It wasn’t a masterwork, but it was the master’s work. Every day, hundreds of people walked by the gleaming space, but few may have realized its significance. A hidden gem in plain sight, the Hoffman Auto Showroom at 430 Park Avenue, opened in 1955. It was one of just three Frank Lloyd Wright projects in New York City. And now, it’s gone.

The sleek showroom captured by the astute eye of Ezra Stoller, 1955. Courtesy of Ezra Stoller © Esto / Yossi Milo Gallery

Wright’s bijou, as he described it,[i] was the architect’s first permanent work in the city, his first constructed automotive design, and one of his few interior-only projects. Realized during New York’s post-World War II commercial construction boom, it was the architect’s single gesture along the corporate corridor of International Style buildings designed by his rivals, the “glass box boys.”[ii] The showroom’s signature ramp was also one of Wright’s several design experiments with the spiral, culminating in the Guggenheim Museum.

The showroom was a bijou to me, too. It’s a character in my book, Frank Lloyd Wright in New York: The Plaza Years, 1954-1959. I spent considerable time studying, visiting, and writing about it. Imagine my shock on a warm day last month when I walked by showroom and witnessed it being gutted. A woman in construction gear, standing in front of the open doorway waved pedestrians past clouds of dust and dumpsters filled with the showroom’s remains en route to a nearby dump truck. Read more…

Micro apartments are the future, encouraging their inhabitants to buy less, use fewer resources, and live in a more streamlined, minimal way. Which is exactly why they were featured in both last and this month’s Metropolis (It’s a Small World); they presage new ways for us to live, and the concurrent design challenges inherent to them. While tiny apartments aren’t exactly news in some urban areas, the newest versions clock in at anywhere from 140 square feet (Microsoft-adjacent apodments in Redmond, Washington) to a more typical 420 square feet, (recently approved in San Francisco) to 370 square feet (largest micro apartments in NYC).

But what about REALLY micro apartments?

In Hong Kong, one of the most densely populated cities in the world (with rents some 35% higher than in New York City) about 100,000 people, including families, live 40 square-foot spaces (I don’t think most of us would qualify them as ‘apartments’), as depicted in these arresting photographs from the city’s Society for Community Organization (above and below):

Most of us, no matter where we live, will question if those spaces are big enough for one person, let alone a family. But it definitely begs the question, how small is “too small”? How do we arrive at the minimum sizes for a dwelling?  A confab among city planners, designers, potential residents and maybe even sociologists or anthropologists is needed here.

In New York City, as in most cities, the minimum apartment size was set by zoning laws. In 1987, the smallest a new apartment could be was set at 400 square feet (older, smaller places were grandfathered in). For mayor Bloomberg to introduce the small apartment plans that he did, he had to get special zoning permissions. The same is true for San Francisco, Philadelphia, Redmond, Washington and other cities with micro spaces; they have to be designed and sold as a specific type of dwelling to meet a specific need. Indeed, as the original article points out, most of them have space-saving built-in appliances and closets, and often, high ceilings, so space is utilized intelligently and encourages openness and comfort. They aren’t just small, but smartly so.

Ultimately, it’s the designers who determined these apartments’ sizes (which were then approved and vetted by public housing officials and the public, during exhibitions and competitions for the best design). They are, truly, crowd sourced apartments, both in size and layout. But why not let the market determine the apartment sizes?

This seems like it might work until you read through the comments on many of these micro apartment stories online. What one person calls a micro-apartment, another calls a tenement. But tenements were about small spaces being used to house families (closer to the Hong Kong examples, above), and a large proportion of city dwellers no longer live in a family unit; in NYC in 2009, 33% of people lived in their apartments alone, and 17% contained couples sans kids – but yet there’s a glut of 2- and 3-bedroom apartments for family units. All those singles and couples desperately need smaller (read: more affordable, and more suited to their lifestyles) places, but there are only 100,000 studios and one-bedrooms available in NYC—their scarcity then drives their prices higher than they should be.

