Zoe Rosenberg reports for Curbed: 130 Seventh Ave. South's Revised 'Glacier' Fails To Woo LPC
With their prior success in creating historically sensitive designs, BKSK Architects thought they might have done so again yesterday when presenting their renderings for a mixed-use project at 130 Seventh Avenue South to the Landmarks Preservation Commission. Since the project's initial design, courtesy of Peter Sampton, was panned by the LPC in September, BKSK has stepped in.
"We believe a façade that clearly speaks of its time is an effective way to heal this scar" caused by the "ruthless cut of Seventh Avenue South at one point in time," said BKSK's Harry Kendall and George Schieferdecker, with Schieferdecker adding that the triangular site "offers us a great opportunity to be in the Flatiron mode". But yesterday afternoon, the LPC and a room full of neighborhood preservationists proved them wrong, citing the design as "monolithic" and like a "glacier". No one in the room was reluctant to acknowledge that the current site occupant, a one-story restaurant, is an "eyesore". However, few believed the new design was appropriate for the neighborhood.
[This is the old, panned design from September.]
What BKSK proposed was a 14,000-square-foot residential, 2,000-square-foot commercial building with five full-floor units and a two-story penthouse. The building would stand 75 feet to the top of the bulkhead, and 85 feet at the building's highest point. In their revision of prior "slice of glass" plans, the architects most notably attempted to reflect the surrounding neighborhood in their design by including vertical brick beams amongst the curtain wall façade at the points where the site's original party walls stood. But this contemporary tactic was what really seemed to irk neighbors and commissioners.
The commissioners' comments echoed ones uttered about the Peter Sampton-designed building for the same site at the LPC back in September, with Commissioner Diana Chapin noting, "the verticality is not appropriate" given the scale of the neighborhood. Commissioner Michael Goldblum took a different stance on the scale of buildings in Greenwich Village, declaring, "It ain't Park Slope". One speaker who represented several downtown City Council members declared that the building "will dramatically alter the sense of place at the site that lies in the heart of the historic district." Another speaker argued that masses of the city's visitors flock to Greenwich Village specifically because of its scale and charm, in contrast to Midtown's. Would this "disproportionate" lodging for just a few deplete the neighborhood of that charm? So it's back to the drawing board for developers Continental Ventures and the Keystone Group. See you at the next hearing.
Eric Jankiewicz reports for Curbed.
Today, the Landmarks Preservation Commission approved plans for a new building at 100 Franklin Street, a development they sent back to the drawing board in November. Peter Guthrie of the development and design team at DDG presented a completely different design, stripped of all the elements that had once made Tribecans seethe. "I think this is extraordinary and exhilarating," one member of the commission said about the changes. "This is now resolved in the right way." The original iteration featured a slew of materials—fritted glass, metal, recovered brick—but a more simplified version won over the commission.
The new building, which the commission said fits more with the neighborhood, features brown bricks, as well a Romanesque arch on the ground floor and Jack arches throughout the façade. DDG first revealed their plans to the public last year during a community board 1 meeting. Located in Tribeca, the area currently holds two triangular parking lots created in 1930s, between White and Franklin Streets on Sixth Avenue. Soon after the plans were shown, more than 800 people signed a petition calling the building "historically inappropriate," according to DNAinfo.
The Landmarks Preservation Commission echoed the same sentiment in their deliberations at the time. The design proposals were for a condo that featured four-layered façade, with fritted glass, reclaimed brick, metal, and interior glazing. All of which the commission called "attention-calling" at the top and that it "just seems muddled and trying to do a lot of things."
The developers and architects took all of this feedback and came back today with a completely revised design, which a commissioner called "simple and elegant," and, most importantly, "contextual." During his presentation, Guthrie actually apologized to the commission for the original design and likened him and the developers to excited revelers, drunk from anticipation.
"I'm glad you guys went back and sobered up," a member of the commission said right before they voted to approve the building. It had been previously thought that the developers would have finished purchasing the lot by end of 2013. But the developers asked Peter Matera, the current owner of the 100 Franklin St. lot, for more time before setting a closing date.
