Tag Archives: buildings

Bad building names in NYC

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Curbed has put together a list of some of the worst building names in New York City. Here are some of the contestants:

Weird Spellings of Addresses

260N9 leads us into our first category: buildings that are almost just going by their addresses, but have decided to randomly spell out numbers, or abbreviate and/or combine words to create some monstrosity that no one will ever say out loud. 2ND7TH is a recent offender in this category, as is Five FortyOne, and, less recently, Twenty9th Park Madison. These types of buildings also sometimes like to combine a random word with the number from the address, such as Colony 1209, which sounds like it’s on the moon.

Human Names

Another very common approach often taken by building namers is to name them as one would a human child, with a “the” in front. This can result in condos that sound like your grandfather (The Seymour, The Leonard) or a pop star (The Adele, The Robyn) or…just some guy…that you live inside of. (That one, The Nathaniel, gets an additional dishonorable mention for being named after the protagonist in an Ayn Rand novel.)…

Anything With the Word “Mews”

A mews is a row of stables and carriage houses constructed around a paved courtyard. The few that still exist in New York City have, for the most part, seen the stables torn down and replaced by houses which essentially now exist on a private and secluded dead-end street—a rarity, obviously, in Manhattan. This makes them quite coveted. It has also led a number of condo developers to call their buildings, erroneously, Soho Mews, Chelsea Mews, Carlton Mews, etc.

Names That Sound Like Things They’re Not Supposed To

Had no one involved in the creation of Jade8 ever heard of J-Date? Did no one on the development team behind Mantena think to Google that word? Other honorable mentions in this category include BKLYN Air, which sounds like an off-brand sneaker, and MiMa, which sounds like something you call your grandmother. And then there’s the Isis Condominium on the Upper East Side (h/t to commenter newkyz). Though that one isn’t exactly the developers’ fault (it was developed in 2008), it has declined to change its name, unlike the Isis in Miami.

This list suggests buildings suffer from the same name problems that face subdivisions or suburban streets. Builders are looking to brand their construction so the names often deliberately invoke other liked objects, such as a well-regarded address (it’s the location to be in!) or the past (we’re invoking the grandeur of history!). Does the branding itself reveal much about the architecture or design of the building and its units? Probably not. Do the mews buildings have more garden/leisure space? Do the address buildings make a unique contribution to the neighborhood? Of course, more functional or accurate names would have to be longer and wouldn’t be able to quickly invoke such images.

The next step here in this analysis might be to look at the relative values of these different properties by name. Take two buildings in similar settings: does having mews in the title add value or would the owners be better offer with an address name?

Using Chicago skyscrapers as inspirations for spaceships

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“Jupiter Ascending” may not be very good but some of the spaceships are based on Chicago architecture:

When Hull came to Chicago, the Wachowskis began peppering him with reference photographs of Chicago buildings, facades, landmarks, ornamental detail and infrastructure. “Of all the directors I have worked with, they are by far the most architecture-minded,” he said. “They wanted a very decorative vision for the ships, almost Louis XIV-like in places, existing alongside this other aesthetic, far more gothic and less feminine.”

Indeed, the Wachowskis, who started a small construction company and worked as carpenters before becoming filmmakers, wanted the two warring ships at the center of “Jupiter Ascending” to somewhat reflect Chicago itself. “I like how the great curling femininity of the Frank Gehry (Pritzker Pavilion) is juxtaposed against the weight of those harsh, more severe buildings on Michigan Avenue,” Lana said. “I liked that tension in Chicago, that something as elegant as a big river can curl through so many grandiose statements. When we were looking at the design of the ships, we kept exploring this, placing almost baroque, exuberant levels of detail on one end, while on the other, contrasting a rigorous, rational logic.”…

“But also I really love the top of the Carbide & Carbon Building (on Michigan Avenue),” Lana said. So its lighthouse peak informs the back of Titus’ ship, while the front is, well, a play on the flying buttresses that shape the top of the Tribune Tower. “But I often wasn’t flamboyant enough for the Wachowskis,” Hull said. So the gold-green design along the facade of the Carbide building is mirrored on the outside of the ship. And inside: The ceiling of the ship’s loading dock is reminiscent of the dense mosaics in the Chicago Cultural Center ceilings; the long, vaulted chapel is vaguely similar to the reading room of the Newberry Library. “Which was a sanctuary for me as a kid,” Lana said, “where I went when I cut school.”

