Jeremiah Budin reports for Curbed.
6 Cortlandt Alley, the condo development previously known as 372 Broadway, finally had its date with the Landmarks Preservation Commission yesterday, and the meeting went about as well as these things usually go with they focus on multi-story glass additions on top of old buildings: not all that well.
"It's too busy up there and draws your attention to it," commented commissioner Joan Gerner, while commissioner Fred Bland advised that the addition "has to be more recessive." The overall consensus was that while a two-story addition could actually be approvable in this case, this one would need to blend in to the existing building more. The redesigned storefront was also not a big hit with the commissioners. Architects TRA Studio will have to rework the already long-delayed project a bit, and present again at some point in the future.
Jeremiah Budin reports for Curbed.
Only one building (technically, that building is three buildings) in the Two Trees Domino Sugar Factory development is under the purview of the Landmarks Preservation Commission—the individually landmarked Domino Sugar Refinery (third from the left). At a public hearing yesterday, the Commission took a look at architectural firm Beyer Blinder Belle's designs for that structure, and the reviews were mixed.
In a previous Domino development plan, back when the site was owned by the Community Preservation Corp. and the Katan Group, the Refinery was supposed to go residential. Now it will be turned into office space for tech companies, a switch that is being lauded by politicians. The previous design, also by Beyer Blinder Belle, was approved by the LPC three years ago, but did not include the four-story glass addition (two stories on the Kent Avenue side) that proved to be a point of contention at yesterday's hearing. "The proposal before the Commission today contains more square footage than the prior approval due to the retention of the building's core and a second rooftop addition," said the Historic Districts Council's Nadezhda Williams. "Keeping the bulk of the additions to the back portion of the building where it interferes with only the least distinguished piece of the building would much more preferable than disturbing the main view of the individual landmark and its iconic chimney."
Although Commission chair Robert Tierney called the proposal "extremely appropriate and impressive" (marking quite possibly the first time that a four-story glass addition on top of an individual landmark has ever been referred to as "appropriate"), not all of the commissioners agreed. Commissioner Michael Devonshire commented that the addition would obscure the masonry on the (shorter) Kent Avenue side, and other commissioners remarked that it appeared to "float" above the building. Commissioner Margery Perlmutter thought that the addition was simultaneously too big and too small, in that it is one third the size of the existing building, but also that it would be "struggling against its massive neighbors." All in all, some confusing advice for the architects, but since the Commission did not approve the Modified Certificate of Appropriateness, Beyer Blinder Belle will have to make some revisions and present again at a later date.
Alex Ulam reports for The Architect's Newspaper.
Chances are most New Yorkers don’t know where Hudson Square is located. But the launch of the first phase of a $27 million streetscaping initiative may turn relatively obscure neighborhood, bounded by the West Village, SoHo, and Tribeca, into one of the most attractive places in the city.
Plans call for the formerly industrial neighborhood to be completely redesigned with gantries festooned with public art, deployable dumpsters planted with trees, yellow gridded crosswalks, and special light fixtures designed by Thomas Phifer and Partners. Along with custom designed street furniture and new plantings, the neighborhood’s streets are slated to become some of the most sustainable in the city through the use of features such as permeable pavement and structural soil.
The plan to revamp the area is the brainchild of the Hudson Square Connection Business Improvement District (BID). The vast majority of BIDs throughout the city focus on sanitation and safety, but this one is unusual in that it is almost wholly oriented toward urban design and landscape.
“When we were formed the primary purpose was urban beautification because this area was already pretty clean and pretty safe,” said Ellen Bair, president of the Hudson Square Connection BID. “What it wasn’t was a neighborhood.”
Bair said that the plan’s adventuresome aesthetic and sustainability features reflect the sensibilities and the concerns of the young professionals who work in the creative industries—such as media, graphic design, and architecture—that form the majority of the more than 1,000 businesses located in Hudson Square. “This is a neighborhood where sustainability is in the DNA of the people who work here,” said Bair.
