Throughout history, people have spent a great deal of time pondering what the future holds. Scientific discovery, technological innovation - along with rebellious androids, zombies, flying cars, hover crafts, visiting aliens - have been consistently used as stereotypes that emerge in predictions for our imagined future. And while Hollywood was busy exploring dystopian scenarios of this near-future, architects were composing utopian images of an optimistic vision for cities. Architects have built careers upon predicting what cities can potentially become - developing forms, functions, plans and visions of possibilities in the social, political, economic and cultural realms through architecture. In 1962, Mayor Robert Wagner of NYC predicted a culturally diverse, economically viable, global city for New York in 2012. In 1988, Los Angeles Times Magazine gave its 25-year forecast for Los Angeles in 2013, predicting what a life for a family would be like, filled with robots, electric cars, smart houses and an abundance of video-conferencing. Find out how their predictions fared after the break.
On view now until April 13, is the Stamberg Aferiat + Associates designed exhibition for Frank Gehry prints and a sculpture for the Los Angeles-based artists’ workshop Gemini G.E.L. at Joni Moisant Weyl in New York City. The exhibition celebrates architecture, a more than ten-year collaboration with the renowned architect, and their one-year anniversary in a designed space by architects Peter Stamberg and Paul Aferiat. The exhibit features a newly editioned sculpture and an enlarging of Gehry's Marques de Riscal Winery image. More images and description of the exhibition after the break.
The air rights to 140 West 58th Street were bought by the developer of the 90-story One57. Image via The New York Times
"There's a price on everything in New York, and the air is no exception." - Ross F. Moskowitz, Strock & Strock & Lavan
All of us are familiar with the practice of buying and selling property in the form of land, residential and commercial space, but the buying and selling of the air surrounding these spaces is a concept well-understood by few. With the recovery of the condominium market in New York City, residential development is at an all-time high, and this means taller and even more luxurious towers are fighting each other tooth and nail for the best possible views of the city. Because of this, the price of air above and around these potential developments is becoming more and more expensive, since a room with a view is worth a whole lot more than one without. Is it possible that these empty, vertical pockets are now worth more than the ground below them?
Read more about New York City's air rights to find out.
So what exactly are air rights? They can be defined as a building's "unused or excess development rights" measured by square foot and can be transferred from one building to another if zoning in that specific area permits. Air rights in NYC typically sell for 50-60% of what the ground below them is worth; some, however, can be worth much more than that, as in the case of air rights along the High Line.
This text was provided by San Francisco-based writer Kenneth Caldwell.
One friend said, “It looks a bit austere.” At first glance, it probably is. But like so many great minimal environments, it asks for patience and generosity. You give, and in turn it gives back.
This is also what the artists Mark Rothko, Richard Serra, Donald Judd, and, more recently, Olafur Eliasson ask. Trust them with your time and you may be rewarded with a small measure of serenity—perhaps even with the connection between art and the divine that Dominique de Menil was so focused on.
Designed by Louis Kahn, the Franklin D. Roosevelt Four Freedoms Park is an outdoor sanctuary at the southern tip of what is now called Roosevelt Island, created as a memorial to FDR. The park opened last fall. Kahn’s gift took 40 years to be realized, but it presents a path for human beings to treat each other to peace.
Courtesy of the artist and Leslie Feely Fine Art, LLC.
On display at Leslie Feely Fine Art in New York from April 11 to June 30, 2013, the Frank Gehry At Work exhibition features a selection of over 30 diverse process models by Gehry, which are drawn from significant constructions and concepts of the architect’s prolific career. These organic forms, which consist of a wide array of materials, stand as testament to Gehry’s tactile approach, enhancing our perception of this sculptural architect and his work, illuminating the subtleties of Gehry’s thought—and working—process. More images and information on the exhibition after the break.
