Bokov Brings Russian Architecture to Light

Event: New Architecture in Moscow
Location: Center for Architecture, 01.04.10
Speakers: Andrey V. Bokov, Ph.D. — President, Union of Architects of Russia, & General Director of the State Unitary Enterprise, Moscow Scientific Research and Design Institute for Culture, Leisure, Sports and Health Care Buildings (“Mosproject-4”);
Introductions: George Miller, FAIA — President, AIA National; Vladimir Belogolovsky — Architect, Tatlin correspondent, & curator
Moderator: Rick Bell, FAIA — AIANY Executive Director
Sponsors: Center for Architecture

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Reconstruction of memorial museum of cosmonautics.

Courtesy http://www.archinfo.ru/projects/item/5159/

When the Soviet system gave way to more openness in politics and economics, not everything opened up at once. Despite the abiding global influence of the Constructivists, modern Russia’s architectural culture remains largely mysterious to outsiders; new projects in Russia by global boldface-name architects receive far more publicity than the work of Russians themselves — even those, like Andrey Bokov, who knew Konstantin Melnikov personally and continue to keep Constructivist principles vibrant. Highly productive and honored in his homeland, Bokov brought a unique perspective to New York: he is a survivor of shifting regimes, a veteran of struggles with various authorities (Soviet and post-Soviet), and, as architects in every nation need to be, a relentless optimist.

Bokov’s presentation was alternately baffling and encouraging. He is modest — Vladimir Belogolovsky’s introduction offered an anecdote in which Bokov, when asked which projects he is particularly proud of, replied that “he doesn’t trust people who are very proud of their own projects” — but Bokov’s buildings, drawings, and models supply eloquence, whether or not he chooses to elaborate. He guided the audience through a reverse-chronological walk through his built and unbuilt works, which include more than 100 projects ranging from major components of Russia’s public environment (hospitals, housing, stadiums, museums, memorials, mixed-use projects, and master plans) to run-of-the-mill office towers. Bokov works boldly with geometries that link Constructivism with various postmodernisms, particularly the tension between grids and circular, semicircular, or elliptical components. Even in projects that he described as “quite regular” he introduces surprise asymmetries, bursts of color, and innovative solutions to technical problems. His contributions to Moscow, St. Petersburg, and elsewhere are sculptural and unafraid of the bizarre.

The Museum of Cosmonautics literalizes the aspirations of Russia’s space program in a liftoff sculpture emerging from atop a monumental staircase. A club for retired secret agents presents an irregular, black-and-white cladding pattern that gestures toward the mathematics of coded messages while also implicitly commenting on the binary thinking that characterized the Cold War. The (Vladimir) Mayakovsky Museum in Moscow’s Lubyanka Square frames its entrance with a sharply angled grid, trumpeting the Futurist poet’s independence through boldly exposed trusses. The Parus (“Sail”) residential tower involves technical problem-solving in managing snow loads and other climatic challenges; an ice rink with a roof suspended from a metallic belt solves a similar snow-load problem, allowing internal supports to be half the customary size and creating a space that functions like both a theater and a sports facility. (Site-specific engineering is a recurrent theme in Bokov’s accounts of design choices: the general Russian preference for bulky structural members, he reminded us, has a lot to do with weather that can create snow and ice pressure of 300 kilograms per square meter.)

While never short of ambition — his diploma project, the final image shown, proposed a massive urban corridor stretching eastward to link Moscow with Vladivostok — Bokov’s oeuvre includes quite a few admirable projects that went unrealized or underwent compromises, often owing to nonspecified “government restrictions.” He is under no illusions about the thoroughness or effectiveness of post-Soviet reforms (“We changed the mentality, but we still have the same codes”), and he recognizes explicitly that “the mission of a modern architect in the world and the mission of a modern architect in Russia do not coincide.” He lamented various procedural constraints, preservation controversies, cultural losses to reckless demolition, and profession-wide fallow periods, while pragmatically and wittily understating the details. Some of his descriptions remained on a casual, untheoretical level, leaving listeners unclear whether certain questions remain unanswered or are unanswerable.

