On April 10, 2024, the New York Landmarks Conservancy bestowed the Preservation Leadership Award to author and urbanist Roberta Brandes Gratz. A longtime preservation activist, Gratz served on the City’s Landmarks Preservation Commission. She also led the successful effort to restore the Eldridge Street Synagogue, now the Museum at Eldridge Street. The following is a slightly edited version of the speech Gratz delivered at the 34th annual Lucy C. Moses Preservation Awards.
This article was originally published on May 9, 2016. To read the stories behind other celebrated architecture projects, visit our AD Classics section.
Situated on the peak of Bergisel Mountain above the picturesque alpine city of Innsbruck, Austria, the Bergisel Ski Jump represents the contemporary incarnation of a historic landmark. Designed by Zaha Hadid between 1999 and 2002, the Ski Jump is a study in formal expression: its sweeping lines and minimalist aesthetic create a sense of graceful, high-speed motion, reflecting the dynamic sensation of a ski jump in a monumental structure that stands above the historic center of Innsbruck and the mountain slopes around.
Studio Gang has released images of their proposed high-rise MIRA residential scheme in the heart of San Francisco. Currently under construction, the 400-foot-tall tower will contain almost 400 residential units when completed, 40% of which will be below market rate.
The scheme's design is centered on the evolution of the bay window element, a feature common to San Francisco’s early houses. The bay window is reimagined in a high-rise context, twisting across the full height of the tower to offer views across the city.
A beautifully delicate design by ingenhoven architects, in cooperation with architectus, has bested series of internationally acclaimed architects to design Sydney’s tallest residential tower at 505-523 George Street. The 79-storey skyscraper will reach 270m, and include several uses, ranging from high-quality living and retail to hotel and leisure. The designers hope the tower will be “a profoundly visible landmark standing for an economical, environmental and socially sustainable, future-oriented development”.
C.F. Møller Architects has released images its proposed 470-foot-high (144-meter-high) office tower at the Port of Aarhus in Denmark. Intended as a “bright sculptural landmark,” the scheme combines cultural, retail, and business functions to activate the public realm in a former industrial port area.
C.F. Møller’s plans will include the retention of an existing 60,000 square foot (5,600 square meter) industrial complex on the site, which will be opened up to establish a stronger connection between indoor and outdoor spaces. The new tower’s geometry originates from the existing building, forming a dialogue between old and new urban fabric.
Belatchew Arkitekter has released images of their proposed mixed-use residential tower in the Nacka City district of Stockholm. Named “Discus,” the tower seeks to form a new landmark for Nacka, directly above the district’s metro station.
Comprising approximately 500 apartments and 30 residential floors, the scheme will also include commercial and public facilities to form an active street front.
https://www.archdaily.com/895477/belatchew-arkitekter-releases-images-of-proposed-discus-tower-in-stockholmNiall Patrick Walsh
New details have been released of Renzo Piano Building Workshop’sfirst residential building in the United States; a landmark luxury condominium scheme on Miami’s North Beach. Designed in collaboration with interior architects Rena Dumas Architecture Intérieure (RDAI) and landscape firm West 8, the 66-unit scheme seeks to embrace both the ocean and adjacent 35-acre park, with a fluid design to “blur the line between imagination and craftsmanship.”
The architectural concept behind the scheme, titled “Eighty Seven Park,” was to create a “coastal sanctuary” floating above the lush landscape of North Shore Park. Though simple in form and motif, Piano’s design prioritizes an intricate attention to detail; “the belief in perfecting every element of its design and construction.”
Studio Gang has released details of their first project in Los Angeles, a 26-story mixed-usetower designed in collaboration with local development partner Creative Space and European lifestyle brand MOB. The scheme places an emphasis on community spaces, with a curved form creating dynamic public plazas at street level, forming a link between Chinatown, the recently-opened LA State Historic Park, Union Station, and El Pueblo.
Located on 643 North Spring Street, the scheme will provide 300 apartments ranging from studios to three-bedroom units, and a 149-room hotel operated by MOB. Emphasizing the importance of community space and interaction, the residents and hotel guests will share a rooftop amenity deck with landscaped terraces on the second and third floor, as well as a gym, coworking spaces, rentable offices, pop-up stores, a rooftop swimming pool and bar, and space for outdoor cooking.
https://www.archdaily.com/893019/studio-gangs-curved-mixed-use-tower-to-be-their-first-project-in-los-angelesNiall Patrick Walsh
The designs by Snøhetta for the renovation of the building at 550 Madison Avenue have launched the building to the forefront of the debate about the preservation of Postmodern heritage. The plans include replacing the stone facade with undulating glass in order to transform the building's street presence. Should plans progress, the once prominent arched entry will sit behind fritted glass and stone covered columns will be unwrapped to create a hovering datum.
Multidisciplinary firm DFA unveil their vision for the future of New York City's Pier 40, re-imagined as an innovative mixed-use district of commerce, recreation, and affordable housing. The self-initiated proposal by the New York-based studio would transform the existing 15-acre pier by revitalizing deteriorating infrastructure while maintaining the popular recreation area and soccer field on the site.
