A Memory of the Bowery, Part Two.

It was one of those hot summer New York City afternoons. No amount of open door AC could cut through the humidity. The concrete patch we call a park was full of equestrianed hipsters hacking a ball from their steel framed mounts.


An old man welds an old grate. An old woman sweeps the sidewalk. And I don’t make eye contact. An old world being replaced by a new. You have to walk over Bloomberg’s bike paths and some colorful metal tables; an impromptu public forum convenes. Past the derelict remains of a forgotten theater, old painted signs tattoo the sides of buildings and unfinished condos towered above. The place was a dive smelling of last week’s beer.


‘Summertime and the livin’ is easy,’ can be heard from an open window above, or maybe it’s just in my head. The window perfectly frames a trash truck crashing by. Regulars are at the bar. A law firm has just finished a softball game; they had matching baby blue shirts.


A selfie was taken.


all photos taken by Jon Schramm.

- Jon Schramm, Mapos Designer.

Architecture Through an Artist’s Lens

You may remember me from a little while back. I was the one insisting that illustrations of windows were going to help you make sense of the city. But there’s something really fascinating about these simple collections. It’s architecture drawn through an artist’s lens. Which brings me to Frederico Babino, who has taken to doing just that. He has been looking at art, music, film, but always using architecture as the organizing factor throughout.
Being a movie buff, the collection of illustrations that stands out to me  is “Archicine” that represents films through the iconic architecture in it. From Rear Window to The Big Lebowski, these images help to assert how the architecture can become a character and reminds us that setting the stage is a huge part of the movies.
 archicine4-01_905                     archicine13-01_905
Like with the windows before them, the most interesting to me of this collection are the outliers like Dogville where Babino reveals the absence of architecture from the the film.


The “Archist” series takes on artists instead, turning each individual’s style into a building. Some  lend themselves easily to the translation. Mondrian becomes a structure simply by adding a figure within it. Lichtenstein ends up being one of my favorites. His art used the ideal housewife from advertisements, so here Babino takes care to play with the traditional house in his composition.
Once again, the contrast between Mondrian to Salvador Dali is the most interesting. Crutches are used to prop up an irregular form, capturing how the artist’s work usually inhabited a space with which we weren’t familiar. All rules of architecture like structure and columns obviously wouldn’t apply.

02_-mondrian-01_905                     023_salvador-dali-01_905

A look around his other work reveals a careful cataloging of the field, whether that be in Architect’s portraits, or revealing architectural style through a simple square. Although an individual illustration may appear simple, his constant cataloging of the field helps reveal a sharp eye for our profession.

ANDO-01                      05_mies-van-der-rohe-01


- Denise Pereira, Mapos Designer.

Mapos Alchemist’s Guide

Drinking is a weekly ritual at Mapos on Fridays. Ubiquitously it has come to be known as “Mapos Friday.” We won’t divulge its humble origin; although we may if you buy us a drink or two on a good day.
Most Fridays, late afternoons consist of a few six-packs of seasonal brews, usually local, chosen through a somewhat democratic process. With full disclosure, I am partial to cocktails; and for my colleagues, storing beers in our mini-fridge does not always yield the desired chill in these sweltering summer months. So, this summer, we have been trying something different – cocktails! Here’s a list of potent potables I have come across over the years. In my humble opinion, they are befitting of our home in the LES — raw, earthy, and with an underlying sweetness you’ll find only if you linger.
Enjoy, and cheers!Alchemist's-guide-2

-Anthony Chan, Mapos Designer.

What’s up, Detroit?

Jim Jarmusch’s Only Lovers Left Alive is one of the best movies I’ve seen recently. It is weird, entertaining, and splashed with spectacular images and sounds that heavily reference cultural history of being cool. Tom Hiddleston and Tilda Swinton, the lead characters in the movie (and also now my favorite movie couple), spend good amount of their time in Detroit. In following them, we witnessed the destruction of a city. If we are not mourning empires past just yet, viewers at least get to start to wonder what’s up with Detroit.
You may or may not know that in the past 50 years, Detroit’s population shrank by 60%, and last year the city filed for bankruptcy, and are at an estimated $18–20 billion in debt. If these big numbers can’t help you make sense of what is going on with Detroit, the city’s decline is also well documented in photos.24

“Ballroom, Lee Plaza Hotel,” by Yves Marchand and Romain Meffre.

French photographers Yves Marchand and Romain Meffre traveled back and forth from Paris to Detroit between 2005 to 2010. They compiled photos of their trips into a collection called The Ruins of Detroit. The pictures they took are disturbingly beautiful, gorgeous enough that they have been described as the “aestheticizing of Detroit’s demise.”
Watching a grand theater transform into a parking lot over time is one thing; watching peoples’ homes collapse is another. The latter is much rougher, indeed, pointing directly to the decline of our modern life. Additionally, I discovered this while I was browsing around about Detroit. Its posts compare property images on Google Street View and Bing Street View through different years, showing viewers the decline of neighborhoods at a faster rate than one could imagine.



Top to Bottom, Google Street View photography circa, 2009, 2011, 2013. Images found on GooBing Detroit.

The decline of Detroit is an extreme case of a larger issue that affects many American cities, and it is a story that transcends American soil. Many European cities had already been through the same transformation. The pitfalls of post-industrial urban landscapes have become a ubiquitous issue in our recent history. Factories today are being built in Asia; we should know that this will pass, too.
If you want to go to Detroit to check out what is going on yourself, visit detroiturbex; the website does an awesome job of collecting historical images and documents different locations of Detroit. And they host tours!MichiganTheaterlobbyDetroit

Michigan Theater Lobby, Detroit, image from Wikipedia.


- Xinyang Chen, Designer.

Game On!

On June 10th, Mapos principals and co-founders Colin Brice and Caleb Mulvena traveled to Chicago, IL where they presented at NeoCon, a three-day expo and conference for commercial interiors – ranking the nation’s #1 largest event of its kind.IMG_0776
The title of their presentation, “Game On! How to Engage in a Lively But Effective Participatory Design Process with your Client,” reflects the nature of the work we do, and the relationships we cultivate with our clients. Their mixed-media presentation got the audience out of their seats and involved in a mock-design session to show how design teams can employ participatory design techniques to engage clients. Games, interactive work sessions, mediation tools, and even internal design competitions can facilitate a community-centric process where clients can be co-authors of a workspace that suits them.

Playground Mob, The Musical

An Incomplete Survey of Street Art Along The Bowery
In the Fall of last year, famed British street artist Banksy arrived in New York to begin a monthlong residency on the streets and walls of the City, a project that he called “Better Out Than In.”  Throughout the month of October, he led local enthusiasts and visitors alike on a massive scavenger hunt across the five boroughs in search of a new piece of original and usually illegal work each day.  On the third day of what became quite a frenzied event, those of us here at Mapos arrived at the office to encounter an excited crowd on Delancey Street, around the corner from our office at 161 Bowery, all eager to see and document one of a set of three pieces that had gone up overnight.
Just the day before, the unassuming gray wall there had held the two simple words: “PLAYGROUND MOB.”  But on that morning, below the enigmatic phrase, was a stylized addition.  The tone of that quiet gray wall had changed overnight, and it now loudly proclaimed:
The Musical!


(IMG_01 / Art by Banksy, photographed 04 October, 2013)

But Banksy’s small addition to the neighborhood, no matter the crowds that it drew, is but one minor example of the art publicly displayed on the walls of the area.  The buildings along the Bowery, and the streets throughout its surrounding neighborhoods, have long acted as a canvas for New York City’s street artists and graffiti writers, both notorious and notable alike.  Just opposite this piece in fact, across Delancey Street, there is a nearly untouched piece from 2011 by the esteemed Kenny Scharf, longtime friend and associate of Keith Haring.  This piece, generally only visible in the evening, covers the roll-down security gates of the Bowery Restaurant Supplies store there and was the centerpiece of his “Gates Project” of that year when he tagged many of these gates throughout the area with his signature style.


(IMG_02 / Art by Kenny Scharf, photographed 18 June, 2014)

Likely inspired by Scharf’s “Gates Project,” over the past few years, a very similar initiative has been sponsored by the Bowery’s own New Museum which has partnered with the Art Production Fund to organize “After Hours: Murals on the Bowery.”  Although, the City of New York is in the process of phasing out the solid roll-down security gates so commonly used by Kenny Scharf and countless other writers and artists before, they are still a common sight along the Bowery at night.  In cooperation with many of the businesses and landlords along the Bowery, organizers have turned the street into a kind of gallery which only opens at night and features a diverse range of works by many different artists.


(IMG_03 / Art by Sylvie Fleury, photographed 22 April, 2013)


(IMG_04 / Art by Mel Bochner, photographed 29 August, 2013)

An example of a piece on a roll-down security gate can be seen on our own building at 161 Bowery, although it was sponsored by another group entirely.  The piece currently featured on the building at our address is a piece by the artist Ben Eine and features a large colorful letter “E,” which demonstrates the style that Eine is known for.  This piece, though, was sponsored by the wildly prolific Little Italy Street Art Project, or The L.I.S.A Project, an organization created by Wayne Rada and directed by he and RJ Rushmore with the mission to bring life back to Little Italy, which was becoming little more than a neighborhood for tourists to visit for its restaurants.  This group has been hugely successful in connecting prominent artists and vacant walls throughout Little Italy and the surrounding neighborhoods over the past few years.  In that time, The L.I.S.A Project has brought artists like Logan Hicks, SHOK-1, Ludo, Tristan Eaton, Invader, Meres One, and Buff Monster all to the area.


(IMG_05 / Art by Ben Eine, photographed 18 June, 2014)


(IMG_06 / Art by Buff Monster, photographed 29 April, 2014)


(IMG_07 / Art by Ludo, photographed 24 February, 2014)


(IMG_08 / Art by Alice Pasquini, photographed 29 April, 2014)

Illegal and unsanctioned works and tags still appear and disappear almost daily, but the neighborhood is home to an immense collection of commissioned street art all curated by local organizations and businesses who have sought to celebrate this cultural asset and not allow it to act as reminder of the crime and urban blight that the area was once known for.  Of all of these, probably the most notable and established example is the Houston Bowery Wall, which is a massive wall owned by Tony Goldman of Goldman Properties and curated by Jeffrey Deitch.  Since 2008, when Goldman first began commissioning artists to paint the wall, it has provided a surface for many of the world’s most celebrated and influential street artists, but its legacy goes back to 1982 when it was first selected by Keith Haring for one of his earliest large scale public murals in New York City.  Since then, the wall has featured the elite likes of Shepard Fairey, Barry McGee, JR, Os Gemeos, and Kenny Scharf, just to name a few.


(IMG_09 / Art by Swoon, photographed 24 October, 2013)


(IMG_10 / Art by Maya Hayuk, photographed 05 February, 2014)


(IMG_11 / Art by COPE2, photographed 27 May, 2014)


(IMG_12 / Art by COPE2, photographed 27 May, 2014)

Just a few blocks West of the Houston Bowery Wall is a smaller similarly curated wall which has also recently brought some extremely talented artists to the neighborhood.  At the corner of Elizabeth Street and Houston Street, on the exterior of the Rag & Bone shop there, is a wall known as the Houston/Project, that the business commissions a new piece for almost every month.  This wall has recently featured artists such as Ludo, Erik den Breejen, Meres One, Yoon Hyup, and DALeast, just to name a few.


(IMG_13 / Art by Erik den Breejen, photographed 17 June, 2013)


(IMG_14 / Art by Meres One, photographed 09 December, 2013)

But, despite the well-organized success of such groups, street art and graffiti are still controversial, sometimes even when sponsored and curated.  Just a few weeks ago, a piece that had gone up only weeks earlier on Kenmare Street by artist SHOK-1, a piece sponsored by a local business owner and The L.I.S.A Project, was tagged and subsequently buffed at the artist’s request.  To replace the piece, The L.I.S.A Project called on the duo of MINT and SERF, collectively known as MIRF, who invited their friends of PPP, the Peter Pan Posse, to join them.