One senses that Bokov has developed a radar for the appropriate level of direct expression in a state with rapidly evolving legal frameworks and, as in one joke he recounted, “an unpredictable future and an unpredictable history.” Sustaining utopian architectural ideals in the past few decades’ political setting could not have been easy; Bokov deserves considerable respect for ensuring that Constructivism remains a living tradition. His visit lays the groundwork for expanded communications between national professional cultures, to the benefit of both.

Note: Bill Millard sat down with Bokov to discuss his ideas further. To listen to the Podcast, click here.

We Gonna Run This Town Tonight

Bloomberg-Inaugural

(Left): Mayor Bloomberg taking the oath of office; (Right): 2010 AIANY President Tony Schirripa, AIA, IIDA (left), and AIANY Executive Director Rick Bell, FAIA, at the inaugural.

Rick Bell (left); Olsen Tartufo

The third inaugural of Mayor Michael R. Bloomberg took place on Friday, January 1 at City Hall Park. Remarks were brief, perhaps because of the biting cold and the lack of the stars whose presence had lengthened the event four years before. The Mayor started with a reference to the people’s party that took place on New Year’s Eve at Times Square: “Last night the final moments of 2009 passed into history, and as they did, Americans from across the country looked to New York to ring in a new year, a new decade, and a new beginning. And that is only right, because our city has always led the nation, not just in celebrating holidays, but in pioneering the most innovative and ambitious new ideas.” He noted the historic achievements and leadership of New Yorkers, saying, “We have built the country’s largest affordable housing program and adopted its most sweeping public health agenda. We have pursued the boldest sustainability agenda on the planet. And we have made the greatest city in the world even greater.”

A central theme of the inauguration was the importance of immigration reform to New York and its economy. Mayor Bloomberg called our city “the world capital of opportunity and entrepreneurism,” and a place where “innovation occurs when people look with fresh ideas at old problems, and then work together to solve them.” Rhetorical flourishes in the speech gave hope to the environmentalists, builders, and architects present, including newly inaugurated AIA New York Chapter President Tony Schirripa, AIA, IIDA, whose theme this year addresses architects as leaders. The Mayor said: “We will find innovative new ways to create jobs in the industries of the future, from bioscience and arts and culture, to green technology that fights global warming and local asthma at the same time,” and “the future starts here, it starts now, and it starts with us.”

While the city’s Active Design Guidelines, a successful collaboration between several mayoral agencies, was not specifically called out in the short speech, its upcoming launch the evening of January 27 at the Center for Architecture, was anticipated. The Mayor said, “Conventional wisdom holds that by a third term, mayors run out of energy and ideas — but we have proved the conventional wisdom wrong time and again, and, I promise you, we will do it once more.”

From my perspective, the best embellishment in the inaugural speech was the Mayor’s concluding quote of the analogy from E.B. White’s Here is New York: “New York is to the nation what the white church spire is to the village — the visible symbol of aspiration and faith, the white plume saying the way is up.” Before the Staten Island P.S. 22 chorus broke into a G-rated rendition of the Jay-Z song “Run This Town” (from Blueprint 3), the Mayor ended, “On this first day of the year, the first day of the decade, and the first day of the future of this great city — the way is still up.”

Norval White, 1926-2009

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Norval White in France, 2008.

Fran Leadon

The manuscript for the fifth edition of the AIA Guide to New York City was completed on December 15, 2009. Two weeks later Norval White, FAIA, was suddenly gone. He died of a heart attack at his home in Roques, France, on December 26. Of the previous four editions of the guide (1968, 1978, 1988, and 2000), the first three were co-authored with the indefatigable Elliot Willensky, FAIA, who passed away in 1990. The two made quite a pair, by all accounts (White, taciturn and tall; Willensky, loquacious and mutton-chopped). I never had the pleasure of meeting Willensky (I was still in college when he died), but I have had the great honor of knowing Norval as collaborator, friend, and mentor.

Norval was a practicing architect and well-known professor (at Cooper Union and City College) in addition to his work as a writer and historian. He maintained his own practice, and for years was a design partner at Gruzen Samton (he was the lead architect on such notable projects as Essex Terrace in East New York, Brooklyn, and 1 Police Plaza on Park Row, at the foot of the Brooklyn Bridge). A New Yorker through and through, he was born and raised on the Upper East Side but lived in later years on Pierrepont Street, in Brooklyn Heights. He was a leader in the unsuccessful but influential fight to save the original Penn Station (he picketed alongside Willensky), and while he was a staunch preservationist, he was admirably open to new ideas (and a fan of the firms Herzog & deMeuron and SHoP in recent years).