UNStudio, working in collaboration with Werner Sobek, have unveiled their designs for the Wasl Tower, a 300-meter tall skyscraper in Dubai. Centrally located along the main thoroughfare that connects the Emirates north to south, the Wasl Tower sits directly opposite the Burj Khalifa and, once completed, will feature one of the world’s tallest ceramic facades. Inspired by the movement of the city, the 300-meter supertall building takes on a "contrapposto" form, responding to the Sheikh Zayed Road along which it is sited.
SHoP has won Landmarks Preservation Commission approval to build Brooklyn’s tallest tower at 340 Flatbush Avenue Extension, reports New York Yimby. Located on the same block of the former Dime Savings Bank, an individual and interior landmark, SHoP’s proposal calls for a 73-story, 1,066 foot-tall mixed-use tower. The proposal required LPC-approval because the architects want to merge the tower’s lobby with the bank and convert the atrium into a new retail component. The site’s relationship to the bank building encouraged the architects to develop a design and material choices that are heavily influenced by the proposed tower’s smaller, but no less grand, neighbor.
837 Washington Street. ImageImage via New York YIMBY
For many architects, the chance to make an impression on the landscape of New York City is a sign of distinction, an indication that they have "made the big time." But it's not just architects who have this desire: for decades, the city's big industrial players have also striven to leave their mark. However in this article, originally posted on New York YIMBY as "How New York City is Robbing Itself of the Tech Industry’s Built Legacy," Stephen Smith examines where it's all gone wrong for the city's latest industry players.
Strolling through the streets of Manhattan’s business neighborhoods, you can pick out the strata of the city’s built commercial heritage, deposited over generations by industries long gone. From the Garment District’s heavy pyramidal avenue office towers and side street lofts, dropped by the garment industry in the 1920s, to the modernist towers like Lever House and the Seagram Building, erected on Park and Fifth Avenues during the post-war years by the country’s giant consumer goods companies, each epoch of industry left the city with a layer of commercial architecture, enduring long after the businesses were acquired and the booms turned to bust.
But 50 or 100 years into the future, when our grandchildren and great-grandchildren stroll through the neighborhoods of Midtown South that are today thick with technology and creative firms, they are not likely to find much left over from the likes of Facebook or Google. There will be no equivalent of Grand Central or Penn Station, Terminal City or the Hotel Pennsylvania, left over from the early 20th century railroad tycoons, or SoHo’s cast iron buildings, developed by speculators seeking to feed the growing textile and dry-goods trades of the late 19th century. Perhaps unique among New York’s large industries, the tech and creative tenants that have become the darlings of the current market cycle are leaving very little behind for future generations to admire.
https://www.archdaily.com/582049/why-are-there-still-no-built-traces-of-new-york-s-tech-industryStephen Smith
New York City is home to a plethora of Postmodernist designs — from the impressive Sony Tower to the diminuative Central Park Ballplayers' House — but most remain unprotected by traditional heritage registries. The New York City Landmarks Preservation Commission is at the threshold of its 50th anniversary but has yet to recognize the architectural successes of 1970 up to the most recent eligible year for landmarking, 1984. The commission has been unnecessarily slow to recognize Postmodernist structures in New York City, say Paul Makovsky and Michael Gotkin writing for Metropolis Magazine, who argue that the absence of historical recognition for Postmodernism has come at a high cost, citing the recladding of Takashimaya Building on Fifth Avenue as a "wake-up call" for the Commission.
Midtown West; Courtesy of Flickr User David Boeke, Licensed via Creative Commons
A recent study by the Real Estate Board of New York (REBNY) concluded that by preserving 27.7% of buildings in Manhattan, “the city is landmarking away its economic future.” REBNY is challenging the Landmarks Preservation Commission, arguing it has too much power when it comes to planning decisions, and that by making business so difficult for developers it is stifling the growth of the city.
Yet not three days before releasing this study, president of REBNY Steve Spinola said in an interview with WNYC that “if you ask my members, they will tell you [the twelve years of Mayor Bloomberg's tenure] has been a great period of time for them”. The conclusion of WNYC is that the past decade has actually been a period of increased growth for developers, rather than a period of stagnation.
It would be easy to echo the opinion of Simeon Bankoff, executive director of the Historic Districts Council, who believes the actions of REBNY come down to greed, even comparing its members to Gordon Gekko, the anti-hero of the film Wall Street. But is greed really what’s behind this attack on the Landmarks Preservation Commission? Find out after the break.
Courtesy of Time, Inc. via the Frank Lloyd Wright News Blog
Ada Louise Huxtable was a renowned architecture critic who started at The New York Times in 1963. Her probing articles championed the preservation of buildings regarded as examples of historic design still imperative to the life of the city. Her arguments were leveraged by research and an in-depth understanding of architecture as an ever-relevant art form ("the art we cannot afford to ignore"). Alexandra Lange of The Nation points to the connection between Ada Louise Huxtable's writing and its influence on the culture of preservation that eventually resulted in the establishment of the Landmarks Preservation Commission in 1965.
_Studio_Gang.jpg?1524241991)
