For those heading north on the New York State Thruway, the Yonkers Raceway emerging on the right is just another part of the landscape. But Studio V Architects is about to change all that with their massive porte-cochère that serves as the iconic tour de force for the $45 million expansion of the Empire City Casino. The curved lattice canopy will be clad in ETFE foil—a polymer membrane often used for roofing—that will reflect LED lights resting atop the steel frame.
Behind the canopy, a four-story, 300-foot-long glass wall will serve as a clear backdrop to the canopy, mimicking its curve, while allowing visitors to see the action inside. “The sculptural steel and foil shell grow out of the landscape,” explained Studio V founder and principal Jay Valgora. That landscape will eventually get the Ken Smith treatment. AN took a trip up to Yonkers to check out the construction and all seems on track for opening this fall. We’ll keep you updated on its progress and more from Studio V.
An interesting trend to hit landscape architecture in recent years is borderless fountains, where water flows flush with the pavement. If so inclined, visitors can kick off their shoes and stroll though damp pavers. Such fountains can be found by Field Operations with Diller, Scofidio + Renfro on the High Line, Digsau’s Sister Cities Park in Philly, and Field Operations’ recently completed plaza fronting New York by Gehry. The trend seems to speak to city dwellers need to touch water.
Don’t miss Maps to Apps, the Digital Cityscape tonight at the Center for Architecture! Here’s a short synopsis of the event:
The advent of digital technology and the near universal adoption of the smart phones and the iPad have inspired many cities to experiment with using digital technology both for cultural tourism and for planning. In a couple of years the technology has developed from cell phone tours to QR codes placed on civic buildings. The just launched iPad app for the London Olympics ‘London A City Through Time’ transforms an entire encyclopedia’s worth of content into a tool for understanding the archaeology of a city. Probably the first attempt to use state of the art technology to take the pulse of a city and then share it was in Boston with the Where’s Boston exhibition at the Prudential Center in 1976. This summer cultureNOW is surveying Boston again through the lens of its Museum Without Walls/ iPhone app. This symposium will examine the project and look at it in the broader context.
There are many reasons to love Summer Streets in New York—or open streets programs in most cities across the country—but one of the best is the opportunity to stand in the middle of Park Avenue, Fourth Avenue, or Lafayette Street gawking up at the city’s architecture without becoming roadkill. Walking Off the Big Apple presents a list of notable buildings along the route in easy to use Google map form. Summer Streets is back again tomorrow and the following Saturday from 7:00 a.m. to 1:00 p.m., so look for Mies’ Seagram Building, Stanford White’s 23 Park, or, of course, Grand Central Terminal.
Also be on the lookout for this crazy bike-powered musical instrument called the Cyclo-Phone (above) by Marcelo Ertorteguy and Sara Valente. Curbed New York spotted the crazy contraption made of kiddie pools and PVC pipes at Astor Place.
Joseph Albers Painting on Paper
The Morgan Library & Museum
225 Madison Avenue
Through October 14
Josef Albers (1888–1976) was both a student and professor at the Bauhaus, one of the most influential art and design schools of the 20th century. Known for his precise use of line and unparalleled sense of color, Albers meticulously worked through his ideas in successive studies on paper. Josef Albers in America: Painting on Paper is an opportunity to see Albers’ process at work. The exhibition features approximately 60 studies spanning most of Albers’ career, from the 1930s through the 70s, many of which include hand written notations, including architectural inspirations. The studies, evidence of his mind and hand working toward final painting, are expressive and moving in their own right. The Morgan exhibition is the only US venue for the show, which will travel to several European cities.
Every day, an average 4,000 pedestrians and 3,100 cyclists cross the upper-level pathway of the Brooklyn Bridge. Commuters, tourists, and joggers vie for space on the congested path, whose width varies from 16 feet to as little as 8 feet—creating a bottleneck for two-way bike traffic. For years observers have recounted harrowing tales of near collisions on the overcrowded span, like the bike-phobic Post pitting reckless cyclists against merely oblivious tourists and the Times calling for the appropriation of a traffic lane for bike use. But now a proposal to double the width of the path could offer a solution to the overcrowding.
The Department of Environmental Protection (DEP) debacle in New Jersey over a unilateral decision to destroy a sculpture by landscape artist Athena Tacha has begun to slip into the public consciousness. The irony that the plaza piece, titled Green Acres, is to be destroyed by a department with environment in its name has not been lost on many.
Apparently, the DEP has a $1 million EPA grant burning a hole in its pocket and plans to replace the sculpture with eco-friendly pavers. The waste has not gone undetected. Philadelphia Inquirer critic Inga Saffron writes in today’s column: “There is nothing wrong with the DEP’s making its property more sustainable. But why start with the little plaza when its offices are surrounded by sprawling parking lots paved with the usual impervious asphalt?” Now it remains to be seen whether the agency will be impervious to its critics.