Annie Bergelin reports for The Architect's Newspaper: The Missing Link. AECOM designing new path to connect New York City's East River Esplanade.
Rory Stott reports for Archdaily.
Bird’s-eye view of Midtown Manhattan’s neighborhood food hubs in New York City (Steady) State.
“In an era of incompetent nation states and predatory transnationals, we must ratchet up local self-reliance, and the most logical increment of organization (and resistance) is the city.” This is how Michael Sorkin, writing in Aeon Magazine, explains his hypothetical plan to radically change the landscape of New York City, bringing a green landscape and urban farming into the former concrete jungle.
Street view of Amsterdam Ave. in northern Manhattan featuring a mix of traditional and advanced agricultural growing techniques.
The plan, called “New York City (Steady) State”, produced over six years by Sorkin’s Terreform Research Group, is not designed simply for aesthetic pleasure; it’s not even an attempt to make the city more sustainable (although sustainability is the key motivation behind the project). The project is in fact a “thought-experiment” to design a version of New York that is completely self reliant, creating its own food, energy and everything else within its own borders.
Street level view of the interior courtyard space in the Figure Ground Switch.
The key idea behind the project is to create a sustainable society from the bottom up – rather than relying on government to impose one from the top down – by applying autarky, a political concept which describes a completely closed system. This system resonates well with many established notions of sustainability: ideas such as 'cradle-to-cradle' or 'net zero' often demand closed loops or minimal outside influence.
New York City (Steady) State, Master Plan B.
After defining the extents of the study (including only the five boroughs of New York City and creating “an almost completely 'unnatural limit' to constrain the study), the first step was to define how a city as urban as New York might be adapted to provide food for its 8.5 million inhabitants. Using a variety of skyscraper farms, and reclaiming streets and under-utilized city blocks, Terreform has calculated that it would be technically possible to produce 2,500 calories per person, per day. Combining this with a sophisticated distribution network would give each resident access to enough food.
Exterior rendering of a vertical tower designed specifically for meat production.
A plan as dramatic as this obviously brings drawbacks: the first iteration of the design was calculated to require 25 nuclear power stations to generate the energy required to produce all this food, a result that was “somewhat at odds with our larger intentions.” However, this is where the project’s intention as a thought experiment comes into play: the radical design is meant to test boundaries, to take on a seemingly impossible task and see what the implications are of meeting it.
Street view of 147th street in northern Manhattan where dominance has shifted from vehicular circulation to food production and distribution.
“On the whole, we’re sanguine about the differences between the logics of comparative advantage and the politics of self-realization, and the difficulties of negotiating the territory in between,” explains Sorkin. The truly desirable solution to environmental crisis and social inequality will lie somewhere between our current situation and the designs of Terreform. But without their investigation pushing the boundaries of what is feasibly possible – and showing us just how different our urban environment could be – then our quest for sustainability would be limited, and therefore incomplete.
New York City streets and blocks with proposed Figure Ground Switch, where the buildings occupy what were streets and the interior blocks are reserved for vertical towers and traditional food production.
More images of “New York City (Steady) State”.
The Green Lab is partnering with New Buildings Institute on a project called Deep Energy Savings in Existing Buildings, which will provide guidance for owners of smaller commercial buildings to achieve deep energy savings (50 percent and greater) through energy retrofits.
We know that small and medium buildings matter as a critical (but as yet underserved) market for efficiency gains, representing 95% of all buildings and half of the commercial floorspace. These buildings require simplified turn-key approaches that deliver deep sets of efficiency solutions requiring little time, knowledge or direct financial investment from the owners. The primary product of this project will be a free, online retrofit tool that will allow building owners to select retrofit strategies that are customized to their building’s size, features, climate and uses for deep energy savings without the need for computer energy modeling that is often cost prohibitive for owners of modestly sized buildings.
