Elijah Equities, LLC has unveiled plans for the redevelopment of The Warehouse in New York City, a property currently occupied by car parking and art galleries, which will be transformed into 100,000 square feet of rentable office and retail space designed by Morris Adjmi.
Situated next to the High Line, the building currently at the site is a four-story, 65,000-square-foot former apparel-manufacturing warehouse. The redevelopment will add a three-story, steel-framed, cantilevered addition, resulting in a seven-story building with over 18,000 square feet of rooftop and outdoor amenity space.
Real Estate firm Related Companies has announced the development of 15 new art gallery spaces to be located in and around the base of Zaha Hadid’s 520 West 28th Street residential building, located along the High Line in the New York neighborhood of Chelsea. The acclaimed Paul Kasmin Gallery, currently located in three West Chelsea locations, will serve as the anchor tenant with a 5,000 square-foot gallery in the base of the Hadid-designed building and additional space in the ‘High Line Nine,’ a collection of full service boutique exhibition spaces located adjacent to the building beneath the High Line.
New renderings have been revealed of Studio Gang’s Solar Carve Tower, located at 40 10th Avenue along the High Line in New York City, as the project gets set to begin construction. Initially conceived by the architects in 2012, the tower was presented to New York’s Board of Standards and Appeals on four occasions before finally receiving planning approval in November 2015. In the new images, the building’s interiors and roof terrace are seen for the first time, as well as its relationship to the nearby Pier 55, the proposed park along the Hudson Waterfront designed by Heatherwick Studio.
Continuing in her firm’s tradition of blurring the lines between architecture, art and environment, Elizabeth Diller, founding partner of Diller Scofidio + Renfro, is producing an opera for the High Line. Dubbed the “Mile Long Opera,” the production will be set along New York’s new favorite attraction, which was designed by DS+R with James Corner and Piet Oudolf and opened to the public in 2009.
BIG’s planned residential complex along the High Line in New York has gone through multiple iterations since its unveiling last November. Now, in its latest form of two twisting towers rising from a split podium, the project is receiving a new name and key program piece.
UPDATE: We've added a video of Thomas Heatherwick explaining the design of "Vessel," after the break!
Thomas Heatherwick is bringing a new public monument to New York City. Today, Heatherwick Studio revealed the first renderings of “Vessel,” a 15-story tall occupiable sculpture comprised of 154 intricately interconnecting flights of stairs that will serve as the centerpiece of the new Hudson Yards development in west Manhattan.
Diller Scofidio + Renfro in collaboration with Rockwell Group has released a new animation of “The Shed” (previously known as “The Culture Shed”), a convertible cultural center designed for New York City’sHudson Yards development overlooking The High Line. When complete, the building will contain 170,000 square feet of exhibition space for temporary installations, concerts, performances and other cultural productions. Watch in the video as The Shed grows out of its partnering residential skyscraper, also designed by Diller Scofidio + Renfro and Rockwell Group, and transforms to serve various program types.
A part of Phase 1 of the Hudson Yards project, construction on The Shed began in mid-2015 and is scheduled to be completed in 2019. The venue will serve as the new home of several high profile events, including New York Fashion Week.
On May 3, Lisson Gallery New York will open beneath the High Line between 23rd and 24th Street. Designed by studioMDA and Studio Christian Wassmann, the 8,500 square foot space is split between a gallery, offices, viewing rooms, and storage. Although the main gallery is directly under the High Line – the steel columns in the photos are actually supports for the elevated railway – it will receive ample sun from dramatically angled skylights along the space’s edge, which also aid to extend the walls vertically. The gallery's polished concrete floors, white walls, and natural light are typical of today's contemporary art spaces, but also maintain the aesthetic of Lisson's other galleries. The public will access the space via 24th Street, while the 23rd Street entrance will be reserved for staff purposes and private functions.
Developer Tishman Speyer has commissioned BIG to design a new office tower on the northern end of the High Line at Hudson Yards in New York City. Dubbed "The Spiral," the 1005-foot-tall tower is named after its defining feature - an "ascending ribbon of lively green spaces" that extend the High Line "to the sky," says Bjarke Ingels.
"The Spiral combines the classic Ziggurat silhouette of the premodern skyscraper with the slender proportions and efficient layouts of the modern high-rise," adds Ingels. "Designed for the people that occupy it, The Spiral ensures that every floor of the tower opens up to the outdoors creating hanging gardens and cascading atria that connect the open floor plates from the ground floor to the summit into a single uninterrupted work space. The string of terraces wrapping around the building expand the daily life of the tenants to the outside air and light.”
