Posts tagged with "Trump Tower":
Protesters are being told that Building Security has the terrace locked down because it's icy and for public safety. #TeachTrump pic.twitter.com/YHndVtN4vX — Architects Newspaper (@archpaper) March 20, 2017This time, however, the fifth-floor terrace was closed due to reported icy conditions. To this reporter's eyes, it was a plainly flimsy excuse. (The four-floor terrace is still closed due to construction, according to a sign outside its entrance.) Civil rights attorney Samuel B. Cohen was on hand to speak to Trump Tower staff and inquire about the space's closure. Just like a sidewalk or any other public space, he told the crowd, Trump Tower has an obligation to clear the space for public use. Regardless, the teach-in continued, as the NYPD did not express safety concerns about the crowd.
Over the course of approximately 45 minutes, protestors spoke out against Governor Cuomo's proposed renewal of the 421-a tax break, which is designed to spur the development of multi-unit buildings on vacant land. Tom Waters, housing policy analyst from the Community Service Society, said 421-a was a product of the 1970s, an era when the city was in dire straits. "Those times are over," he said, adding that 421-a would create far more value for developers than for the public. Waters also spoke out against a new provision in the bill that extends 100 percent tax-exempt status for certain new affordable developments from 25 to 35 years, a move which could generate further profits for developers.
Lawyer Sam Cohen with an update: Legally the space should be cleared of snow and open. pic.twitter.com/cc3QiDDlpM— Architects Newspaper (@archpaper) March 20, 2017
Teach-in is happening nevertheless, with advocacy groups and grassroots organizations, just outside the public terrace. #TeachTrump pic.twitter.com/e1GP9R0R1J — Architects Newspaper (@archpaper) March 20, 2017Waters also explained that Trump Tower itself was a product of 421-a tax exemptions when it was built; according to The New York Times the project received "an extraordinary 40-year tax break that has cost New York City $360 million to date in forgiven, or uncollected, taxes, with four years still to run, on a property that cost only $120 million to build in 1980." After being initially denied 421-a exemptions for Trump Tower, Trump successfully sued the city, and he later won 421-a exemptions for his Trump World Tower under the Guiliani and Bloomberg administrations in a similar fashion. Massive cuts to federal housing programs were an equal source of ire: According to a press release issued by Alliance for Tenant Power and Real Rent Reform, President Trump's proposed budget reduces federal housing funds by 13 percent. Those cuts "are expected to strain public housing programs and axe $75 million in federal funding from the New York City Housing Authority, the agency that manages public housing in NYC," the groups said. The Community Service Society estimates that Governor Cuomo's proposed 421-a program would "cost NYC taxpayers $2.4 billion annually and yield minimal affordable housing units in return." In the face of federal cuts, Jawanza Williams of VOCAL NY urged New York State to take a more aggressive stance to fill in the gaps and create its own robust health care and public housing systems; he also argued that 421-a would "only exacerbate gentrification." Claudia Perez of advocacy group Community Voices Heard added her thoughts in a question to those assembled: "Will you help me fight against the developer-in-chief? Now more than ever, New York must protect NYCHA." "We're calling on Cuomo to realize these $2 billion in cuts are more Trumponian than Trump," said New York City Councilmember Jumaane Williams at the protest. "So if [Cuomo] wants to run for president, if he wants to be a champion of saying what New York City is going to do to push back against these Trumponian cuts, 421-a is not it."
NYC council member Jumaane Williams on 421-a, thanks NYPD for letting this #TeachTrump teach-in happen. pic.twitter.com/EUvPyrvHLp — Architects Newspaper (@archpaper) March 20, 2017
City Councilman Mark Levine and a host of other New Yorkers have taken to the fourth floor of Trump Tower on Fifth Avenue to give a range of public talks on climate change, jobs, energy efficiency, and public parks. Organized by Climate Works For All, the teach-in aims to heighten awareness about Donald Trump's backward energy and climate policies as well as his real estate practices.
People were able to group at the garden of Trump Tower by invoking a long-standing (but infrequently used) legal requirement that this part of Trump Tower has public access. The event is being live-streamed on Facebook and protestors are using #TeachTrump on social media. “It’s clear that Donald Trump has a lot to learn, so we came to Trump Tower to teach him about issues that matters to us and working families,” said Maritza Silva-Farrell, executive director of ALIGN, in a press release. “Making buildings more energy efficient is a win-win: cutting down on wasted energy protects the environment and creates good jobs in a city of vast inequalities. We also wanted to let the president know that New Yorkers value our public spaces, so he can’t cut corners like this anymore.”