As Jerilyn Perine, executive director of the Citizens Housing and Planning Council told channel Thirteen’s Metrofocus, “The housing market can’t possibly keep up with the population growth we’re projecting. This idea that adding to the housing supply by continually adding housing for families doesn’t address the underlying needs. This need is increasingly finding its way onto the underground housing market.”

Micro apartments offer a solution to the problem. But the majority of people will always want more space (see the upsetting New York Times article about elderly folks living in large, subsidized apartments, refusing to give them up). And for many, living in a small space is a question of prior experience. If you grew up in a suburban house, a micro apartment can seem “too small.” But for someone who has lived in a studio for years, it might seem plenty large enough (and some people, as in the Hong Kong example, are willing and able to live in too-small spaces if they aren’t regulated away from that). So maybe designers and city planners are the best final arbiters on apartment size, since it seems that other approaches, like letting developers or renters themselves decide, has so far resulted in ineffective solutions.

Starre Vartan is an author, journalist, and artist whose work concentrates on sustainability in consumer products, including a focus on vernacular, nature-based, and eco design. Recognized as a green living expert, she is the publisher of Eco-chick.com, a columnist at MNN.com, and contributes to Inhabitat and The Huffington Post. She is Metropolis’s copyeditor.

Amidst all the post-Sandy commotion and the excessive media coverage, it was confusing to keep up with all that was going on, be it just a few blocks away or in the far reaches of the wide spread New York City. This was further compounded by media outlets scrambling to report properly on the unprecedented storm; their efforts were patchy, to say the least.

Last week when I sat down with Local Office Architects, Walter Meyer and Jennifer Holstad to discuss their projects, I was taken aback by their description of the degree of destruction on the Rockaway Peninsula. But I was also positively surprised to learn of the relief efforts they described (and were intrinsically involved with, having spearheaded some of them), and some of the initiatives to bring that beleaguered community back to life.

One initiative, PS1’s VW Dome 2, officially opens this Friday, March 29^th. The temporary dome (a slightly smaller scale version of the one installed at PS1’s courtyard, gifted by VolksWagen) aims to give the  Rockaway community a place to gather and be inspired, whether they’re hosting talks, watching movie screenings, or taking in exhibits.

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It’s no secret that the United States Postal Service is hitting hard times. Budget shortfalls have led to talk of ending Saturday mail deliveries, meanwhile delivery operations have already begun consolidating across much of the country. And while snail mail may be anachronistic in the era of electronic communications, the retrenchment puts at risk many of the storied structures that have housed the Postal Service for decades. In New York City, several historic structures face uncertain futures as they are considered for sale as part of this process.

At the south end of the Bronx’s Grand Concourse, the Bronx General Post office commands an entire block. Opened in 1936, the monumental structure is fronted on the outside with grand arched windows and a pair of sculpted figures. Inside, several New Deal-era murals by the prominent Lithuanian-American artist Ben Shahn cover the walls. These magnificent murals depict laborers milling textiles, farming, and engaged in other work. Shahn is well known for his left-leaning political artwork during the first half of the 20^th century, as well as for his involvement with the controversial Diego Rivera mural in Rockefeller Center. Read more…

The public’s role in the long-term success of any landscape project cannot be overstated. After all, it’s people who use these spaces; they are the true arbiters of a well-designed space over time. To create a successful open public space requires a strategic framework that is mutually beneficial for both developers and the public. To help this effort along, the New York City Department of City Planning (DCP) has established a zoning incentive program: Privately Owned Public Spaces, or POPS.

The primary goal of POPS is to unite function with aesthetics—to create public spaces that provide respite in the city’s dense urban fabric. In exchange for additional floor area or relief from setback restrictions the program requires a developer to provide user-friendly amenities to increase the experiential qualities of the open spaces adjacent to their properties. These spaces must meet stringent design standards to create public plazas that are open, inviting, accessible and safe.

