Posts tagged with "WXY":
The New York City Economic Development Corporation (NYCEDC) and the Department of Housing Preservation and Development (HPD) recently unveiled plans to redevelop a former Bronx juvenile prison into a mixed-use development centered on affordable housing.
WXY architecture + urban design (WXY) is collaborating with Body Lawson Associates (BLA) to transform the infamous Spofford Juvenile Detention Center into the Peninsula, a $300 million project that will create 740 units of 100 percent affordable housing.
Claire Weisz, principal-in-charge of WXY, said that “no parts of the former prison [were] being reincorporated” into the development. “The goal is to create a campus that incorporates living and working to reimagine this promontory place in Hunts Point,” she added.
The rest of the team—Gilbane Development Company, Hudson Companies, and Mutual Housing Association of New York (MHANY)—was chosen through a 2015 request for expressions of interest (RFEI).
The team is working with longtime neighborhood stakeholders like the Point CDC, BronxWorks, Casita Maria Center for Arts and Education, Urban Health Plan, Sustainable South Bronx, and others.
In 2014, Majora Carter—the urban revitalization activist and founder and former executive director of Sustainable South Bronx—partnered with AutoDesk to imagine alternatives to the Spofford site, which operated as the Bridges Juvenile Center when it was shuttered by the city in 2011 over appalling conditions and inmate abuse.
Along with the typical deliverables that come with a project this size—retail, community, and green space—the Peninsula will bring 49,000 square feet of light industrial space to the Hunts Point neighborhood.
Weisz said that “recreating and reconnecting the street grid” while “making a courtyard space [that] expresses the permeability and openness to the community” was a “priority of the team’s proposal.” Victor Body-Lawson, principal at Body Lawson Associates, added that the team “designed the courtyard as a hub that will foster interactivity between the community, residents, and visitors while melding commercial, manufacturing, and residential activities around a central space.”
In addition to providing housing, the plan integrates different types of workspaces, including artist work studios and light industrial space for Bronx-based businesses to both launch and expand. The Peninsula will host a business incubator, job training facilities, school space for pre-kindergarten (an on-site Head Start program will be incorporated into the project) and higher education, 52,000 square feet of open space, and an 18,000-square-foot health and wellness center operated by Urban Health Plan. “The housing and these work spaces will together create a lively and open addition to the neighborhood of Hunts Point,” said Weisz.
Food, too, is key to the Peninsula: The NYCEDC stated that in addition to a 15,000-square-foot supermarket, local favorites like Il Forno Bakery, Soul Snacks Cookie Company, Bascom Catering, and Hunts Point Brewing Company will be setting up shop in the development. According to Weisz, these “will serve as anchor tenants for the Peninsula because they provide access to fresh produce, offer health care services, and strive to be part of a larger vision that benefits their growing business and the community they serve.”
The five-building development is coming online in three planned phases: Phase one is expected to be complete in 2021, with phase two coming online the year after and the third phase set to open in 2024.
“I just got tired of people always talking about the same problem—it’s simple, just don’t go for the highest dollar [as a landlord],” said sculptor Andrea Woodner in response to constantly hearing how hard it is to foster the arts in New York City. When the third floor became available in her building, 25 Park Place, she worked with architect and business partner (the pair cofounded Design Trust for Public Space) Claire Weisz of WXY to renovate it for artists’ work studios to be leased below market rate. They dubbed it the Hercules Art/Studio Program (named for the 1930s Hercules Seating sign on the building).
Woodner initially envisioned the type of studio she once had: a large, empty sunlit space. However, after talking with a few artists, she amended her plans from three 1,000-square-foot studio spaces to seven 300-square-foot spaces, which would be cheaper. “It’s custom-made for this generation of artists,” said Woodner. “It’s not what I had, but it’s what they wanted.”
Weisz gutted the 5,700-square-foot space to create the seven studios, a common area, an industrial kitchen, bathrooms with showers, and a gallery. “It looks simple, but it took a lot of fussing,” said Weisz.