Coming up this Friday, March 8th, at the Center for Architecture in New York, the 'Beyond New York: Organic vs Geometrical Context' lecture is part of the Architecture Dialogue Committee’s on-going series to introduce the next generation of architects not practicing in New York City. For this event, they have invited Spela Videcnik from OFIS arhitekti of Ljubljana, Slovenia to share insights about architectural and urban design from 6:00pm-8:00pm. Videcnik will present OFIS’s design approach through their most recently built projects, such as the Basket Apartments (Paris) and The Cultural Centre for Space Technologies (Slovenia), and how these different geometries inform their current work. For more information, please visit here.
Originally constructed for the 1939 World’s Fair, the resilient structure of New York’s Queens Museum of Art has been undergoing its fourth and most ambitious renovation since April 2011. This $68 million renovation, designed by Grimshaw Architects, will double the institution’s size, expanding the museum to a total of 105,000 square feet upon its completion in October 2013.
Courtesy of Department of Parks and Recreation - Draft Master Plan
Every natural disaster has an "aftershock" in which we realize the fragility of our planet and the vulnerability of what we have built and created. We realize the threat to our lifestyles and the flaws in our design choices. The response to Hurricane Sandy in October 2012 was no different than the response to every other hurricane, earthquake, tornado , tsunami or monsoon that has wrought devastation in different parts of the world. We recognize our impact on the climate and promise to address how our development has caused severe disruptions in the planet's self-regulating processes. We acknowledge how outdated our systems of design have become in light of these damaging weather patterns and promise to change the way we design cities, coastlines and parks. We gradually learn from our mistakes and attempt to redress them with smarter choices for more sustainable and resilient design. Most importantly, we realize that we must learn from how natural processes self-regulate and apply these conditions to the way in which we design and build our urban spaces.
Since Hurricane Sandy, early considerations of environmentalists, planners and designers have entered the colloquiol vocabulary of politicians in addressing the issues of the United States' North Atlantic Coast. There are many issues that need to be tackled in regards to environmental development and urban design. One of the most prominent forces of Hurricane Sandy was the storm surge that pushed an enormous amount of ocean salt water far inland, flooding whole neighborhoods in New Jersey, submerging most of Manhattan's southern half, destroying coastal homes along Long Island, and the Rockaways and sweeping away parts of Staten Island. Yet, despite the tremendous damage, there was a lot that we learned from the areas that resisted the hurricane's forces and within those areas are the applications that we must address for the rehabilitation and future development of these vulnerable conditions. Ironically, one of the answers lies within Fresh Kills - Staten Island's out-of-commission landfill - the largest landfill in the United States until it was shutdown in 2001. Find out how after the break.
Fresh Kills Landfill was opened in 1947 along the western coast of Staten Island as a temporary solution for New York City's waste just in time to accommodate an exponential rise in consumption in the post-World War II United States. Three years later, and the landfill continued to operate until it became the principal landfill for New York City, collecting the solid waste from all five boroughs in the "age of disposability". It is no wonder then, that the temporary solution swiftly became a 50-year one.
The expandable multi-use cultural venue dubbed "Culture Shed" is one of the most radical proposals to come out of New York'sHudson Yards Development Project. Designed by Diller Scofidio + Renfro - the New York-based interdisciplinary practice that played a major role in designing the High Line - in collaboration with the Rockwell Group, this 170,000 square foot cultural center will be located at the south end of the Hudson Yards, with the main entrance located near the conclusion of the High Line at West 30th Street.
More information on the Culture Shed after the break...
Can you imagine the intersection of Broadway and the Bowery in lower Manhattan as sparsely populated “Uptown” used as a burial ground for indigent people? Well, according to the the book Painting the Town by The Museum of the City of New York (via Ephemeral New York), this scene painted from memory by Albertis Del Orient Browere in 1885 depicts what Union Square used to look like back in 1828 - just 20 years before this area started to transform into the bustling, concrete jungle we know today.
White Noise (or The Buzz) reveals the latent potential of the community. It is the sound of the talent and value around us. The installation harnesses this latent value with an interactive sound environment (a collaboration with ARUP Acoustics) embedded in a playful series of figural abstractions, clad with white synthetic turf. The foregrounded backdrop of the architecture highlights the project’s main event, sharing and exchange among the people in the space, and manipulates readings of scale.