If you fancy a trip yourself, the address is: 725 5th Ave, New York, NY 10022.
A person is climbing Trump Tower in New York City.A person is climbing Trump Tower in New York City using suction cups. Posted by CNN on Wednesday, 10 August 2016
pic.twitter.com/290ZPqASu8 — Jason Chu (@JasonC1219) August 10, 2016
There is something about the towering, architectural designs of Donald Trump that brings out the best in New York’s architectural wordsmiths and critics: The Trump International Hotel & Tower at 1 Central Park West was a perfect foil for Herbert Muschamp in The New York Times. Philip Johnson and Costas Kondylis re-skinned the old Gulf and Western Building in bronze-tinted glass. (Trump had wanted the glass to be gold.) Johnson, according to the book New York 2000, promised Trump, his client, “a fin de siècle version of the Seagram” building. Muschamp called the facade “a 1950s International Style glass skyscraper in a 1980s gold lamé party dress,” a change he considered an “undeniable improvement.…” “This is not a major work by Mr. Johnson,” Muschamp wrote later in the article. “Still, he has introduced considerable refinement to an essentially crass idea. In fact, the design’s chief merit is the contrast between the commercial vulgarity of the gold skin and the relative subtlety with which it is detailed.”
The building, he said, stands as a “triumph of private enterprise in such a publicly conspicuous place.” Now, he concluded, “a new Trump flagship sails into these troubled civic waters, carrying with it more than a faint air of a floating casino, or perhaps the winnings from one.” But elsewhere he wrote that it could have been worse. True, the design could have sported dollar-sign finials, a one-armed-bandit handle sticking out the side, window shades painted with cherries, oranges, and lemons, and a pile of giant Claes Oldenburg coins at the base instead of the scaled-down version of the Unisphere. Or maybe that would have been an improvement. Refinement was never this building’s point anyway.
Critics like Muschamp, Ada Louise Huxtable, and Paul Goldberger could hardly depend on Trump for an informed comment on his designs or buildings. He called his own Trump Tower triplex, an Angelo Donghia–designed, marble-and-onyx-covered ode to Versailles, “comfortable modernism.” The New York critics had varying opinions about the tower and its six-story indoor mall, which Trump claimed had been designed by his wife, Ivana. The mall’s interior of polished brass and 240 tons of Breccia Pernice marble in shades of rose, peach, pink, and orange was called a “pleasant surprise” by Goldberger, who saw it as “warm, luxurious, and even exhilarating—in every way more welcoming than the public arcades and atriums that preceded it on 5th Avenue.” Huxtable took a more critical view of the space, which she called a “pink marble maelstrom and pricey super glitz…unredeemed by [its] posh ladies’ powder-room decor.” (There may be hope for future buildings, however; Trump’s current wife, Melania, apparently studied architecture and design in school.)
The 725 5th Avenue Trump Tower exterior, with 28 sides, was designed by Der Scutt, of New York’s Poor, Swanke, Hayden & Connell, and was equally criticized by Muschamp, who concluded, “everything [about it] is calculated to make money.” This, of course, was seen as a positive design value by Trump, who argued that the faceted facade gave every room two views and therefore made them more valuable. In fact, the designs of Trump’s buildings are driven solely by profit. Is this unusual for commercial construction in New York? Of course not—but Trump’s buildings are such obvious, in-your-face examples of this reality of how the city is being built in the 21st century.
