Heatherwick Studio and Diamond Schmitt Architects have been chosen to collaborate on the "renovation and reimagination" of David Geffen Hall, Lincoln Center’s largest concert hall in New York City. The team, chosen through a two-year competition and over 100 firms, will design a 21st-century concert hall for the New York Philharmonic home and transform it into a center capable of hosting "a broader, ongoing array of community activities and events."
"The inspiring combination of Heatherwick and Diamond Schmitt will bring contemporary design excellence, respect for the historic architecture of the hall, and extensive experience creating acoustically superb performance halls," said Katherine Farley, chairman of Lincoln Center for the Performing Arts.
AIA New York’s annual Design Awards Program recognizes outstanding architectural design by AIA New York Chapter members, New York City based architects in any location, and work in New York City by architects around the globe. The purpose of the awards program is to honor the architects, clients, and consultants who work together to achieve design excellence.
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MoMA P.S.1 has announced five finalists to compete in the 2016 Young Architects Program (YAP). Now in it’s 16th edition, the competition will challenge a group of emerging architects to design a temporary installation within the walls of the P.S.1 courtyard for MoMA’s annual summer “Warm-Up” series.
The Flatiron Public Plaza has unveiled its centerpiece for this year’s “23 Days of Flatiron Cheer” – SOFTLab’s Nova, the winner of a closed-competition hosted by the Flatiron/23rd Street Partnership Business Improvement District (BID) and Van Alen Institute. The project will become the center of the neighbourhood’s festivities for the holiday season, as well as “a highly visible landmark” in the heart of New York.
New York Yimby has unveiled BIG's latest New York skyscraper: 76 11th Avenue. Planned for one of the largest plots along the High Line, the nearly 800,000-square-foot proposed project is comprised of two towers perched on a podium of retail, gallery and hotel space in the city's Meatpacking district. Rising 302-feet to the east and 402-feet to the west, the towers are divided by a "diagonal cut" through the site that opens up more views for residents to the High Line.
Details on David Chipperfield's first large-scale residential project in New York has been revealed. The last development to take place at Bryant Park, The Bryant condominium tower will feature 57 one to four bedroom residences, including two triplex penthouses, on a boutique hotel at 16 West 40th Street. The HFZ Capital Group development was designed with Chipperfield's "intelligent simplicity," as the architects describe. Each residence will occupy a corner of the tower.
"Throughout the architectural selection process, REX presented us with an inspired vision. Joshua [Prince-Ramus] totally blew us away with his innovative ideas about how to present cutting-edge culture, but also about how to make the PAC relate to everyone who comes to the WTC site," said PACWTC director and president Maggie Boepple.
Inspired by the recent trend for super-skinny, super-tall skyscrapers currently dominating the Manhattan luxury residential market, ODA New York has developed a design for 303 East 44th Street which they describe as "a new urban reality" for the city. By taking a prototypical, modestly-sized tower building and stretching it skyward, the firm has inserted sculptural skygardens in the voids opened up between the floors to create a tower that combines the advantages of urban living with the spatial benefits of the suburban home.
RFR and Foster + Partners have released new images of One Hundred East 53rd Street, a 63-story luxury residential tower in New York next to Mies van der Rohe's famed Seagram Building. The skyscraper, which was announced last year, will contain 94 residences, a swimming pool, wellness facility, spa, library and sitting rooms, and its trademark Foster minimalism is intended to "provide a counterpoint to the Seagram’s bronze edifice," according to the developers RFR.
"340 Flatbush," as it's known, is being developed by JDS. Upon its (tentative) completion in early 2019, the building will offer 466,000-square-feet of residential space, forming 550 units, and 140,000-square feet of commercial space.
In the mid-1980s, after literature had long been held hostage by postmodernist irony and cynicism, a new wave of authors called for an end to negativity, promoting a "new sincerity" for fiction. Gaining momentum into the 1990s, the movement reached a pinnacle in 1993 when, in his essay E Unibus Pluram: Television and U.S. Fiction, pop-culture seer David Foster Wallace, a proponent of this "new sincerity," made the following call to action: “The next real literary ‘rebels’ in this country might well emerge as some weird bunch of anti-rebels, born oglers who dare somehow to back away from ironic watching, who have the childish gall actually to endorse and instantiate single-entendre principles... These anti-rebels would be outdated, of course, before they even started. Dead on the page. Too sincere. Clearly repressed. Backward, quaint, naive, anachronistic. Maybe that’ll be the point. Maybe that’s why they’ll be the next real rebels. Real rebels, as far as I can see, risk disapproval. The old postmodern insurgents risked the gasp and squeal: shock, disgust, outrage, censorship, accusations of socialism, anarchism, nihilism. Today’s risks are different. The new rebels might be artists willing to risk the yawn, the rolled eyes, the cool smile, the nudged ribs, the parody of gifted ironists, the ‘Oh how banal.'"
Architecture, ever in debt to the styles and ideas of other art forms, could learn a thing or two now from the resuscitation of American fiction at the turn of the millennium. It too is enduring an identity crisis, mired by pessimism and uncertainty - a reality made painfully clear this past January when a New York Times Op-Ed by Steven Bingler and Martin C. Pedersen, How to Rebuild Architecture, divided camps and made the design world fume. In the editorial, the authors spoke vehemently of an architectural profession that has become mired by egos and been disconnected from public needs. Things quickly got ugly, critics wrestled with critics and subsequently the public got involved. What no one seemed to take into account is that this type of hounding is at the core of the problem. In its current landscape the discipline has struggled with its past, been deferential to its present, and wrestled with the uncertainty of its future. In a moment when we have become addicted to despondency, can anyone win?
A conceptual design by Studio Gang was unveiled today as the preferred expansion to the American Museum of Natural History (AMNH) in New York. The proposed building, named the Richard Gilder Center for Science, Education, and Innovation, aims to host an array of public exhibition space as well as become a premier "active scientific and educational institution" that enhances connections with the existing Museum and encourages exploration amongst its users.
“We uncovered a way to vastly improve visitor circulation and Museum functionality, while tapping into the desire for exploration and discovery that are emblematic of science and also part of being human,” said Jeanne Gang, founder of Studio Gang. “Upon entering the space, natural daylight from above and sightlines to various activities inside invite movement through the Central Exhibition Hall on a journey towards deeper understanding. The architectural design grew out of the Museum’s mission.”
SOFTlab has been chosen as the second annual winner of the Flatiron Public Plaza design competition in New York. Their winning proposal, Nova will open to the public next month on Wednesday, November 18th. Its "crystalline" structure aims to intrigue the passer-by, welcoming them inside for framed views of the Flatiron Building and surrounding landmarks, including the Met Life Tower and Empire State Building.
In discussion with Calvin Tomkins for a 2013 profile in The New Yorker, David Adjaye spoke intensely on the significance of his Sugar Hill Development. “Context,” said Adjaye, “is so important, not to mimic but to become part of the place. I wanted a building that acknowledges its surroundings.” The recently-completed project is the brainchild of Ellen Baxter, leader of Broadway Housing Communities (BHC), a non-profit that has made strides to create innovative housing schemes in Upper Manhattan’s Washington Heights neighborhood. In an era where mixed-used developments are routine, Sugar Hill adds new dimensions to the typology by uniting affordable apartments, an early childhood education center, offices for the BHC, and the Sugar Hill Children’s Museum of Art & Storytelling.
In conjunction with their full building review written by Rob Bevan, The Architectural Review has produced this video which introduces the broader public to the tenants, allowing us to better understand the building’s use, intentions, and the design philosophy.