Phase one of the plan involves a $3.2 million contribution from the city and a $4.4 million contribution from the Hudson Square Connection BID. It will result in the planting of 360 trees throughout the neighborhood in specially designed tree trenches, larger than typical street tree pits, which will improve the neighborhood’s ability to retain stormwater. “Every year, we will soak up a minimum of eight swimming pools in terms of rainwater, and we will have healthier trees,” said Bair.
The next big move is the redesign of the gateway to the neighborhood, a large underutilized traffic island called Soho Square, at the corner of Sixth Avenue and Spring Street, with kidney shaped islands of green to increase permeable surfaces, custom seating, and lighter paving surfaces.
One big spur to the plan’s implementation was a residential rezoning that went through last March, which Bair hopes will increase the number of neighborhood residents. Dotted with parking lots and underutilized industrial buildings, the neighborhood is ripe for redevelopment. Some of the choicest real estate will be along Hudson Square’s western boundary, where the recently approved transferal of air rights from Hudson River Park may result in a wall of towers.
The Hudson Square Connection plan includes the largest district-wide use of state-of-the-art sustainable street features in the city. Nonetheless, it took four years to get approval from city officials. According to Signe Nielsen, principal at the landscape architecture firm Mathews Nielsen, who is leading a design team that includes Rogers Partners and ARUP, what really made the plan a slam-dunk was the flooding from Hurricane Sandy. “It became an easier sell after people saw the map of the extensive flooding,” she said.
Amy Zimmer reports for DNAinfo.
Two architecture students have an ambitious plan for North Brother Island, an abandoned, overgrown patch of green in the East River — they’d like to build a school for children with autism there.
Famous for its quarantine hospital where “Typhoid Mary” was confined in 1907, North Brother Island was closed to the public in 1963 after a juvenile drug rehabilitation center was shuttered.
It’s now a protected bird sanctuary, but illegal visitors and aggressively growing vines are hurting the breeding grounds of colonial water birds during nesting season, explained Ian Ellis, who developed the school proposal with Frances Peterson while at the University of Texas at Austin's School of Architecture.
They were charged with planning something that would be a topic of controversy, Ellis said.
“In its current state, North Brother is without the attention, improvements and upkeep it needs in order to continue acting as a habitat for the wildlife there,” he explained in an email.
The Centers for Disease Control estimates that one in 88 children in the U.S. is diagnosed with autism spectrum disorder. The Bronx has the most underserved population in New York City for children with ASD, according to Peterson’s research.
The designers dreamed of a school that would re-use five existing structures for potentially 208 students and 52 instructors, who would travel to the island via ferry. Their commute would take 10 minutes from Barretto Point Park and Soundview Park, but piers would need to be built.
The classes would be based around three gardens, “each providing a different degree of safety, exploration or risk in order to best satisfy the needs of students,” Ellis explained.
The proposal would also rehabilitate buildings that could be used as field offices for the Parks Department, Cornell University’s department of ornithology and the Audubon Society.
Four other structures would be left to decay naturally.
The aspects that make it appealing to birds — isolation, natural environments and refuge — also make it appealing for autistic children, Ellis said.
“It’s a sanctuary as it is. The school simply allows it to be one that promotes and nurtures the lives of children as well as the wildlife that relies on the island for nesting, foraging and reproducing,” he said.
Designing a school for children with ASD can be a challenge, according to Lisa Goring of the national advocacy group Autism Speaks.
"Each student's needs can vary pretty broadly," she said. "What may be appropriate for one student may not be appropriate for another. There is a need for a continuum of services and different types of programs."
Advocacy groups have raised awareness about the dangers of children with autism wandering, especially close to bodies of water — something the architects discussed and tried to account for through "transitional spaces" connecting classrooms and gardens.
Ellis and Peterson haven’t estimated how much such a project would cost, though recognize it would be quite “an undertaking.”
“We still need to collaborate further with not only the agencies we propose to inhabit the island, but also with other specialists in seeing what developing a project like this would really entail,” Ellis said.
They haven’t had a chance to visit the island — yet.
Ellis, who finished architecture school last year and now works for an Austin-based architecture firm, is planning a New York visit this month.
“I hope to continue my research while there and, if I'm lucky, get to see the island in the snow,” he said.
Carl Glassman reports for Trib.