Just in time for Valentine's Day, Situ Studio has unveiled the fifth edition of Times Square’s annual Heartwalk installation - a heart-shaped “room within the city” made of salvaged Sandy debris. Inspired by the “collective experience of Hurricane Sandy and the love that binds people together during trying times,” Heartwalk begins as two weathered ribbons of wooden planks that gradually lift to form an illuminated heart enclosure in the middle of Duffy Square.
People are already falling in love, as you can see Instagram's #heartwalktsq is filling up with images of elated New Yorkers standing within the “heart of New York City”.
After an “arduous” public review and a heated debate over affordable housing, New York’s City Council has unanimously awarded final approval to BIG’s tetrahedral-shaped West 57th apartment building in Manhattan. As reported by Crain’s New York Business, a compromise has been made to include 173 affordable housing units within the 32-story, 750-unit residential building and the neighboring industrial building that will be converted into 100 additional rental apartments. As you may recall, the community board and Councilwoman Gail Brewer initially threatened to “torpedo the project” if the apartments were only made affordable for a 35 year period. However, Durst apparently won them over by contributing one million dollars into an affordable housing fund.
"The good news, which is the matra of my office and community board No. 4, is there will be, yes, by law, 35 years of income-restricted affordable housing," stated City Councilwoman Brewer, who represents the area.
When applying “major surgery” to a beloved, 20th century “masterpiece”, you’re going to face some harsh criticism. Such is the case for Norman Foster, as the legendary British architect has been receiving intense backlash from New York’s toughest critics for his proposed renovation to the New York Public Library. First, the late Ada Louise Huxtable exclaimed, “You don’t “update” a masterpiece.” Now, the New York Time’s architecture critic Michael Kimmelman claims the design is “not worthy” of Foster and believes the rising budget to be suspect.
More on Kimmelman's critique and Foster’s response after the break...
Organized by Christopher Marcinkoski and Javier Arpa, in cooperation with the Architectural League of New York, ‘The City That Never Was’ symposium will be taking place Friday, February 22, from 9:00am-5:30pm EST at the Scholastic Building in New York. The one day event will use the current economic and housing crisis in Spain as a lens to reconsider how planners, designers, politicians, and financiers conceive of and realize large-scale contemporary urbanization and settlement. It will be organized through four primary themes — infrastructure, waste, landscape, and instant urbanism – in order to explore new possibilities for how future patterns of urbanization can be conceived, financed, planned, deployed, and inhabited. For more details, including the complete itinerary and speaker information, please visit here.
Martin Barry, founder and director of reSITE in Prague and associate at W Architecture and Landscape Architecture in New York, will give an evening lecture at 6:30pm EST on February 7th. Taking place at the NYU Silver Center, his lecture will focus on how organization is advocating for more transparent, contemporary and sustainable urban planning in Czech cities. Martin will discuss the outcomes of reSITE 2012 and describe their plans for reSITE Festival and Conference to take place in June 2013. The event is presented by NYU Department of Art History & Urban Design and Architecture Studies with Czech House NYU. For more information, please visit here.
The bursting of the housing bubble wreaked havoc on cities across the United States causing widespread blight in once-thriving community economies. Foreclosed, abandoned and condemned homes continue to pockmark neighborhoods and communities, adding to the vacant lots of populous but affected cities like Philadelphia. The Mayor's Office of Philadelphiaapproximates that there are nearly 40,000 vacant lots throughout the city of brotherly love, about 74% of which are privately owned, making them virtually inaccessible to rehabilitation. But the city has a strong drive to amend these conditions. With organizations like DesignPhiladelphia's "Not a Vacant Lot"and the city's Redevelopment Authority, some of this land is being put to good use.
In an effort to address housing concerns throughout the city, New York City held the adAPT NYC Competition in search for a micro-unit apartment building that would be developed into a new housing model for the "small household population". The winner and five finalists were announced earlier this week, revealing a sharp focus on consolidating various living areas to save space and resolving to give multi-functionality where ever possible. There is also an emphasis on community in each of the proposals, making up for the small units with more public amenities within the building. Join us after the break to take a closer look at the projects.