In the first phase of this project, the Green Lab helped New Buildings Institute investigate 11 examples of energy retrofits in existing commercial buildings that, on average, use 50% less energy than the national average – most with an energy use intensity (EUI) of less than 40 kBtu per square foot. The Project Profiles for each building include motivations, technologies and practices, energy performance, financial information, overall project results and quotes from owner and design teams. A Meta Report contains the aggregated results of the case studies plus findings from an initial group of 50 buildings with 30% or more energy savings. This research was made possible by support from the Doris Duke Charitable Foundation, the Kresge Foundation and the Northwest Energy Efficiency Alliance (NEEA). In the project’s second phase, the Green Lab is describing the market for the online retrofit tool, so that we can target our work to buildings and owners most likely to take advantage of the resource.
Defining the “smaller buildings retrofit market” is no easy task. We are segmenting the building stock to identify “market clusters” of buildings that are: most in need of energy retrofits; under-served in the current marketplace; culturally and economically valuable or endangered; and that represent a substantial portion of the existing building stock smaller than 50,000 square feet. This is a new approach to market segmentation with emphasis on both smaller buildings and physical characteristics, and we think it will change the way smaller buildings are considered as opportunities in the marketplace by technical experts and financing entities.
A report produced by the Preservation Green Lab of the National Trust for Historic Preservation provides the most comprehensive analysis to date of the potential environmental benefit of building reuse.
This groundbreaking study, The Greenest Building: Quantifying the Environmental Value of Building Reuse, concludes that, when comparing buildings of equivalent size and function, building reuse almost always offers environmental savings over demolition and new construction. The report’s key findings offer policy-makers, building owners, developers, architects and engineers compelling evidence of the merits of reusing existing buildings as opposed to tearing them down and building new. Those findings include:
Herzog & de Meuron
Pattern Language: In an ongoing restoration and renovation of a New York City landmark, the architects bring subtlety and boldness to the process.
By Suzanne Stephens
Certain modern architects view the restoration of historic buildings like an archaeological dig that exhumes alterations over time and places the resulting evidence on display. Basel-based architects Herzog & de Meuron (with Platt Byard Dovell White as executive architect) approached the restoration of the Park Avenue Armory between 66th and 67th Streets in New York in this manner. The architects also introduce an intriguing process where their own interventions add a new layer to their exposure of the sediments of history.
The Armory, a Gothic Revival brick fortress designed by Charles Clinton in 1880 for the Seventh Regiment of the National Guard, required repair work on the exterior along with requisite infrastructural and code-compliant upgrades. In addition to the revitalization of a 55,000-square-foot drill hall, the team confronted an array of 18 period rooms originally fitted out by legendary designers, architects, and decorators such as Louis C. Tiffany's Associated Artists, Stanford White, and the Herter Brothers. Some of the art-encrusted rooms used by the affluent volunteers to the National Guard remain almost intact; others were shabbily altered. In 2006, the nonprofit Park Avenue Armory Conservancy, with Rebecca Robertson as president and executive director, leased the five-story structure from the state to create an adventurous arts venue for dance, theater, and art performances, plus exhibitions, along with artists-in-residence studios. (And it will still continue to house 100 homeless women in its upper reaches.) The $200 million restoration—of which $84 million has been spent—is expected to be completed in five years.
While the Conservancy wanted to keep the lushness of the late-19th-century architecture and design, Robertson feared the stiffness and embalmed quality of meticulous period restorations. She turned to Herzog & de Meuron, impressed by the firm's inventive deployment of materials, surfaces, and craft in its work. “Seeing the copper-clad Signal Box in Basel  was crucial,” she says. In the fall of 2011, two period rooms by Herzog & de Meuron opened to the public. As partner Ascan Mergenthaler explains, the team worked with each room's basic identity, choosing not to eliminate all traces of later modifications. The idea was to show the evolution of the rooms “as a wash of time,” in Robertson's words. The tortuous task involved delayering (manually or chemically stripping recent accretions from the surfaces) as well as overprinting (see below), which simulates abstractly underlying patterns—in addition to cleaning and restoration. With the second floor's Renaissance Revival room for Company D, designed in 1880 by Pottier & Stymus, the team restored the original mahogany woodwork, plus a herringbone parquet floor that replaced the 1880 one.