Norval “retired” to France in 2005, but remained more up-to-date on the architectural goings-on in NYC than just about anyone I know. He daily perused the postings on Curbed and Brownstoner, and devoured The Architect’s Newspaper, compiling meticulous lists of buildings in progress. In January 2009, he flew across the Atlantic and spent a month touring the city, joining me for madcap, careering drives through the five boroughs (one pell-mell dash around Brooklyn featured Connie Rosenblum of the New York Times riding shotgun, furiously scribbling away, trying to keep up with Norval’s one-liners). During one drive through Lower Manhattan, every street corner and building seemed to prompt a memory for him (“I went to a party there, on the third floor, in 1954”), and he would grill me whenever he saw a new building under construction: who designed it, when would it be finished, what did it replace? Full of curiosity and energy, he insisted we cover everything from Battery Park to Chelsea in one day. Exhausted, I finally convinced him to break for lunch at the NoHo Star, where he continued to snap photos at our table: the staff, the food, the light fixtures. There was simply no stopping him. When I told him some months later that my students and I had finally completed all the photographs for Manhattan, his response was, “What about Brooklyn?”

Norval constantly told me to stop what I was doing and “Go out! Go out!” He didn’t like it when I was editing photos at home, or doing research on the Internet. The AIA Guide has always been first person, fly-on-the-façade research, conducted on-site by hiking through neighborhoods like old-time newspaper reporters on the beat (like Joseph Mitchell with an architecture license). Architectural research is always the most accurate, and the most fun, when it is conducted at stoop level, looking hard at the city from its sidewalks, up close. Norval didn’t want the Guide’s readers sitting at home. He wanted them to explore the city, to walk New York’s streets, and to ramble through its parks.

To read the New York Times tribute to Norval White, FAIA, see “Norval White, of AIA Guide, Dies at 83,” by David W, Dunlop, 12.30.09.

Winning Mural Relegated Unexceptional

In another mystifying development at Ground Zero, the Port Authority of New York and New Jersey (PANYNJ) announced that a mural for the construction fence at the World Trade Center, designed by Sage & Coombe Architects, will instead be installed at Louise Nevelson Plaza in Lower Manhattan later this spring. According to Robin Pogrebin in her article, “Planned Mural Will Not Be Installed at Ground Zero,” The New York Times Art Beat, 01.08.10, despite winning a competition hosted by the NYC Department of Transportation (DOT) and PANYNJ, the entry was deemed “not extraordinary enough” for the site.

At a site where construction barricades block access, entry to the subway and Path trains is an ever-changing maze, and a Subway restaurant will reach the top of the Freedom Tower before anything else, I wonder what is worthy enough for a construction fence? For a firm like Sage & Coombe (which has not responded publicly to the announcement), recipients of a 2007 AIANY Design Award for Interiors and part of the Mayor’s Design + Construction Excellence Program in 2007, having its winning entry pushed aside and relocated to a nondescript plaza is a major insult to the quality of its work.

Perhaps what the DOT and PANYNJ have planned is something truly spectacular, but for some reason I find it hard to believe that every entry to the competition was inadequate, and even more so that the winning entry did not deserve the prize.

In this issue:
· Recipe for New Design: The Robert at MAD
· What’s Cooking at the Freedom Tower
· Autohaus Shifts into Gear
· More Mixed-Use for Melrose Commons
· Louvre Expands LENS to Lille



Recipe for New Design: The Robert at MAD

TheRobert

The Robert.

Photo Credit: Andrea Malizia

The Robert, a 132-seat restaurant, recently opened on the ninth floor of the Museum of Arts and Design. Schefer Design created a flexible, open interior environment that maximizes views of Columbus Circle and Central Park. Materials such as metallic porcelain tiles, expanded metal ceiling panels, stainless-steel trim, tightly upholstered metallic fabric panels, decorative plaster, and strategically placed mirrored panels create a back-drop that reflects the museum’s architecture and provides a setting for selected art installations. London-based designer Philip Michael Wolfson created sculptural pieces including the restaurant’s two reception desks and a 15-foot-long steel communal table with a six-foot-tall “sound wave” element. Mobile-like LED-lit Lucite chandeliers and sconces were designed by San Francisco-based designer Johanna Grawunder, and Vladimir Kagan designed the upholstered furniture. A new video art piece, “Orbit 2” by artist Jennifer Steinkamp, is the first work to be displayed on the restaurant’s 103-inch plasma screen.