Widening cracks in the walls of a 157-year-old, three-story building at 17 Leonard St. sparked fears of a collapse earlier this month, causing the Department of Buildings to slap a vacate order on the structure as well as open an investigation with the Landmarks Preservation Commission.
The building's perilous conditions also exposed an ongoing dispute between its owner, Christopher Rolf, and Steven Schnall, the developer of a seven-story condominium building with two-story penthouse that is under construction next door.
Each one blames the other.
Both sides say they expect the city's intervention to finally force a remedy to the building's rapidly deteriorating state. At whose expense is yet to be determined.
The decrepit structure, which has a history of violations and stop-work orders dating back to 2008—amounting to fines of nearly $40,000—has long been slated for residential conversion. It is now on the market for $15.7 million.
Built as a stable in 1857, 17 Leonard still has "IMD," or interim multiple dwelling status, with the city and requires considerable work before it can qualify for a residential certificate of occupancy. One person was living in the building at the time of the vacate order, issued on Dec. 7. He declined to be interviewed, he said, because he is in a dispute with Rolf over his tenancy.
A construction manager on Schnall's project reported that cracks in the building had expanded overnight on Dec. 7, bringing a response from the Fire Department and the DOB and the vacate order that has also closed a portion of the sidewalk.
John Peachy, Rolf's architect, showed a Trib reporter wide vertical cracks along the southwest corner of the building, both outside and just inside the front door. He said there is another crack on the second floor that is three-quarters of an inch wide. "This corner of the building is just falling in both directions, south and west," he said.
Peachy said the cracks had about doubled in width since he had last seen them the week before, and he had been trying to convince the Buildings Department to vacate the building and close the sidewalk for more than a week.
"It's reached a point where a partial collapse is imminent," he said.
Rolf, who is in poor health and bedridden, and Peachy, claim that the damage began with the construction of Schnall's building.
"All of those cracks you're looking at in the front have happened in the last month and cracks in the back started to develop in 2012 and have been getting worse and worse", Rolf said in a telephone interview. "But this real movement in the front where [Schnall's] building is located has just happened within the last two months". He said the problems are the result of Schnall's failure to agree to properly underpin his building, which like other buildings in the area, rests on marshy soil.
"It's been damage after damage after damage", said Rolf, who converted neighboring 19 and 21 Leonard Street into residential buildings. "I really don't have the money to repair it so I don't have much choice but to sell it".
But Schnall claims that Rolf scuttled his efforts to underpin his building, which he said already bore cracked and bowed walls before construction began and are continuing to worsen on their own. Rolf refused to approve plans to underpin his building so that excavation could begin, he said, and that threatened to stall his project.
In April, Schnall took Rolf to court in an effort to gain access to his building and begin the work.
"We negotiated for several months with Chris", Schnall told the Trib in an email, "and he simply would not agree to sign a license agreement allowing us to do so unless we rebuilt a substantial portion of his west and south walls and did work to his ceiling, skylight and many other areas that had nothing to do with the underpinning license we were requesting".
Schnall said engineers were forced to redesign his building's foundation "at a significant cost" in order to avoid underpinning Rolf's structure.
Both sides say they have photographs to prove their claims about when the cracks began to appear, but neither would share them with the Trib. A DOB spokeswoman said that a forensic report that will detail the building's deteriorating conditions and their causes is yet to be completed. "An initial inspection showed that construction work at the adjacent lot is a contributing factor", she said in an email. "If it is at any time determined that our construction was the cause of the cracks we will honor whatever obligation is ours, but at this point safety is our main concern", wrote Schnall, whose architectural plans last year had ignited opposition from nearby residents claiming that the project was out of scale with surrounding buildings.
A spokeswoman for the Landmarks Preservation Commission said her agency has also opened an investigation. "We will take appropriate action, if warranted, as soon as it's completed", she said in an email.
Alex Garkavenko reports for Architizer.
In the eyes of a Bostonian, the Ferdinand building embodies an era of a once-thriving business district in Dudley Square, where the revered "Ferdinand's" furniture store would pull in customers from all over New England. However, for the last 40 or so years, the building has stood derelict, creating a rupture in the neighborhood of Roxbury.