Getting sunlight to permeate the north-south-oriented floor proved particularly tricky. Weisz built partial, eight-foot-high walls to provide privacy without inhibiting natural light or the flow of heating and cooling. Although the budget was tight, Weisz opted to splurge on gallery-quality lighting designed by Domingo Gonzalez of DGA.
Woodner selected the seven students to fill the space by visiting local graduate programs at Hunter College and Columbia University. Each applicant had to submit a statement explaining that having a rent-controlled studio was critical to him or her to be able to continue working. Finalists were then interviewed to make sure they would be a good fit for the collaborative space. Woodner plans to host discussions, shows, and panels in the building to further connect the artists to the community and vice versa.
There are hopes to expand the program. “I’m a realist,” said Woodner. “The headwinds are in appreciating real estate value, so to do anything other than that is an uphill climb. I am doing it because I can afford to do it. I am happy to do it. I would like to encourage other landlords to contribute space as well. We are only going to be able to chip away at this, but if we can make some incremental changes toward bringing artists back to lower Manhattan, it can be mutually beneficial…the city needs the artists as much as the artists need the city.”
From a pedestrian perspective, Downtown Brooklyn and its waterfront have an odd relationship. Despite the Brooklyn Bridge’s looming (literally) presence in DUMBO, the area’s potential to become an idyllic promenade and an active space has never quite been realized.
Now, however, New York practice WXY architecture + design—who specializes in planning, urban design, and architecture–is proposing to connect DUMBO, Downtown, and Brooklyn Bridge Park. As part of a public-private scheme, in collaboration with the Downtown Brooklyn Partnership (DBP), WXY’s project, the Strand, sets about creating views within the site, giving it an identity while creating a place that puts pedestrians first.
WXY principal Claire Weisz said that the first thing her practice sought to do was to see what connections needed to be reestablished with a focus on who they should serve. “One of the main priorities of the Strand effort is to privilege pedestrians and cyclists,” said Weisz. “We [looked] at what spaces used to connect and then we sought a way to reimagine and provide resources to the public spaces and places that are valued by the people living, working, and studying in this area.”
Striking a dialogue and creating a “positive sense of journey” was another key aspect of the scheme. Working with Copenhagen artist group Superflex, a responsive and pedestrian friendly scene was established: Here, functional, yet visually inspiring routes were developed, evoking the cultural and historical aspects of the area’s neighborhoods from Fulton to Farragut and the Navy Yard.
Weisz also spoke of new subway connections and the potential to develop sites around infrastructure, adding how the Gateway to Brooklyn action plan concept “demonstrated the importance of approaching access holistically.” In light of this, Weisz proposed connecting Cadman Plaza East with the walkway off the Brooklyn Bridge, thus protecting pedestrians who “have to dodge traffic at Cadman Plaza West.”
Weisz noted how the dominance of car travel has led to the emergence of “unappealing leftover public space.” Here, she explained, a “continuous city fabric where walkable, bike-able, active streets connect Downtown Brooklyn to the Waterfront” is a necessity from an infrastructure perspective.
While improved circulation is a priority, visual connectivity is also on the agenda. Weisz plans to give landmarks visual precedence to celebrate Brooklyn’s history and improve wayfinding throughout the Strand. As a result, the Brooklyn and Manhattan Bridges are allocated framed views from within the Cadman Plaza Park, Anchorage Plaza, and Trinity Park, in order to reaffirm the sense of place throughout the Strand.
“The Strand’s identity is linked to not losing the layers of history that made Brooklyn what it is today but adapting them for today’s needs,” said Weisz, who added that creating a “cohesive” identity was discussed with stakeholders.
“The main challenge of the Strand has been demonstrating the potential of spaces that are currently invisible to the public,” said Weisz. “Whether it be spaces around, over, or under highways [or] a new vantage for accessing and experiencing the Brooklyn Bridge, residents can look forward to a rejuvenated place that realizes the potential for the Strand to better connect downtown Brooklyn.”
