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Thread: Fulton Center

  1. #1396
    Crabby airline hostess - stache's Avatar
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    Well for example a dummy food cart -

  2. #1397

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    Suicide Vespa bomb.

  3. #1398

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    Pentagram
    November 7, 2014

    New Work: Fulton Center


    The identity for Fulton Center, the new transit center in Lower Manhattan.

    Opening this Sunday, Fulton Center is a new transportation hub that will improve access and connections at the busiest subway interchange in Lower Manhattan. Located at the intersection of Fulton Street and Broadway, the Center provides a landmark gateway and transfer point for five major subway lines and 11 different trains served by the Fulton Street, Chambers Street–World Trade Center/Park Place and Cortlandt Street stations, as well as connections to the PATH system. The complex is projected to be used by 300,000 passengers daily and is also home to a new retail destination with shops and restaurants.

    Working with the Metropolitan Transit Authority, Pentagram’s Michael Bierut and his team have designed an identity for Fulton Center that conveys its role as a transportation crossroads—and spotlights the unique artwork at its center.


    The Sky Reflector-Net (2013), an integrated artwork, is an engineer, architect, and artist collaboration with Arup, Grimshaw Architects and James Carpenter Design Associates, commissioned by MTA Arts and Design and MTA Capital Construction Company (MTACC).

    With its convergence of multiple train lines, Fulton Center functions as a downtown “Grand Central,” and like the starry ceiling of the Main Concourse of the famed terminal on 42nd Street, the new downtown hub has a ceiling that will keep passengers looking skyward. Fulton Center has been designed around a mammoth domed oculus that contains Sky Reflector-Net, a new sculpture by James Carpenter that has been integrated into the building’s architecture, designed by Grimshaw Architects and Arup.

    The largest artwork ever commissioned by MTA Arts for Transit and Urban Design, Sky Reflector-Net consists of a curving, 79-foot-high net of 952 reflective diamond-shape panels held in place by a delicate system of cables in the conical interior of the Center. Resembling the rippling surface of a giant soap bubble, the sculpture captures the quality of the light, changing by season and time of day. The structure redirects sunlight to lowest levels of the building and provides a dramatic point of orientation for commuters as they pass through the building. An iconic location for the neighborhood, the grand interior is already being promoted by MTA as “New York’s Next Great Public Space.”

    The underlying form of the Fulton Center logo is inspired by the architecture of the building: the interaction of a square and a circle. Eleven converging, crossing, and swirling lines represent the connections made at the station. (Specifically, the 2, 3, 4, 5, A, C, E, J, N, R and Z trains.) The lines evoke the movement and activity of the transit hub, and are reflective of the view of the oculus and Sky Reflector-Net. The circular form of the logo also echoes the circles of the subway line emblems and the MTA identity.


    The 11 lines of the logo represent the 11 train lines that cross at Fulton Center.

    The logo is angled at 5 degrees, representing the five subway lines available to travelers, and further enhancing the idea of motion. (The lines include the IRT Broadway – Seventh Avenue Line [the "red" line], the IRT Lexington Avenue Line [green], IND Eighth Avenue Line [blue], BMT Broadway Line [yellow] and BMT Nassau Street Line [brown].)


    The form is tilted five degrees, a reference to the five subway lines that converge at the hub.

    The different colors of the converging train lines and the changing light of Sky Reflector-Net inspired a dynamic approach to the color of the identity, which varies according to season, ranging across hues of orange and red for fall, to green and yellow for spring, to sky blue for summer, to magenta and purple for winter. The primary typeface is Neue Haas Grotesk.


    The color of the identity changes according to season: blue for summer, orange and red for fall, purple and magenta for winter, and green and yellow for spring.

    Bierut and his designers also developed a system of guidelines for consistent application of the identity across a range of items, from collateral like stationery and MTA MetroCards to dimensional signage at Fulton Center.


    The circular form echoes the logos for the subway lines and the MTA.


    An extruded version of the logo is used for dimensional signage.


    Identity guidelines.










    Color values for fall, left, and spring, right.


    Color values for summer, left, and winter, right.

    In the past few years, Bierut and his team have worked on a range of transportation projects for the city, including the identity for Grand Central, the WalkNYC pedestrian wayfinding system, the redesign of New York’s parking signs, and the LOOK! transit safety campaign.

    Project Team: Michael Bierut, partner-in-charge and designer; Hamish Smyth, designer.

