Construction on Heatherwick Studio’s undulating Pier 55 in New York has come to a screeching halt, following a ruling by a United States District Court judge last week that will require the project to undergo an intense wildlife impact review.
Last April, the U.S. Army Corps of Engineers gave the project, located on the Hudson River in West Chelsea, the go-ahead, allowing initial construction to begin. But the district judge found that the Army Corps of Engineers had failed to properly consider the wide effects of the projects on the river wildlife.
http://www.archdaily.com/867951/construction-halted-on-heatherwicks-pier-55-in-new-yorkAD Editorial Team
The architectural legacy of the Rockefeller family in Manhattan is well-known, most obviously demonstrated in the slab-like Art Deco towers of the Rockefeller Center and the ever-expanding campus of the MoMA. But in a city that is filled with landmarks and historic buildings, it's easy for even the most remarkable projects to go unrecognized. Philip Johnson's Rockefeller Guest House in Manhattan was completed in 1950, just one year after the construction of his better known Glass House in New Canaan. The Glass House is an obvious cousin to the later guest house: both feature largely empty glass and steel boxlike forms, where structural work is exposed and celebrated.
A 1,400-foot-tall mixed-use skyscraper by Zaha Hadid Architects may be the next supertall structure to hit midtown Manhattan. Located at 666 Fifth Avenue between 52nd and 53rd Street, the project is the brainchild of Kushner Properties, who currently co-own the existing 483-foot-tall building with Vornado Realty Trust.
Estimated to cost up to $12 billion, the company is currently negotiating a multi-billion dollar deal with Chinese holding company Anbang Insurance Group to finance the project. If plans to buy out the building go through, Kushner would be in the clear to begin construction on the ZHA-designed tower, which would rebrand the property as 660 Fifth Avenue and offer 464,000-square-feet of residential space, an 11-story hotel, and a 9-story retail podium.
Responding to this phenomenon, architect Ioannis Oikonomou of oiio architecture studio has proposed an alternate solution, called “The Big Bend,” that asks the question: “What if our buildings were long instead of tall?”
GSAPP Conversationsis a podcast series designed to offer a window onto the expanding field of contemporary architectural practice. Each episode pivots around discussions on current projects, research, and obsessions of a diverse group of invited guests at Columbia, from both emerging and well-established practices. Usually hosted by the Dean of the GSAPP, Amale Andraos, the conversations also feature the school’s influential faculty and alumni and give students the opportunity to engage architects on issues of concern to the next generation.
http://www.archdaily.com/806013/introducing-columbia-gsapp-conversations-inaugural-architecture-podcast-exhibition-models-james-taylor-fosterAD Editorial Team
Conceived as an inner sanctuary within downtown Manhattan, the building highlights acoustics as a key consideration, with a façade system and exterior glass enabling a high OITC rating to “ensure a tranquil home environment in the center of this vibrant neighborhood.”
As long as there have been buildings mankind has sought to construct its way to the heavens. From stone pyramids to steel skyscrapers, successive generations of designers have devised ever more innovative ways to push the vertical boundaries of architecture. Whether stone or steel, however, each attempt to reach unprecedented heights has represented a vast undertaking in terms of both materials and labor – and the more complex the project, the greater the chance for things to go awry.
Even in Manhattan—a sea of skyscrapers—the Empire State Building towers over its neighbours. Since its completion in 1931 it has been one of the most iconic architectural landmarks in the United States, standing as the tallest structure in the world until the Twin Towers of the World Trade Center were constructed in Downtown Manhattan four decades later. Its construction in the early years of the Great Depression, employing thousands of workers and requiring vast material resources, was driven by more than commercial interest: the Empire State Building was to be a monument to the audacity of the United States of America, “a land which reached for the sky with its feet on the ground.”
These 200 images show you the spectacular views from hundreds of New York City’s finest residences. Everyone loves an amazing view, and some pay millions for a property with views across Central Park, the East River, the Hudson River, or the Midtown skyline. In the jungle of glass, stone, and steel that is New York City, it is impossible to overstate the value of an incredible view. Tauber, a Manhattan-based independent photographer, shot these images over the last decade while shooting New York City’s finest properties for real estate firms, architects, interior designers, developers, and magazines.
Studio Seilern Architects (SSA) has unveiled its design for a new skyscraper in New York, located on the riverfront of the Hudson River, which will offer views to the South West towards the river and Hoboken, as well as to the East towards the Empire State Building and Manhattan skyline.
The 16.107 square meter building (24 floors) will feature commercial units in the form of a gallery in the plinth—which is reduced to form a sculpture garden—at the lower levels, while upper levels will contain residential units.
The Kohn Pedersen Fox-designed One Vanderbilt Avenue broke ground today, beginning construction on what will stand as the second tallest tower in New York City upon completion. Located adjacent to Grand Central Terminal on 42nd Street, the tower will be integrated into the its neighbor through a series of underground connections and $220 million in improvements to Grand Central’s infrastructure.
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.
Upon opening its doors for the first time on a rainy winter’s night in 1932, the Radio City Music Hall in Manhattan was proclaimed so extraordinarily beautiful as to need no performers at all. The first built component of the massive Rockefeller Center, the Music Hall has been the world’s largest indoor theater for over eighty years. With its elegant Art Deco interiors and complex stage machinery, the theater defied tradition to set a new standard for modern entertainment venues that remains to this day.
July 14th Exhibition Opening 6 – 7 pm: Press and Members Preview [RSVP] 7 – 9 pm: Public Opening [RSVP]
We are experiencing the emergence of a culture that is marked by a return to, redefinition, and expansion of the notion of the commons. The increasing complexity and interconnectedness of globalization is reorienting us away from trends that have emphasized individuation and singular development, and toward new forms of collectivity.
Over the last decade, emerging technologies and economies have affected aspects of our everyday life, from the way we work and travel, to how we
SHoP has unveiled the design for a new 900 foot tall skyscraper in Manhattan’s Lower East Side. The 77 story, 500,000 square foot, mixed-income tower will have 600 units, 150 of which will be permanently affordable and distributed evenly throughout the building. The project has been developed as a collaboration between SHoP and JDS who are co-owners of the development, with the partnership of two not-for-profit groups: Two Bridges Neighborhood Council (TBNC) and Settlement Housing Fund (SHF).
In an interview with the Council on Tall Buildings and Urban Habitat (CTBUH), Bjarke Ingels reflects on the design of skyscrapers, noting how "sculpture is fine, but if its arbitrary it's not as interesting." Architects, Ingels argues, have the problem of "skilled incompetence:" the notion that they "already know the answer before [they've] even heard the question." This prevents them "from questioning the question, or having the question rephrased, or elaborating on the question, or even listening for the question – because [they] already know the answer."