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Like many American cities, the streetscape in downtown Brooklyn was for a long time very heavy on the street: a great place to park a car or drive through. But over the past 20 years, the area itself has gone from being a 9-to-5 shopping and business district to one where a growing number of people live 24-7. Since 2004, more than 22,000 housing units have been added to the neighborhood, changing its character so much that its old streetscape just wasn’t cutting it. “There was a real evolution of the neighborhood,” says Regina Myer, president of the Downtown Brooklyn Partnership (DBP), a business improvement district representing the area’s business owners, shopkeepers, and, increasingly, residential developers. “Frankly, the construction fences were down, and it was really time to look at the public realm afresh.” So in late 2018, DBP hired the urban design and architecture firms WXY and Bjarke Ingels Group (BIG) to come up with some new ideas for Downtown Brooklyn’s streetscape. Myer says her organization wanted “infrastructure that really focused in on the pedestrian and mobility, shared streets, increased biodiversity, and also really making sure this was a bold plan for Brooklyn, that it didn’t look like something generic.” [Photos: courtesy Downtown Brooklyn Partnership] Now, after seven years of planning and prototypes, the designs have been fully installed. As these before-and-after images show, the transformation has been dramatic. The formerly congested streets of downtown Brooklyn have been augmented with planters, bollards, street bistro seating, and other traffic calming measures, as well as increased greenery and public open space. Redesigned tree pits add a larger and more refined space for street trees to grow, and curving benches follow cobblestone paving that hugs the edge of the sidewalk. Compare to the preexisting street furniture, which Myer calls “mean,” the new spaces invite pedestrians to sit and experience the city around them. [Photo: Hai Zhang/Downtown Brooklyn Partnership] Prototyping public space This work came about incrementally at first. WXY and BIG’s design guidance was first tested on the streetscape outside a Studio Gang-designed residential tower that was completed in 2021. Working with the city’s Department of Transportation during the project’s mid-pandemic construction, DBP convinced the city to allow sidewalks on two sides of the building to be widened to make space for these new streetscape amenities as an experimental pilot project. The resulting streetscape sparked a desire for other, more officially sanctioned improvements. A second pilot project was then built outside the city’s first all-electric skyscraper, and officials were fully on board. “They liked it so much that they actually asked us to go through the [Public Design Commission] process for a plan for the entire neighborhood,” Myer says, referring to the path for making improvements to public and civic spaces in the city. [Photos: courtesy Downtown Brooklyn Partnership] This work led to the 2021 release of a Public Realm Action Plan covering more than 40 blocks in the area. In 2023, the mayor’s office dedicated $40 million in funding to put the plan into action. “The prototyping process really worked for us,” Myer says. And in the four years since the plan was releasedrelative light speed in the realm of public space projectsit has materialized on sidewalks and shared streets across downtown Brooklyn. Bright yellow planters now sit in the spaces where cars once parked, carving out niches for outdoor seating and dining. Teardrop-shaped tree planters add flourish to the edges of sidewalks where trash once gathered. Swooping benches teem with life along streets packed with an increasing mix of uses. [Photos: courtesy Downtown Brooklyn Partnership] This could be just the start of a broader transformation in the area. WXY and BIG’s design has now become a system that developers can use to improve the streetscape of future projects. Myer says the plan was strategically minimal in its proposed interventions. The redesign requires little large-scale construction, utilizing existing street poles, for example, and making the most of the existing width of the sidewalk. Aside from the two pilot projects, no other sidewalks were extended, “because you know how gnarly that can get,” Myer says. The plan has sailed through approvals and construction, and downtown Brooklyn’s streetscapes are almost unrecognizable from what they looked like just a few years ago. Myer calls it an effort that appeals across the spectrum, from business owners to building tenants to the growing residential population to visitors and tourists. “What we really were seeking here was to use our existing space better for people,” she says. [Photos: courtesy Downtown Brooklyn Partnership]
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E-Commerce