Balem, played by Eddie Redmayne, is the imperialist, the severe, ominous bully. His ship, therefore, is gothic, less curvaceous than Titus’ ride. The front end, its T-shaped bow, has some inspiration in the terra-cotta faces that watch from the facade of the old Tree Studios building on Ontario Street. And there are hints of the former Midway Gardens entertainment venue in Hyde Park, designed by Frank Lloyd Wright (torn down in 1929). “His ship is more of a towering, hard-looking, Albert Speer-ish brutalism,” Hull said, “but it would be too on the nose for his designs to just reflect that, to not suggest Balem wouldn’t want some ornamental embellishment to his world.” So, his boardroom has touches of the latticework beneath the Loop “L” tracks.

An interesting source of inspiration for objects – spaceships – that we might typically think are otherwordly or something completely different. Additionally, buildings are pretty static, even if they are involved in dynamic social settings, while spaceships have incredible mobility. But, as noted in this earlier post about The Hunger Games, it is difficult to make something completely new. Human creativity rarely involves completely innovative ideas that have never been expressed before but rather often involves taking existing forms and objects and doing new things with the mix. So, in trying to imagine the future, why not draw some on the past while also adding potential changes?

This is also a reminder that Chicago architecture is influential. If we do get to an age of large spacecraft, would Chicago still be a major inspiration? Could we have competing fleets based on different global cities?

Frank Gehry answers critics of the Lucas Art Museum design

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Architect Frank Gehry suggests Chicagoans will come to accept his proposed design for the Lucas Art Museum:

Chicago is a great city for architecture and has historically supported innovative, forward-looking work. There is a natural impulse to deride a project in the early stages of design, particularly one that has a new shape or expression.

This is not a new concept.

The Guggenheim Museum in Bilbao, Spain, the Eiffel Tower in Paris and even the Monadnock Building in Chicago had many early critics. In my own experience, the Walt Disney Concert Hall in Los Angeles was called broken crockery when I first went public with it, and that was the nicest thing that got said. In Bilbao, the newspapers had an article asking for the architect of the museum to be killed — that was me! All of these projects have gone on to be great assets to their mutual cities, and I think the same will be true of the Lucas Museum of Narrative Art and Chicago.

The work presented for the Lucas Museum has precedent. It’s not just out of the blue; it is something that has been in the air for many years. The use of rooftops as public space has precedent in the Malmo Concert Hall in Sweden by Snohetta. It is one of the first great examples, and I think it has proved very successful. Zaha Hadid has used flowing forms in many of her projects to great effect. If we go even further back, Eric Mendelsohn was using organic forms to create his masterpieces such as the Einstein Tower in Germany…

Please do not dismiss it because it doesn’t look like something you’ve never seen before.

An interesting plea from the starchitect. Chicago is indeed an important city in architecture, particularly with the rise of the International Style in the post-war era. Yet, Chicago doesn’t have too many whimsical or rounded designs as its larger buildings tend to stick with older Green styles (think the Museum Campus), modernism (International Style of glass-walled skyscrapers), and the occasional postmodern touch in a high-rise or tall office building.

If Gehry is right that cities tend to accept his work down the road, does his line of reasoning cut off any potential criticism from the start? Gehry suggests new designs may be unusual but they tend to be liked down the road. But, there are buildings that are constructed and people never quite take a liking to them. As another example, Gehry’s design for the Eisenhower Memorial in Washington D.C. has prompted a lot of debate. How would we know if the Lucas Art Museum is one of those cases that is not popular years later? The location near Lake Michigan and the public interest in such land is not likely to do the building’s design any favors.

