The rebirth of 7 World Trade Center was significant to Lower Manhattan in many ways. The original building was destroyed on September 11, 2001, and the new 52-story building is the first permanent structure to rise from the World Trade Center site. It was also the first LEED skyscraper in New York and was awarded the U.S. Green Building Council's LEED Gold status.
Childhood should be a wonderful journey, and the Children's Museum of the East End helps make the trip even better with a discovery-themed approach to the familiar and the unknown, the real and the imagined, and environments both natural and urban. Lee H. Skolnick Architecture + Design Partnership provided complete architecture and exhibit design services for the Long Island museum.
Manhattan's Hearst Tower, the first LEED office tower in New York, is a modern reinterpretation of the Hearst Corporation's original six-story, cast stone, Art Deco home. Foster + Partners inserted a 44-story steel-and-glass tower inside the original structure. The landmark façade is now a 70-ft.-high, skylit atrium space.
The first American interior designer to become a household name, Dorothy Draper was the mid-20th century's Martha Stewart. For a retrospective of her work at the Museum of the City of New York, Pure+Applied used dramatic overscaling and fresh interpretations of Draper's signature decorating techniques to illustrate her bold, brash, and sometimes grandiose style.
Design as process was the focus of Design360's collaboration with AIGA on the 365:AIGA 27 Exhibition at AIGA headquarters in New York. The project allowed Design360 to focus on design's basic elements—technique, materials, and colors—and how each is influenced by the others.
Lance Wyman is considered to be one of the most influential graphic designers of our time, and is credited with helping to define the field of environmental graphic design. He founded Lance Wyman Ltd. in 1979 and has focused his work primarily on branding/wayfinding systems for public environments.
Times Square gained its latest sign when the logo of The New York Times was installed on the Eighth Avenue façade of its new Renzo Piano-designed headquarters tower. But what looks like a simple sign—if a 110-ft.-long logo set as a 10,116-point version of the newspaper’s iconic Fraktur font can be called simple—is actually an intricate skin assembled from nearly a thousand separate custom-designed pieces, each a painted, extruded aluminum sleeve 3 inches in diameter.