Until now. When Boston Public Schools recently made the decision to move their administration to the square, Mecanoo and Sasaki Associates saw an opportunity for the old building to help sew the area back together.
The Dudley Municipal Center project took three existing buildings in the Dudley Station Historic District—the 1895 Ferdinand Building, the 1888 Curtis Building, and the 1890 Waterman Building—and wove them to create an entirely new landmark. The project presented an opportunity to centralize programs that had previously been spread out, including retail and a much-needed public space that finally addressed the flow of people from the adjacent 110-year-old transit hub. The street is invited into the triangle between the structures by tracing the historic rail track, forming what is now the new "Dudley Square."
To understand some of the spatial massaging that went into such a socially conscious project, we talked to project leader Marta Roy about the influences and challenges that shaped the center.
Approaching the mayor to rethink the brief
"The first challenge that we had was ... to realize that you need these [adjacent plots] to have a complete triangle, and to have a building with no “back of the house”—where everything is open to the neighborhood. That was really important. ... We wanted to reach everybody in the neighborhood… that was our first challenge actually: to try to convince the mayor and the city that they needed to buy this if they really wanted to make this project a catalyst to improve the whole neighborhood and connect the whole community.
"The second challenge that we had —and actually the most important—is how we handled the integration of the historical buildings into a new building, while still creating contemporary architecture. So there were already a few proposals for this site—for the Terminal building—and all of them [obscured] the Ferdinand building, which is the symbol for this community and neighborhood. [The Ferdinand building] still has to be the protagonist for the new building, and that is very complicated."
A Dutch touch of materiality in Boston
"Guidance came from the mayor also… in terms of what is the materiality, what is the look of this building.
"It has to be also for Boston, which was really important for us. And in the end, of course, we come from Holland … [where] all the buildings and all the cities are made of brick. So we knew that we could add to all these traditions of brick building in Boston while adding a Dutch touch to it."
"[We focused on] how you think about the bricks and how you actually relate to some things like the craftsmanship, and also how we can get the building in a contemporary way. It was also actually very clear from the very beginning that we would do a brick building, because we know how to do it very well, and because then the people would see something else and not what they expected… 'a brick building?' We thought that it was an appropriate material to relate to the past, and also to the future."
The construction process, as directed by three historic buildings
"There were many challenges. With all the construction that we needed to do, we tried to keep the walls and the facade of the historical building. But it was impossible to actually keep the entire structure, so we had to demolish all the floors and just keep the facade. So, that was actually quite a difficult challenge—to keep that intact, and then build on top something new. For example, there was one of the walls of the Ferdinand building with some murals—on the 3rd floor and the 4th floor—that actually fell down. They were brick walls, and we had to rebuild them.
"You need to tell everyone the story … you can do something new, but you need to keep all the things that were still in the memory of all these people. Because, everyone who talked during this project from the neighborhood, from Roxbury, they all remember the Ferdinand store—where their parents and their grandparents were going to buy furniture for their houses."
The community has the final verdict
"We are a contextual office. We are a group of people and we design for people also. So we actually take into account the human scale of things—how to design for the people. I think is one our main motivations. This is a building that is not only an architectural office, not just a jewel, not just a sculpture.
"There were some interesting moments. There was the topping-off ceremony and the ground-breaking ceremony. It was quite emotional to be part of it… All these projects are very emotional for everyone—often, even, for us."
Mark Maurer reports for The Real Deal.
A new Major League Soccer team called the New York City Football Club is close to signing a deal with GAL Manufacturing to construct a $400 million soccer stadium between the Major Deegan Expressway and East 153rd Street in the Bronx.
The New York City Football Club — of which Manchester City Football Club of the Premier League holds the majority stake — would have to pay GAL Manufacturing to relocate, and fund all construction.
The 28,000-seat facility would sit on a vacant lot just south of Yankee Stadium. While Mayor Bloomberg supports the deal, Mayor-elect Bill de Blasio has yet to review it, the New York Post reported.
The plan also calls for the club to make pilot payments through a 35-year deal and promise revenues to bondholders. The stadium is projected to open by 2018 or 2019.
In August, the club was in talks to demolish the 2,400-plus parking garage on the site, as previously reported.