“A Font Made Entirely of Satellite Imagery of Buildings”

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A new font makes use of depictions of buildings from above:

Benedikt Gross, a data visualization designer, and Joey Lee, a geographer, spend a lot of time looking at satellite imagery. The duo met at MIT’s Senseable City Lab a few years ago and after realizing their mutual enthusiasm for maps—or, more exactly, strange patterns in the Earth’s surface—decided to collaborate on a dataset called The Big Atlas of LA Pools, inspired by the many shapes of pools in Los Angeles.

Gross and Lee are now onto their new project, Aerial Bold. Once completed, it will be the first typeface created from shapes and patterns from the planet’s topology. Whereas The Big Atlas of LA Pools began as a mission to compare pools per capita with other datasets (like neighborhood crime), Aerial Bold was born from a few errant observations. “Basically we spend so much time looking at satellite images, that we realized there are some letters in them,” Gross says. As is often the case with noticing an oddity for the first time, once they saw a few letters, “suddenly letters were all over the place.”…

First, they synthesize satellite imagery and prep it so an algorithm can read it. This involves cranking up the contrast and blocking out distinct shapes in red. Their software can read those blocks of color and extract letters. So far Gross and Lee have scanned images of Germany, Turkey, Paris, Denmark, Switzerland, California, and New York. Gross says that letters made mostly of right angles, like I and H, have shown up most frequently…

Besides creating the promised font out of satellite images, Gross says Aerial Bold could have any number of creative uses for artists. He and Lee have been approached by publishers interested in flipping the typology into a children’s book on the ABCs—something that Gross mentions could live in a digital format. They also want to share their image-detection methods with the public.

As someone who enjoys cities as well as overhead satellite views, this is quite clever. Such a project also produces a font for the covers of all the new books about cities as well as college campus posters about classes and lectures having to do with urban areas or buildings.

Roughly 40% of St. Louis high-rises don’t have a 13th floor

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Triskaidekaphobia is built into a number of St. Louis high-rises:

An informal survey by St. Louis Public Radio of 68 skyscrapers in the St. Louis area finds about 41 percent skip over 13 in counting their floors. Not surprisingly, most of them are hotels or residential properties where people pay to stay…

Oftentimes, architects have solved the problem by putting mechanical components for elevators, and heating and cooling systems on the floor, rather than offices or living spaces, she said…

By far the simplest solution is just renaming it the 14th floor, she said…

As irrational as it is to purposefully mislabel floor numbers, there may be some value in the superstition as well. According to Kathryn Kuhn, an associate professor of sociology at St. Louis University, commonly shared superstitions can lend to individuals a sense control and significance…

Ye explained that in Chinese, the characters for 4 and 14 share a similar pronunciation with the word for death or dying. Thus many high-rises in China leave out the 4th and 14th floors. In some regions, 13 is actually considered a lucky number, he said.

This is a fairly common architectural feature. It highlights the importance of meanings and values for humans, even as they push past natural limits of getting off the ground by building high into the sky. Buildings don’t just have meaning because they are there; they have meanings because humans give them meaning. And, of course, this can differ widely across societies and culture even if they have buildings that look and function similarly.

I’m not sure I like the idea that this is an issue of rational vs. irrational thinking. Such a dichotomy often depends on somebody getting to label one side rational or irrational. What is necessarily irrational about fears and emotions, things that all human beings have? I suppose it is irrational only if most fears can be argued away using scientific explanations.

Thinking about “The Language of Houses”

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A review of the new book The Language of Houses summarizes what American houses have to say:

Lurie serves as able guide on an opening overview of basic architectural themes: style, scale, materials. Concepts such as formal and informal, open and shut, darkness and light, as well as the influences of foreign and regional idioms, become the building blocks on which she proceeds into her discussion of dwellings. We learn that the simple, unadorned, home intended to convey “green” values, often uses “old bricks and boards that in fact cost more than new ones,” while a suburban McMansion’s pricey entrance is coupled with cheap siding and exposed ductwork out back. She chronicles the evolution of the Colonial meeting house into Gothic worship sites that are mini-theaters with their raised altars, lavish pipe organs, and stage lighting. Gender differences abound: In homes and offices, men prefer what she calls “prospects”; women, “refuge.”