Walking along the High Line in his self-designed wardrobe, Moshe Safdie spent the day with New York Times journalist Ruth La Ferla to discuss his views on architecture and the city. "Look what happens in the city when something becomes a destination,” he told Ferla, referring to the High Line. The 77-year-old architect is preparing to build his first project in New York. Follow this link to read the New York Time's complete conversation with Safdie.
New York Yimby has unveiled BIG's latest New York skyscraper: 76 11th Avenue. Planned for one of the largest plots along the High Line, the nearly 800,000-square-foot proposed project is comprised of two towers perched on a podium of retail, gallery and hotel space in the city's Meatpacking district. Rising 302-feet to the east and 402-feet to the west, the towers are divided by a "diagonal cut" through the site that opens up more views for residents to the High Line.
“I’ve always been fascinated by the High Line and its possibilities for the city. Decades ago, I used to visit the galleries in the area and consider how to build along the route. It's very exciting to be building there now,” said Zaha Hadid. “The design engages with the city while concepts of fluid spatial flow create a dynamic new living environment.”
In It’s A Wonderful Life the film’s protagonist George Bailey, facing a crisis of faith, is visited by his guardian angel, and shown an alternate reality where he doesn’t exist. The experience gives meaning to George’s life, showing him his own importance to others. With the increasing scale of design competitions these days, architectural “could-have-beens” are piling up in record numbers, and just as George Bailey's sense of self was restored by seeing his alternate reality, hypothesizing about alternative outcomes in architecture is a chance to reflect on our current architectural moment.
On this key date for one of the most crucial designs of this generation, we decided to look back at some of the most important competitions of the last century to see how things might have been different.
With the construction of their High Line-adjacent residential building 520 West 28th Street, Zaha Hadid Architects have constructed a temporary construction shelter to protect pedestrians in the event of any falling construction materials. However, as is often the case with Zaha Hadid designs, this is a construction shelter unlike any other, serving as a protective shelter but also as an artistic installation.
Named Allongé, the installation is "is inspired by the connectivity and dynamism of movement along the High Line," allowing visitors to the High Line to move through 34 meters (112 feet) of sweeping metallic fabric supported by a curvilinear steel frame, offering a spatial experience that foreshadows the presence of Hadid's building at the site.
As part of their series of "Panorama" exhibits being presented this year, Friends Of The High Line have announced that they will host Olafur Eliasson's installation, "The Collectivity Project" from May 29th until September 30th this year on the High Line at West 30th Street. The installation, which has previously traveled to Tirana, Oslo, and Copenhagen, features an interactive imaginary cityscape made of over two tons of white LEGO bricks, with visitors invited to design, build and rebuild new structures as they see fit.
Following our top 40 Architecture Docs to Watch in 2014and our favourite 30 Architecture Docs to Watch in 2013, 2015 is no exception! Our latest round up continues to feature a fantastic range of films and documentaries telling the tales of unsung architectural heroes and unheard urban narratives from around the world. This entirely fresh selection looks past the panoply of stars to bring you more of the best architectural documentaries which will provoke, intrigue and beguile.
From a film which explores one man's dream to build a cathedral (#4) and a simultaneous history of and vision of Rotterdam's future (#7), to a tour of the world's last surviving squatter town in Copenhagen (#14) and A Short History of Abandoned Sets in Morocco (#16), we present - in no particular order - thirty freshly picked documentaries for you to watch in 2015.
The 35-year career of Elizabeth Diller, a founding partner of the New York–based architecture studio Diller Scofidio + Renfro, is a study of contrasts: conceptual and pragmatic, temporary and permanent, iconoclastic and institutional. After graduating from Cooper Union in 1979, Diller started her practice mounting temporary installations with her partner and future husband, Ricardo Scofidio, their interests leaning closer to art and theory than conventional buildings and construction. Today the duo—along with Charles Renfro, who became a partner in 2004—is responsible for some of the most important architectural projects in the country. DS+R counts Boston’s Institute of Contemporary Art (completed in 2006) and a makeover of New York’s Lincoln Center (finalized in 2012) among its highest-profile works. Especially influential, at least among architects and academics, has been the firm’s unbuilt Slow House (1991), a proposal for a residence on Long Island, New York, renowned for its examination of how we see in a media-saturated world.
Surface recently met with Diller at her office in Manhattan to speak about the ensuing controversy, as well as early career experiences that have influenced her firm’s recent commissions for cultural institutions, including the current exhibition “Musings on a Glass Box” at the Cartier Foundation in Paris (through Feb. 25, 2015), a collaboration with composer David Lang and sound designer Jody Elff. Diller, 60, is pensive and surprisingly relaxed for someone whose aides are constantly interrupting her to remind her of meetings she has to attend. She speaks with an erudite inflection befitting her academic credentials and professional accolades (she is, after all, a professor at Princeton and a MacArthur “genius grant” recipient), though she smiles with the ease of an affable neighbor.