Setting the standard for POPS, though not one itself, Manhattan’s 1967 Paley Park is a timeless landscape rich with public amenities like moveable seating, canopy trees for shade, green walls/planted areas, and water features (as permitted obstructions). Today’s zoning regulations encourage developers to build on these successes and provide public spaces that offer a variety of seating, vegetation, lighting, artwork, cafes, and other amenities. While typically located outdoors like the iconic Paley Park, POPS can sometimes be found in unique settings like lobbies, subway entrances, atriums, and building arcades.

I recently worked with fellow Green Team member Terrie Brightman on a POPS recertification permit for 2 Gold Street (Mathews Nielsen was the original designer in 2008). This time, the new process asked us to meet POPS requirements while pursuing strong and unique designs for these spaces.

The pavement extends to the street, uniting the the plaza with what would become a sidewalk.  Photo: Mathews Nielsen Landscape Architctects

Circulation is a key aspect of POPS design. The stipulations for clear paths are stringent, with limited walkway obstructions that are meant to ease the pedestrian right of way. At 2 Gold Street, several circulation patterns are integral to the plaza’s design. The pavement extends to the street curbs and facilitates pedestrian movement into it, without hindering circulation at the site’s edges.

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Storms and hurricanes are nothing new for New York City. Some four decades after the European founding of the municipality in 1625, a severe storm was chronicled in Manhattan. Subsequently, the Great Storm of 1693 rearranged the coastline, likely creating the Fire Island Cut. Many more significant storms followed over the centuries. To underscore the lessons of super storm Sandy, there are people alive today who can remember the great hurricane of 1938.

What’s new in recent decades is the relentless development of the coastline, haphazardly accelerated with apparent disregard for protective natural buffers, such as wetlands and dunes. As recently as the 1980s, development exploded in today’s storm ravaged Staten Island, even filling and building on marshland.

Also new to many people is the realization of the human contributions to climate change through our modification of atmospheric gases, a warming climate, and the attendant increases in sea levels, storm frequency and severity, droughts, heat waves, and more. These meteorological changes are real and measurable.

Hurricane Sandy, aside from its tragic aftermath, has done us a huge favor, providing a loud and unequivocal “I told you so!” in the nation’s densest population areas and most developed coastline. The visible devastation of New York City and the Jersey Shore brings tangible urgency to our efforts to take all possible measures to alter the lifestyle and behaviors that have brought us to this critical juncture. We need a paradigm shift in our land-use patterns and energy consumption. Most fundamentally, we must change the ways we interact with the natural systems of the earth.  Massive sea gates and walls might protect against some storm surges, but what will they do to fisheries, sediment transport, water quality—to mention but a few potential repercussions? We need an integrated approach to climate adaptation and mitigation that uses natural systems as ongoing guides.

Wetland Restoration and Mitigation, image courtesy of appliedeco.com

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Mineirao sketch by Bruno Campos

Superbowl might attract North America’s largest TV audience, but the biggest sporting event is still World Cup Soccer. Like the Olympics, they happen only every four years, and involve massive logistics. What does this mean to the hosting countries? There’s no time to waste in getting the venues ready. This is just what’s happening in Brazil, the country hosting the 2014 World Cup. An exhibit in New York,  “Brazil + 2014: Sustainable Stadiums,” shows that Brazilians are hard at work to build spectacular buildings that are also sustainable.

Brazil and soccer are inextricably linked. The country can boast of being the home to legendary players and winning an unparalleled five championships. Now it will, once more, try to make history by making 2014 the greenest, most sustainable World Cup ever. To that end, the architects of the stadiums are putting forth their best creative efforts to make their buildings as functional and iconic as they will be eco-friendly.