Lurie’s most interesting material limns trends and their policy implications. “The average new home size in the United States was 2,673 square feet in 2011, up from 1,400 square feet in 1970 and a mere 983 square feet in 1950,” she writes. “Meanwhile, though the average size of the American family has been shrinking, the size of individuals has increased.” Has modern architecture contributed to obesity with its elevators and elevated temperatures, she asks? Or this: Second homes often depart in style, décor, and locale from first homes, suggesting an inner void in our everyday lives for which we seek restitution on the weekends.

“[U]nattractive, cheap, badly designed buildings appear to have a negative effect on both mood and morals,” Lurie writes. Rundown and crowded dwellings communicate danger and neglect. Despite these seemingly obvious truths, Lurie informs us, many public buildings are designed intentionally to resist what one sociologist calls “human imprint.” These — prisons, public housing projects, factories and some offices — have few windows or doors, uniform design, and high security. To the list one might add: big-box stores, public schools, fast-food chain restaurants, airports, and low-budget subway stations. As a category, these instances of “hard architecture” occasion “anxiety, irritation and the (sometimes unconscious) wish to leave. Eventually, those who cannot get out will become restless and angry, or passive, withdrawn, and numb.”

Lurie maintains a light touch with such damning observations. But if we take them seriously, it would seem that the funding and design awards for spaces where large percentages of the population spend most of their waking hours demand greater vigilance on the part of urban planners.

Sounds like it has potential: built environments have the ability to influence social behavior. At the same time, the review suggests there isn’t much data to back up these observations and linking the direct effects of environments to behaviors is more difficult.

Perhaps the bigger issue overall is an American culture that tends to privilege efficiency, leading to clunky houses and buildings that function just fine but don’t offer as much in the way of customization and beauty. If the goal is to get a house that offers value and more space for the money, then considerations like quality materials and creating a good fit between the owners and the house matter less.

Plans for a temperature controlled, 48 million square foot indoors “city” in Dubai

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The building boom in Dubai continues with plans to build a massive indoor city:

united arab emirates’ vice president and prime minister, sheikh mohammed bin rashid has announced the world’s first temperature controlled city to be constructed in dubai. the vast 48 million square foot project, entitled ‘mall of the world’, will contain the planet’s largest shopping mall and an indoor theme park covered by a retractable glass dome that opens during winter months…

envisioned as an integrated pedestrian city, seven kilometer promenades connect the design, bringing together a wide variety of leisure, retail and hospitality options under one roof. a cultural district forms the hub of the site, with a dedicated theater quarter comprising a host of venues. the ‘celebration walk’ modeled on barcelona’s las ramblas will connect the district with the surrounding mall containing a range of conference, wedding and celebration halls.

The pictures are quite interesting. The scope of the project raises several questions:

1. At what point does an indoor space transition from being a mall to being a city? Others have proposed towns or cities within buildings (even immortalized in arcologies in SimCity). But, this development is clearly within Dubai and the comments from officials indicate it is closely tied to tourism. So, it doesn’t quite sound like a city unless you want to make it sound more impressive.

2. With the emphasis on tourism, just how authentic will this space really be? If this is just for tourists, that is a lot of space to maintain and make exciting. If it is more mixed-use and include residential units, then some genuine street life could develop. Put differently, is this a Dubai version of the Las Vegas strip or something different?

Regardless, if this all is completed, it would be a sight to behold.

Fund the Squeezable Skyline toy

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Plush toys often involve animals but one set of guys have embarked on a Kickstarter campaign to raise money to make Squeezable Skyline toys:

Instead of creating an Etsy store to sell their adorable plush-sized versions of famous skyscrapers, these dudes are going the Kickstarter route and attempting to raise $25,000 to fund the production of its Squeezable Skyline toys. As a part of its first lineup, the Chicago-based company wants to sell plush versions of the Willis Sears Tower and the Empire State Building. Up next (if enough funding is raised) will be the John Hancock Center. The toys are definitely cute, and any architecture nerd would love to gift one to their toddler, but is this an idea worth $25,000? The team has nearly a month left and have already raised about $4,000 from 67 backers, so it’s looking like they’ll definitely have a shot.

