Morphosis has joined DesignClass, a growing collection of online classes featuring innovators from architecture, design, and creative leadership. Each class aims to build "curious and creative confidence" in future generations of creative professionals. Delving into design process, logic, and architecture, the new class focuses on how to translate ideas into dynamic architecture with one of the leading practices today.
In this week's reprint from the Architect's Newspaper, author Patrick Sisson tackles the implication and participation of communities in New York in shaping their built environment, especially their waterfront. He also asks about the roles of representation and if "the city’s community boards and Uniform Land Use Review Procedure act more like gatekeepers than catalysts for equitable development?" especially that a lot of new developments are labeled as housing projects.
The NYC Civic Engagement Commission (CEC), Department of Cultural Affairs (DCLA), the Mayor’s Fund to Advance New York City and Public Artist in Residence (PAIR) Yazmany Arboleda officially kicked off The People’s Festival. This five borough series of outdoor events featured live performances, interactive workshops, and community information and resources. The festival was anchored by The People’s Bus, a retired city bus formerly used to transport people detained on Rikers Island.
Belmont (Monty) Freeman (b. 1951) founded his New York-based, currently eight-person practice, Belmont Freeman Architects in 1986. Its active projects are half institutional and half residential, with a special focus on adaptive reuse, predominantly in New York and nearby states. Among the firm’s most exemplary projects are the LGBT Carriage House on the University of Pennsylvania campus, a series of restorations at the Four Seasons restaurant in the Seagram Building, renovations at the Yale Club in Manhattan, and the renovation of the Ezra and Cecile Zilkha Gallery at Wesleyan University in Connecticut, designed by Kevin Roche. Current projects include an expansive but minimalist residential compound on Martha’s Vineyard, branch library renovations in New York City, and redevelopment of a former meatpacking building into a new Innovation Hub for Columbia University’s Business School.
Last year, architect Danish Kurani completed a new tech lab in New York City in partnership with Black Girls Code. As a place where young women from all over New York can come together to learn about technology, the revamp project includes 3,900 square feet of space at Google’s New York offices that were turned into a tech exploration lab.
As architects face up to the need for ethical, sustainable design in the age of climate change awareness, timber architecture is making a comeback in a new, technologically impressive way. Largely overlooked in the age of Modernism, recent years have seen a plethora of advancements related to mass timber across the world. This year alone, Japan announced plans for a supertall wooden skyscraper in Tokyo by 2041, while the European continent has seen plans for the world’s largest timber building in the Netherlands, and the world’s tallest timber tower in Norway.
The potential for mass timber to become the dominant material of future sustainable cities has also gained traction in the United States throughout 2018. Evolving codes and the increasing availability of mass timber is inspiring firms, universities, and state legislators to research and invest in ambitious projects across the country.
In this week's reprint from the Architect's Newspaper, author Karen Kubey, an urbanist specializing in housing and health questions if the invention of Public Space is "Invented Or Agreed Upon?" Basing her ideas on a book by Mariana Mogilevich, The Invention of Public Space, the article asks if public spaces are a product of negotiation in the city.
In the world of design and urban planning, aesthetics and functionality seem to take the spotlight, especially in how large-scale housing projects are developed. While this can be a good thing that continuously pushes the modern boundary of what we consider to be a dwelling, in some aspects, it has shined a negative light on how we perceive and stigmatize “bad design” in public and affordable housing, the socioeconomic factors that have created the need for it, and the types of residents who benefit most from these types of housing policies.
Columbia University’s Manhattanville Campus expansion has ushered in a crystalline district of glass-clad buildings amid the masonry vernacular architecture of Harlem. The latest additions to the 17-acre, $6.3 billion campus, which was master-planned by SOM, are two buildings designed by Diller Scofidio + Renfro (DS+R) in collaboration with FXCollaborative that provide a new home for the Columbia Business School. Set to open in early 2022, Henry R. Kravis Hall and the East Building rise 11 and 8 stories, respectively, and provide 492,000 square feet of classrooms, public space, and faculty offices.
The development of cities has historically been a slow-moving process. In the everchanging urban landscape that faces the pushes and pulls of a variety of social, economic, and financial factors, it’s been hard to pinpoint just one main reason over another why each city has evolved over time into the way that we experience it today. And as designers and planners speculate about what the future of our cities should be, sometimes the reason that our cities look and operate in the way that they do has come down to a few famous battles between individuals with competing schools of thought.
Penthouses embody how form is following finance. As their own sector of the luxury real estate market, these spaces are often reserved for the richest clients and investors. From heiress Marjorie Merriweather Post's iconic 54-room mansion in the sky, to top-floor units in mid-rise developments, penthouse designs have been continuously reimagined to take architecture and interior design to new heights.
Earlier this month, New York City Mayor Bill de Blasio announced the launch of the Open Boulevards program, an initiative that would temporarily close off car traffic on boulevard segments across several blocks, expanding the public space for dining, cultural activities and artistic performances. The project builds on the successful initiatives Open streets and Open Restaurants, which transformed the city’s streetscape to better serve diners, cyclists and pedestrians amidst the pandemic.
It would be an understatement to say that architecture is a profession that closely mirrors economic conditions. In this practice, we’ve all heard the stories or felt the experiences of recessions that were quickly followed by projects put on hold, a decreased pipeline of new business, and the unfortunate impact of layoffs and furloughs. The cyclical nature of the design field, paired with the pressure to meet the spatial needs for a growing global population in a time where the value of land has continued to sky-rocket means that architecture is naturally subjected to economic impacts in a significant way. But some economic theories predict that instead of the economy dictating the ebbs and flows of the design profession, architecture might be one of the influences causing economic downturns.
This article was originally published on Common Edge.
Dozens of neighborhoods in New York City have been upzoned based on contrived, and even false claims made by the city, which promised more diversity, affordable housing, minimum displacement, and other worthy goals. None of those projections materialized, but this is never acknowledged. Worse, the upzoning created the opposite conditions: less diversity, fewer affordable units, and whiter, wealthier neighborhoods. This, too, is never acknowledged. But the damage is done—and developers are having their way—following the new zoning. Then it’s onto the next neighborhood, with the same approach. Roberta Brandes Gratz explores in her article city planning and city promises in New Tork City, disclosing zoning regulations that lead to the opposite of what they preach.
SHoP Architects has designed a new mixed-used development and tower that will also house the Museum of Civil Rights in West Harlem. Combined, the project could total nearly one million square feet of office, residential, and retail space with the cultural program. SHoP submitted a draft scope of work for the project, dubbed One45, that was made in collaboration with Judge Jonathan Lippman and Reverend Al Sharpton.
Paul Clemence has just released recent photos of Bjarke Ingels Group’s Spiral skyscraper, an under-construction 1,000 feet tall tower with a series of stepped landscaped terraces. Set for completion in 2022, the highrise that topped out in February of this year, is located at Hudson Yards in New York City.
Architects are charged with protecting the public’s health, safety, and well-being. When buildings fail, whether through increased loads, poor design, or natural disasters, that charge also falls to those capable and willing to aid people in need. Firefighters regularly experience architecture’s collapse, often risking life and limb to save occupants and individuals they do not know. Yet firefighters and emergency personnel also have their own buildings they call home, rare typologies where recreational, domestic, and professional activities collide.