(IMG_15 / Art by SHOK-1, photographed 01 April, 2014)

The result was a little unlike anything the group had brought to the neighborhood previously, and represented an interesting take on the concept of a sponsored piece of street art.  As artist MINT explained to Animal New York in an article that describes the short life of the piece, “At this stage, I am not interested in a sense of perfection or precision, in fact just the opposite.  In a way the chaos is the reflection of what graffiti is to me.”  Partner SERF continued on to say, “I honestly do not feel that it has enough graffiti.  I was looking forward to more writers to add to the wall over time, creating something authentic… I wanted to create a genuine NYC feeling.  A wall that would wind up in the background of Law and Order.”


(IMG_16 / Art by MIRF and PPP, photographed 11 June, 2014)


(IMG_17 / Art by MIRF and PPP, photographed 11 June, 2014)

Unfortunately, this fresh, albeit nostalgic, approach was not well received.  Within days, the piece was entirely covered or buffed and it appears that the wall will not soon be used for another piece.  The owner of the store that provided the wall was not pleased with this second installment from The L.I.S.A. Project, stating to Animal New York, that “it makes my shop look like a junkyard.”  And so, despite the positive intentions and a general acceptance of such efforts, there are still lines, and there is still an uncertainty about how far is too far.  Nevertheless, legal or illegal, sponsored or not, street art and graffiti have been an important element of the aesthetic of the neighborhood for decades, and although it is a constantly evolving aesthetic, it is not one that is likely to disappear any time soon.


(IMG_18 / Art by Unknown Artists, photographed 04 May, 2013)

All photographs were taken by Justin Paul Ware.


- Justin Paul Ware, Designer.

Copa do Mundo (The World Cup)

…and the start of a conversation someone should be having, somewhere.
Unless you’ve been sitting under a very large, heavy rock for the past week, you’ve probably realized that the 2014 World Cup is currently underway in Brazil.  In honor of the greatest month in four years, I thought I’d give you some more soccer to chew on, then be a big buzzkill and tell you about the architectural problems that stem from it.
The FIFA World Cup, much like the Olympics, requires a host country to provide a certain number of stadiums for the tournament, whilst playing innkeeper for a global-scale amount of football fans. The Cup typically brings up a plethora of emotions and issues in the host country regarding costs and environmental effects, but this year feels hotter and heavier than ever.  A number of writers (see: In These Times, Fast Company, Business Insider) and even John Oliver have already given a much deserved verbal whipping to FIFA and the destructive impact The World Cup has had on its host country.
Instead of doing as they already have and outlining the terrible costs (both monetary and mortal) of the stadiums and events this year, I thought I’d keep it cheery and show an example of a stadium both initially well-built and henceforth well-utilized in its afterlife.  I do so with hope that at some point, not only as architects, but you know, as a planet, we can begin to do something to prevent the harsh impact of building new stadiums, abandoning them, watching them rot, and then making a google tour out of it. (Google Sightseeing)
Ladies and gentlemen, I give you – Arsenal Stadium, Highbury.1

The stadium, when it was still a stadium/arsenal.com

Quick disclaimer: My respect for this stadium and the people who decided its useful fate does not change the fact that I despise the team whole-heartedly. #liverpool4lyfe
The initial stadium design was done by a guy named Archibald Leitch, and in 1913 was plopped on top of a local college’s existing field (shout-out to Archie for locational relevance).  The stadium consisted of one main stand and two terraces to seat 9,000, until 1932 when Arsenal officially moved in, and Mr. Claude Waterlow Ferrier decided to step up their architectural game by designing “the most advanced grandstand ever seen in England.” The addition meant two more tiers to raise seating to 4,000 people, standing capacity to 17,000 people, and just another thing for Arsenal to brag about.


 Standing room only/arsenal.com

The stadium continued to grow throughout the years, eventually hosting 38,419 screaming Brits, hundreds of soccer matches for a number of different tournaments – including the London Olympics in 1948 – and even serving as a first aid post in World War II.  However, as the team continued to dominate the Premiership and its fan base grew substantially, Arsenal decided to move on to a new stadium in 2006.
Okay here’s the important part:  Instead of leaving the stadium as it stood (and generating insignificant income by giving stadium tours and holding one feature game a year), the owners did one better.
The old pitch was converted into a 650 unit residential block, designed by architects Allies & Morrison, and is now known as Highbury Square.


Stadium entry then, front door now/Allies & Morrison

Peter Hill-Wood (Arsenal Chairman) gives it a quick run-down:
“Our wish for the development was always to retain more than a passing resemblance to Highbury Stadium and to respect its class and heritage.  With the apartments being constructed in the same location as the four old stands and the pitch being converted into a wonderful garden area, we are delighted that we have achieved our goal.
Although Highbury as a football stadium is now gone, Highbury Square has ensured that our old home will never be forgotten.”
Well doesn’t that just bring a tear to your eye?  Uh, yeah me neither.
Despite the fact that much of the stadium was demolished, the spirit of the stadium remains.  The East and West Stands were preserved, including the marble halls and the player’s tunnel, the pitch now serves as a communal garden, and much of the new layout was directly derived from the original plan.


Seats turned studios/Allies & Morrison


View of the renovated East Stand / Allies & Morrison



Pitch turned garden/arsenal.com


View into courtyard/Allies & Morrison  


View from the window of a unit/Allies & Morrison

Highbury should stand as a precedent of the possibilities of post-use for a stadium, whether it be housing, or any other program dreamed up by the owners and designers.
 So I’ll leave you with this:
What will it take to make places like Highbury a regular occurrence?  Whose toes need to be stomped on to get the higher-ups requiring not only a set of stadium drawings, but a set for repurposing said stadium in the aftermath of the games?
Mull it over, let me know if you can come up with anything.  In the meantime, though, enjoy watching.  Just try not to think of how such destruction is caused by such a beautiful game.
Sorry for being such a killjoy. Oh, and VIVA HOLANDA.
- Dani

Facts and photos courtesy of www.arsenal.com and Allies & Morrison.

Dani Alvarez, Designer.



Charles James and DSR Weave Technology and Fashion at the Met

This past weekend I visited the ‘Charles James: Beyond Fashion’ exhibit at the Metropolitan Museum of Art, sponsored by the Costume Institute and designed by Diller Scofidio & Renfro (DSR). For those unfamiliar, James was a prominent Anglo-American fashion designer whose career spanned the 1930-70’s. During the 40’s and 50’s in particular, James developed an arsenal of coats, suits, cocktail dresses and ball gowns that ultimately defined his work as spectacularly sublime and formally provocative. His work is best known for its sculptural forms and architectural construction techniques, simple seams and attention to detail. The DSR exhibition aims to emphasize the conceptual intent and construction techniques of each piece using digital animation and architectural drawings.

Costume Institute_Metropolitan Museum of Art

The Costume Institute/The Metropolitan Museum of Art.

The exhibition is broken down into two parts: The Anna Wintour Costume Center, on the lower level, gives a chronological sweep of James’ development over 35 years, while the first floor special exhibitions gallery focuses on 15 of his most fantastic ball gowns. While both parts adequately depict the depth of James’ talents, I found the ball gown gallery to be exceptional.
The first floor, a sea of black, disk-like platforms creates a field of James’ most extravagant evening gowns. Each platform presents a single dress, with tilted monitors and cameras mounted on robotic arms located at the rear.

Lampshade Dress_Ruth Fremson_The New York Times

Lampshade Dress : Ruth Fremson/The New York Times.

One of my close friends was a lead animator on the project, and narrated in-depth explanations of each garment as we moved through the exhibit. He explained that each animation is meant to describe the primary idea behind specific gowns. Every animation begins with the robotic camera arm performing a ‘scan’ of the dress. This reveals on the monitor below digital models tracing complex boning and fluid seam lines. My favorite part was the way the dresses were deconstructed to convey concept as well as construction technique in true axonometric fashion. Before diving into detail work, the big picture of each piece is explained. For example, one of the more structurally impressive pieces, the “Lampshade” evening gown, boasts a simple fitted bodice and skirt, with a hemisphere-like sheath that blooms at the knee. Conceptually, the volume at the base references the form and structure of a lampshade or umbrella. An x-ray reveals a diagrid of boning beneath layers of fabric that are ruched together along one continuous seam.

View the animation video for Deconstructing Charles James here.

The combination of DSR’s technology and James’ craftsmanship reveals the importance of the relationship between big ideas and meticulous detail work, which is prevalent in both the digital animations and physical garments. Architects and designers alike could stand to learn a great deal from the shows’ content and presentation. More often than not, clear conceptual form work supported by straightforward structure creates the most impactful built form, whether it be an extravagant ball gown or a 50-story skyscraper.


-Jaime Magaliff, Designer

John Hejduk: Creator of Worlds

Title taken from a 1992 documentary by Michael Blackwood.
Fifteen years ago as a college freshman, I first discovered John Hejduk, the late architect and educator, through what would turn out to be his last work, the Lancaster/ Hanover Masque—an evocative little book detailing the inhabitants, rituals, and building typographies of a mysterious agricultural town.



John Hejduk: The Lancaster/ Hanover Masque



Sketch by John Hejduk

I’d soon learn of Hejduk’s role as an educator, his connection to influential New York architects and institutions, and his limited but significant built works. But the strange insular world represented in the Masque, an enveloping narrative world of buildings and symbols, and buildings as symbols, had a profound effect on my understanding of the power of architecture.



From John Hejduk: The Lancaster/ Hanover Masque

Simultaneously thoughtful and playful, Hejduk’s work creates an enveloping sense of atmosphere, speaks in its own distinct formal language, and combines a childlike sense of wonder with a powerful gravitas.

byronlast-john hejduk-masque1

Studio For a Musician, Cooper Union, New York

In its own admittedly heavy-handed way, the work makes clear the power that even small buildings can possess, the impact of a contrast between old and new, and the ability of architecture to create memorable experiences and to tell a story, even if that story is one created by the visitor.


 Conciliator, New York

Amazingly, Hejduk’s few built works speak in roughly the same language as his sketches and constructs, and convey the same combination of whimsy and relevance. They’re curious buildings, to be sure, but powerful and memorable all the same.

Tegel Housing

 Kreuzberg Tower, Berlin

 - Andy Kitka

Taming the Tiger

FAB_Community Event6

Very interesting article in Next City on the power and problems of integrating Public Engagement –  http://nextcity.org/forefront/view/the-case-for-rethinking-public-engagement

While new internet tools (MindMixer, e.g.) offer a very interesting promise of great democracy, these tools are rightly dismissed by the elderly and lower income citizens for being too inaccessible. As access increases with time, these arguments will most likely diminish.

The real culprits in public engagement, as Blumgart points out, are either the rote civic exercise, and/or the fait accompli. I have organized and participated in more than enough public forums to see these two scenarios play out. Our most successful event (seen at http://tinyurl.com/q9kpsgm)did a few things to help thwart the shouting and start a dialogue. The first is to introduce each event with very clear processes and goals. If the participants understand that being in an active member of any society means understanding and accepting compromise, and everyone cannot get everything that they want, the more adult and effective the discussion will be. The second is time. The most vocal argument I have heard over and over is, “the change is happening too fast.” Given enough time and enough room for comment and reflection, the more everyone can wrap their heads around the need for change and the issues behind them.

This may seem like a clear path towards “design by committee,” and it unfortunately often is. These two additional culprits need their own path towards understanding and aspiration, but it gets the group pointed in the right direction.

