ABG: Longer than you think.

The Architect’s Newspaper — have you subscribed yet? See, if you don’t, good things like this, you know, go away; unlike the less good things, us, namely, who stick around well past our welcome — has started posting their lead article online. This issue, they take a look at the sadder than even we presumed tale of the African Burial Ground memorial. The finalists we re-reported on last week were announced in May (the Trib article was apparently in response to a couple public feedback sessions that were held after the announcement), nearly seven years after the RFP was opened. A timeline is provided that details the relative progress of other high profile memorials (the Oklahoma City bombing and the projected WTC Memorial schedule) showing the relative efficacy of each program, and it ain’t pretty. The GSA claims the lag is relative to research being done at Howard University, which is now complete. There is a construction completion date, but no intermediary milestones that might be relevant (such as the date a winner will be picked and commission awarded). And no accomodation for revising the budget (which stands at $1 million, the figure proposed seven years ago). Considering that the GSA supports a percent for art program in many of their projects, and the cost of the project that led to the discovery of the remains (290 Broadway) was $276 million, raising the budget to at least $2.76 million doesn’t seem unreasonable. But it is of course unlikely. And you don’t even want to start drawing comparisons with budgets under review down the street, where, depending on how much sitework you want to assign, maybe 300 times as much is being allocated at the WTC.

There are also far better renderings of the proposals, but our original conclusions still stands: the modestly of the site mitigates the impact of any complex structure, and the formal gestures, which generally embrace the symoblic modernism that is the predominant memorial aesthetic seen in the this country since Maya Lin’s Vietnam Memorial, beg for more space to express what, in some cases, appear to be striking and effective concepts. The one element that seems left out, which potentially could transform the space, is some physical manfiestation of the actual size of the burial ground (which extends well beyond the site boundaries) which would make more apparent the impact of this community at the time the area was in ‘active’ use — estimates are that 10 to 20% of the population was of African descent at the time, a drastically different picture than we are typically allowed in the whitewashed images of colonial America.

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Citigroup to downtown: Drop dead.

So how much office space do we need downtown? Citigroup announced it was pulling 1,700 jobs out of downtown today, sending most to Jersey City, and a smaller number to Long Island City. Chase is also expected to ship more jobs from downtown as the Bank One merger is completed. Goldman Sachs will be consolidating most of its operations (currently spread over four major locations) into one building (and sending the spillover over across the river to a building nearing completion). And Larry Silverstein is building two new towers, which will add to 3-6% to the available inventory (that’s counting 7WTC and the Freedom Tower only), which currently stands a nearly 15% vacant. Unless a major new tenant relocation from outside the district (the best prospect for 7WTC right now is the SEC, a relocation that won’t positively impact the overall vacancy rate) happens in the next two years, we can forsee vacancy rates hitting 18-20%.

And what no one is discussing in detail is that much of what remains downtown in the financial services industry is highly susceptible to poaching. Two major factors impact this: security concerns (which mandates redundancy and/or distribution of support services) and the unwinding of leases and operations contracts. The huge investment in network infrastructure and space acquisition that occurred only 4-8 years ago was generally done at a premium, at the tail end of the hottest commerical real estate market in a generation. The subsequent falloff resulted in staff reductions and some fundamental changes in how the FIRE segment operates, niether of which has reversed itself, even though the markets have done tremedously over the past year. And the concomitant implosion of the telecom sector means that firms have the leverage to move just about anywhere and be competitive. Physical proximity was a premium as recently as five years ago. The rise of ECN’s (Instinet, et al), and their cutthroat margins means that a trading floor might be better located in a shed building in Omaha (capital of call centers, which means that there is a huge amount of cheap fiber underfoot) rather than an anonymous tower on Water Street. Analysis and trading desk support can be shipped to India. The local culture of the downtown district is programmatically highly insular and monoculture focused — since the markets don’t take a lunch break, you end up with bland, cloistered, buildings with huge floorplates. Street life is anemic. A train tunnel and 10 million square feet of office space aren’t going to change that. When you take a look at the type of office space that exists downtown, how it is used, the relative amount of cultural, housing and consumer space alloted, you end up with a profile not dissimilar to places none of use want to live — Tysons Corner, 287/87, etc. What’s good for commerical, speculative office space landlords is not good for the city. The typology is antithetical to what draws people to the city and keeps them paying for the privilege.

Setting aside this neo-socialist vision where representatives of the majority of the people, rather than the majority of the money, determine was is best for their shared space, I’ll retreat and kowtow to the the magical forces of the free market: show me the lease. I will be humbled and testify to the error of my thinking. Bring it.

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Now this is how you do a bitchslap.

It’s been a smackdown kind of week in the arts world. Now, a lawsuit has relatively little pugilistic value, but you would think the literary types would get a bigger charge out of the terse words that get bandied about in court papers instead resorting to slap and tickle at chi-chi eateries (the whiff of Mailer wafts through the dining room).