Mineirao field and bleechers view, rendering courtesy BCMF Arquietos

Scattered throughout the country, in 12 cities, the stadiums are a mixture of new structures and comprehensive renovations of existing ones. One thing connects them all: the push to make sustainability taken to its highest standard, from traffic logistics to the smart use of water. All strive to deliver buildings that are in keeping with the country’s strong architecture heritage. Incidentally, among the well-known projects in the show, the Mineirao Stadium, is a renovation of a stadium adjacent to Oscar Niemeyer’s  early seminal project, the Pampulha Complex in the city of Belo Horizonte.

Mineirao birds-eye view rendering, courtesy BCMF Arquietos

The Mineirao, as it’s known, is a Brutalist structure designed in 1945 by Eduardo Mendes Guimaraes. The building is now protected as a historic landmark, thus its main shell cannot be altered. How, then, to make the massive concrete structure useful beyond the sporting events?

Mineirao plaza rendering, courtesy BCMF Arquietos

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Our introductory Green Team blog addressed a common misconception: There is no space left for new landscapes in New York City, the dense urban expanse that is our home turf. In fact, there are available spaces, but they’re likely to come with some complex problems. Finding ourselves wrestling with small, challenging, and limited spaces, we sometimes take an unexpected approach. We look up!

Our initial site analysis for New York projects—and others—entails, in part, identifying ALL available space than can be improved. Crisp, white walls may be de rigueur for the interior artist, but they are far too banal for a vibrant, metropolitan landscape. By using a site’s vertical surfaces, we can expand the benefits of a project to include increased planting areas, aesthetically appealing live or inanimate screens, thoughtfully designed edge conditions, improved views, reduced cooling requirements for adjacent buildings, and the mitigation of urban heat island effect (UHI), thus furthering the definition of “the space.”

The design of exterior vertical surfaces can take on many forms and configurations including green screens, green walls, cable trellis systems, wall-mounted planters, trellises, and planters housing fastigiate (columnar) species, to name a few. The selection of the proper treatment for these surfaces is based on sun/shade conditions, design intent, the structural capacity of the surface to receive the enhancement, available soil volume for plants, and so on. If we propose a woven wire or cable trellis system, we must consider the method of its attachment to the building’s surface as well as whether the receiving wall or support structure can sustain its weight load in addition to the living, twining plants that will grow over the plane. Some factors that influence plant selection, as well as the ultimate success of the installation, are planters, soil volume, irrigation, and solar orientation.

We work with a wide variety of systems and approaches on vertical landscapes throughout the city. At Spring Street Plaza, a 200-foot-long wall abutting the adjacent building was designed and installed to allow us to use a vertical screen system for vines. This wall provided the structural support for the vegetated system while ensuring that no portion of the work was attached to or interfered with the structure of the neighboring property (our post on property lines talks about the consequences of this). Once installed, the green screen, with its dense vine cover comprising six vine species, provided a sense of enclosure for the plaza, acting as a vegetated backdrop to the small “rooms” of the plaza design. The wire grid also provided structure for the installation of custom light tubes into the screen, creating a playful effect of illuminated planting at night. The 10-foot height of the new wall—a pedestrian scale intervention— also helps deemphasize the presence of the adjacent building.

A view south across one of the seating “rooms” of the plaza showing the vine-covered green screen along the western edge of the site. Photo courtesy Elizabeth Felicella

Light tubes inserted into pockets in the wire grid screen accent the vines and illuminate the site. Photo courtesy Elizabeth Felicella

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It’s a warm summers day on Governors Island in 2015. Tourists doze in gently rocking hammocks while a lone musician softly plays to the clinking of coins in his guitar case. Basking in the shade of a nearby tree, a teenager sprawls on the grass pretending to read history while two ballet dancers practice in the long shadow of Liggett Hall. It’s numerous stone balconies full of workers on laptops, the archways and warm lighting fill the heart of Governors Island with quiet contemplation.

