New York City’s Hudson Yards has opened its doors to the public, and the reviews are flooding in. Built on Midtown Manhattan’s West Side, the project is New York’s largest development to date and the largest private real estate venture in American history, covering almost 14 acres of land with residential towers, offices, plazas, shopping centers, and restaurants. A host of architecture firms have shaped the development, including BIG, SOM, Diller Scofidio + Renfro, Rockwell Group, and many others.
Read on to find out how critics have responded to Hudson Yards so far.
Vessel. Image Courtesy of Michael Moran for Related-Oxford
New York City’s long-awaited Hudson Yards has finally opened its doors to the public for the first time. Built on Midtown Manhattan’s West Side, the project is New York’s largest development to date and the United States’ largest private real estate development, covering almost 14 acres of land (more than 56,000 sqm) with polished residential towers, offices, plazas, gardens, shopping centers, and restaurants, all designed by some of the world’s most iconic architects.
Skidmore, Owings & Merrill have revealed new images of their design for 35 Hudson Yards, a new tower that will be part of the largest private real estate development in the history of the United States. SOM provided architectural design and structural engineering services for the mixed-use tower in New York, which is set to become the tallest residential building in Hudson Yards. Standing 1,000 feet tall, the project will express transitions in program as a series of setbacks twisting around the tower.
In May 1985, an old theater and concert hall opened its doors to the public for the opening of a brand new nightclub in New York City. Located on 126 East 14th Street, the project was commissioned by entrepreneurs Steve Rubell and Ian Schrager, owners of the also famous club Studio 54, and was conceived as a vibrant and luminous independent structure arranged inside a rather classic shell, which appears as a beautiful backdrop behind the clean geometry of Isozaki.
As The New York Times pointed out in its May 20, 1985 edition: 'Arata Isozaki is at once a great eminence of Japanese architecture and a source of some of its freshest thinking. And all sides of Mr. Isozaki are visible in the Palladium'.
Architecture and design firm DXA studio was awarded Grand Prize for their design for an urban pathway in New York City. Submitted for Construction Magazine’s 2019 Design Challenge, the project would span 9th Avenue to connect the new Moynihan Train Hall to the High Line and Hudson Yards. The design was created to push the boundaries of contemporary steel construction and create a signature public pathway for New York.
Courtesy Nicholas Calcott, via Metropolis Magazine
Nike's New York flagship store, primely located on Fifth Avenue, is perhaps the closest thing to a temple in the digital age. At a massive 68,000 square feet, it commands attention and symbolically dwarfs even its skyscraper surroundings. The exterior facade features a grid of undulating glass that casts glimmering shadows both inside and out. Inside, a tractor-beam type installation hangs from the ceiling, giving the space-age flavor. There's no set ritual or tradition like in the temples of old, but sneakerheads might certainly feel they've found their heaven on earth.
The hyperreal renderings predicting New York City’s skyline in 2018 are coming to life as the city’s wealth physically manifests into the next generation of skyscrapers. Just like millennials and their ability to kill whole industries singlehandedly, we are still fixated on the supertalls: how tall, how expensive, how record-breaking? Obsession with this typology centers around their excessive, bourgeois nature, but – at least among architects – rarely has much regard for the processes which enable the phenomenon.
There’s something striking about the command center of America’s largest private real estate development, Hudson Yards, in that it’s actually pretty boring. The room—technically known as the Energy Control Center, or ECC for short—contains two long desks crammed with desktop computers, a few TV monitors plastered to the wall, and a corkboard lined with employee badges. The ceiling is paneled; the lighting, fluorescent. However, New York’s Hudson Yards was once billed as the country’s first “quantified community”: A network of sensors would collect data on air quality, noise levels, temperature, and pedestrian traffic. This would create a feedback loop for the developers, helping them monitor and improve quality of life. So where is the NASA-like mission control? Data collection and advanced infrastructure will still drive parts of Hudson Yards’ operations, but not (yet) as first advertised.
The ‘Super Tall and Skinny’ NYC Tower 111 W 57 by SHoP Architects is forging ahead as seen in this photographic construction update by Paul Clemence from Archi-Photo. In the photos, the glass and terracotta facade seems largely complete, casting beams of light into New York's notoriously valley-like streets. SHoP's ultra-thin residential tower, which is set for completion this year, will rise above the Empire State Building and even One World Trade Center, taking a bird's eye view over the entirety of the city skyline.
The New York Chapter of the American Institute of Architects has presented 27 projects with 2019 Design Awards. AIANY announced the results after two days of deliberations by a a jury of independent architects, educators, critics, and planners. For each of the five categories, winning projects were granted either an “Honor” or “Merit” award, and were chosen for their design quality, innovation and technique.
Chrysler Building. Image Courtesy of Tishman Speyer
New York City's famed Chrysler Building is up for sale for the first time in over 20 years. According to the Wall Street Journal, the art deco office tower’s current owners officially placed it on the market, though the building's value has yet to be released. Designed by William Van Alen, the building was bought by Tishman Speyer in 1997. As an iconic part of the New York skyline, the building is admired for its distinctive ornamentation based on Chrysler automobiles.
It may be the single most important architectural detail of the last fifty years. Emerging bravely from the glassy sea of Madison Avenue skyscrapers in midtown Manhattan, the open pediment atop Philip Johnson and John Burgee’s 1984 AT&T Building (now the Sony Tower) singlehandedly turned the architectural world on its head. This playful deployment of historical quotation explicitly contradicted modernist imperatives and heralded the mainstream arrival of an approach to design defined instead by a search for architectural meaning. The AT&T Building wasn’t the first of its type, but it was certainly the most high-profile, proudly announcing that architecture was experiencing the maturation of a new evolutionary phase: Postmodernism had officially arrived to the world scene.