What’s Cooking at the Freedom Tower

WTC_Subway

The Subway restaurant is located in the Northwest Pod — containers NW31, NW32 AND NW33.

Courtesy PANYNJ; Courtesy DCM Erectors

A Subway restaurant has opened for Freedom Tower construction workers who want to stay in the tower during their half-hour lunch break (as the tower gets higher, it could take them 45 minutes to get to the street). The restaurant is like any other Subway, but the big difference is that it is housed in a series of shipping containers that will rise in tandem with the tower itself. A Subway franchisee was subcontracted by DCM Erectors, which fabricates and installs all of the tower’s structural steel. DCM Erectors was given the layout and they had the container fabricated to suit the constraints of the structure of the tower. The restaurant occupies three of nine top level containers. The remaining six containers in the pod are for dining areas and mechanical services.


Autohaus Shifts into Gear

Autohaus

Mercedes-Benz Autohaus.

The Spector Group

The Spector Group has been awarded the contract to design the new Mercedes-Benz Manhattan dealership in Clinton Park, a mixed-use development on 11th Avenue between 53rd and 54th Streets designed by TEN Arquitectos and currently under construction by Two Trees Management. The dealership will occupy parts of the first two floors of the complex for showrooms and offices, and three levels below ground for service facilities. This is the only company-owned dealership in the country, and the flagship of the Mercedes-Benz Autohaus initiative, a new set of design standards geared toward optimizing the customer’s experience. The new facility will combine brand and architectural design elements that are oriented toward creating more transparency, comfort, and convenience. It will feature state-of-the-art showroom technology and a service area. In addition to the dealership, the $700 million Clinton Park includes more than 900 mixed income rental apartments, retail space, a health club, and a NYPD equestrian facility.


More Mixed-Use for Melrose Commons

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Melrose Commons North Urban Renewal Area.

Magnusson Architecture & Planning

One of the last large city-owned tracts of land in the Melrose Commons North Urban Renewal Area (URA) in the Bronx will be transformed into a mixed-use project designed by Magnusson Architecture & Planning (MAP). Three connected buildings will include 260 units of low- to moderate-income family housing, subsidized senior housing, studios, and 27,500 square feet of retail space. The project is designed for LEED Silver certification; green features include solar heating, roof gardens, and storm water management. Developed by CPC Resources, The Bridge, and The Briarwood Organization; the latter will also construct the project. Under the auspices of the City of New York Department of Housing Preservation and Development (HPD), 2,743 dwelling units have already been built or are currently under construction within the Melrose Commons URA, contributing to the city’s $7.5 billion New Housing Marketplace Plan (NHMP) to build and preserve 165,000 units of affordable housing.


Louvre Expands LENS to Lille

LENS

Louvre LENS.

SANAA/ImreyCulbert/Catherine Mosbach

Ground was recently broken on a former coalfield for the new Louvre LENS near the city of Lille in northern France. Co-designed by NY-based Imrey Culbert, Tokyo-based SANAA, and Paris-based Mosbach Paysagistes, the new branch of the Louvre will span 300,000 square feet and will house hundreds of artworks from the Louvre’s collection. Located on a 153-acre site, five one-story transparent and reflective pavilions will blend into the landscape. One of the pavilions, the Gallery of Time, will feature a semi-permanent exhibition of artworks regardless of styles and origins and arranged in chronological order — a departure from the way art is exhibited in Paris. A square-shaped pavilion in the center serves as the main reception area and will contain a large staircase that leads down to the first basement level. It will house a place where visitors can look down into the museum’s studios and see where artworks are prepared for display.