  4. #1399
    Crabby airline hostess - stache's Avatar
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    Default And so it begins -

    From NY1 -

    There are 10 escalators and 15 elevators inside the Metropolitan Transportation Authority's sprawling Fulton Center, and since it opened on Monday, some commuters have found out the hard way that there are still kinks to be ironed out when it comes to moving up and down inside the Lower Manhattan transit hub.
    According to the MTA, two of those elevators and one escalator had to be temporarily put out of service this week as crews went to work on repairs and commuters grumbled at unexpected obstacles in their way.
    While it's more than a century younger than some stations, it can still suffer some of the same problems. For example, one elevator couldn't make all its stops on Friday because of a problem with its speed monitoring circuit.
    Any New Yorker knows that outages in the escalators and elevators in the transit system can be a maddening fact of life. It's just not one they expected to encounter in here so soon.
    "We're paying taxes for this?" said one commuter.
    "I don't think they were quite ready. Would you say they're ready?" said another.
    Ready enough to unveil a project once slated to open in 2007, with MTA New York City Transit maintaining three of the 10 escalators and seven of the 15 escalators. The others fall under the care of Westfield Group, the retail giant that's leasing more than 60,000 square feet of commercial space inside the Fulton Center.

  5. #1400
    Build the Tower Verre antinimby's Avatar
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    That's pretty much as expected from the MTA. Hey, on the bright side, at least the elevators didn't go into freefall and killed people.


    BTW, does this place have bathrooms and if so, how long before they get trashed and the MTA closes them permanently like in other subway stations?
    Last edited by antinimby; November 15th, 2014 at 12:03 PM.

  6. #1401
    Crabby airline hostess - stache's Avatar
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    I think they close bathrooms for cruise control. I also think they could probably keep the ladies' rooms open but then someone would cry sexism.

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    Quote Originally Posted by antinimby View Post
    BTW, does this place have bathrooms and if so, how long before they get trashed and the MTA closes them permanently like in other subway stations?
    It does have bathrooms. I used them the other night ... and give them about 2 years before they're closed (half-joking).

    I was honestly underwhelmed by the central hall (i.e., where the oculus is and where the shops will someday, theoretically, be). The finishes seemed VE'd down - as if everything was made of the same discount steel that kiosks and utility-room doors throughout the system are often made of. You can easily imagine them with streaks that are lighter than the rest of the metal (from cleaned-up graffiti). The bathroom doors already had had some sticky liquid thrown on them, which made them look a bit nasty. They also had signs above them saying "Restroom - Male" and "Restroom - Female," which sounds a bit odd (especially given the less-odd "Men's Restroom" and "Women's Restroom" are already written on the doors themselves).

    The Oculus Room (for lack of any other name I know of) also felt much smaller than the pictures I'd seen in newspaper articles covering this suggested, in addition to having the steel finishes as mentioned (pretty much every photo including those above looks nicer than the post-sunset reality). Regarding the actual subway connections and platforms, there were one or two connections that had clearly been cleaned up but not impressively remade, and the 2/3 platform looked cleaned up (but again not fully remade/modernized). Overall I'd give it a 5 out of 10.

  9. #1404

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    The Fulton Street stations on the J/Z and the 2/3 were renovated in the early 2000's. MTA generally renovates a station, or series of stations every few decades, or so.

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  11. #1406
    Forum Veteran MidtownGuy's Avatar
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    The station turned out great (except the exterior of course). The generous window sill recesses of the inside perimeter are great for sitting and people watching, which lots of folks were doing.

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  13. #1408
    NYC Aficionado from Oz Merry's Avatar
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    In Detail> Fulton Center

    Lower Manhattan gets a scrumptious taste of sexy British high-tech.

    by Aaron Seward


    David Sundberg / Esto

    The recently opened Fulton Center has brought a scrumptious taste of sexy British high-tech to Lower Manhattan. Subway riders accessing or departing from the Gordian Knot of transit lines that the center serves—2, 3, 4, 5, A, C, J, N, R, Z—now have the opportunity to pass through a sci-fi fantasy of a pavilion building.

    A robust grey metal exoskeletal framework supports the rectilinear glass facade—blast-proof, you understand, and offering a contemporary take on the depth and modularity of downtown New York’s historic cast iron edifices. Elemental granite floors anchor the interior, cluing you into the fact that you are about to descend into the earth. Two upper levels of yet-unoccupied retail and restaurant space hover within the glass box, floated above the ground floor on V-shaped columns with rounded GFRC covers that give the curved volume’s glistening glass walls an outward cant. Passing under the commercial component—a moment of compression—stairs and escalators descend one flight to an intermediate level, and a soaring atrium rises above—the corresponding moment of release.