A Time and Place. #GenusLoci

A time and place. #GenusLoci
By Jon Schramm – Mapos Designer


Originally my plan was to do a photo exploration around the Bowery. I wanted to turn my lens onto the place Mapos calls home: the Bowery, a neighborhood straddling the LES, Chinatown, and SoHo. By exploring the area surrounding our office, I hoped to frame the work we do; to provide additional background and context. Is there an element to the Bowery that drives us, that informs our research? The world around us constantly informs our decisions. In a fast paced and diverse city such as New York, we are constantly receiving feedback. Instead of trouncing around myself, I decided to use a collective lens to situate Mapos within the world around it. The following is a curated look at the Bowery through various hashtag filters.














Keep in mind that this is how one use group, Instagram users, sees the #Bowery. Is it accurate, can we trust or learn anything from these results? As designers, specifically as architects, we design for a place, for a specific use. We have to be in tune and aware of the places we are designing for. We design for the now but also for the future. What kind of place is the Bowery? Can a simple hashtag capture the constant flux contained within one neighborhood?














A walk through the Bowery is an sensory mashup. Grand St fish stalls. Horns. A soccer ball. The waving of a traffic guard. Bike Lane. An industrial sink on the sidewalk. Is this collection a way to understand a place? What is the Bowery to everyone else?

















LivePerson + Interior Design

The Mapos designed gym space at LivePerson’s Headquarters in New York gets some love from Interior Design Magazine!

Interior Design Magazine – March 2014 Issue

… of New York

… of New York
By Denise Pereira – Mapos Designer


So we all know that the folks in our office are all about maps, especially those of New York. But after you’ve mastered the MTA map and don’t have to use HopStop to get around, there are other ways of trying to make sense of the city that have nothing to do with a dropped pin or a street address.


To start off a bit more architectural, there’s All the Buildings in New York, a continuing blog put together by illustrator James Gulliver Hancock with unique illustrations of, you guessed it… the buildings in New York. Sure, we’re given an address to help locate ourselves, but its visual characteristics help to do that as well, especially by isolating it from its context. There are some of our favorites like the New Museum that are given the same treatment as a recent entry that’s so close to Mapos HQ, that I’m going to pretend it’s the same building.


jgh_town_235Bowery-614x1024 Image from All The Buildings of New York - Drawn by James Gulliver Hancock


jgh_town_344bowery-670x1024 Image from All The Buildings of New York - Drawn by James Gulliver Hancock


jgh_town_56leonard-745x1024 Image from All The Buildings of New York - Drawn by James Gulliver Hancock


jgh_town_231_warrenst_brooklyn-715x1024 Image from All The Buildings of New York - Drawn by James Gulliver Hancock


For all the minimalists out there where whole buildings are just too fussy, there’s always Windows of New York. Same idea zoomed way in, all packaged together on a beautiful website. It’s a project by graphic designer José Guízar. I like the thought that he’s pushing himself to find the unique character in something so insanely repetitive and the infinite scroll begs you to keep making your way through his large collection as you hop around the city without even realizing.


152-spring Image from Windows of New York – by José Guízar


159-essex Image from Windows of New York – by José Guízar


221-mott Image from Windows of New York – by José Guízar


Finally, because we’re well-rounded individuals who care about lots of things besides buildings, I’ll also mention Humans of New York. It’s funny, sad and inspiring on any given day as you see and read about one of the millions of people who live here that you will most likely never meet.



“Do you remember the saddest moment of your life?” “When I turned myself into the FBI at the age of 21. I’d committed a stupid crime, and I’d never been arrested before, so I was hiding from the cops. But then they started calling my mom. And she called and asked me to turn myself in. And I had to, cause it was my mom.” Image from Humans of New York – by Brandon Stanton


tumblr_msx7d1yj1Z1qggwnvo1_1280 (1)

“My students were worried about me riding without a helmet, and they knew I loved orange. So they made me this.” Image from Humans of New York – by Brandon Stanton



“When I was 19, my girlfriend and I were going to study in Paris. Our boyfriends came to the docks to see us off. Right as we were getting on the ship, my friend’s boyfriend said to her: ‘If you go, I won’t wait for you.’ So she turned around and decided to stay. My fiance saw this and told me: ‘I won’t wait for you either.’ I said: ‘Don’t!’” Image from Humans of New York – by Brandon Stanton


I will always be fascinated by projects like these. Maybe because I hope to see my apartment building be given its 15 minutes of fame (the ultimate sign that I’m a “true New Yorker”) but also because they’ve found other ways to locate and organize the city that celebrates unique moments on the ground rather than from a bird’s eye view.

Urban Square: Cradle of Social Changes

Urban Square: Cradle of Social Changes

By K.T. Anthony Chan – Mapos Designer


Cities are living organisms each harbors unique, dynamic spaces and networks. The development of urban public space is informed by its’ geology, typography, resources, history, culture, and perhaps above all: governance. The physical manifestation of the city and its’ complex nature is ever-evolving, adaptive, and transformative. This adaptivity can prove to be especially potent, as it gives a city the capability to influence the distribution of political and socio-economical power. Public spaces have potential to further the prosperity of inhabitants or to maintain the status quo for those in power.

In the February issue of the Atlantic Monthly, Matt Ford examined the power of assembly in public space and reviewed a correlation between built form and political purposes in authoritarians states. “Cairo’s layout also made Tahrir Square the perfect place to launch a revolution. Centrally located in Egypt’s largest city, Tahrir sits near the Egyptian parliament, Mubarak’s political party headquarters, the presidential palace, numerous foreign embassies, and hotels filled with international journalists to broadcast footage of the protests for audiences around the world. After Mubarak stepped down, large public squares in other Arab capitals became revolutionary battlegrounds as well.” In another word, the perfect stage was set for the modern era.


k36_70680821 Independence Square. Kiev, Ukraine. Left: during a social movement called “Smile Ukraine! Smile overcomes a crisis!” Taken on April 22, 2009 Right: Three months after a political crisis erupted leaving dozens dead. Taken on February 20, 2014. Image source: Sergei Supinsky, Bulent Kilic/AFP/Getty Images via The Atlantic Monthly


Over the past few months, the world has witnessed the violent clashes between anti-government protesters and riot police at Ukrainia’s Independence Square in Kiev. Ukranians want to assimilate with European ideals, rejecting Soviet or other eastern ideals. Taking the playbook of the Arab Spring, protesters set up encampment with makeshift fences and burning tires. The physical transformation can only be elucidated through before and after images — the gathering was a spectacle of last resort. The protracted demonstration eventually drove the corrupted leader out of power and to seek refuge in Russia. The future of Ukraine remains to be unsettlingly uncertain.

Historically, public places have acted as epicenters of political moments. Aided by social media, the organization of public gatherings have taken on an entirely new dimension. These spaces no longer need to be centrally located; they are sometimes networked throughout a region with multiple nodes — they are interconnected neighborhoods with agent of change. However efficient or inefficient, the Occupy Wall Street movement was an ultimate expression of democracy. The organization of the movement occurred though conversations and consensus. Since the early days of the movement, the weekly public meetings were held at Tompkins Square Park. The movement was horizontal in hierarchy which required public space for assembly. New York City lacks the revolution launch pad that comparable to Tahrir Square in Cairo or Independence Square in Kiev. The search of a home played a pivotal role in defining the Occupy Wall Street movement.


The People’s Library at Occupy Wall Street. Zuccotti Park, New York City. Taken on November 2, Day 47 of Occupy Wall Street. Image source: David Shankbone/Wikimedia Commons.


In New York City, municipally owned parks close after dusk. During the summer of 2011, while the Occupy movement was without a home, general assembly was held in a handful of public parks. The movement’s Tactical Committee learned that privately owned public space (POPS) in New York City are not subject to public park curfew. City Planning Commission in 1961 devised a scheme to provide more public park by way of public / private partnership. This zoning laws incentivized developers to provide publicly accessible space by allowing more build-able space. These zoning laws required owner of Zuccotti Park to keep the park open for “passive recreation” twenty-four hours a day. This loophole provided OWS a home and the rest is history.

Public space is the place for myriad of gatherings, political or otherwise. It is indispensable for democracy both as a symbolic gesture and as a viable arena for levée en masse. People design spaces, and spaces facilitate activities of the people. Designers, in turn, are well positioned to be pivotal agents of social change — a role that must have been unimaginable for the designers of Zuccotti Park.



“Pre-occupied: The origins and future of Occupy Wall Street” – Mattathias Schwartz, The New Yorker.



“A Dictator’s Guide to Urban Design Ukraine’s Independence Square, and the revolutionary dimensions of public spaces.” Matt Ford, The Atlantic Monthly.


Whitney Biennial

The Whitney Biennial

By Xinyang Chen – Mapos Designer


The Whitney Biennial 2014 opened two weekends ago; this is the last biennial hosted in Marcel Breuer’s building. The museum is moving to its new location designed by Renzo Piano next year. Whitney is not going to be the same Whitney soon, but right now, as promised, we are having a larger and bolder than ever biennial.



Whitney Biennial 2014


The exhibition is put together by three curators with distinguished focus (one in film/video, a contemporary art curator, and a painter/educator) as well as 103 artists.

It is a true party, exciting and also overwhelming.

I started my visit to Whitney from its fourth floor, where Michelle Grabner is the curator in charge. Grabner says she wants her section “organized as a curriculum for other artists.” Maybe that is why the pieces she chose are so cohesive; they talk to each other. The play between the descriptions and the pieces worked really well – reading a description was often as enjoyable as viewing the piece itself! Contemporary art is sometimes so conceptual that I find I can’t just look at it and understand. I found the descriptions both entertaining and enjoyable as they were well written and gave me a better background to the piece.


Jennifer Bornstein, Untitled, 2014. Video, color, silent, 4:30 min. Collection of the artist; courtesy Gavin Brown’s enterprise, New York and greengrassi, London. © Jennifer Bornstein


Take, for example, Jennifer Bornstein’s video. The video is in complete silence and has perfect tone. The human nudity reminds me of a classic painting. It documents a couple of women as they move awkwardly and sometimes violently about the space. The description says that the body movement is abstracted from three different sources – soft porn poses, Balinese folk dances and contact improvisation technique. Learning this from the description, helped me to fully embrace what I saw.



Stephen Berens, July 31, 2005, Afternoon; July 19, 2005, Morning; August 8, 2005, Morning; July 29, 2005, Late Afternoon; July 25, 2005, Late Evening; August 7, 2005, Morning; July 26, 2005, Morning; August 3, 2005, Late Afternoon; August 8, 2005, Morning; August 3, 2005, Afternoon, 2013. Dye-based inkjet print, 24 × 34 in. (61 × 86.4 cm). Collection of the artist. Courtesy the artist. © Stephen Berens


Another unforgettable piece is Stephen Berens’ project. In this work the artist reprinted 40 views of Rome on top of one another sequentially, and made the prints into a new series. The original images are 40 shots of the same spot at the same angle, at different hours. I like the practice of recycling old work into new, and I think Berens’ process is inspiring. I was a little bothered to see after overlapping shots for multiple times, some sheets are dull, and some are just black. I think, conceptually, the series is fascinating but the product wasn’t always as exciting.


The most impressive piece on the 4th floor is Zoe Leonard’s room-size camera obscura. The artist blocked the only window in a huge darkened room, letting light come in through a palm-sized lens. Through this, the city outside is projected upside down on the ceiling and walls inside of the room. The idea of this piece is not particularly new, (Abelardo Morell used the same technique and shot a series of beautiful interiors ) but I very much enjoyed the interactive experience.

The biennial is on view through May 25 and I recommend you check it out!