Hiten Samtani reports for The Real Deal.
When the bidding for Pier 57 kicked off in the early 2000s, developer Young Woo wasn’t quite ready to commit to the mammoth 480,000-square-foot project. But he’s been fascinated by the structure for a long time, he said, and when the city put it back on the market in 2009, though Woo was up against the Durst Organization and the Related Companies, he wasn’t going to miss his shot.
“We were competing against two of the most prominent and respected developers,” Woo told The Real Deal at the opening of an interactive art installation by artist Garson Yu at the pier Thursday evening. “But we convinced the crowd.”
From left: Garson Yu and Young Woo
During a tour of the cavernous space — which is larger than all the retail space available in Nolita and is slated to house restaurants, art galleries and shops in repurposed shipping containers — Woo told The Real Deal that he intends to make it a “powerhouse for creative people.”
Indeed, the crowd at the event — a menagerie of artists in tie-dye shirts, waifish models in stilettos and trendy young business professionals in crisp blazers and jeans — was reflective of the type of tenants that Woo wishes to lure to the space, he said.
Revelers at Pier 57
After walking down several flights of stairs to the basement, Woo, dressed in a white shirt and blue blazer, animatedly discussed the history of the structure, which he likened to a “Greek temple.” The pier burnt down in 1947 and the city rebuilt it with the intent of making it fireproof.
“They sunk the cassions and then they built this space on top of it,” he said. “This is the only pier from here to Boston sitting on concrete cassions.”
Woo’s director of marketing, Zachary Beloff, said Pier 57 would allow leasing through an online platform, an innovation he said would enable it to attract tenants from Asia and Europe who had yet to establish presence in the United States.
“They can design their space from abroad with our architect and group,” Beloff said.
The project was in advanced talks with several tenants, Beloff said, and the current focus was on leasing the anchor retail spaces — which average between 3,000 to 5,000 square feet with some larger spaces up to 20,000 square feet.
“All have very large openings to the water that will provide unobstructed views.”
City Council unanimously approved Woo’s plan for the pier in April. Among the pop-up shops that set up space after Memorial Day were Nolita-based fresh juice bar Butcher’s Daughter, Gowanus-based eatery Fletcher’s BBQ, shoe retailer Soludos and design firm Grey Area. The summer leases, Beloff said, were a taste of what’s to come, as the developer expects to attract a myriad of design, fashion and foreign retail stores.
Garson Yu’s exhibit at Pier 57
Through the summer, Pier 57 will continue to host arts-driven events, Beloff said, including BOFFO Building Fashion, an annual program that pairs an architect with a fashion designer to create a retail installation.
“If one person can create a magic carpet,” Woo said, referring to a sculptural installation of 36 hanging shipping containers designed by Spanish architecture firm CH + QS Arquitectos, “imagine if we have hundreds of them in one location. It’s going to be very interesting.”
Nicole Anderson reports for The Architect's Newspaper.
Governors Island, the once sleepy military base, has been evolving rapidly in the last five years—transforming into a hub of cultural activity, educational facilities, and lush parkland. And now, the next phase of the $260 million redevelopment plan will add a mix of spa services, classrooms, and artist studios.
Last December, the Trust for Governors Island issued a request for proposals seeking ideas for creative, educational, or commercial uses for over 40 historic structures, which had previously provided residential quarters, administrative offices, and other communal functions. And while the exteriors of these 19th and early-mid 20th century wood and brick buildings are landmarked, the interiors are not, and can be renovated to accommodate a variety of tenants with different spatial requirements.
After considering 15 proposals, the Trust announced the selection of its three finalists last week, two of which already occupy space within the island’s historic buildings: Lower Manhattan Cultural Council (LMCC), Quadratec Spa, and the Urban Assembly New York Harbor School (Harbor School). These tenants will move into five buildings, and take over only 30 percent of the historic district, leaving much of the area open for further redevelopment.
“Governors Island is a unique shared public resource for all New Yorkers. Now, with the completion of the first phase of the park and announcement of new tenants, the island is fulfilling its potential as a lively year round destination,” said Trust president Leslie Koch. “These tenants will bring new recreational educational and cultural activity and much needed resources to the Island.”
