The High Line’s newest feature is designed for kids, who have, until now, been its most overlooked audience members. “The weirder and harder it is, the easier for me,” says Cas Holman, industrial designer, toy inventor, and the creator of the Workyard Playkit, a crate of toys and parts for playing, or, as she calls it, a souped-up grandpa garage.
Among the high-rises that have sprung up like so much tall grass along Chelsea’s High Line, stands the Metal Shutter Houses, Shigeru Ban’s relatively humble contribution to the area that has been dubbed Starchitect Row. Sandwiched between Frank Gehry’s hulking IAC and Annabelle Seldorf’s stout 520 West Chelsea on West 19th Street, the 11-story box wouldn’t draw much attention to itself if it weren’t for its major design flourish: a retractable skin of perforated metal shutters.
Manhattan inaugurated the hotly anticipated second stretch of the High Line on Tuesday with something entirely befitting one of the most mind-blowing parks of the century: "inflatable sculptures" that look like Willa Wonka's garden on acid.
The second leg of the High Line, the uber-sexy elevated park that has transformed westside Manhattan into a voyeur’s paradise, opened to great, honking fanfare on Tuesday, as we reported earlier today.
Plenty of architects design buildings that reach for the sky. But here’s a guy who’s designing something that flies clear through it. Come next spring, folks booking on Peach, a new, low-cost Japanese air carrier, will board planes gussied up by Neil Denari, the L.A. starchitect behind the futuristic HL23 tower on the High Line.
“The past is not dead. In fact it’s not even past.”—William Faulkner
When looking at our cities, can you see the life that you imagined leading? Where do you spend your time? Are our cities inspiring and comforting? Do they offer beauty and health, opportunities and creative experience? Are they rich in culture and distinct in identity?
Anxiously anticipated designs were released today for the Broad, a new museum for Los Angeles's downtown which nearly everyone agrees is the biggest project to hit L.A., maybe since Frank Gehry's Walt Disney Concert Hall (which is, incidentally, just up the hill). The honeycomb-textured cube was created by Diller Scofidio + Renfro, designers of the High Line and newly renovated Lincoln Center, who were announced as the architects by philanthropist Eli Broad in August.