The Dynamics of Shifting Population and Wealth

Reflections on a Year in New York City and the Dynamics of Shifting Population and Wealth
By Justin Paul Ware – Mapos Designer


In just a few weeks, I will have lived in New York City for a year.  It’s hard to believe that it has already been a full year, but at the same time, with all that has happened, it’s hard to believe that it hasn’t been longer.  In reflecting on that, I realize that I’m writing from my third New York City apartment.  But it isn’t just my third apartment, because with each one has come a new neighborhood, a new zip code, a new grocery store, a new laundromat, a new commute, and even a new borough.  Cancel that, sorry Queens, only two boroughs so far.  But, it becomes readily apparent, in considering this, that I am a part of the constantly shifting population of New York’s recent additions, and that that makes me a part of the much larger dynamics of the City as a whole.


When I first moved to the City last year, I had the great fortune to be able to sublet a room from a friend in Hell’s Kitchen for two months.  No, I don’t mean that I had a great fortune that allowed me to afford this opportunity; I mean that timing worked out perfectly.  I got lucky.  According to a map (see below) recently published by WNYC’s Data News Team, though, I wasn’t the only one.  In fact, Hell’s Kitchen is one of the more popular places for newcomers to make their first stop.  Presumably, this is due to the neighborhood’s proximity to Midtown and relative affordability compared to much of Manhattan.  At the same time, an even higher percentage of Midtown’s residents are recent arrivals.  A great number of these new residents probably moved here for a job there and were likely less familiar with the rest of the City.



Upon further examination, I noticed that the subsequent two neighborhoods that I have lived in since leaving Manhattan for Brooklyn, Prospect Lefferts Gardens and Bedford-Stuyvesant/Bushwick, rank extremely low in this respect.  Apparently, no one moves to these less popular neighborhoods from out of town.  But this may misrepresent the major changes occurring across these other parts of the City.  Although not popular destinations for newcomers, neighborhoods such as these are seeing a significant growth in wealth, while the more popular ones are seeing a decrease.  According to another map (see below) published by WNYC, it is neighborhoods such as the Lower East Side, Chinatown, Harlem, Williamsburg, Bushwick, and Bedford-Stuyvesant that are seeing the greatest increase in median household income.  In a city where the population is as dynamic as it is in New York, it is safe to assume that these shifts are not being entirely accounted for by stagnant populations; much of these changes are due to wealth moving into these neighborhoods, and not from out of town, but from within the City itself.



At the same time, though, there is still a great discrepancy in the distribution of wealth across the City.   Many of the neighborhoods experiencing the greatest increase in wealth are still among the neighborhoods with the lowest median household incomes.  In a third map (see below) published by WNYC’s Data News Team, this can be seen.



As a young designer concerned with issues of urbanism and as a relatively new resident of, well, a major urban center, I often feel conflicted about what these changes mean and what role I play in them.  If you read almost any source of news concerned with these issues, you’re probably used to seeing terms like gentrification thrown around on the regular.  And if so, you’re probably also accustomed to the negative connotations that many commonly associate with related population and wealth shifts.  But, as Justin Davidson poses in his recent article, “Is Gentrification All Bad?,” in New York Magazine:


Gentrification doesn’t need to be something that one group inflicts on another; often it’s the result of aspirations everybody shares. All over the city, a small army of the earnest toils away, patiently trying to sluice some of the elitist taint off neighborhoods as they grow richer. When you’re trying to make a poor neighborhood into a nicer place to live, the prospect of turning it into a racially and economically mixed area with ­thriving stores is not a threat but a fantasy. As the cost of basic city life keeps rising, it’s more important than ever to reclaim a form of urban improvement from its malignant offshoots. A nice neighborhood should be not a luxury but an urban right.

Mapos Inspires Collaboration at ?WhatIf! Headquarters

Mapos creates “space promoting collaboration and inspiration.” See how this applies to the ?WhatIf! Headquarters office designed by Mapos:

A Non-Architect’s Life

A Non-Architect’s Life
By Malina Leslie – Mapos Studio Manager


As the only non-architect in the office, I often find I have no idea what these people around me are talking about. They are obsessed with maps and have super specific pen requests – I ORDER SO MANY DIFFERENT TYPES OF PENS FOR THEM!!! NO ONE HERE LIKES THE SAME TYPE OF PEN!! THIS IS CRAZYNESS!!


I joined a soccer league with one of my co-workers called the “Def Points” – I assumed it was because we DEFINITELY scored all the time… only months later did I find out it was some super jargon-y architect-y name for a layer in the AutoCad drafting program – a very specific name for a very specific point. HOW WOULD I KNOW THIS!?!? WHY IS THIS COOL!?! WHO ARE THESE PEOPLE!?!?


Everyone’s always talking about rhino which isn’t a huge animal but actually refers to 3D modeling software. V-ray isn’t an amazing skin-burning laser that they place into drawings but rather a tool for rendering that apparently has a lot to do with Rhino! They have their own language which features too many acronyms to keep track of – RFP, CD, DD, DBR, FOS, IDC, SD, OPV – WTF!?!?!


It’s a little confusing at times, but it ends up being a nice relationship. I teach them about 401K plans and what to expect with health insurance changes and they tell me why I look like an architect when I wear all black and what the purpose of a wood slat ceiling element is ((to cover duct work on the ceiling – OBV!))


One of the exciting parts of my job as of late has been developing the PITHY Mapos Field Guide which is our version of a boring employee manual but with all things peppy! I bug them for tips in Photoshop and Illustrator while featuring their over-sized faces on photos of Mapos designed spaces. It touches on my love for comics, their designs, and the overall theme here at Mapos – AWESOMENESS.










Thanks to photographers Malcolm Brown, James Chororos and Randhir Singh for the use of their photos.

Italian Futurism Becomes the Guggenheim’s Present

Italian Futurism Becomes the Guggenheim’s Present
By Jaime Magaliff – Mapos Designer


This past weekend I visited the Guggenheim to view the new “Italian Futurism” show, a multidisciplinary display of Futurist work from 1909 through the end of World War II. The Futurist movement was a result of Fascist Italy rejecting past institutions and merging artistic and political agendas to march Italy into a new age.


Depero_Skyscrapers and Tunnels

Fortunato Depero, Skyscrapers and Tunnels (Gratticieli e tunnel), 1930. Tempera on paper, 68 x 102 cm. MART, Museo di arte moderna e contemporanea di Trento e Rovereto, Italy © 2014 Artists Rights Society (ARS), New York/SIAE, Rome. Photo: © MART, Archivio Fotografico


Across the broad spectrum of mediums employed by the Futurists, a combination of cubism and expressionism creates a visual celebration of light, speed, and movement. Through the bright colors, bold graphics, and mind-warping perspectives, I could practically hear the artists shouting for a modern, industrialized city.


Those Who Go 2

Boccioni States of Mind – Those Who Go


As I progressed farther along the perpetual surface of the Guggenheim, the works increased in scale and intensity. Upon reaching the top, I was faced with enormous depictions of Italy as viewed from the sky, “Aeropittura” style. This was certainly a fitting conclusion to my journey up the spiral, as I considered my bird’s-eye view from the top of the atrium. With the images of the Futurists’ still buzzing before my eyes, I looked down and imagined paints and pens leaping off the canvas and bursting in to protest.



Giulio D’Anna Dynamism of Train, Ship and Plane


The action I unknowingly imagined later became reality that evening during the Guggenheim’s pay-as-you-wish admissions night. A group of forty activists held an impromptu protest against the horrific labor conditions of migrant workers, who would build the Guggenheim Abu Dhabi. Frank Lloyd Wright’s “temple of the spirit” became the perfect podium for a protest. People lined the atrium with bold banners and shouted out against the very institution they inhabited. If it couldn’t get any more perfect, they had a backdrop of Futurist artwork to cheer them on.

Guggenheim Protest Mic-Check


Although this was an unlikely location for a protest, among a collection of artwork standing against the demands of the institution, I’d say the activists fit right in.

LivePerson’s Office Design Crème de la Crème

Mashable lists our design for LivePerson’s NYC Headquarters as one of the top Playful Work Environments That Reinvent Office Space!



Every US Zip Code — Decoded

Every US Zip Code — Decoded
By Daniel Martynetz – Mapos Designer


Here at MAPOS we love a good map (just look at our name!), and this was one of the more interesting we came across recently. It was put together by the Washington Post from data compiled by the American Community Survey, the US Census Bureau, and ESRI.


Full Zoom - US


The interactive visualization includes each of the 650 United States zip codes and assigns it a ranking and a color. The colors range from dark blue to light green, and the metric scale from 0-99. The number values are determined by averaging the percentile ranks of that zip code in both median household income and college education. The lighter the color, the higher the ranking. You can zoom in and out, pan around, and click on any of the zips for a detailed breakdown of the data behind the graphic.


From a purely aesthetic standpoint, the map works beautifully and is exceptionally good at making clear certain geo-economic truths of the country. The most obvious of which is the tendency of wealth to accrue around urban centers, with the bright spots almost perfectly mapping the major cities of the US. However, the longer you look, the more patterns begin to appear. For example, almost as soon as you notice that extreme wealth tends toward urban centers, you realize that so does extreme poverty. While these aren’t exactly secrets, its still amazing to see such a clear division, often with only streets dividing the highest and lowest ranking zip codes.


South Orange
East Orange


Of course, the map is only looking at two factors in its subdivision of an entire country (300 million people cannot be quantified in two stats), but they have a high correlation to wealth and power. In fact, it’s interesting to me that they specifically included higher education in the metric, not merely median household income. In a way this seems like a suggestion that money alone is not enough to accurately highlight where the power lies in this country: the article attached to the graphic goes on to discuss the significant number of “super zips” clustered around Washington DC, so there seems to be some truth to that sentiment.


Without getting too embroiled in the various social, economic, and political discussions its possible to jump into from this graphic, lets just go ahead and enjoy it for what it is: a gorgeous and fluidly interactive map of the country with data that is now public, using technology that didn’t exist 5 years ago. As the federal government releases more data like this, and the tools of HTML become increasingly advanced and accessible, I just hope that designers can keep up the pace.

Block By Block, Year By Year

Block By Block, Year By Year
By Andy Kikta – Mapos Designer


This amazing interactive map shows the construction date of every building in Brooklyn, New York (some 320,000). Developed by Thomas Rhiel at BKLYNR, and based partially on the NYC Department of City Planning’s newly released PLUTO data set, the map is an incredible resource and a fascinating visualization of the most populous borough of America’s largest city.

Map - Entire


Along with the specific construction date, the map color codes each building by period, from pre-1825 through today. My apartment is in a dark red building circa 2010, but adjacent to a light green one from 1899. My neighborhood, Greenpoint, is a mix of structures from the late 19th century and early-mid 20th century, with new 21st century buildings interspersed.


Map - Greenpoint


And this is perhaps the most interesting aspect of the map — the color coding giving an immediate sense of the relative age of a specific area. Sit a little further back, and the rough age of each neighborhood emerges.


This combination of the macro and the micro, the general and the specific, is made possible by the map’s interactivity and is a great example of publicly available data presented in an intuitive, useful, and fun way.


How old is your office, home, or school?

Gritty Debate


At Mapos, we often find ourselves in gritty debate. Nobody can call us dogmatic! Here are two thoughts on a current conversation…



Another One Bites the Dust: MoMA Going Wrecking Ball Rogue
Take a big whiff, it’s the last one you’ll get!
By Katherine Kokoska – Mapos Designer


Last week I was given the opportunity to be an audience member at a conversation hosted by the Architectural League concerning a hot topic in the New York City architecture scene.  The discussion focused on the controversial expansion plan for the MoMA, one that involves the demolition of neighbor and architectural jewel, the American Folk Art Museum designed by Tod Williams and Billie Tsien.
Liz Diller presented a few diagrams and renderings from her firm of the vision for the new MoMA; a design solution that was realized after investigating methods concentrated on the preservation of the AFAM.  It was ultimately decided that adaptive reuse was not an option, as the building was completely resistant to change and augmentation- like I said, a fantastically individual piece of thoughtful construction (that apparently has its own pleasing smell in its interior).  The focal reason for the leveling of the AFAM is the MoMA’s need for a circulatory loop that can provide fluid movement throughout the new addition.  I believe this functional concern to be a weak excuse, as it surrenders opportunity to experiment with the housing of MoMA’s collection, and instead, destroy a space with potential to reinvigorate the banal glass-and-white box syndrome the museum tragically suffers from.
The decision to raze a building with such character and street presence is a transgression of what it means to be a modern institute for the arts.  The MoMA appears to value the price tag of the Museum real estate, rather than the Museum itself as an invaluable piece of inhabitable art.
New York is taking a unique destination and replacing it with the ordinary.