The Quadratec Spa will take over three historic buildings, which will include indoor facilities, saunas, a light café, and outdoor pools with panoramic views of Manhattan.
Next door, LMCC, a non-profit dedicated to arts and culture, will occupy all of Building 110. The organization already operates over 20 studios and exhibition spaces in the building, and now plans to build additional studios, a digital media lab, more gallery space, and a screening room.
For over three years ago, the Urban Assembly New York Harbor School (Harbor School) has lived in Building 550. Now the public high school, which fittingly offers a curriculum based on environmental conservation and water-related issues, has the green light to take over Building 555, the 25,000 square foot, former Coast Guard and Army structure. This new expansion will enable the school to grow its student body from 435 to 755 students.
The Trust is also in negotiations with CIEE Global Campus—an organization providing international education and exchange programs—to retrofit two existing structures—Building 12 and Pershing Hall—into classrooms and dormitories for over 250 international students.
As Governors Island transitions from a seasonal to a year-round destination, the Trust will do away with the free ferry rides and charge a $2 fare on weekdays and weekend afternoons to help subsidize operations.
Tenants are slated to begin construction in 2014 and move into their new quarters by 2016. Over time, the Trust plans on releasing more RFPs, and introducing new programmatic uses and redevelopment plans to the 172-acre island.
Curbed staff report for Curbed.In 2011, Gary Barnett and Extell won a nine-year battle to buy a pair of cast-iron buildings on Broadway in the Noho Historic District, and now the developer's plans for at least one of the structures is coming to light. At a community board meeting last night, architecture firm Beyer Blinder and Belle presented plans to restore 734 Broadway to its previous luster, add a little extra bling to its crown, and top it with a glass two-story penthouse. The five-story building, which currently houses a Foot Locker at street level and five residential units above, is notable for being one of the famed cast-iron buildings the Jardine Brothers designed in the second half of the 19th century. Currently, grime and disrepair obscure the landmark's beauty. It has a Broadway-facing fire escape that is badly rusted, as are the cast iron brackets that it's attached to. While fire escapes are considered characteristic to the district, Beyer Blinder and Belle pointed out that most of the other buildings have fire escapes facing secondary streets, and therefore propose that the fire escape be removed. The masonry at the attachment points will be repaired, and all other rusted cast iron will also be restored in order to return the building to its original design. Additionally, the ground-level façade below the existing cast iron cornice will be completely remade because none of it is historic to the building. This includes creating a new storefront cornice with replica cast iron, which was previously removed.
The rear of the building has also seen its share of alterations during the last century. A dilapidated two-and-a-half story shed at the back of the building will be demolished, and a new, enclosed rear yard will be built. The entire rear façade will also be painted to look as it did originally. Right now, the plan is to paint the building in green tones, but that may change pending further analysis of the paint on the building.
The biggest change will be to the top of the building. Not only will the three missing decorative finials be replaced, but behind them will lie a new two-story residential penthouse addition. The addition will be all glass, and unlike other additions to historic buildings in the district, the floors will not be "stacked" at the street front. The first floor of the addition will be recessed from the front of the building by 23 feet, and the second floor will be recessed from the first by 15 feet so that the addition can't be seen from the street. Residents like Anita Brandt liked the "minimally visible" design and could see that the architects "did their homework" on the building's history.
The living areas in the penthouse will be on the first floor and the bedrooms on the top. Privacy will be provided by an aluminum framed curtain wall system. In all, the two new floors will add an additional 22 feet to the cast-iron structure.
Despite the attempt to keep the addition as non-intrusive as possible, one resident raised concerns that the glass would reflect too much light and "glow" which could be potentially distracting. But by and large, residents embraced the design and raised few objections. "We're speechless, what can we say, we love it," said Brandt, an architect who also works with historic landmarks.The landmarks committee of Community Board 2 voted to approve the designs with modifications to the shape of the finials from spherical to elongated and to the height of the storefront bulkhead, which will stand about 16 inches tall to line up with the pilasters' base. They also recommended that the Landmarks Preservation Commission's report encourage the City Planning Commission to look favorably upon a Modification of Use since the building is currently zoned for merchandising and some retail uses.