Listing 12 blog articles for the tag New York.
Evolution of the design for WTC 1... then and now.
11 years on and after many fractious debates and redesigns, Skidmore Owings and Merrill – led by David Childs – have well and truly stamped their authority on the final incarnation. The spire is centered, the form filled out (incidentally creating thousands more square feet of lucrative commercial office space), and the base is encased with concrete and steel in an effort to deter would-be terrorists from attacking at ground level.
This last feature tells its own story: One World Trade Center has been the subject of exponential pragmatism, as the metaphor-ridden glass sabre of Libeskind was diluted to incorporate more leasable space – money talks – and security measures to calm the shredded nerves of the populous. The original American symbol of strength – the skyscraper – has become a paranoid giant, wearing a steel crown and the heaviest pair of lead boots imaginable.
Perhaps the greatest irony of all is that, with all these practicalities dissolving Libeskind’s original vision, the most irrational of design features – the 1776-foot height – remains. SOM stole the freedom away from the Freedom Tower, but left the public with one small reminder of why the USA is still a country of liberty and independence... just.
The Angry Architect
Images: © 2011 Studio Daniel Libeskind and Skidmore, Owings and Merrill LLP
Great news for disciples of modernist masters in New York City: Tadao Ando, the undisputed king of concrete, has finally arrived with a project in Manhattan. Named for its location (as so many new projects seem to be these days) in the city’s stylish Nolita neighborhood, 152 Elizabeth Street is designed to house seven ultra-luxury residences in the same number of stories. Full details of the project were released today, displaying all the minimalist hallmarks of an Ando classic.
The building’s primary qualities are very much in line with those of many of the Japanese architect’s seminal works, boasting a raw, honest palette that screams understated sophistication. The external concrete façade celebrates the story of its construction with a perfect grid of tieback notches, a feature visible in countless Ando projects from Fort Worth’s Modern Art Museum to the Church of the Light in Osaka, Japan.
Body-paint artist Trina Merry knows a thing or two about invisibility – and she proves you don’t need some magic cloak to hide in plain sight! Using body paint, she paints her nude models for hours and hours to blend perfectly with their backgrounds. Some of the landmarks they’ve used as backdrops include the Empire State Building, Central Park, the Guggenheim Museum, the Brooklyn Bridge, and the city’s famous skyline.
‘I wanted to engage the city and understand it and make some observations’, explained Merry. ‘So instead of a person right in front of the Empire State building or the Statue of Liberty, they’re softly in the background, and you’ve got more of a reflective view of the person within the landscape’.
She got the idea right after she moved to New York from San Francisco. The city’s liberal laws regarding public nudity helped with Merry’s process, which required her models to stand buck naked outdoors for quite some time. You can find out more about the artist here.
Images and info via: Lost At E Minor
New York City has approved a developer’s Dickensian plan to include a “poor door” in a luxury apartment complex in the Upper West Side.
The prospect of a separate entrance for lower-income residents has been circulating for some time, but as the New York Post reported today, plans by company Extell Development to put a separate entrance for affordable housing tenants, who make 60 percent or less of median income, in the 33-story condo have been given the green light. The property will have 219 units, including 55 affordable units overlooking the street. Those renting and buying the apartments at the market-rate will have waterfront views.
Ok, I get it - you're giving poor people a chance to live in one of the more expensive parts of NYC... but way to perpetuate the class divide and create a building that is a perfect metaphor for the city's shocking economic inequality. The calculated segregation sits uncomfortably with me, but we shouldn't be surprised - social housing has long been tucked out of the way and around the corner by residential developers who want to sell a glossy, exclusive image front of house.
This time though, there is little to no subtlety to the way it has been delivered - welcome back to Medieval times, when the servants scuttled along secret passages to avoid getting under their master's feet. Urgh.
The Angry Architect
Marble’s usual rendition is seen in delicate antique effigies or lifesize sculptural portraits. Japenese-born, Los Angeles-based artist Yutaka Sone uses it to sculpt vast landscapes, natural as well as architectural. The third in a series of models made in marble, Sone exhibited his two-and-a-half-ton sculpture entitled Little Manhattan last week at the Park Avenue Armory art fair.
Almost 20 years in the making, Sone has previously created models of island-cities of Hong Kong and Venice. His work reflects a fascination with the peculiar forms these cities take, and how they have adapted and conquered them. Aided by photographic reproductions, imagery from Google Earth and several helicopter rides, Sone rendered the densely populated borough to scale, showing, for instance, bike paths cutting through Central Park and the arch in Washington Square Park.
That’s the first thing that strikes you about Little Manhattan, how it works at opposite scalar poles—at both the micro and the macro. While the piece is nine feet in length and three feet tall, the Manhattan skyline accounts for just the top few centimeters or so. Step back, and the latter barely registers; instead, one's eye is drawn to the exquisitely sculpted stone, delicately pleated with folds that extrude the city's outline downwards. Closer inspection, however, yields countless beautiful details. One can trace the intricately constructed streets, avenues, parks, bridges and buildings, and scan for recognizable sites like the Empire State Building.
The 48-year-old artist had been originally trained in architecture. Yet his work as an artist comprises a range of media including painting, drawing, photography, video and performance, but predominantly sculpture. Veronique Ansorge, Associate Director of the David Zwirner Gallery, with whom Sone has been working since 1999, gives us an insight into a few of the dichotomies that Sone’s work embodies. “With his background in architecture, there is an inclination to blend the rigidity inherent in architecture with a fluid artistic vision,” says Ansorge.
There are other interesting dualisms at work here. In the use of marble, there emerges a tension between the strength of the stone and its soft texture and frailty; there is a conflict between realism and perfect reproduction that Sone addresses; a masculinity of an infrastructurally-dense city like Manhattan and a feminity in the form of an island and its gracefully poised "bedrock."
Like with most of Sone’s works, Little Manhattan developed over a lengthy period of time, with plans dating back to the late 1990s. He plans to do sculptures of two more cities to complete his series of miniature marble island-cities.
Images and Info via: Metropolis Magazine
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