Tod Williams Billie Tsien Architects Image_folk art 1
Image courtes of http://www.twbta.com/#/2643  Tod Williams and Billie Tsien Architects



Bullies Are People Too


This whole AFAM vs. MoMA, TWBTA vs. DS+R, David vs. Goliath, has all the makings of high drama. The topic is a media darling who’s 15 minutes are past due. Let us please bury it deep in the pages on Netflix.
Here at Mapos we preach and practice the virtues of adaptive reuse and see immense benefit in turning Challenges into Opportunities. One could argue we base our practice on it. It also needs to be said that we have the most profound reverence for the work of TWBTA. Their Neurosciencs Institute in La Jolla, CA is one of the most beautiful, contextual, and inspiring examples of modern architecture in the US.
But here at Mapos, we also say, “Empathize, People!” And here, let us try to empathize with two extremely important groups of people involved in this drama, neither of which – gasp! – are other architects or architecture critics.
First, visitors were confronted with a confusing building. The grand spaces were hidden a level up and connected via a plethora of stairways (TWBTA fetishizes stairs and ramps – think of the sectional diagrams! – and in this smallish building they chop up the visitor experience in a classic case of VCO – Vertical Circulation Overload). Strolling, absorbing, and perceiving the amazing collection was more labyrinthine than relaxing. While the building was a subtle and sophisticated example of materials and natural light, it fell in the camp of Difficult (Museum as Object), and not Serene (Museum as Place for Art).
Second, MoMA itself. They have taken the brunt of the criticism, rightly so, but does anybody see the client as a relevant community of people who value their resources, want to do right by their constituents, and have the right to make judgments on their property? Don’t get me wrong, we here at Mapos would have loved to seen a thoughtful, useful, and inspiring reuse of AFAM within the booming halls of MoMA.
But this is not a case of David vs. Goliath. This is not another overplayed example of the bully in the schoolyard. AFAM couldn’t make it work and they created it specifically for their needs. And now, after serious study, MoMA has concluded it can’t make it work either. Capisce?

?WhatIf! Office Design Featured in OnOffice Magazine

Mapos’ office design for ?WhatIf! gets a great spread in OnOffice Magazine:


Happy New Year from Mapos!

Happy New Year from Mapos!!!!
Mapos New Year_Print

Montagnaro House in Casa Vogue

Montagnaro House featured in the Portuguese Casa Vogue!

Mapos Designs New Fresh Store in Hong Kong

We are thrilled to share a new Fresh store opening at Langham Place in Hong Kong!




Look at that line! The Fresh team reported that there was a queue from morning til night and that it was the highest opening sales record worldwide for the brand.  This shop is a continuation of the concept Mapos created in the Union Square Fresh Flagship store, highlighting hospitality and more interactive features like the Love Bar and the Kitchen Table where clients can gather around and try out the natural ingredients that Fresh has to offer. It’s an amazing location, opening onto the Langham Place atrium and occupying a corner along the mall’s main circulation.




Local Fresh teams helped to build excitement and awareness of the shop with pop-ups and special holiday event spaces.





Truck 1


Wanna feel like you’re a part of the Fresh experience?!?! Check out this video to appreciate the real deal!


Bricks Over Clicks

Contract Magazine publishes a piece by Caleb that you can’t afford to miss!

Happy Halloween from the Mapos Crew!



We had a GREAT lunch today – everyone brought in their sharpest knives, strongest spoons and creative pumpkin carving minds in order to participate in the First Annual Mapos Pumpkin Carving Lunch!






There were classic puking pumpkins, knives in heads, armored tough guys, scary vampire teeth, goofy pumpkin seed wigs and even a twerking Miley Cyrus showed up!


photo 1




We were having so much fun that our downstairs neighbors at YR&G came by to give their stamp of approval!




It was a fabulous carving session and we highly recommend grabbing a pumpkin tonight (or tomorrow when they are on sale!) and carving at least one if not two!



Montagnaro House in the New York Times

Mapos’ Montagnaro House gets a shout out in the New York Times!



Interior Design Chooses Montagnaro House!



Interior Design says that Mapos’ Montagnaro House is a Big Idea and we quite agree!

Mapbots Visit Storm King

mapos storm king
 “You got to do WHAT today at work!?!” This was the line many of us got asked this past Friday when we told our friends and family that the Mapos Office went to Storm King for a field trip. We needed to recharge our creative juices and get inspired by all that Storm King has to offer.



It was fabulous. A brief escape from the city we love to trees and grass and cool October air – we became leaf peepers and sculpture fanatics.





Our unanimous favorite was undoubtedly Maya Lin’s “Storm King Wavefield” installation. There’s something about being able to appreciate it as an art piece while getting to interact with it – walking along and within the rows of rolling hills.




And any time you get to play a giant game of King of the Mountain means you’re living the good life!



Caleb was feeling a little frazzled from hanging out with all of us crazies – good thing Mark Di Suvero’s gong piece had a hammer to help him let out some steam!



The trip proved successful – batteries fully recharged and all of us taking inspiration back into our work here at Mapos. We can’t wait for the next field trip for more bonding with our fellow Maposians and all of the cheesy photos that await!





Mapos Gives Back Through NYC Pro Bono Day


Hear Colin speak about why design matters for nonprofits.



Mapos Opens Up Collaborative Design

Mapos works with LivePerson to create a workplace environment ideal for everyone – hosting various collaborative meets to get employee input throughout the design process.


Mapos September Party

So, the day after our big Mapos September Party arrived and apparently everyone was out at lunch.



Everyone, that is, except our two favorite principals!



We sure had an absolute blast with all sorts of folks Thursday night – our faithful clients, long lost friends, the crazy Mapos crew – you name it, everyone had fun.
















We just can’t wait for the next time!



?WhatIf! Office Tour with Follow-Up Q&A with Colin Brice

Mapos Principal Colin Brice will be co-leading an office tour of ?WhatIf! Innovation and discussing new ideas in practice as part of the IIDA Facilities Forum: The Evolving Workplace. The event features a Q&A session with Colin and ?WhatIf! Director, Bart Higgins, to show how these innovators have created a work environment that fosters communication and productivity.
David Craig, Associate Principal, Workplace Strategy Leader, Cannon Design
Bart Higgins, Director, ?WhatIf! Innovation
Colin Brice, Principal, MAPOS LLC
Wednesday, October 2, 2013 – 6:00 – 8:30 pm
?WhatIf! Innovation Office – 137 Second Avenue, NYC

Friday Design Challenges

Every handful of Fridays, the team here at Mapos stops work on our various projects and gets pumped for an office-wide Design Challenge. Each employee works individually, creating within the Design Challenge specifications and 30-45 minute time period.  No one knows what the challenge will be until right before the stop watch begins and no one is allowed to use SketchUp or AutoCad, making each designer go back to the basics of hand sketching, model making and quick Photoshop or Illustrator assistance. At the end of the time allotment, everyone pins up their designs and ideas in the Conference Room, we grab a beer and we each have 90 seconds to present our design concept to the group.
It has been a blast so far! There is always a wonderful array of designs and it’s great to see each employee’s style come through their design concept. It’s also fun to see the various ways each employee takes on the Design Challenge – coming up with fantastical as well as practical options.
This past Friday the Challenge was a typical bike storage question:  Design a bike system or solution to our bikes always cluttering up the office.



A handful of people toyed with the idea of hanging bikes from the ceiling – Katherine had a hot pink wall of bikes, creating a divider between the entryway and the office.



Justin designed a sea of bikes, acting as a divider between employee’s personal spaces.


Lee brought up the concept of the off-season when it’ll be cold and snowy, and therefore fewer bike commuters. She opted for different colored holders that would attach to the wall –aesthetically pleasing both when in use and when it’s too cold to bring your bike to work.



Alex opted for the Branding approach by putting Beyonce into his design, and as we all know, you can’t go wrong with B! He had the most practical concept of elongating the already useful storage space we have, for a specifically designed hanging bike system.



Our Office Manager Malina tried her hand at designing and surprised everyone by breaking out of the box of the Mapos office and opting for a ramp that would connect us to a neighboring building’s roof to park the bikes.



Daniel hit the ball out of the park in the first step of his three step process by telling everyone they needed to class up their bikes – “no more of this janky crap.”


So the plan is to get all of our bikes fixed up and lookin’ snazzy, have Beyonce perform for us on our neighbor’s roof while we hit our heads on bikes hanging from the ceiling and continue our design work inside until the next Design Challenge shakes up our thought process.



Caleb Discusses Windows In SNAP Magazine

Caleb Mulvena offers expertise on making the most of window placement in this SNAP Magazine product focus.

SKMBT_C22413080812350 130808_WindowsInSnapMagazine

?WhatIf! Shout Out in Design Bureau

“You work where?!” Check out Design Bureau Magazine’s write-up of ?WhatIf!’s new space designed by Mapos!
Design Bureau130724_WhatIf_DesignBureau

Racked Reviews Sleep Studio

Check out Mapos’ recent project for Sleep Studio as reviewed by Racked. You just may find yourself visiting Sleep Studio on your next lunch break for some extra rest!

Office Snapshots Shares the New ?WhatIf! Office Space

Mapos recently redid ?WhatIf!’s New York City office, creating a more sophisticated and brand relevant space. The three-story, 12,000-sq.-ft. space doesn’t have a single cubicle or private office, giving some 150 employees a variety of spaces that support the many different ways people work. Below is Office Snapshots terrific review on ?WhatIf!’s fabulous new do.


MAPOS LUNCH — A Tradition Unlike Any Other

To take advantage of the first truly warm day this spring, the Mapos crew decided to dine “al fresco”.
Take a look at all these beautiful people enjoying life:




Good times.




Too bad Denise couldn’t be in the picture (as she was taking it).
Fortunately, here at Mapos, we are all board-certified Photoshop magicians. Let’s see if we can harness that magic to get her in there…

MAPOS Lunch revised




Now at the proper scale…

MAPOS Lunch 01






Though, sometimes it seems like she is everywhere at once…
MAPOS Lunch - AC







And always watching…
MAPOS Lunch - DM






When Katherine isn’t shoplifting her…
MAPOS Lunch 06







MAPOS Lunch 04   






MAPOS Lunch 07












MAPOS Lunch 05 







MAPOS Lunch 08







Happy Easter!

MAPOS Lunch 09

PFTC (Projects for the City) – One

Just across the street, at 150 Bowery, is a non-descript one-story building.

It was built quickly by the landowner a couple of years ago to, no doubt, grab some rental income while s/he waits for the land value to blossom and give themselves time to figure out what to do with the property. It’s an enviable situation.

It currently houses a lighting showroom that perfectly complements the current row of other lighting, plumbing, and kitchen supply showrooms. And the neighborhood is changing.

What first drew us to this site, as we peer down from our 5th floor studio across the street, is the absence of any rooftop equipment. No dunnage. No air handlers. No satellite dishes. No roof hatches. No access. It’s a perfectly flat trapezoid, 5,000 square feet, 12 feet above the street.

As new tenants in the area, we asked ourselves, our neighbors, our visitors, “what would you like to see in the neighborhood?” The answers were varied, but they all revolved around the desire for open space and a place to get out of the office and kick-back with friends and colleagues. Being a rooftop, visions instinctually went to the classic New York roof deck: sun, plants, coffee and cocktails.

