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An in-progress look at the new transit hub’s massive skylight
After funding cuts and subsequent delays since construction started in 2005, the much-anticipated Fulton Street Transit Center is finally taking shape in Lower Manhattan. The $1.4 billion project will connect eleven subway lines with the PATH train, the World Trade Center, and ferries at the World Financial Center. In collaboration with artist James Carpenter, Grimshaw Architects designed the project’s hallmark—a 60-foot-tall glass oculus that will deliver daylight to the center’s concourse level. The hyperbolic parabaloid cable net skylight supports an inner skin of filigree metal panels that reflect light to the spaces below. AN took a look at the design’s progress with Radius Track, the curved and cold-formed steel framing experts who recently completed installation of the project’s custom steel panels:
One of Jane Jacobs’ most valuable contributions to the understanding of cities was her faith in the wisdom of the urban dweller. She argued that the physical city—and any approach to city planning—could not be separated from the wisdom of each individual inhabitant, “People who know well such animated city streets will know how it is. I am afraid people who do not will always have it a little wrong in their heads, like the old prints of rhinoceroses made from travelers’ descriptions of rhinoceroses.” The complication arising from Jacobs’ argument is simple though difficult to solve; how can we plan a city when planning is one part abstraction and abstraction removes us from Jacobs’ precious “real life” mentality?
A step towards solving this contradiction is sfbetterstreets.org, a website launched last week by the City of San Francisco. Developed by the San Francisco Planning Department in conjunction with other city agencies, the website is part of the city’s larger, “Better Streets” initiative. The legislative concept, described in San Francisco’s Better Streets Plan, is to create streets “designed and built to strike a balance between all users regardless of physical abilities or mode of travel… maximizing features for the comfort, usability, and aesthetics of people walking.”
As part of ongoing subtle austerity measures, the U.S. General Services Administration (GSA) announced Monday that as part of the National Historic Lighthouse Preservation Act of 2000, they will transfer ownership of 12 lighthouses to willing non-federal-government organizations. Eligible state or local governments, non-profit corporations, historic preservation groups, or community development organizations have 60 days to file a letter expressing interest in the properties. If no suitable taker is found, then a public auction will take place. The measure is part of President Obama’s initiative to save $1.5 billion in federal money by reducing overhead costs of maintaining federal real estate, and the GSA claims that they are on track to save $3.5 billion by the end of the year. Read More
Last week at Audi’s HQ in Ingolstadt, Germany, architect Junya Ishigami of Tokyo succinctly summed up the problem the car company aims to tackle: there is “a gap between people’s speed and the city’s speed,” Ishigami said. In other words, people’s habits evolve quickly to suit a 21st-century lifestyle, but the infrastructure of the cities they live in is constantly playing catch up. And Audi, whose primary product is by nature infrastructure-bound, wants get ahead of the curve.
Ishigami was one of six architects presenting research as part of the first phase of Audi’s 2012 Urban Future Award, a bi-annual program first started in 2010. The 2012 firms were selected for their track records of researching the urban environment and their relationships to one of six metropolitan areas: CRIT (Mumbai); Höweler + Yoon Architecture (the Boston-Washington corridor); NODE Architecture & Urbanism (Pearl River Delta); Superpool (Istanbul) and Urban Think Tank (São Paulo); and Junya Ishigami + Associates (Tokyo). The brief: to “create visions for individual mobility in the future.” Audi defined the future as ca. 2030, when it’s predicted that 70 percent of the world population will live in cities with eight million or more inhabitants.
This editor’s recent piece on the divide between architectural education and architectural practice has spurred a lot of discussion, prompting both high praise for addressing a worsening problem and charges of, ahem, “neoconservatism.” If it’s a debate that interests you, please join us next Tuesday, May 29 at Gensler’s new headquarters for the panel discussion, “A Teaching Moment.” Panelists include UCLA’s Neil Denari, Michael Maltzan, USC’s Alice Kimm, Woodbury’s Barbara Bestor, SCI-Arc’s John Enright, and Gensler’s Li Wen. At the panel we will discuss not only the schism between practice and education, but also new approaches toward technology, urbanism, and more. See you there!
Lauretta Vinciarelli was a quiet but powerful presence on the New York architecture scene since the 1980s when she began producing “imaginary architectural settings” of buildings and landscapes. I considered it a great honor to be invited to her Soho loft to look and talk about her latest work 10 years before her death in 2011. It’s too easy as an architectural journalist covering the daily rough and tumble of urban architecture to get jaundiced about the profession, but Vinciarelli’s extraordinarily beautiful and quiet drawings and paintings remind me why we still believe in the power and hope of great architecture.