We already knew that DDG Partners could pull together a classy “product,” as they say in real estate parlance. But now the group has upped the ante by teaming with Yayoi Kusama, the 83-year-old Japanese show-stopping pop artist. Kusama’s blockbuster at the Whitney has already spilled over into cross-marketing at Louis Vuitton with her ubiquitous dots climbing up the facade of their 57th Street Store. Downtown the artist’s Yellow Trees will sprawl across protective netting on construction scaffolding at DDGs 345meatpacking, the group’s new 14th Street project which could rival their comparatively quiet 41 Bond Street project. 345 promises to make a much splashier entrance, but with a hand laid Danish Kulumba brick facade, it could be Bond Street’s equal in craftsmanship. The public won’t see the results until September 30th, when the Kusama curtain will fall and the Kulumba will be revealed.
There’s a scene in Edith Wharton’s 1913 novel Custom of the Country, where the wicked vixen Undine Spragg insists on speeding across the High Bridge in a “horseless carriage” before making her grand entrance at a party so as to rouge her cheeks with a cold snap of air whipping up from the Harlem River. The romantic fascination accorded the then-65-year-old bridge quietly slipped from New York’s consciousness as bigger engineering marvels usurped its quiet dignity.
Now approaching 165 years, renovations are about to get underway to finally restore the bridge to its former glory as a 1,200-foot-long pedestrian bridge, uniting neighborhoods of High Bridge and Washington Heights in the Bronx and Manhattan. New Yorkers for Parks stopped by the span Monday afternoon to document current conditions before construction is in full swing, giving us a hint of Undine’s views. Though controversial netting integrated into the design might mildly disrupt the vista, Monday’s photos show it the way it was, albeit slightly overgrown.
If everything had gone according to plan, New York’s highly anticipated bike-sharing system called Citi Bike would be in full swing. Unfortunately, earlier this month the city announced that a computer software glitch had pushed the opening back until August. While we can handle waiting one more month, rumors that the planned 10,000 bright blue Citi Bikes might not hit the street until next year had us alarmed.
“What if mobile, self-sufficient living units were the building blocks for future cities?” asked New York artist Mary Mattingly. She explored this question in her Flock House Project, experimenting with migratory living solutions through fantastical inhabitable installation art. The project is going on throughout the city this summer.
Mattingly’s series of four “Houses” have been traveling around the five boroughs since June. Individually titled the Microsphere, Terrapod, Chromasphere, and Cacoon, they are now on display at the Bronx Museum, Snug Harbor, the Maiden Lane Exhibition Space, and Omi Sculpture Park in Ghent, NY.
Have you ever gazed upon the New York skyline and thought to yourself, there’s an amusement park missing from this picture. Have you ever dreamed of twirling around the top of New York’s fourth-tallest building while strapped into flimsy carnival swings? While it’s certainly not for the faint of heart, these fantasies have been imagined, and now they’ve been rendered into a beautiful new video.
The U.S.S. Intrepid looks visibly pregnant, and it seems as though she still hopes to give birth to an offshoot of the museum in a parking lot directly across the street. About nine months ago, New York’s Intrepid Sea, Air and Space Museum revealed that it had its eye on a prime parcel owned by New York State adjacent to the museum on 12th Avenue to house its newest attraction, the Space Shuttle Enterprise.
Most of the recent attention on the shuttle has focused on the herculean effort to get it onto the deck, where it rests in a temporary pavilion that sits on the bow looking like a bulbous balloon about to burst. A spokesperson for City Planning said that the city’s zoning laws extend out to piers but requirements for permanently docked structures are a bit nebulous.
Financial giant Goldman Sachs has received lots of attention recently for its headquarters at 200 West St. New York Times architecture critic Michael Kimmelman waxed poetic about the building’s glass canopy by Preston Scott Cohen. The canopy, said Kimmelman, “elevates what is really just a gap between two buildings into something almost as inspired as the nave of a great Gothic cathedral. That’s the power of architecture.” Or, in this case, the architecture of power.
The latest, and more critical, take on Goldmans’ HQ by Times writer N. R. Kleinfield outlines the firm’s impact on the surrounding area which at the time of the buildings completion in 2009, was short on shops and restaurants. So using its $1.65 billion in Liberty Bonds plus $115 million in tax breaks, Goldman just created a neighborhood in its own image.
As part of Quennell Rothschild’s master plan for the Rockaways, WXY Architects was tapped to design the beach pavilion and two shade shelters. The pavilion will be open to the public tomorrow, Wednesday, July 18, with a ribbon cutting set for later this month. A wave-like roof flows from a utilitarian box enlivened by glazed brick stripes arranged in muted shades of mint, lime, and hunter green. Circular openings are punched into the roof covering a large outdoor boardwalk made of recycled plastic.
The hanging gardens inside the atrium of Jean Nouvel’s 100 Eleventh Avenue sound idyllic: “From planting boxes built into the structure, trees soar upward and plants cascade down the walls, lending their scent to the atmosphere,” states the building’s website. But the smell may not be so sweet. A source familiar with the project told AN that the huge suspended planters lack proper drainage, leading to standing water and the early onset of rust. Maybe Nouvel can argue that he’s taking a cue from the Cor-ten laden High Line next door?