We added flexibility to the mix so groups of people could use (or rent) the rooftop for private functions, gatherings, meetings, and events. Music, great food, and outdoor presentations and cinema could easily be supported. When there are no official happenings, the rooftop becomes an elevated and outdoor living room for the hard-working people in the area (ahem, Mapos and the like). Wrapped in metal scrims and/or the classic storage container, our project becomes a visible-yet-removed retreat. Off the street and in the air.


Mapos Projects for the City – Introduction

We live in New York City. We love this place for many, many reasons and can’t help ruminate on what could make this place even better. Apparent to us architects are all the un-used or under-used slivers of real estate that beg to be used or re-used.

The area immediately around our office on the Bowery is currently undergoing a fairly rapid transformation. Once the neighborhood of well-heeled merchants, the Bowery fell to crime and misfortune at the end of the 19th century. Many attempts to reverse this trend have fallen short over the years and the infamous reputation of homelessness, crime, and poverty persists to this day (most of it based on reality). Within the last 10 years, however, New York City has experienced rapid development in almost every borough and neighborhood and the Bowery is no exception. “Luxury” condos (Carlos Zapata), art galleries (Norman Foster), museums (SANAA), and high-brow restaurants (Daniel Boulud) have sprouted along the Bowery turning the street into a dramatic checkerboard of homeless shelters sitting adjacent to $500/night boutique hotels. This new landscape is one of the reasons this city is so phenomenal: hipster, homeless, fashion model, college kid, entrepreneur, dot-com millionaire, and immigrant are all walking the sidewalk and speaking their language.

How can we support this diversity? We appreciate development and the beneficial change that comes with it. But should we paint over the grit, texture, and natural accretion of history? Should we displace one for the other? How can we develop these slivers of opportunity in a way that balances between the two? In a series of MAPOS PROJECTS FOR THE CITY, we will continually ask these questions. Starting in our backyard first, we will look at the intersection of Delancey Street with the Bowery as a dynamic environment with a very interesting future.


This map registers green and open space (in CYAN), our subjective edits of “Notable” Architecture (in RED), and the opportunity slivers (in YELLOW) that will become the sites for our hypothetical projects. One prominent hypothetical project already on the boards is the “Delancey Underground.” This is definitely NOT a Mapos PROJECT FOR THE CITY, but another interesting and entrepreneurial project being designed and promoted by colleagues of ours. The Bowery brings out the creative wish list in a lot of us.

Our first site is circled. Read further on Spamos for this Project and further investigations for MAPOS PROJECTS FOR THE CITY.


Empathize, people!


I visited the “foreclosed” exhibit at MoMA recently and came away a bit perplexed and disappointed, but couldn’t put my finger on exactly why. Then I read this great review of that show by Felix Salmon. In an earlier post, I lamented the lack of empathy for exactly why millions of people choose to live in the suburbs. Salmon sums it up perfectly:

“Any honest attempt to fix the suburbs has to start with facing up to why so many Americans live in the suburbs in the first place, and who those Americans are. Suburban families are bigger than urban families; they like their space; and they like living in places where they’re a good distance from their neighbors and a long way indeed from people of other social classes.”

Fresh Accolades for 2012

Our design for Fresh’s new Global Concept Store captured both the Store Fixturing Award at the 2012 A.R.E. Design Awards as well as the Silver Medal for Digital Signage in Retail at the 2012 Apex Awards.
Every now and then, it’s great to receive a little recognition for your team’s hard work and your client’s dedication to a vision. In the case of the Fresh Global Concept Store, that recognition just keeps coming! Aside from the remarkable amount of positive press we’ve received for this project, we’ve also recently collected some hardware on behalf of the entire team recognizing some key components of the store design.
Without thoughtful fixtures a store is nothing more than storage, so we were thrilled to collect the Store Fixturing Award at the 2012 A.R.E. Design Awards for the design of the Fresh Sensorial Bar. This piece, designed by Mapos down to the precise curvature and proportions of the drawer pulls, manages to be beautiful, functional, and most importantly, fun and interactive! Our hats are off to the good people at Amuneal for executing a pitch perfect piece.
Paramount to our new concept for Fresh was to create limitless opportunities for storytelling through interactive technologies. Doing this in a way that is “indistinguishable from magic” was just as important to us as designers. Working with Materials & Methods, we created a fully integrated storytelling experience utilizing a combination of Christie Microtiles and iPads which worked at multiple scales, from the person peering in from the street to the face-to-face touch of a fingertip. The successful results captured the Silver Medal for Digital Signage in Retail at the 2012 Apex Awards.
This little gem of a store is just the first step forward of many more as this innovative and thoughtful brand expands their presence into Asia and beyond. Stay tuned for more Freshness!

Penn Station is for Losers

For the record, I don’t think New York (or it’s taxpayers) should pay $3.2 billion for the new Moynihan station. In his recent piece, Michael Kimmelman outlines a handful of worthy alternatives to the horrible mess that is Penn Station. What his criticism points to – but doesn’t directly address – is the perverse suggestion that we could reverse our mistake of tearing down McKim, Mead & White’s original Penn Station by trying to renovate McKim, Mead & White’s adjacent Post Office into the new Penn Station. This bizarre logic is akin to buying an iTouch and calling it an iPhone. Just because they’re both made by Apple doesn’t make them perform the same way (even with renovations). And all train stations don’t have to look like Grand Central, either. Add the fact that only 5% of Penn Station’s current commuters would use the new station only solidifies the lunacy of this idea.

What this does point to is the growing need, maybe even the dawn of a new era, of infrastructural renovation, renewal, and adaptation. Our cities are of full of bridges, tunnels, stations, wharves, highways, and sewers that were built 100 to 50 years ago and need some attention. Beyond mere repair, there is a real opportunity to look at these physical developments as places of civic pride. What could the Gowanus Expressway look like if we capitalize on the volume of space it creates underneath it? What could the Red Hook Terminal become if we recognize its prime waterfront location? What could Penn Station signify if we don’t try to recreate the past but build for the future?


The Other Guy Had a Point (Maybe)

I wonder where my skepticism comes from. Being a fan of urban density and everything that comes with it – cultural diversity and abundance, housing density, energy efficient living, mass transit, walking and biking as healthy alternatives to car commuting, the list goes on – I sometimes feel that the anti-suburb conversation is swinging the pendulum too far in the other direction (and let’s be truthful, a lot of suburbs are beautiful desirable places to live).

To move the conversation in the right direction, we need a balanced look at history. What were the planners at the time thinking about when they put pen to paper and dreamed up their bucolic garden communities on the edge of cities? Some of them had to be intelligent people, after all, so let’s not throw the tomato plants out with the lawn shavings.

Suburban sprawl – and especially the far-flung exurbs – HAS proven itself to be an unsustainable development, as Christopher Leinberger writes in the NY Times, but is it completely broken as to say that it is in “collapse”? Or that the fringe suburbs have achieved an untimely “death.” When I was right out of college, I knew many Midwestern peers who wanted exactly what they had growing up and never considered the “lifestyle reasons and the convenience of not having to own cars.” And as I’ve often said, when I retire (if I ever do), I want to live in an elevator building in New York City for the exact reasons Leinberger mentions in his piece. But I’m also not that naive to believe that every “boomer wants to live in a walkable urban downtown.” In fact, I know many who like their suburban manse, thank you very much. To generate profound and lasting change in our development patterns, I think we should look at why a lot of people are making the lifestyle decisions they do. What made the suburbs so successful and so desired in the first place? And while we’re at it, let’s not forget that urbanism preceded suburbanism, and was itself was preceded by agrarianism. We’ve been here before, haven’t we?

In another piece in the Times, Louise Mozingo puts suburban office developments in her sites. At least she describes why the landscaped corporate parks were so popular. But again, to simply say that corporations should move back to the city or tie their suburban campuses to mass transit (which are great ideas) misses the point. I’m not about to write a treatise on human habit development over the centuries, but a realistic look at human behavior and WHY some of us – MOST of us – used to really like the suburbs would be a good idea.

And before I get too far with this line of thought, let me repeat myself: I like the city and want to live in one. Always. Humans are complex things, however, and we’re never going to agree on everything, especially when we swing the pendulum too far out of reach.

The Big Duh

The elephant is in the room and we all know it. This excellent piece shines a light on the decaying and empty shopping centers that are littering the suburbs of the U.S. They’re huge. Their parking lots are huger. The “power centers” where they are built play big in people’s daily lives. They’re inefficient, destroy greenfields, and aren’t that beautiful to boot. Small towns have fell victim to their construction (as they win out over Main street) and often struggle for survival when they eventually die themselves.

What can we do about them? How can we leverage the energy (and money and materials) already spent on their development? What does their second life hold? Community centers? Schools? Housing? Mixed-use? Suburban agriculture?

At the same time, why were they built in the first place? While most are copy-cat developments with little thought to the long term, some are products of very smart people actually putting a lot of thought into their creation. What are their assets? (easy construction, ease of access, easy parking, great for mass retailing) What could greatly improve the relationship between people and planet (connections to mass transit, parking as landscape, connection to the outdoors, skylights, recycled materials, creative fixture design).

With over 100,000 shopping centers in the U.S. – and many of them dead or dying – these seem like good questions to ask.

A Funny Thing Happened on the Way to the Forum

While most people have been generally obsessed for the past 15 years with buildings and the starchitects behind them, the “public realm,” for lack of a better term, went into hibernation. Now, with the economy stalled and the amount of new buildings – and their architects – stalled, the forums of our cities are getting some much deserved attention. Hey, we’re architects and we support the construction of new and renovated buildings as a matter of livelihood, but that has not ceased our intense interest in the care and development of successful urban places where these buildings live and where people move and breathe between buildings. Where we can stand back and look. And talk. And eat. And play. If our cities were just buildings, we’d be living on the Death Star. The buildings may define a city by it’s skyline, but it’s the public spaces between buildings that define a city by it’s people, their culture, and how they inhabit and move through it.
“We’ve been so fixated on fancy new buildings that we’ve lost sight of the spaces they occupy and we share,” Michael Kimmelman says in his report on New York’s amazing public spaces. He spent an afternoon walking through some of New York’s famous – and infamous – public spaces with the urban planner and architect Alexander Garvin. Earlier this year I took a class of NYU students on a very similar walking tour. The point of both walks was to point out the canvas that our building icons sit upon. How do buildings hit the streets? How do the spaces around them support human movement, transportation, relaxation, urban enjoyment? I argued on my walk that most buildings do a rather poor job of transitioning to the sidewalk. They look great from a distance and from aerial photographs – the postcard shots – but often fail at negotiating the all too important human scale at the ground. The Seagram building is seminal architecture, to be sure. The plaza in front (and on the sides) has much to be desired.
Call it “ground up” architecture instead of “trickle down.” Kimmelman writes about how the Dutch begin their urban design projects thinking about granular aspects like subway entrances, bike paths, crosswalks, and storefronts before handing off building sites to architects. here in the States it’s most often the reverse. The developers design their buildings, and the public realm has to adapt to what is given them. I am always struck in Europe with the prevalence of “square,” or, “plaza, piazza, place, ter, trg, torg, plein, platz,” or any number of translations that make open space in the city so loved and respected. It’s hip to be square.