In this issue:
· Last Chance to Apply for 2010 Community Board Positions
· 2010 Call for Nominations: AIA College of Fellows
· Join AIANYS on a 2010 Committee
· Passing: Cheri Melillo, Hon. AIA


Last Chance to Apply for 2010 Community Board Positions
Architects, urban designers, landscape architects, and urban planners are urgently needed to join NYC’s Community Boards. Half of Manhattan’s 600 community board seats are up for appointment in 2010, and this Friday, 01.15.10 (postmarked), is the application deadline for positions. Community board members represent their neighborhood’s interests on a range of issues, including development, land use, zoning, and the delivery of city services, and the professional expertise of architects can be a valuable asset. While it is a major time commitment, and the application process is a competitive one (the Manhattan borough office is anticipating three applications for every open spot), it is an opportunity to shape one’s neighborhood and give back to the community through effective community-based planning. Details on applying to one of Manhattan’s 12 community boards can be found here. Information on applying in other boroughs can be found on AIANY’s advocacy page.


2010 Call for Nominations: AIA College of Fellows
The AIANY Chapter Fellows Committee is accepting recommendations for nominees to fellowship. Advancement to the AIA College of Fellows is granted for significant achievement in design, preservation, education, literature, and service. Fellowship honors architects who have been members for 10 or more years and who have made contributions to architecture and society on a national level. (View the list of AIANY members who are fellows here).

The process starts with this call for recommendations, submitted to the AIANY Fellows Committee (the 2010 committee includes: Stanley Stark, FAIA, Chair, HDR/CUH2A; David Burney, FAIA, NYC Department of Design & Construction; Michael Gabellini, FAIA, Gabellini Sheppard Associates; Frank Greene, FAIA, Ricci Greene Associates; Peter Samton, FAIA, Gruzen Samton; and Sylvia Smith, FAIA, FXFOWLE Architects). The committee, responsible for facilitating the candidacy process, will assess the submitted suggestions, make their own invitations, and recommend candidates for Board approval, with the Chapter’s final nominations being sent to AIA National in early fall 2010. The Fellowship Committee will be accepting recommendations through 02.05.10, and portfolio invitations will be sent out shortly thereafter, with an information session organized on portfolio submission later in February. Visit the Fellows Committee page for more information on the committee, the timeline, and the full procedure of the nomination process. Contact the committee or Suzanne Mecs (smecs@aiany.org) if you need help connecting with a member.


Join AIANYS on a 2010 Committee
AIA New York State is looking for new members for eight of its committees: Associates; Convention Steering; Government Advocacy; Membership Inclusiveness; Planning; Budget & Finance; Personnel; Public Advocacy; and Student Award/Scholarship.

In 2009, the Associates Committee worked to improve communications and relations with associates, and developed programming for associates at the AIANYS convention. Long-term goals include helping AIANYS address the needs of interns (workplace, IDP, and licensure). The Convention Steering Committee prepared AIANYS for the 2009 conference in Rochester, while the 2010 committee will help select presentations and speakers for the 2010 convention in Buffalo.

The Government Advocacy Committee works in Albany to promote the legislative interests of architects, including the Chapter’s annual Lobby Day. In 2009, their efforts also included the successful support of the Historic Preservation Tax Credit, which promotes the rehabilitation of historic buildings.

The Membership Inclusiveness Committee works towards increasing the diversity of membership by reaching out to minority members, students, educators, and non-traditional practitioners.

Both the Planning Budget & Finance Committee and the Personnel Committee help the staff of AIANYS operate the organization while maintaining a balanced budget.

The AIANYS Public Advocacy committee identifies advocacy initiatives to pursue at the state level.

The Student Awards/Scholarship Committee oversees an annual Awards program for NYS architecture students.

If you are interested in joining any of these committees, please Heidi Benjamin at hbenjamin@aianys.org for more information.


Passing: Cheri Melillo, Hon. AIA
By Patricia M. Leyden, CDFA

With distinction from Northwestern University, Cheri C. Melillo, Hon. AIA, received her BS in Theater in 1971. Her career encompassed acting and 24 years as administrator Butler Rogers Baskett Architects (BRB). While employed at BRB, during her membership in the Society for Design Administration (SDA), Cheri created and was editor-in-chief of the SDA award winning news journal, SkyLines. She also instituted the SDA’s Lunch-Time Tours and Administrative Round-Table Program.