Not to be outdone but those damned scribbling men, yesterday Studio Libeskind made good on their threat and threw down in a big way,
filing suit against developer Larry Silverstein for the fee they demanded back in May. The Observer has the dish, and the Times has the details. Nina Libeskind outlines the rationale for the amount, and it is pretty rational (using generally accepted billing standards, though their claim of 25% of schematic development will be hard to quantify, not due to their failure to document, but because of the impossibility of establishing what is the signficant intellectual contribution to schematic plans, and who provided it), and they clarify their position vis-a-vis timesheets: namely that they don’t keep them. For anyone. Let’s hope they have a real good employment lawyer, ’cause everyone knows you don’t keep timesheets to please clients, but to fend off the government (how many office have you been in where CAD jockeys and model builders were exempt employees?). Libeskind gets a vote of confidence from Rampe in the article, and another one this morning when they sat side-by-side at the New York New Visions roundtable at the Center for Architecture (recap hopefully this afternoon).

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The Atelier Stripped Bare by Her Developers, Even.

I wish I hadn’t slept through Statics. I’m constantly amazed at what comprises adequate structural support for buildings undergoing renovation. The Mohawk Electric building, which is getting a fussy new TriBeCa worthy name and face lift, big time, has been slowly deassembled over the past couple weeks. I had assumed they would strip the floors to the joists, and start the renovation from there. The skeleton was slowly revealed (the windows were the first to go) and was striking, particularly at sunset. All the interior wood had been painted white (to likely maximize interior light levels), so the play of shadow across the wood running in all three dimensions was starkly evident. But then, on the north side of the building, the joists came out, leaving only the major interior columns and beams. I understand post and beam construction, to a point (it’s pretty obvious), and all of it works in compression, so as long as it’s heavy, it probably isn’t going anywhere, but still. In another week or so, it’s going to be a brick shell. A hell of a sight (catch it while you can). And I still wonder about those joists. Buildings from the turn of the century (particularly those for manufacturing) used dimensional lumber you just can’t get anymore. With the proper flooring, the provide a solidity and sound attenuation that’s hard to beat. Nonetheless, make way for the corrugated floor pan and concrete pour. Hell, maybe they should just get Gursky to take a picture of it and glue the print on the facade of a brand new building. And afterward, walk up to 116 Hudson, where you can see the old and new happen side by side — well, old there is a bit of a dodge too. It isn’t even a brick shell, the center having been cleanly ripped out months ago. They don’t make them like they used to, that much is for sure.

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Good art always arises from struggle. But when do we get to the art part?

The Times picks up the deliciously nasty tale of art and preening self-interest going on at the Clemente Soto Velez Cultural and Educational Center in the Lower East Side. The Villager ran a piece on this last month, which is even richer in detail. Either the Times took pity, and glossed over the fisticuffs in front of NY1 cameras, or everyone got wise to the benefit of good press, and kept their mouth shut. Because nothing makes people lose sympathy faster when the Sandman comes calling, in the form of Keith McNally, than seeming to piss all over what is basically one hell of a sweet deal. You’ve got one side invoking the mystery of Latino machismo and the other carping “But it isn’t affordable if you can’t use it” even though this complaint came from someone drawing salary from the withheld rent. Here’s a wacky idea: I’m sure there is no shortage of artists who would be willing to play nice in order to get a classroom sized studio for $500/mo. Mind you, these aren’t homesteaders who moved in back when they were finding socialites with dead bodies in their trunks. The center was organized only ten years ago, and many of the artists have been there less than that.

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Now into the hands of dissemblers.

The Times provides a pretty thorough picture of the work currently slated for the WTC site. Though it implies the inevitability of progress, the article is written very specifically about the immediate needs, which would be the precursor of almost any construction, it invokes the future via the senseless mantra of Guileless Pataki ‘Steel in the sky by 2006’ without providing much in the way of how or what that steel would be for. While the amount of detail (given the numerous previous articles) on how a tieback functions is welcome and likely unprecedented — imagine Public Lives stories in twenty years about how the regular coverage inspired the scions of New York elites to abandon fashion and film for engineering — a similarly detailed discussion about the state of financing is perhaps more relevant at this stage. Given Silverman’s grab at the (remaining) money, cleverly framed such that the entire project is presented is needing assistance (whereas previously he claimed the Freedom Tower was fully funded), it throws and even more dense smokescreen in front of the process. My knowledge of the LMDC plans is not exhaustive (meaning additional research might clarify some of these), so the still unanswered questions loom: Who is ‘officially’ — contractually — responsible for site planning? Is the LMDC financing site improvements or Silverstein, as leaseholder? And who has authority here? The role of site improvements is even more crucial than building design, and PANYNJ still owns the site. Are the recently awarded cultural components going to own their facilities (seems unlikely)? What portion of the construction costs are they going to provide? When will comissions be awarded for that portion? And so on. There is a New York New Visions roundtable on Wednesday (details) that might explicate some of these issue (Childs, Arad and Kevin Rampe are scheduled to attended. No Libeskind.), though the coalition is an independent organization of designers, without any force of authority, so the attendees are acting out of courtesy and professional interest. It’s being listed as ‘off-the-record’ and I’ll make an effort to clarify this before it’s over and hopefully be able to provide a recap.