President Donald Trump has always been a master marketer. He is particularly adept at lending his name to products and buildings, which has proven to be a lucrative business. Now in office, he’s bringing that same licensing mindset to the very act of governing. Last week, the State Department said it renamed the U.S. Institute of Peace (USIP) after Trump and put his name on its building in Washington, D.C. This comes after Trump fired the board members and nearly all U.S. employees of the USIP. The USIP’s open, natural-light-drenched headquarters was designed by Safdie Architects to symbolize conflict resolution. But it has ironically become the flashpoint of what former board members have described as a hostile takeover of the federally funded independent nonprofit in Trump’s second term. DOGE staff and police entered the building in March, but USIP took control two months later after a judge ruled the firings were illegal. Then a federal appeals court stayed the ruling in June. The building’s switched hands several times, and with it back in the Trump administration’s hands, they’re looking to make it formal with signage. The US Institute of Peace (USIP) in Washington, D.C., on Friday, December 5. [Photo: Alex Kent/Bloomberg/Getty Images] The politics of unearned credit The building’s new “Donald J. Trump” signage is just the latest example of a larger trend where Trump has assigned his name to policies and initiatives that he once opposed. For example, Trump campaigned against the infrastructure bill signed into law by then-President Joe Biden in 2021, and yet Trump’s name went up earlier this year on new signage in Seattle for an Amtrak rain project funded by Biden’s bipartisan law. “President Donald J. Trump, Rebuilding America’s Infrastructure,” the bright “Make America Great Again” hat-red sign says. The words, “Funded by the Infrastructure Investment & Jobs Act,” are written in smaller type below. Then there’s the Nation Park Service (NPS), which Trump has taken an axe to, cutting staff 16.5% and the budget by more than a third. Still, Trump’s image is going on two designs for next year’s annual NPS passes. The Interior Department is also making Trump’s birthday, which falls on Flag Day, one of several “resident-only patriotic fee-free days” to parks next year while dropping it for MLK Day and Juneteenth. When Trump put his name on stimulus checks funded through the CARES ACT, passed in response to the COVID-19 pandemic in 2020, it was unprecedented, the first time a president’s name had appeared on an IRS disbursement. Now, it seems, it’s just politics as usual. The man who once gave us Trump Steaks now seeks to gives us a Trump peace institute, and some might say its good politics. Biden called it “stupid” that he didn’t put his own name on stimulus checks funded through the 2021 American Rescue Plan. But with Trump’s approval at a second-term low of 36%, according to Gallup, these branding efforts don’t exactly seem to be working.
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E-Commerce
Judge a book by its cover, and you might think that American Canto, the memoir by Vanity Fair‘s outgoing West Coast editor Olivia Nuzzi, is destined to be a classic. The memoir, which chronicles Nuzzi’s drama-filled life and career as a political reporter in the Trump era, features a strikingly simple cover that serves as shorthand for the book’s ambitions. The intent was to give the book a clean, no-frills design that felt both classic and contemporary, says Simon & Schuster senior art director Alison Forner, whos also designed book covers like Ezra Kleins all-type cover Why Were Polarized and Garrett M. Graffs Watergate: A New History. [Cover Images: Simon & Schuster] Nuzzi’s book features a stark white cover with the title and her name rendered in a serif typeface inspired by fashion magazine typography of the 1980s. The typeface does a lot of work for the book, which appears to be off to a slow start amid the ongoing media storm surrounding its rollout. A political reporter since 2014, Nuzzi was fired last year from New York magazine following an alleged relationship with now-Health Secretary Robert F. Kennedy Jr. Her publisher Simon & Schuster describes the much buzzed-about book by what it’s not: “not a memoir, nor a tell-all, nor a book about the president,” but “a character study of a nation undergoing radical transformation in real time.” Critics have called it a “tell-nothing memoir” that falls short of its ambition and is less interesting than the scandal that surrounds it. [Cover Images: Wiki Commons] Typographic covers using a vintage-inspired font is a surefire way to evoke a classic mid-20th century look, like in covers for John F. Kennedy’s 1956 Profiles in Courage or Robert A. Caro’s 1990 The Years of Lyndon Johnson: Means of Ascent. Most bestselling books today, however, use pictures and illustrations. On the New York Times nonfiction bestseller list, just two books have type-led covers, and both have numbers in their titles and also use other visual elements. (Andrew Ross Sorkins 1929, about the year’s market crash, uses a cratering market line to divide the bright red cover, and the cover of former Vice President Kamala Harriss 107 Days about her 2024 campaign counts down in serif numerals from 1 to 107 on a blue background.) [Cover Images: PRH, Simon & Schuster] American Canto goes further, relying on just text and a subversively patriotic white, red, and black color palette to communicate its message. I wanted something simple and evocativered, black, and white give the jacket an urgent minimalism, Forner tells Fast Company. Olivia specified wanting a red without blue undertones, and I was more than happy to oblige. To capture the right shade of red, Nuzzi sent still photos of wildflower petals and cropped stills from films by director Martin Scorsese, including a scene in Goodfellas where a bodys in the back trunk of a car and the taillights are lighting up the fog. “When there’s no imagery to rely on, every detail becomes extremely importantfrom the typeface choices and letter spacing, to the negative space and color,” Forner says. “They all need to work on an almost subliminal level to become the ‘voice’ of the book.”
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E-Commerce
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