New Mapos Internship Program


We at Mapos are thrilled to announce the initiation of the new Mapos Internship Trimester! This internship initiative will be an ongoing program wherein we will take on one or two interns in tours of 3-4 months each. This may be part time or full time and will vary in tenure length, depending upon the availability of the candidates.
Here at “World Domination Headquarters” (a.k.a. Mapos) on the Bowery, you will not be chained to your desk and forced to generate mind-numbing CAD details for a pittance like your fellow interns in corporate firms. Rather, you will be faced with a series of mind-bending mental and physical challenges for a pittance. These challenges will range from designing our office space, light construction, helping to concept new ideas for the city, researching and collecting cutting edge materials, working with live animals (some completely feral), and entertaining the staff and partners, among many other things. There will also be ice cream and lots and lots of Kool-AidTM!
After working here, you can expect to walk away with the following:
  • A fun and amazing, hands-on experience in your field of study
  • An unfiltered, first-hand view of how to run a small and growing design studio
  • At least a couple amazing projects for your professional portfolio
  • The possibility of built work
  • Excellent references…
    • If you are good
    • Our recommendations have resulted in jobs at Shop, Avroko, Studio Daniel Libeskind, Pompei AD, and Peter Marino Assoc.
  • The possibility of working at Mapos upon graduation…
    • If you are awesome
    • All of our full time employees were former interns here
You must have strong skills in:
  • AutoCad
  • Sketchup
  • Adobe CS
  • WordPress
  • General computer skills
These traits would also preferred:
  • A fearlessness in the face of challenges
  • A proactive, “can do” spirit
  • A willingness to get one’s hands dirty
  • A sense of humor
  •  An “Eye of the Tiger,” by Survivor
  • Reliability, reliability, and reliability
Note that this is an unpaid internship, but will include a base lunch stipend to be paid 50% at the beginning and 50% upon completion of the program.
If interested, email a brief cover letter, resume, and work samples in PDF format to info@studiomapos.com. Please indicate your availability (start date, end date, weekly hours) in your cover letter. NO PHONECALLS.

Saturday in the Bronx



This past Saturday, I joined a small crew at Rocking the Boat in the Bronx, an amazing organization that works with local teenagers and teaches them how to build boats. After a quick tour of their workshop, some of the kids joined us as we paddled their creations on the adjacent Bronx River and where, I believe, was the true power of the organization. Learning how to build boats teaches the kids craftmanship, team work, and those intangible skills that any focused pursuit can give to young people. Out on the river, the boats opened up whole new worlds to normally landlocked urbanites: water issues, ecology, wildlife, the environment, community context, social responsibility. The students at Rocking the Boat were born in the Bronx. Now they are studying the river ecology and restoring wetlands with their neighbors. They are camping in the Catskills and taking Outward Bound classes in the Sierra Nevada. They’re getting scholarships and going to college. A couple of oars can take you way past the Whitestone Bridge.



Official Behavior

I just stumbled upon another interesting article in the NYTimes by Allison Arieff. Writing over a month ago, she looks at the persistent yet optimistic theory that design can solve the “problems” in the workplace. One of my “problems” is I’m just reading this now. My busy work life, my much needed personal life, and my odd day-offs over the summer, have not left much room for catching up with current events and the popular press. I can decry the fact that I spend time staring at my iPhone on my days off, but the fact of the matter is that my iPhone allows me to take days off, because I can use it to answer emails remotely. This multi-tasking-life-work-integration-collaboration is sweeping the professional world, and I guess I’m part of it.

But is this a “problem”? As Arieff points out, and we all intuitively know, more and more of us are working in more and more unconventional fashion. Throw in the unstable economy, and you’ve got a generation of workers working in a non-work-like atmosphere. At home. On the road. In the car. On the sidewalk. Off of a tablet. In other words, not at a desk in an office.

So while designers and contract furniture makers try to re-design the cubicle and make the office a more creative atmosphere, the larger issue continues unabated and often ignored: we continue to work in erratic ways and erratic locations. We continue to live and work in more flexible ways, juggling life and family and work in one great creative act. Our lifetyle, not our office or our mobile tools, is the primary driver dictating this schizophrenic behavior. So the solution won’t be better desk or a smarter office, but a clear and honest understanding of how we want to be.

(Working in the “green” world, we have become keenly aware that the answer to climate change is not some new technology. Motion sensors, PV panels, heat-transfer systems, are all great at reducing green house gas emissions. But to truly get us on a path to energy intelligence we have to honestly look at how our behavior can affect energy use and change the way we live. It’s a nice day today. And we just got another obscene electricity bill in the mail. Today we turned off the ACs and opened the windows. Simple and effective.)

The related question, of course, is our varied lifestyle conducive to being productive? While each of us exhibits our individual creativity, very few jobs get accomplished in solitude. Work spaces need places for conversation, team work, and the freedom to collaborate and ideate. But does too much freedom lead to chaos? While a desk can be confining, I find it helps me focus and deliver. Personally, I could not do my job effectively if I were constantly on the run and dialing in from coffee shops. While I could use a better desk. What I really need is a better calendar.

Better than Nothing

It’s encouraging to hear that “productive conversations” between a farming initiative and Detroit bureaucrats are happening. Mapos sincerely hopes that this is genuine and not just wishful thinking. If there is something Detroit does not need is another hollow reason to get their hopes up.

My Detroiter brother sent this link that outlines these conversations as well as the pros and cons of building a substantial commercial farm within city limits. As with any urban “project,” the concerns are real and should not be discredited: an increase in truck traffic in residential areas or a conflict with existing agricultural businesses in Michigan that rightly need support for their own continued existence. What should not happen is to let a very good idea die because it is difficult to implement or simply because it is not business-as-usual. I do not think urban agriculture will cure Detroit’s ills. At least not alone. What is certain, however, is that business-as-usual will not.

“I think it’s better to generate some tax revenue from somebody,” says a local zoning attorney. Take a cue from New York, where Mayor Bloomberg readily tries new programs by couching them as prototypes and urban experiments so he can circumvent lengthy bureaucratic approval processes. If they don’t work, shutter the program and move on and chalk it up to a valiant effort that didn’t pan out. Something, anything, is better than nothing.

Cars need People too (but we love less cars)

Mapos is all about better, smarter, more sustainable design strategies for our cities (and buildings, and homes, and parks….) What is happening in Europe is a fabulous example of more pedestrian friendly cities. As the author of this recent NYTimes article points out, businesses in car-restricted districts actually thrive with more pedestrian access, countering the long held argument by car-first advocates that businesses will suffer. All good stuff. We would be remiss, however, if we did not point out a strange oversight in the logic of the non-car set. they promote “people over cars” but seem to forget that people are driving those cars. Alternatives do exist. This is a model to celebrate. But let’s not dismiss a viable and sometimes necessary transportation alternative for many people.

Lights, Camera, Mapos!

Be sure to check out the first of 4 episodes on NBC’s Open House featuring the construction progress of the Montagnaro House. In this episode, Glenn Callahan and David Jackson of American Green Home Builders touch upon some green design strategies that everyone should consider when building a new home. Hats off to the greenest and most camera-ready GC team out there!

Be on the lookout for Mapos in a forthcoming episode dedicated to smart water management!

Wood, Concrete, and Steel

A view from the crow's nest looking West to North.

After one of the snowiest winters and rainiest springs on record, summer is finally here, and the hammers are flying in Ghent! The crew has raised the rafters and the space and form of the new house can at last be experienced in full scale reality. Whenever this milestone is achieved on a project, it is among the most exciting moments for an architect and client alike.

This week, as we finally ascended to the top floor of the Ghent House with the client, experiencing the intoxicating panorama of the Upper Hudson Valley from this crow’s nest, every decision, every risk, every fight for design that occurred during the process of design, was immediately, and joyfully, validated.

Mapos Speaks!

Colin joined a panel at YRG Sustainability on Green Building in Retail Environments last Thursday. The topic is of timely relevance as retail sits at the crossroads of construction – which is being heavily affected by new sustainable building technologies – and brand identity. How can retail brands best communicate their green initiatives to their customers? Should they? And why do they do it in the first place?

Of course there is no simple answer to these questions, but certain things are apparent. The culture at large is asking, and sometimes expecting, that their favorite brands turn the green corner. And that in competent hands (ahem, Mapos), being green can be synonymous with making beautiful, comfortable, inviting, and inspiring places where people want to BE. Starting any design project with the goal of promoting personal happiness tends to align all the following issues into sustainable a order.

Mapos GUIDE to New York

The GUIDE has been sleeping on our server (and in our brains) for over three years: a visual and experiential narrative of what we like about New York City. Part derive (a la Debord), part analysis, part history, all obsession, the GUIDE covers the sites, buildings, parks, places, and things that catch our collective eyes and spark imagination. Why? Well, we don’t know for sure – it’s the intangible that makes this city what it is. We do know we want to explore them more and explain why they make this city so, well, awesome.

Last Monday Colin gave the first Mapos Tour to a group of NYU students (thanks to Prof. Lauren Yarmuth for the invite). On showcase was the Midtown portion of the GUIDE. Look for more exciting tours to come, and keep asking us about the soon-to-be-released digital (and hard copy) version of the GUIDE.

Mapos Lecture at Mississippi State

The Mississippi State architecture school asked Mapos to speak as the headliner of their NOMAS Symposium. The topic: emerging practices in architecture.

This gave us an opportunity to share our work of the (challenging) past three years through our passion for saying “YES.”

A good architectural education, like a good architect, is proficient in many things: design, technology, strategy, process, and most of all, the ability to communicate through various media. We draw. We make 3D models (virtual and physical). We also can write and talk. Create a narrative about the many things we do as architects. Design is increasingly being valued for its creative ability to approach and define complex issues – and to communicate it. We too often take for granted the extraordinary powers we have to create beauty and to reach people with new ideas that affect their lives in meaningful ways. It is humbling. It matters. Say YES to bridging and connecting and designing solutions in a world that desperately needs them.

Eyes Up

This past Sunday, the NYTimes Magazine ran a riveting story on the Parisian artist JR.

His medium is immense photographs wallpapered on walls, roofs, sidewalks, trucks, swimming pools – anything large, really – in surprising locations around the world.

His subject matter is the faces of the millions of people overlooked and displaced, disrespected and forgotten. His recent project, called “Women Are Heroes,” literally plastered the eyes of women from impoverished communities on surfaces around the world. Some images were in the same neighborhoods where these women lived. Others were displayed in well-to-do districts in Western Europe. All of them stare quietly yet forcefully. Be sure to check out the slideshow.

Mapos in Green Source Magazine










The latest edition of Green Source Magazine just arrived in the post. Check out a detailed review of the Green Depot store in the Case Study section. As the leading publication of  sustainable design and construction, Green Source is a great place to learn about what’s new in the world of progressive design and learn a bit about how Mapos works. If you can’t get your hands on the old fashion print version, check out the story online.

Be sure to check out the slide show, and the online video. Colin gives a riveting tour of the store, complete with his summer ‘stache.

Filling in the Gaps

My ever keen brother in Detroit recently alerted to me to a very interesting piece on his troubled and chagrined hometown. More a critique on the city’s media attention than on the city itself, VICE (and their broadband channel VBS.tv) takes aim at how this once-great-metropolis has fallen victim to shallow one-liners and easy-photo-essays on urban decline. I, for one, have pointed my camera at the adundant decay and posted the images for display, and can’t help but feel a bit sheepish about partaking in this “misery porn” myself (And yes – gasp – I even fetishized over the hulking Central Train Station. Tsk, tsk, says VICE).

Be sure to check out the VBS clips here.

While VICE showcases a fair bit of the urban decay themselves – fully half of their video piece features Johnny Knoxville illegally wandering through beautiful abandoned buildings marveling at their opulent past – the piece eloquently uncovers a nascent yet thriving creative class in Motor City. Artists, musicians, and entrepreneurs seem banded together in tough pioneerism, facing the cruel city with microphones, paint brushes and pulled pork. They commiserate in their under appreciated city and revel at their good fortune of living in Detroit at a time when they can poach entire city blocks for farming, art installations, and rave parties. Listening to these determined voices, you get the feeling that Detroit can rebound, one DIY project at a time.

