Maybe Forest City Ratner won’t get a deal on the MTA rail yards after all.
A major part of Develop Don’t Destroy Brooklyn’s strategy for putting the final nail in Atlantic Yards’ coffin is challenging the ethicality (and legality) of an apparent agreement to allow Ratner to pay less than the agreed-upon $100 million for the rail yards atop which the Atlantic Yards are to rise. DDDB hopes the agreement will be released in advance of a hearing on the matter on June 24, something we inquired about for yesterday’s story. Today, the MTA responded, and depending on your perspective, it is either good news or bad for the project’s opponents. Read More
What happens when an ice cream-obsessed design writer meets two ice cream slinging architects? She makes a video! Our dear friend, colleague, and (now) hero Alissa Walker (aka Gelatobaby) recently swung by the COOLHAUS truck, where she chats with the two proprietors about the inspiration, construction, and popular explosion of their architecturally delicious desserts. One Cinnamoneo, please! (To find out where the truck’ll be, follow COOLHAUS on Twitter.)
As we wrote in our story last week, Frank Gehry might not be involved with any buildings on the Atlantic Yards site and not just the arena. As a Forest City Ratner spokesperson told me, “Frank might design one of the buildings later, I don’t think it’s impossible. But right now, he is just the master planner.” Well, as of yesterday, WNYC reported that the it will be impossible after all: Read More
Artist Mike Boucher was excited to bring American suburbia to the Venice Biennale, constructing a floating McMansion—complete with cheesy yellow vinyl siding—set to grace the city’s famed canals. Unfortunately the house tilted off a failed pontoon and sank; a disaster for the artist (who actually seems to find the whole thing hilarious), but a good symbol for our housing market back in the USA.
I’m a Times Square avoider. It’s too crowded, clogged with slow moving tourists, for me to get where I need to go without being so frustrated that I swear to never return. On rare occasions, I succumb to the charm of the lights, but those moments are usually glimpsed from a distance, down a street corridor or out the window of a cab. But yesterday, on my way to an event in midtown, I chose to go through Times Square to see how it had changed since Department of Transportation Commissioner Janette Sadik-Khan’s recent street closure plan had been implemented. Read More
My In Detail article in the current issue covers Rafael Moneo’s Northwest Corner Building at Columbia University. In addition to filling the final vacancy in the 1890 McKim, Mead & White master plan, the building had to bridge a subterranean recreation center with a 120-foot clear span. In answer, Moneo—along with executive architect Davis Brody Bond Aedas and structural engineer Arup—designed the building’s steel framing system as one big truss, with diagonal members bolstering the perimeter moment frame. The majority of the gravity loads, however, are supported by three gargantuan trusses that run the length of the building four levels above the street. These trusses are so big and heavy that Turner Construction had to assemble them on site, on a shed built above the sidewalk, and then slide them into place. The above stop-action video was also assembled by the construction manager, documenting its elegant solution to this seriously heavy erection.
Today we got an email from the fine folks at Archphoto announcing that one of its trio of photographers, Paúl Rivera, has been featured in the current issue of the Japanese architecture magazine, A+U. The featured work was of the MASterworks award-winning TKTS Booth, including the above photo. In addition to being an unexpected and breathtaking view of the structure and surrounding environs, it made us realize something we hadn’t yet about the much-talked about closure of Broadway in the square: While all those cars whizzing by may have been a pedestrian and congestion nightmare, they sure brought wonderful life to the countless photos that have come to define the Crossroads of the World.
Saturday night’s Beaux Arts Ball was a smash! Hundreds of architectural enthusiasts and even the Dosa guy from Washington Square Park trekked to Brooklyn to attend the Architectural League’s annual benefit for their exhibition and lecture programs. Read More
Part of Ferris Bueller’s Day Off (1986) renown as a classic truancy film and Chicago landmark travelogue is the über-modernist glass and steel house with the disaster-inviting garage from which Ferris launches the priceless 1961 Ferrari belonging to friend Cameron’s father. The house (and garage), of course, is a metaphor for Cameron’s sad and lonely home life. As Ferris, the budding architectural critic, explains to his vaguely suicidal foil, “The place is like a museum. It’s very beautiful and very cold, and you’re not allowed to touch anything.” Read More