Originally, the ceilings and walls were stenciled, but later had been covered by Adamesque plaster scrollwork and painted, with other areas concealed by plasterboard. Where areas were damaged by the removal of the scrollwork and other scars of use, the team glazed the surface with a reddish field color discovered to be typical of the background's metallic paints. The stenciling under the plasterboard remained intact in the delayering. In the next part of the process, the architects printed a new pattern on top of the original circular stenciling to create an integrated tracery that picked up the background's copper tones. The stenciled, laser-cut pattern appears distinct from the original stenciling owing to its abstraction of basic geometric shapes, but retains the size and proportions of existing patterns, albeit emphasized with a metallic shimmer. The architects also designed a chandelier similar in proportion to the original gaslit one, but this time with copper arms and tinted-glass globes over halogen lamps. New copper chain-link curtains add a gleam to the room while shielding glare from the windows (aided by window coverings).
All of this subtle surgery creates an evocative space for small dinners and receptions and requires more than one keen glance to know that a modern architect was there. Another room on the second floor, for Company E, also decorated in 1880 by Pottier & Stymus in the Renaissance Revival style, offers an easier setting in which to detect the presence of the modern architect. A new gridded bronze lighting fixture dominates the space. Here, too, Herzog & de Meuron removed the Tudor Revival plaster strapwork and wallpaper, added in 1892, to reveal the earlier stenciling, and repaired damaged spots with plaster in a copper field color matching the surroundings. Since the room will be used for small theatrical and musical performances, the team wanted a lighting fixture that could be raised and lowered. While the modern fixture seems ungainly in comparison with the firm's more nuanced gestures, it fits in with the raw, austere look of the cleaned oak paneling. One of Herzog & de Meuron's more daring future proposals concerns the Colonel's Reception Room on the south side of the first floor, originally designed by the Herter Brothers. Its French black walnut paneling has remained reasonably intact, yet almost everything above a certain datum is too far gone to be delayered. So the architects suggest covering upper woodwork—which had been added later—plus walls and ceiling with a removable white paint. Since the space is planned to be used as a conductor's suite and for other events, the mixed time warp arguably would provide an arresting backdrop. Nearby they envision converting a room into a copper-lined “megavator” to take heavy loads to the second floor, and for a moving performance space.
Not every move is as provocative: Herzog & de Meuron is making few visible interventions in the Wade Thompson Drill Hall, now the arena for a number of theatrical and dance productions. Nevertheless, the firm hopes to strip the lower parts of the hall to reveal the full arc of the room's barrel-vaulted cast-iron trusses. Then on the first floor, the Field and Staff Room, also designed by Pottier & Stymus, replete with taxidermied animal heads, will be redone as a bar, with a new copper ceiling, chandelier, and fittings. The architects' proposal for the mostly intact library on the other side of the main corridor involves taking the room originally designed by Louis C. Tiffany's Associated Artists, with a young Stanford White as consultant, back to its 1880 decorative scheme, lost in part after its conversion to a trophy gallery.
For its new use as an archive for the history of the Armory, Herzog & de Meuron plans to repaint the ceiling where the original panels are too far gone, and reinstate bookshelves. The restoration should complement the intact Veterans Room next door, also executed by Tiffany, White, et al. The architects' efforts so far have generated a refulgent ambience with a warm coppery glow, a burnished gleam in the walls and ceilings, and a lustrous sheen of the wood paneling. As Jorge Otero-Pailos states (page 42), Herzog & de Meuron's work specializes in echoing the original, transformed by time.
The ingenious approach shows that today's modern architects can still capture a sense of the new, while enhancing and revivifying the old.
Architect: Herzog & de Meuron
Executive Architect: Platt Byard Dovell White
Location: 643 Park Avenue, New York, USA
Completion Date: (partial) October 2011
Gross square footage: 190,000 square feet
Cost: $84 million to date