It would be interesting to watch kids interact with these toys. Would they quickly anthropomorphize a building? What would they have the building do? Are buildings huggable (or is this more related to the softness than the form)?

The design also does some interesting things with the straight lines that often mark the tallest skyscrapers. As a plush toy, the buildings now have slightly skewed bearing, like they were drawn in a cartoon style.

In the movie Her, futuristic Los Angeles looks like Shanghai

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In recently watching the movie Her, I was intrigued to see the futuristic Los Angeles. What exactly does it look like? Shanghai, as the film was filmed in LA and there. Here is what I noticed in the film:

1. There are a number of portrayals of Los Angeles. For example, the Walt Disney Concert Hall is featured in several scenes. One time the main character walks past the Hall and another scene takes places on an outside terrace with a lotus flower fountain on an upper level of the hall. Here is what the fountain looks like:

WaltDisneyConcertHallFountain

See an exterior shot of the building in an earlier post. This building fits well with a futuristic image with its metal panel exterior and unusual lines.

2. There are a number of shots of a city skyline, particularly from the main character’s apartment. However, this view usually has a lot more tall buildings than Los Angeles actually has. While Los Angeles has a downtown as well as an outcropping of taller buildings by Beverly Hills, there were clearly too many to be LA. At the same time, there were also shots featuring the One Wilshire building. So the film plays loose with the skyline shots but they are often Shanghai.

3. There are a number of scenes in public spaces, particularly nice plazas and walkways that connect large buildings. I haven’t explored all of LA but I know these are limited in the downtown so there seemed to be too many.

4. There is a scene early in the movie featuring a subway/train map in the background and while the base map is of Los Angeles, it clearly has too many mass transit routes to match today’s LA.

5. Others images of mass transit don’t look like LA including a bullet train and elevated mass transit lines.

6. Some of the shots from apartments or the tops of buildings show more boulevards than streets or highways.

7. Some of the outdoor scenes have street signs that look more Asian in design as well as more Asian pedestrians (though LA has a large Asian population).

Los Angeles was once viewed as the future of American cities: sprawling, encompassing a broad range of terrains from beaches to hills, and glamorous locations. However, American filmmakers may now be looking to rapidly growing Chinese cities for what the future holds.

Panel: keep Washington D.C. building height restrictions, preserving height to street-width ratios

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A panel recently suggested height restrictions for buildings should remain in the older areas of Washington D.C.:

Building heights in the 68-square-mile (176-square-km) area are determined by the width of the street on which a structure fronts. The maximum height is 130 feet (40 meters), with some exceptions.The result is a distinctive low-lying skyline that showcases historic monuments and distinctive landmarks such as the U.S. Capitol, National Cathedral and the Old Post Office. The tallest structure is the Washington Monument, which stands at the center of the Mall and is about 555 feet (169 meters) high.

The National Capital Planning Commission recommended leaving intact the federal height rules for the part laid out in the 18th century. The area of wide avenues and traffic circles is home to the White House, National Mall and museums.

The commission left open the possibility that buildings in the area developed beyond the city’s original layout can be higher – but only after additional study and as long as they did not interfere with federal interests.

Another article I saw about this suggested this would restrict growth in Washington, a city whose suburban counties are growing in both population and wealth. Without opportunities for taller buildings in the city, money that could go to the city through property and sales taxes will instead go elsewhere.

But, taller buildings in or near the National Mall would change it quite a bit. These height restrictions are reminiscent of a more traditional kind of architecture. For example, New Urbanists often suggest linking building heights to a particular ratio compared to the width of the streets to create a more comfortable feeling. Contrast the National Mall with the experience of midtown Manhattan, a place busy and interesting but also full of concrete canyons and structures that tower over anything going on in the streets. These two areas serve different purposes but the experiences are quite different.