The Office for Creative Research has been announced as the winners of the 2017 Times Square Valentine Heart Design Competition. Their winning design, titled We Were Strangers Once Too, is a public data sculpture in the shape of a heart that “highlight[s] the role that immigrants have played in the founding, development, and continued vibrancy of New York City.”
Buillding Brooklyn Awards is the annual architectural and economic development competition sponsored by the Brooklyn Chamber of Commerce. All newly built or renovated projects on the borough of Brooklyn, New York City, are invited to submit for consideration by a jury of architects, real estate professionals, real estate press and city planners.
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.
In this latest photoseries, architectural photographer Danica O. Kus takes her lens inside New York City’s SeaGlass Carousel, designed by WXY Architecture + Urban Design with artist George Tsypin. Completed in summer 2015, the 2,575 square foot nautilus-shaped pavilion has become a new attraction within a Piet Oudolf-designed landscape in Battery Park, drawing in visitors with an immersive LED and audio experience inspired by bioluminescent organisms found deep within the ocean.
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.
In the words of Bill de Blasio, New Yorkers have a “crisis of affordability” on their hands. This is a crisis built upon the success that the city has had in recent decades. These years have made the city safer, and more appealing, for people from all over the world to come and start businesses, studies, and their lives. This has put a huge strain on housing stock, and has led to New Yorkers having to spend increasing amounts to cover their housing expenses and have made entire neighbourhoods unaffordable.
In its latest installment of the Private View series, Nowness has released a short documentary by New-York based filmmaker Alexandra Liveris profiling Santiago Calatrava. In the film, Calatrava discusses his perspective as an artist and an architect, as well as his creative process, mainly within the scope of the World Trade Center Transit Hub.
"You see, the first goal in this place was to deliver something beautiful where such an ugliness was there before,” says Calatrava in the film. “To deliver something optimistic looking to the future where so much sadness and depression was there.”
New York City’s busiest airport is about to receive a major overhaul.
Proposed by New York governor Andrew Cuomo, the plan calls for a $10 billion renovation to New York City’s busiest airport, transforming the facility into a “a unified, interconnected, world-class’ complex.”
“Re-Constructivist Architecture,” an exhibition now on show at the Ierimonti Gallery in New York, features the work of thirteen emerging architecture firms alongside the work of Coop Himmelb(l)au, Peter Eisenman and Bernard Tschumi. The title of the exhibition is a play on words, referring to the De-Constructivist exhibition of 1988 at the Museum of Modern Art that destabilized a certain kind of relationship with design theory.
This reconstruction is primarily of language. The architects draw from archives—mental, digital or printed on paper—distant from the typical parametric and highly schematic rationales that characterized the last thirty years of design in architecture. Within the theoretical system that drives architectural composition, these archives inevitably become homages, references, and quotes.
Buildings, perhaps unlike any other art form or edifice, have a capacity to influence or become part of a place's cultural identity and history. Defining an architectural monument is, however, an ambiguous exercise – most of their ilk only reach this status years after completion. AD Classics are ArchDaily's continually updated collection of longer-form building studies of the world's most significant architectural projects. Here we've assembled five structures and buildings which, often aside from original intentions, embody that most ephemeral feeling: a sense of progress.
“If you took the whole world and collapsed it into one little ball, you’d find it here, in this city.”
In this video from the Louisiana Channel, Daniel Libeskind talks about the chaotic beauty of and his love for New York City. Born in Poland, at the age of 13 Libeskind immigrated to New York, where he witnessed both the building and the collapse of the World Trade Center’s Twin Towers. Intimate with the site, Libeskind was later tasked with designing the masterplan for the World Trade Center's reconstruction.
Check out the video to hear the architect discuss the tolerance, complexities and fascination of his adopted home.
In New York City, as in many cities worldwide, residents rely on the subway system to get around. But despite its importance, there are still plenty of locations throughout the city so difficult to get to, it’ll leave you cursing, “Who designed this thing anyway!?”
Now thanks to a new game from engineer Jason Wright, you have a chance to correct the design flaws of the current system – virtually, anyway.
The Hudson River Park Trust has revealed plans to transform the 800-foot-long Pier 26, located on the Hudson River in the New York neighborhood of TriBeCa. Currently vacant, the pier is set to receive a new park designed by landscape architects OLIN Studio and a maritime education center designed by Rafael Viñoly Architects.
The architectural team comprised of Davis Brody Bond and Kieran Timberlake has unveiled its newest updates on the design for 181 Mercer, a 735,000-square-foot complex for New York University that will replace a 35-year-old gym facility and become NYU’s largest classroom building, as well as a space for performing arts, athletics, and students and faculty housing.
With the onset of the Great Depression in the 1930s, the great World’s Fairs that had been held around the globe since the Crystal Palace Exhibition of 1851 lost much of their momentum. With the specter of another global conflict looming like a stormcloud on the horizon in the latter half of the decade, prospects for the future only grew darker. It was in this air of uncertainty and fear that the gleaming white Trylon and Perisphere of the 1939 New York World’s Fair made their debuts, the centerpiece of an exhibition that presented a vision of hope for things to come.
Foster + Partners’ designs for the latest tower to be located within New York’s Hudson Yards megaproject have been revealed. Named 50 Hudson Yards, the building will rise 985 feet (300 meters) into the sky in becoming New York City’s fourth largest commercial office tower with 2.9 million gross square feet and the new home of leading investment firm BlackRock.
Ierimonti Gallery New York is pleased to present Re-Constructivist Architecture, curated by Jacopo Costanzo and Giovanni Cozzani with Giulia Leone and promoted by the Scientific Technical Committee of Casa dell'Architettura in collaboration with Consulta Giovani Roma. The exhibition will feature the work of thirteen international emerging architecture firms, aiming to portray a generation of architects born in the ‘80s: a countertrend that tries to recover a debate lost years ago and obstructed by a cumbersome star system.
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.”