Author: Jessica Sheridan Assoc. AIA LEED AP

Gallery view of “Rising Currents: Projects for New York’s Waterfront” at MoMA, on view 03.24-10.11.10.

Photograph by Jason Mandella. ©The Museum of Modern Art

I have been following the Palisades Bay project since it won the 2007 Latrobe Prize. In studying New York Harbor, the team — Guy Nordenson, Stan Allen, AIA, Catherine Seavitt, James Smith, Michael Tantala, Adam Yarinsky, FAIA, and Stephen Cassell, AIA — researched the effects of rising sea levels using technological analysis and modeling. Then, they issued a series of proposals that incorporated sustainable strategies (from algae farms to artificial archipelagos) to mitigate harmful effects of the elevated water levels. Now, MoMA and P.S.1 have expanded the proposal by asking five teams to further develop different sites around the harbor. The result is on view at MoMA in the “Rising Currents” exhibition (See “Five Proposals for NYC’s Shoreline Blur Land & Sea,” by Murrye Bernard, in this issue of e-Oculus). [INSERT LINK]

Both the 2-D and 3-D representations of the proposals in the exhibition are exciting to see as they give strong visuals to some of the ideas introduced by Palisades Bay. However, I left the exhibition not fully convinced that all of the proposals would work in practice (although that was not entirely the point). The Palisades Bay project provided a firm grounding for the explorations, but I wish the exhibition presented more of the thought processes behind the individual proposals. Through an architects-in-residence program at P.S.1 from November 2009-January 2010, Architecture Research Office/ARO with dlandstudio; Lewis.Tsurumaki.Lewis/LTL Architects; Matthew Baird Architects; nARCHITECTS; and SCAPE/LANDSCAPE ARCHITECTURE only had three months to develop their ideas. I would like to see what the teams could come up with given more time.

According to the Rising Currents website, MoMA and P.S.1 created the program to capitalize on “available talent” to explore ideas during this economic recession. This seems a little exploitative to me, and I wonder why that was part of the impetus for this exhibition. Why would it take a recession for MoMA to ask for sustainable ideas?

Nevertheless, the point of the exhibition — the inaugural of a series called “Issues in Contemporary Architecture” at MoMA — is to bring awareness of current urban issues to the public, and for that “Rising Currents” can spark the imagination of any visitor. From SCAPE’s oyster beds in the Gowanus Canal (which left me wondering if anyone would ever really be able to eat an oyster fresh out of the polluted water) to nARCHITECT’s upside-down residential blocks (stepping away from the water instead of traditional setbacks on top of buildings), some of the ideas are pretty radical. Large-scale models include ARO and dlandstudio’s east/west slice of Lower Manhattan showing the streets flooded like Venice canals up to the 9/11 Memorial Pools. LTL’s model shows conditions of the soft edge and serrated shoreline in NJ as it goes from low and high tides to a severe storm surge.

The success of this exhibition may be measured by the affect it will have on instigating change in sustainable practices in the harbor. Ultimately, I hope to see some of the ideas put to practice.

03.23.10 Editor’s Note: One of the snowiest winters on record has finally come to an end and spring has delivered warmer weather, crocuses, and the 2010 Census. Now that it is spring, it also means that New Practices New York has launched! Check out the New Deadlines section for more information.

Coming up on 04.08.10, OCULUS and e-Oculus are sponsoring a panel on the challenges, opportunities, trends, and technologies of architecture. Organized by IDNY and Designer Pages, join us at Mohawk at 6:30 PM for #FUTURTECTURE. Click the link to RSVP.

– Jessica Sheridan, Assoc. AIA, LEED AP

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Also, check out the latest Podcasts produced by AIANY. The latest is the Panel Discussion on New Architecture in Historic Neighborhoods, which took place at AIA National on 03.03.10.

Since the USGBC established LEED, professionals have discussed its obsolescence as new standards develop and sustainability is incorporated into building standards. Perhaps that time is near with the new International Green Construction Code (IGCC), now available for review. As I have begun to peruse its contents, I am pleased to see that the complete draft of the code is conceived of holistically. It is a positive step in the evolution of building codes to establish green standards that move beyond LEED and recognize in depth the complexities of the built environment.

Developed by a Sustainable Building Technology Committee (SBTC), established last June by the AIA, International Code Council, and ASTM International, it is clear that the IGCC was developed by professionals in the fields of architecture, engineering, urban planning, and related governing agencies nationwide for the professionals working in those industries. The chapters are organized in categories similar to LEED, such as Site Development and Land Use (Chapter 4) or Indoor Environmental Quality and Comfort (Chapter 8), but the contents relate directly to current building codes. Eventually, if and when the IGCC is incorporated into the International Building Code or Model Code, the transition will be straightforward.

The IGCC is much more specific than LEED when outlining requirements for a building, as they are related to location, type, occupation, and/or site conditions — similar to building codes. For example, there is a table in Chapter 4, Section 403: Transportation Impact, that defines the number of bicycle parking spaces based on occupancy (related to the Model Code) and use. Movie theaters in A-1 Occupancy require one short-term space per 50 seats, but no less than four spaces, and one long-term space per 50 employees, but no less than two spaces. Schools on the other hand, in E Occupancy, require one long-term space per 10 students and do not require any short-term spaces.

The public comment period for this draft of the IGCC is open until 05.14.10, after which there will be an internal review period, a code development hearing, and a revised draft issued on 08.14.10. The cycle will repeat and continue through November 2011, and hopefully the IGCC will be adopted at the beginning of 2012. I encourage everyone to take a look and participate in the discussion, as this code could significantly impact the future of the built environment at a global scale.

I recently participated in what is called “Dark Dining,” an art performance/dining experience where individuals are blindfolded while served a four-course meal. Billed as “participatory art events revolving around sensory awareness, fine food, and eating,” the experience was fascinating because it not only heightened my senses when it came to food — it also elevated my awareness of space.

*Spoiler Alert* The event began when my friend (and fellow designer) and I arrived at the restaurant. We were given blindfolds outside and were led into the space clutching the shoulders of an escort. When we sat down, we could feel the size of the table and hear and feel how close we were to each other, but it wasn’t until all of the diners were instructed to bite into a crunchy crostini at once that we understood the scale of the room, the height of the ceiling, and the number of people in the restaurant. Throughout the meal, besides getting used to eating with my fingers without knowing what I was grabbing and trying to hold a conversation without tuning into others’, periodically musicians performed, and dancers moved around the diners. Each portion of the event provided a new and different understanding of the room.

Before I experienced the meal, I expected that the event would heighten my sense of taste more than anything. I anticipated spilling food (which, remarkably, was not an issue); I thought I would be a bit frightened without my sight; but overall, I did not think the experience would be much more than a fun evening. In actuality, however, it changed my understanding of sound, my awareness of proximity, and my overall sense of space.