    Commissioned in the wake of the September 11, 2001, terrorist attacks, Fulton Center brings much-needed clarity to the tangle of subway lines that the station serves. A large part of the wayfinding strategy is Sky Reflector-Net, an art installation that directs daylight captured by the building’s raised oculus two levels under the ground. David Sundberg / Esto

    Roughly circular in plan, the intermediate level offers sightlines up to the street as well as down into the subway system, an excellent position from which to find your direction into, or out of, the rabbit warren of tunnels. At one end, a snaking stairway rises up from the granite floor, curving sensuously around a glass elevator shaft and providing access to the upper levels. Digital screens ring the circular cut in the street-level floor plate, adding another layer of kinetics to an already busy space and more of the sense that you’ve just entered a scene from Neuromancer.

    The atrium is bathed in an otherworldly light that filters down from an oculus skylight, some 110 feet above. The light has a diffuse, almost material quality, similar to the fog of light seen in certain James Turrell works. This quality is the result of an optical diffuser/reflector that rings and hangs down from the oculus. Composed of crossing radial stainless steel cables that support diamond shaped aluminum panels, it looks like it could be the glowing interior of a nuclear power plant’s cooling tower.

    Zak Kostura

    Entitled Sky Reflector-Net (2013), this $2.1 million component of the architecture is the result of a collaboration between Arup, Grimshaw, and James Carpenter Design Associates. MTA Arts and Design and the MTA Capital Construction Company commissioned the work, along with the whole project, more than a decade ago. In March 2002, in the wake of the destruction of the September 11, 2001, terrorist attacks, the MTA hired Arup to conduct a planning study for a downtown transit center. The study, which was delivered four months later in July 2002, got the MTA $847 million in funding from the Federal Transit Administration, part of the huge outlay of cash made available by the Supplemental Appropriations Act for Further Recovery.


    Zak Kostura

    The building that now stands on the corner of Fulton Street and Broadway is remarkably consistent with the recommendations of the initial study, a primary component of which was the use of daylight as a wayfinding device. Arup performed a solar analysis that established an ideal geometrical relationship between the site, the building, and the oculus to take optimal advantage of the sun’s path throughout the course of the year. One of the chief challenges of the site in this regard is that the street corner faces north, whereas sunlight in this hemisphere comes from the south. In that direction, tall buildings hem in the site. In answer, the oculus rises out of the roof like a chimney, and its low-e coated, insulated glass top is tilted 23½ degrees south, to capture as much light cresting the neighboring buildings as possible. The exterior of the oculus is clad in a stainless steel batten system with a diffusive coating that prevents hotspots and glare.

    In addition to its daylighting function, the installation conceals large air ducts that draw warm air, or smoke, from the tunnel system and exhaust it out of the building. Courtesy Arup

    In February 2004, Carpenter was brought on to work with Arup and Grimshaw on developing a system that would encourage the light captured by the oculus to reach two levels under the ground to the subway system. His studio worked with the architects and engineers on reflection studies and finding a structure and materials for the system. The team eventually decided on a cable net. Made of 316 stainless steel, it attaches at 56 points to gusset plate and tension rod connections on the compression pipe at the top of the oculus, and at 56 points on the atrium structure below. TriPyramid fabricated the 4,000-pound net in its Westford, Massachusetts, facility and drove it to the site on the back of a tilt-bed truck. An installation team from Enclos lifted the net into place using eight individually operated hoists. As cable nets do, when erected and pulled into tension it naturally assumed its cooling tower shape.

    Zak Kostura

    Attached to the cable net are 952 1/8-inch-thick, diamond shaped aluminum panels with a mechanically applied anodized coating. Carpenter worked with German optical aluminum company Alanod to develop the coating, which has both diffusive and reflective qualities. The custom finish is now part of Alanod’s product line and is called Scattergloss, an apt name that well describes what happens to light as it lands on Sky Reflector-Net. It works as well for daylight as it does for electric light. At night, 32 metal halide lights grouped at the top of the installation in clusters of four transform the net into a giant lampshade.

    The panels are perforated, 80 percent toward the bottom of the net and 20 percent toward the top. This gradient causes the installation to seem to dissolve as it reaches toward the ground. It also allows views to pass through where the net covers the upper atrium floors. As importantly, the perforations provide for the more-or-less unimpeded passage of air. In addition to directing light, the net conceals the large ventilation and smoke-evacuation ducts that ring the upper reaches of the atrium, lending a glowing face to a machine built in the memory and for the prevention of Fulton Center’s tragic historical impetus.

    http://www.archpaper.com/news/articl...0#.VJQRYP_KoHA

  14. #1409

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    So, erm, what exactly is "British" about it? Is Arup from the UK? Poorly written / confusing article: Its headline and lede sentence explicitly refer to the "Britishness" of the structure, but absolutely no explanation of this follows. Aaahhh, journalism...

  15. #1410

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