During her tenure as the SDA’s National Public Relations Chair, she developed the internationally renowned food charity “CANstruction.” She served as Volunteer President and Executive Director of CANstruction for 17 years. It was her passion and a true labor of love. She mentored teams of architects, engineers, and students who competed to design and build self-supporting sculptures made with cans of food. The results are displayed to the public as giant pop art sculptures in each city where a competition is held. The public is invited to donate canned food to view the exhibitions. When the structures are dismantled, all of the canned food is donated to local food banks. At the time of her death, more than 140 cities from the U.S. to Australia were participating by holding competitions. Thirteen million pounds of food have already been donated to food banks.

Cheri’s vision of introducing students to the design/build professions by bringing CANstruction into school systems is now becoming a reality. Students incorporate art and design, math, geometry, engineering, 3-D rendering, construction, and project management. CANstruction will have the ability to stimulate the next generation of construction professionals, while teaching them the importance of performing community service.

In 2000, Cheri was made an Honorary Member of the AIA for her work in developing, marketing, and promoting CANstruction. In 2009, on behalf of CANstruction, she accepted the Creativity of the Mind Award from “The Odyssey of the Mind,” and a Public Service award from the Building Owners and Managers Association (BOMA). She was an honoree at the 2009 City Harvest Practical Magic Ball in NYC, and in the past has been honored by The Food Bank for NYC and The Society for Marketing Professional Services. This past fall, she was nominated for the New York Post Liberty Award in the Lifetime Achievement category.

Cheri was the “go to” person on a wide range of subjects and she always had an answer to any question — be it about HR or administrative issues, or organizing the easiest way to track professional credits. She developed an effective tracking system for professional development hours and gave it to SDA National to offer as an organization product. If Cheri did not have the answer, she knew whom to ask and she would make sure that that the answers were shared with us all.

Cheri always gave 100%. Through her hard work and dedication CANstruction will live on, and every year we will remember her and miss her presence as we work on putting the competition together. We are all the better for having known her — her sense of humor, her incredible energy and knowledge, and her presence. She touched all of our lives in so many positive ways and we will all be the poorer for her absence.

Cheri was born on 02.04.49, in Muskego, WI. She is survived by her husband Bruce E. Melillo, son Brion John van Over, mother Rosalind Couture, and brother Gary Couture.

The family has requested that contributions in Cheri’s name be made to CANstruction at www.canstruction.com.

Meet Jean Parker Phifer, FAIA, LEED AP, 2010 President of the Center for Architecture Foundation

ischool-MS72

Tim Hayduk

The Center for Architecture Foundation’s 2010 President, Jean Parker Phifer, FAIA, LEED AP, specializes in planning, restoration, and sustainable design projects for cultural institutions. She has designed and restored numerous buildings, monuments, public spaces, and landscapes, primarily in New York. Phifer is an adjunct associate professor of Environmental Design at New York University, and served as the President of the NYC Art Commission, now the Public Design Commission, from 1998-2003. She is the author of Public Art New York (Norton, 2009).

Glenda Reed, Operations Manager at the Center for Architecture Foundation, spoke with Phifer about her visions for design education in the coming year.

Glenda Reed: What excites you about the Center for Architecture Foundation?
Jean Parker Phifer: I am delighted that the foundation reaches thousands of children, teenagers, and adults to develop skills in visual literacy, and to broaden their grasp of how design issues can impact their mental and physical well-being. We are helping the citizens of the future to craft their environment in a positive way.

GR: Why do you think design education is important?
JPP: Design education is more important now than ever, since our daily lives are shaped increasingly by the built environment. Helping people of all ages to understand and interpret this environment gives them the tools they need to participate in planning and design efforts to improve their communities in innumerable ways, from enhancing neighborhood vitality to designing new public facilities and parks.

GR: What are your goals as President of the Foundation in 2010?
JPP: In the next year we will partner with the AIANY Chapter to increase funding for programs, lectures, and exhibitions at the Center for Architecture, and we plan to enlarge the reach of our educational programs both in schools and at the Center. We also plan to build a larger membership base for the Center, reaching beyond the architectural community to draw in a larger audience interested in design and planning issues in NYC.

Get Off Your Couch: Affordable Workspace for Freelancers

Hive Rendering Final

Hive at 55.

Courtesy of Hive at 55

Many unemployed architects pick up freelance projects as they wait for signs of economic revival, while others take the opportunity to start their own small practices. However, working from one’s apartment poses many challenges and obstacles to productivity, and renting office space in NYC can be prohibitively expensive. But now there is an affordable alternative. The Alliance for Downtown New York, in conjunction with the NYC Economic Development Corporation, 55 Broad Street, and the Rudin family have launched Hive at 55 , a new co-working facility.