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We’ve got high hopes, high hopes.

Curbed promises detailed takes on the High Line finalists all week long, in anticipation of their formal presentation this Thursday. Hopefully, they have better access than the Times does. Here’s the early line (no pun intended): Holl in a walk. It’s buildable, he’s got the history, and, excepting surveys run by Thoman Krens and Peter Lewis, is the most admired American architect working today, and doesn’t have a significant public commission in the city. If he doesn’t get this, then I guess every conspiracy theory about the mendacity and ignorance of the design community and its hangers-on is true.

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More ‘Street Art’.

Deitch Projects (the Grand Street location, 76), is featuring work from Steven Powers (aka ESPO, and the author of The Art of Getting Over which we don’t really know, save for seeing it on the design/alternative art display at St. Mark’s Books). Following a motif he has apparently been developing, much of the work is in the form of signs, clearly fabricated by the sign specialists further east on Grand, or their compatriots, which blanket the exterior. The iconic imagery is both obtuse and one dimensional, but the effect of the garish colored awnings piled up so absurdly is certainly striking, and entertaining, and is an interesting contrast to the polish that is SoHo. They really work when drunken and shrill scenesters stumble along underneath as you look at them, though I don’t think this is something you can request, but must rely on serendipity.

I hate to use the dreaded phrase ‘if you go in for this kind of thing’ but given the language he seems to be setting up, the paintings inside are more effective. My advice is to go at least at night (they have thoughtfully left the interior lit well enough to see the paintings), or twice (day and night). The signs are all interior-lit, consistent with their more pedestrian brethern, and they dominate the streetscape in the dark. Plus, you can stand smack in the center of Grand Street to take it all in.

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Apparently they hand out nostalgia and psychedelics at these events.

The Daily News reports on a recent symposium dedicated to establishing guidelines for the development of Governors Island, a project, like the new Pennsylvania Station, that is an example of the extraordinary statemenship of the late Sen. Moynihan leading to positively provinical and embarassing inaction (the legend is that he convinced Clinton to sell the island to the city for a $1 during a helicopter flight; even though Clinton agreed, the foolhardy response of the city and state necessitated another five years of negotiation). As it stands, there still aren’t any plans for the island, though a wide range of ideas have been put forth in the past half decade (a casino, campuses for most of the major universities, an generic resort, both public and high end private housing). So the Governors Island Alliance had some clearly hippy dippy event that produced the startling recommendations that it remain car-free, and that they build a hill, which they are calling a glacis, likely to acknowledge the former use of the island as a military iinstallation, or as a symbolic gesture to ward off the inevtiable cries of ‘What the fuck?’ the first of which enamanates here. We’re all for car-free everything, but this is really the low hanging fruit. It’s an island, without any vehicular access. Car-free Central and Prospect Parks would be a more worthwhile way to spend one’s afternoon than sketching water parks and other urban planning workshops fantasies. They bothered to say horse-drawn carriages would be better than cars. No wonder OMA’s vision of neo-Orwellian excess persuades people planning large-scale urban redevelopment. When opposed with carriage rides and log flumes, which would you pick?

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Trying hard to not make a back of the bus joke.

My Google skills are average at best, but given the specificity of the event, it seems I can conclude only the Tribeca Trib covered the presentation “last month” (they didn’t even bother to dig up a date; jesus) of five finalists for a proposed memorial at the African Burial Ground on Duane Street. The interesting things is, attendees clearly were in favor of nothing. Not as a matter of critical opinion of any one proposal, but as a concept. The competition, being run by the GSA, didn’t muster support of the majority of folks willing to show up for the presentation. Instead, they are asking the site be left as is, with the possibility of relocating the memorial elsewhere.

One image, and supporting text, is available for each entry at the ABG site, though the renderings range from servicable to poor (given the quality of the image provided to the Trib, this is an unfortunate administrative oversight). The entry from Rodney Leon of AARRIS Architects is the most successful, given the constraints of the presentation — and the site. The entry featured in the Trib, by McKissack & McKissack (a radically different image from the ABG site), while polished, falters when you consider the size of the site (far smaller than you might imagine from the Trib rendering). The actual scale of most of the solutions run the risk of seeming trite, mostly due to modest scale, potentially appearing koisk-like. I find that scale it is the trickiest element in memorials. The Irish Hunger memorial and the Museum of Jewish Heritage (both in Battery Park City) strike me as poorly scaled. Too much squeezed into too little space. That, and the ever increasing number creates a conveyor belt/World’s Fair sense of consumption of memorial. So I’m with the angry dissenters. The site as it stands is dignified and reserved. The blank space is compelling and slightly confusing, which I don’t think is inappropriate symbolism.

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