Exemplifying the eternal Robert Moses-Jane Jacobs dialectic, New York’s Astor Place-Cooper Square area has long reflected too much Bob and not enough Jane. Excessive vehicular space has bred human-car conflict points, with pedestrians facing “a super-wide roadway . . . unclear at various traffic lights which way you are supposed to cross,” as noted by Claire Weisz of WXY (formerly Weisz & Yoes). The neighborhood around Cooper Union has become a midrise mélange, ill-serving its role as a campus and gateway between NoHo and the East Village. The chief open space is the under-lit, fenced-off Cooper Triangle, habitable mainly by rodents: A wasted opportunity in the park-starved area between Washington and Tompkins Squares.
Change hasn’t come quickly, but it’s coming. WXY has partnered with the Department of Design and Construction (DDC), Transportation (DOT), and Parks and Recreation (DPR), as well as with landscape architect Quennell Rothschild & Partners, lighting designer Linnaea Tillett, plantsman Piet Oudolf, and contractor Triumph Construction, to remap streets and upgrade the plazas. Adhering closely to the 2011 iteration of a plan vetted in community meetings since 2008, the team is creating an environment that blends landscaping and infrastructure: high-efficiency lighting, granite benches, stepped seating, bicycle racks, a new water main, catch basins, center medians, bioswales, and a dignified allée framing the Foundation Building. Construction began in 2013, and DDC projects opening this summer.
Anticipating Vision Zero by several years, Weisz said, “The plan tried to rationalize the desire lines with the actual street layout,” correcting dangerous conditions. At Fifth and Sixth Streets, “you would find yourself in the middle of Third Avenue without being able to cross the street at a normal crosswalk,” and the subway-entrance island between Eighth and Ninth was “really narrow for the amount of people on it.” With vehicles banned from eastern Astor Place and from Cooper Square below Sixth Street, “you’ll be able to walk pretty easily from Fifth Street all the way to the subway without having to cross traffic.” A tree-lined Alamo Plaza will replace two lanes of Astor Place, and an 8,000-square-foot Village Plaza will emerge from Cooper Square’s west sidewalk, replacing disorienting lanes and dead zones of striped-off asphalt.
“Essentially, the goal is to continue to encourage the street ballet of the neighborhood,” Weisz said.
“We believe this particular design takes the approach of Jane Jacobs to create spaces that favor the community,” said DDC spokesperson Shavone Williams, stressing community outreach from design through construction.
The DDC “was very much a co-designer on this rather than a client working with consultants,” Weisz said. “[The collaboration was] amazing—we have three agencies, almost with equal billing here, and two community boards.” Maintenance partners include Village Alliance for the Alamo and subway plazas, DPR for Cooper Triangle, and Grace Church School for the Village Plaza.
WXY’s design signature includes zipper benches and environmentally friendly cast-iron drinking fountains developed for DPR (shaped to accommodate water bottles and to vent wastewater into planters and gravel, not hard pipes). Distinctive black cobra-head davit poles will support energy-efficient LED fixtures above Village Plaza. Swales will enhance storm drainage, reducing combined sewer overflows. Tony Rosenthal’s rotating cube Alamo, currently off-site for restoration, will return to its original position.
Village Alliance, City Lore, and other cultural activists have worked with DOT to reinstall components of Jim Power’s Mosaic Trail—“a treasure map” revealing local history, said Bowery Poetry Club proprietor Bob Holman, a City Lore board member. “That the city, which has so long ignored this treasure, is helping to renovate the poles displaced by the renovation and will install them as a piece of public art,” Holman said, “is New York City at its best.” With varied color temperatures distinguishing pedestrian spaces, streets, and buildings, the team expected that “Power’s ceramics would really pop.”
Weisz foresees a return of informal vibrancy as the plazas draw lunchers, seniors, performers, students, and others (Though not nocturnal revelers: The Triangle will be locked at night). By inviting people to linger, these plazas may help energize local businesses assaulted by chain stores and rocketing commercial rents.
Interruptions in Manhattan’s street grid represent the revenge of the organic and historic against the hyper-rational. Sites that syncopate the 1811 plan’s marching rhythm are both robust and sensitive: They are activity magnets, yet they create welcome eddies in urban flows.