The 4,000-square-foot, fully outfitted space provides shared workspace and support for small businesses, freelancers, and entrepreneurs. It is located at 55 Broad Street, also known as the New York Information and Technology Center. The facility includes workspace for more than 40 people at one time, in open seating and three private workrooms. Amenities include WiFi, fax, printer and copy machines, conference rooms, and bicycle storage. Conference rooms may be used for workshops, classes, seminars, and business meetings.

The 2009 Building Brooklyn Awards winners include Private Sector Honoree Richard Meier, FAIA, and building projects in the following categories: Arts & Culture, Galapagos Art Space by Cycle Architecture; Economic Development, Triangle Junction Mall by Cooper Carry; Historical Preservation, 221 McKibbin Street by Oaklander, Coogan & Vitto; Industrial, The Block Building by AB Architekten; Institutional, Brooklyn Children’s Museum by Rafael Viñoly Architects; Landscape and Open Space, Brooklyn Bridge Pedestrian Improvements by Emphas!s with Tillett Lighting Design and KT3D; Mixed-Use, Atlantic Gardens by Taylor and Miller Architecture and Design and John Schiementi Architects with Joanna Pertz Landscape Architecture; National Grid Award for Energy Conservation, The Perry Building by Stantec; Office, NYPD Tow Pound Operations by Spacesmith; Residential — Affordable Housing, Morris Manor by Harden + Van Arnam Architects; Residential — One-to Two-Family, Carroll Gardens Row House by Delson or Sherman Architects; and Residential — Multi-Family, On Prospect Park by Richard Meier & Partners, Architects

The Times Square Alliance invited four NYC design firms to develop proposals for a Valentine for Times Square; the winning design is the “Ice Heart” by Moorhead & Moorhead, which will be installed on 02.11.10. The other participating firms included Aranda/Lasch, Situ Studio, and su11

The Peace Pentagon competition resulted in three first place winners, including Maureen Connor/ Institute of NYC, as well as Honorable Mentions New World Architects; Jason Allen, AIA, Nash Hurley & Gerald Del Priore; and Heejoo Shi & Kyung Jae Kim… A team led by AECOM has won an international competition for a concept design and feasibility study for Seoul Grand Park in Korea…

Bill Moggridge, designer of the first laptop computer in 1980 and co-founder of IDEO, has been named director of the Smithsonian’s Cooper-Hewitt, National Design Museum in New York…

UMass Amherst and Hancock Shaker Village have announced key faculty appointments for the new Master of Science in Design with a concentration in historic preservation program, including Program Director Dr. Steven Bedford, Dr. Max Page, Robert Adam, Don Carpentier, Donald Friedman, and Michael Devonshire

12.09.09: AIANY and friends gather for the Margaret Helfand Memorial Celebration & Plaque Unveiling.

Helfand

Friends of Margaret Helfand: (L-R) Anne Snee, David Whitcomb, Henrietta Whitcomb, Sherida Paulsen, FAIA, Rolf Ohlhausen FAIA, Judith Hunt, Elisabeth Martin, AIA.

Sam Lahoz

12.17.09: Metropolis Art Prize 2009 runner up video Wonderland by artist Hye Yeon Nam was shown in Times Square on three giant LED screens.

TimesSquare

Yeon Nam was taped walking backwards through Times Square and then reversed the scene.

Hye Yeon Nam, courtesy Bablegum.com

12.20.09: Center for Architecture poster in Bleecker Street station.

BleeckerSt_CFAPoster

Shopping without schlepping.

Kristen Richards

01.11.10: The dedication ceremony was held for two custom bronze murals designed by Beyer Blinder Belle Architects and Planners installed in the landmark-designated lobby of 230 Park Avenue. The building’s antiquated directory boards were re-used to create new artwork depicting a midtown train yard and skyline to commemorate the building’s original use as the headquarters for the New York Central Railroad.

Panels_lowres

Panels in progress.

Beyer Blinder Belle Architects and Planners

LionBrand

Martha Stewart Living features the store designed by David Gauld Architect for Lion Brand Yarn, calling it “a global destination for yarn crafters.”

David Gauld Architect/Martha Stewart Living