Liggett Hall is a former military office and barracks, designed in 1929 by McKim, Mead & White in the Georgian Revival style. Encompassing 400,000-square feet of space, this elegant building of stone and brick serves as an iconic gateway between the park on the south side of the island, and the largest adaptive reuse project in the country.

Liggett Hall, photo courtesy The Trust for Governors Island

Education, art, music, business. These are just some of the pieces of the puzzle of opportunity that is the RFP (Request For Proposal) on Governors Island. With a $260 million investment in park amenities—potable water, 21st century electrical and telecommunication systems, and improved access—New York City is betting on Governors Island as a premier destination for tourism, culture, and business.

Liggett Terrace, rendering courtesy The Trust for Governors Island

Last month I went on a private guided tour of Governors Island. A short 10-minute ferry ride took me from the southern tip of Manhattan to the waiting Leslie Koch, president of the Trust for Governors Island. Two minutes off the ferry and I’m whisked off in an armored gulf cart for a vision filled tour of the future. Koch’s enthusiasm and excitement filled my head with beautiful landscapes, restored relics, creative uses of historic buildings, resilient park spaces, art, culture, advanced business, and great opportunities.

South Battery, rendering courtesy The Trust for Governors Island

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My Game Changers profile on Edward Mazria focused on the nature of the architect’s activism. How does an organization of less than five full-time employees have such a big impact? Ed’s genius was in reframing the issue of climate change as a design problem, with easily defined goals (not easy to achieve goals, but with a clear path forward). Just as important, Mazria’s group, Architecture 2030 encourages organizations to take ownership of the issue. There are no better examples than the 2030 Districts popping up all over the country. Each is a local response to a global problem. Recently I talked to Brian Geller, executive director of the Seattle 2030 District about the birth of his organization and the way forward.

Brian Geller, executive director of Seattle 2030 District

Martin C. Pedersen: Ed Mazria calls his group, Architecture 2030 a “seeding organization.” Your effort in Seattle is certainly a good example of that.
Brian Geller: It’s true. It’s interesting to note that when your “Architects Pollute” issue came out in 2003, I was in architecture school in New York, and it was something I vividly remember. That story had a big impact on me, on deciding where I wanted to go with my career.

MCP: How did the Seattle 2030 district begin?
BG: It started about three years ago. I was working as a sustainability specialist at ZGF Architects. I was working at the Seattle office. Bob Zimmerman, the managing partner of the office, had just come back from a conference in Chicago and was telling me about this de-carbonization study that Adrian Smith and Gordon Gill had worked on. Bob said: “It sounds fascinating. I’m surprised that Seattle hasn’t undertaken something like that.” I took that little nugget back to my desk and was thinking it over. It sounded like a great idea. But I thought that if we wanted to do something like that here, it seemed that a study was not the right approach. So I made this map. I started with Seattle’s steam distribution map. We’ve got a small district steam utility here in downtown. They were in the process of building a biomass boiler that would reduce the carbon footprint of their entire operations by 50 percent, and the heating-related carbon footprint of the two hundred buildings attached to them by half as well. There was other great stuff going on, too. There were a number of large building owners undertaking portfolio-wide certification, putting together important tenant engagement programs. The city was about to pass a disclosure ordinance, requiring building owners to benchmark their properties and disclose some of the data to the city. All of this stuff was happening, but it was happening somewhat siloed. So I took their map, put on the ten largest property owners and managers that I knew downtown, who were all doing cool things, and went to a few people in the city, and other architects and engineers, and said, “Look, this is what they’re doing in Chicago. They’re doing a study. But if we did something like this here, and instead of doing a study, invited these people on this map in, we would cover a lot of downtown. We could get all of these large entities measuring their progress the same way, united around one set of goals.” I told them, “You’ll get a lot farther together than you would on your own.” They’d learn a lot from each other. They wouldn’t be duplicating efforts. Hopefully, they’d be generating more work for everybody in the city. People liked the idea.

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