtime and a weekend hotspot for tourists. New restaurants and bars provide outdoor seating along the water, while kayaks can be rented for those looking to get up close and personal. A grand staircase-ramp between upper Wacker Drive and the river, known as the River Theater, can often be found filled with people sitting, reading, exercising, or simply people-watching. Those with their own boats can pull up to multiple tie-ups, drawing many large yachts from Lake Michigan. Part of phase three includes large floating planters, as well as one of the most anticipated additions to the Riverwalk, a large interactive water plaza.
A major challenge in realizing the continuity of the Riverwalk was connecting the separate rooms. The seemingly simple task was made more complicated by the fact that pedestrians frequently pass under the bascule drawbridges, whose permeable decks see some of Chicago’s heaviest traffic. In order to separate the public from the mechanics of the over one-hundred-year-old bridges and shield them from any falling debris from the road above, Ross Barney Architects designed canopies to cover the floating paths between the rooms. These canopies are wrapped in metallic paneling, reflecting the dappled light off of the water.
Along with Ross Barney Architects, a large team was brought together to realize the project, including Chicago-based landscape architects Jacobs/Ryan Associates, with Massachusetts-based Sasaki acting as prime consultant. Outside of the design, Friends of the Chicago River and Great Rivers Chicago advocated for the Riverwalk. Both groups are dedicated to remediating the river, with a goal of a clean, swimmable river by 2040.
Ever since the opening of the first sections of the Riverwalk, the new park has been showered with praise and awards. This year, AIA Chicago gave the Riverwalk with its highest honor, a Distinguished Building Honor Award. In addition, the project was awarded the 2012 Divine Detail Award by AIA Chicago, the 2010 Architect magazine “Move” Citation, and AIA Illinois’s 2007 Daniel Burnham Award, among others. Most recently the Riverwalk was awarded The Architect’s Newspaper’s 2016 Urban Design Award.