Beyond the large, expensive brass “Trump” lettering that adorns his buildings, Trump has made a career of taking advantage of public subsidies and then putting up the cheapest-looking project possible. His re-skinning of the Penn Central Transportation Company’s 2,000-room, Warren and Wetmore–designed Commodore Hotel is an example of one such project. Here, he took a perfectly decent—even handsome—1919 brick-and-limestone building, next door to Grand Central Terminal, and clad it with a reflective glass that has not weathered well. The project, rebranded by Trump as the Grand Hyatt Hotel, was done by one of his favorite architectural firms, New York’s Gruzen & Partners, with Der Scutt. The architects did not remove the old facade but instead overlaid a bronze-colored glass set in a grid of dark anodized aluminum. Trump spoke about that facade in The Art of the Deal; he was “convinced that half the reason the Commodore was dying [was] because it looked so gloomy and dated and dingy.…[He] wanted a sleek, contemporary look. Something with sparkle and excitement that would make people stop and take notice.” It’s not that the business barons of yore, such as Cornelius Vanderbilt, the developer of Grand Central Station, were not concerned with profit, but Vanderbilt and his architects, Reed and Stem, as well as Warren and Wetmore, designed a handsome public work of architecture, whose striking stone gateway’s presence makes Trump’s glass skin seem cheap and dated. The building has one of the worst 1980s-era facades in New York.
Given his background, it’s not surprising that Trump, who wallows in his New Yorkness, has no idea of the difference between architecture and building. He was raised in Jamaica Estates, Queens, hard up against the Grand Central Parkway, in what today would be called a Federalist Georgian McMansion, with tall Corinthian columns. He went to New York Military Academy for high school, attended Fordham University, and graduated from the Wharton School, where he studied real estate. While at Wharton, he worked at his father’s building company, which made a fortune developing small buildings in Queens and Brooklyn after World War II, when the government (via the Federal Housing Administration) subsidized affordable housing. Woody Guthrie lived in one in of these buildings, Beach Haven, in Coney Island, and wrote a song about its racially discriminatory rental policies:
I suppose Old Man Trump knows Just how much Racial Hate He stirred up In the bloodpot of human hearts When he drawed That color line Here at his Eighteen hundred family project
Beach Haven, like so many other federally financed affordable projects, was forbidden by the National Housing Act of 1934 from including any extra architectural details or embellishments, something the national real estate industry worked to have included in the law. Though it has directness to its design and some sort of dignity missing from Fred Trump’s Manhattan buildings, Beach Haven is nevertheless a standard New York City complex of stripped down, bland six-story brick boxes, spread across a city grid. It—like his son Donald’s later projects—was a profit-seeking opportunity. The FHA later discovered that Fred Trump had pocketed over $4 million in illicit profits from the construction.
Donald would later put up (or at least put his name on) a similar sort of development, along Riverside Drive just north of 57th Street. Like Beach Haven, Riverside South is a series of bland rectangular boxes spread across a series of city blocks. Though here, rather than looking out over Coney Island, the development looks toward the river. The detailing of these riverside buildings is faintly art deco, recalling their Upper West Side neighborhood in their massing and repetitive walls.
This was also the site for Trump’s proposed Television City, which could have been even worse, or at least more massive. In 1974 to 1975, Trump proposed to develop Television City—with 4,850 apartments, 500,000 square feet of retail space, one million square feet of office space, a 50-room hotel, television studios, parking for 3,700 cars, and 28 acres of open space—in a largely abandoned old train yard. The original scheme, which proposed a large superblock of high-rise towers, with a three-armed telescoping tower, was designed by Murphy/Jahn Architects, of Chicago, and would have been the tallest tower in the world, at 1,670 feet and 150 stories. It was a massive development, with several towers over 70 stories, all built on a podium over the old rail yards and a park. The West Side Highway would have been relocated under the towers to create a road not unlike the one under the Brooklyn Heights Promenade. Needless to say, there was opposition to this new complex. The world’s tallest building, many thought, was never meant to be built, but was a ploy, a wedge to get more square footage in the plan approved by the city.
In some ways, Television City came closer to real architecture than any other project from the Trump family (albeit as a forerunner of the contemporary glass boxes that have risen all over the city since the late 1990s). Though Goldberger claimed the tower was “hardly a real building for real people in a real city,” Michael Sorkin was more pointed. In the Village Voice column “Dump the Trump,” Sorkin wrote, “Looking at the boneheaded proposal, one wonders whether the architect even visited the site. Indeed, there is evidence that he did not. The rank of glyphs bespeaks lakeside Chicago, and the centerpiece of the scheme, the 150-story erection, Trump’s third go at the world’s tallest building…was there ever a man more preoccupied with getting it up in public?”
Trump, on the other hand, was his typical ebullient, promotional self and called the plan, in a press release, “the master planner’s grandest plan yet.” Because Trump, more than any builder in New York in the late 20th century, has transformed the city with barely the slightest architecturally-worthy design or public service.