The most poignant interview was with Larry Mongo, a long time entrepreneur who owns and operates Cafe D’Mongo’s Speakeasy in Downtown Detroit. The recent Creative Class renaissance has brought his business back from the dead, he says, in an ever changing landscape of boom and bust. To paraphrase, he believes if the city founders could come back today, they would see young pioneers making their own mark on the city, just like they did 300 years earlier. We’re all moving and relocating and returning to “fill in the gaps,” left by the pioneers who came before us.

The point being, there ARE definitive pockets of community growing and collaborating and making something out of sweat and cheap real estate, just as they have across humanity for generations. When people get together and DO something – say YES – things happen. If this bond of purpose and determination is any sign, Detroit has a pulse. And it is growing in the empty gaps that have all too often defined this city.


A panoramic view of the Catskill Mountains to the West, from atop the dirt pile outside of Hudson, NY. Foundation formwork can be seen on the right.

We architects like to daydream… in fact that’s what got most of us here in the first place.

A dream becomes a vision, that vision slowly gestates, and through monumental efforts of a team of individuals, believing in and adding to this vision, not to mention commendable stamina, this vision forms into a reality. With the right team and the right client, this entire process can begin to take on a poetic rhythm.

The in-progress foundation pictured above is just such a project. A dream site with unobstructed views of the Catskill Mountains to the west, an incredible client seeking the latest in cutting edge sustainable practices with an open mind to design, and an energetic and knowledgeable general contractor dream team (American Green Home Builders, who provided this photo, a byproduct of their aforementioned energy).

We’ll keep you Mapostles updated on the progress of this new home as it magically forms over the next several months, and share with you our thoughts along the way!

Learning from Los Angeles

Newsweek magazine recently commissioned six design firms to imagine the “city of the future.” Three firms each looked at New York and Los Angeles to envision how America’s two largest cities might develop in the coming decades.

The results echo the recent statistics that urbanism – namely densification of programming and built area – is a viable susatainable strategy for a more populated world. It’s rather predictable. More people live in urban areas than ever before, and this pattern will continue, as it has for millenia, especially in the developing world. We are increasingly living, working, playing, and commuting, within the same landscape and in closer proximity to each other. This is not new. What will be new, if we take the beautiful renderings as prophecy, is an urban landscape that is scrubbed clean of texture and history and the messy vitality that IS humanity. Especially a humanity that lives so close together for so long. Why does utopia look so banal and boring?

As New York is already the poster-child for density, the three New York teams had no real room to move, and no real new ideas. Proposing urbanism at the scale of the building is not new. Mixed-use has been around since the first farmer built his home above the stable. It isn’t even that new to think that infrastructure – highways, rail yards, water ways – is fertile ground for mixed-use. The proposed projects at Atlantic Yards, Hudson Yards, and Sunnyside Yards have been on the boards for over a decade. What might be new is an overly optimistic view that as long as two different things can happen at the same place, happy, sustainable, urbanism will flourish. We’re not advocates of single-use zoning by any means, but multi-tasking is more of a syndrome than a cure.

Out in Los Angeles, things are a bit better, perhaps because LA, unlike New York, is typically American in its sprawl, so can be an example for cities across the country. So what would LA do? Evidently be more like New York. Densify the landscape with infill construction and multiple uses. Fill backyards with new homes. Build atop the freeways. Develop parks along the rivers. What is novel here, however, is the appreciation for what is quintessentially LA. The strip malls and fast-food restaurants and parking lots are not plowed under for gleaming new visions of a happy future. The are renovated and incorporated and included. In-N-Out IS LA, and it is good.

Portugal Presents

The monolithic mainframe has proven too inflexible against the personal computer. The fragemented computing cloud has proven more scalable than the centralized data bank. Wiki-ness has tapped the collective brain trust of each of us. Evolving systems based on flexibility, adaptability, and scalability are successfully mimicking the qualities of human communities: the sum of the diverse parts is greater than the homogeneous whole. How can this trend in efficient technology distribution be applied to a greener planet? Can energy production become cloud-based? Can our dependence on fossil fuels be usurped by smart grids and multiple renewable sources of energy?

Portugal has been aggressively building an energy industry that promises to have half the country off of fossil fuels by 2025, putting them in the progressive European vanguard with Denmark and Iceland, and leap years ahead of the US and China. The principal reasons being something inherently non-American: they are a small country with strong central leadership, limited domestic fossil fuel supplies, and abundant renewable energy supplies (hydro, wind, solar). Yet, even with all this, the government faces intense opposition, and may be voted out of office. Can you imagine the perfect storm that would be required here in the US for this to happen? Congress working amicably? Neighboring states agreeing on shared interests? Ingrained, lobbyist-laden, industries allowing development in new directions? The immense size and geography of the country being knit together with new technologies? National Geographic recently reported on the patchwork of projects that may prove to stitch this country together and steer us in the same direction. There are many ideas and many directions. We’re too big to be Portugal, but their lesson is there for the taking.

High to Low

Last March, I spent a few days in Aspen, CO (locale of the origin story of Mapos, BTW). The recession has hit hard there, perhaps harder than other places around the country. Worse than auto-industry-dependent Michigan? Deeper than real estate-speculative Florida/Arizona/California? Maybe not. But when an entire region is dependent on the superfluous income of the wealthy – building trophy homes, renting luxury condos, buying lift tickets and family ski packages – and that income dries up, the recession becomes visible, raw, and immediate. In Aspen, there was a general pall covering the happy and energetic personalities in the valley. The gilded walls of this exclusive private island are eroding to the painful reminder that there is a larger world out there. Surrender can be read on their faces.

In a similar valley further North in the Rockies, a group of recession-affected entrepreneurs sees opportunity in this challenge. Up in Bozeman, MT, designers and builders who most recently built the massive second homes for the rich and famous have focused their skills at building affordable and portable shelters for war-bombed, earthquake-ravaged, civil-war-stricken refugees. This shift from the luxury to the affordable, from the wealthy to the displaced, from the .01% of the population to the unbelievable 40% who can really use it, makes us think the recession may have lessons for all of us.

The Lessons of Savannah

From L to R: Britta Riley at the Synagogue, SCAD's re-purposed theater and prison, Chris Parachini admires some student work, and one of Savannah's many incredible green squares.

Recently, Mapos was honored and delighted to be invited to participate in Savannah College of Art & Design‘s nine day long design celebration, SCAD Style 2010, as part of their “Sustainability in Action” panel discussion, along with co-panelists, the artist/inventor Britta Riley and restaurateur/urban farmer Chris Parachini. Our gregarious moderator, Matthew Mascotte, assembled the panel to highlight 3 unique but related practitioners in ongoing sustainable projects. Video of the inspirational and informative discussions, which occurred in both the Atlanta and Savannah campuses, can be seen via this link (once it’s available). Until then, we’ll refrain from spoilers and just share some brief thoughts on SCAD, Savannah, Southern Hospitality, and Ghosts:

Mapos enthusiastically applauds SCAD’s campus, which sets the standard for creative reuse of existing urban conditions and architecture, not to mention integration into the urban community of Savannah. During our brief stay, we toured a textiles school in an old elementary school (miniature handrails still intact) and an architecture school within an old railroad structure, dined in not one but 2 former bank structures (one of which was al fresco in the old drive through lane), perused SCAD’s library in a former big box department store, and had cocktails in a former prison decorated by student work. Our standing room only panel discussion occurred in a repurposed synagogue– stained glass still intact. This was just a small sampling of SCAD’s beautifully executed reuse projects in the community.

The City of Savannah exemplifies the perfection of the Grid in city planning. It is both rational and humanist in its execution. Divided by a green square every third block in all four directions, each park space with its own unique character and history, the deadly repetition of the typical grid transforms into something more of a rhythmic melody, human in scale and wonderful to explore by foot. Ironically, these refreshing squares were originally designed for military functions.

One could be excused for likening Savannah to Rome. Like the lush Italian capital, the architecture, urban spaces, and foliage of this port city seem frozen in a former era of great private and civic wealth, where civilized leisure activities by men and women dressed in white was a much larger part of the city’s pulse. Those days are long gone but this cityscape remains like a palimpsest on modern Savannah.  As luck would have it, this apparent preservation was the result of decades of economic stagnation during the second half of the last century—so much preserved out of apparent indifference before SCAD came to town 30 years ago. Imagining entire swaths of this fair city completely empty, and overrun by Spanish moss, it’s little wonder that Savannah has garnered a reputation as America’s most haunted city. Ghost stories proliferate in this environment!

When in Savannah, if you simply must eat pork prepared on a smokey, wood-fired grill, slathered in homemade bbq sauce, then drive (very fast) to Rib Hut BBQ in West Savannah, known by the locals as Mama’s (who still holds court in the open kitchen). This is where Matthew took us when we demanded authentic local BBQ. What we got was a transcendental experience which can only be described as a saucy “baptism by barbeque.”

It is said that Savannah is the “Hostess City” of the South, and we have never experienced such remarkably sincere hospitality. Everywhere we went, our new friends were eagerly pointing out the historic sites and curiosities with unaffected delight, both on and off the beaten path. A special thank you to Matthew Mascotte (our Moderator), Scott Singeisen (Chair of the Architecture Dept.), and Ashley Woodson (SCAD Event Master and new friend) for all of the time they spent with us.

Mapos is now conspiring for our next visit to this wonderful place—and Savannah truly is one of those rare things these days: a PLACE. Viva SCAD and viva Savannah, the Mostest City of the South!

Scioto Grand

It’s always interesting to revisit places you think you know so well and be surprised. Since leaving Columbus, Ohio, 22 years ago, most of my surprises have involved getting lost in the expanding collection of freeway off-ramps and shopping complexes. Every time I returned home it seemed a new sub-division was sprouting up complete with it’s own golf course, high school and local mega-plex. 20 screens per family must be a new record for central Ohio. Well, a couple of weeks ago I was walking through a marshy wilderness only a couple miles from where I grew up. This wilderness, the newly opened Audubon Center, was recently a brownfield site, and before that a warehouse district tucked into a curve of the Scioto River.  (The city’s largest impound lot still sits next door, though that is slated for relocation.) Now it is 600 acres of winding trails, playgrounds, and rock climbing walls scattered through native trees, grasses, and the meandering Scioto. Most impressive are the 2 bald eagle nests, countless other bird species, and the LEED Gold visitor center complete with energetic birders who love to share their knowledge.

It’s surprising I had to be reminded, but Columbus sits at the confluence of two rivers. Two rivers that had long been covered with freeways and train tracks by the time I came around. Now the 600 acres is planned to be stitched into 1300, creating an emerald necklace of park lands, bike paths and hiking trails. Here on the East coast I’ve gotten accustomed to the regeneration of our waterfronts, from Baltimore to Boston. It’s surprising and downright exciting, to see a Midwestern hometown do the same. The river is back. The birds are following. And us humans seem to like it.

Dutch v Italian

Left, Palladio. Right, the Master of Catherine of Cleves

Over at the Morgan Library the work of Palladio is on display. The curators exhibit the master’s work alongside more contemporary buildings based on his legacy. While recent architectural scholarship shows there were many errors in Palladio’s own analysis of ancient Roman architecture (perhaps his wood-and-laser measuring stick was off?), it does not diminish the extent that his drawings and built works influenced Western architecture, from Jefferson to Schinkel to Gilbert. I wonder where the modern references are? Surely Palladio’s fantacism for order, proportion, and scale still echo in a world without obvious Ionic capitals and articulated pediments? It would be interesting, and infinitely more relevant, to follow this thesis into the 21st century.

Wandering out of the upstairs galleries, I stumbled upon one of the most riveting exhibits I’ve seen in awhile. No offense to the draftsmanship of Palladio, but the beauty of the “The Hours of Catherine of Cleves” manuscript stopped me in my tracks. Despite my rudimentary knowledge of the biblical stories at hand (and a complete lack of Dutch), the incredibly rich miniatures illuminated the trials, triumphs, and tragedies in a clear narrative. It is visual story-telling at it’s finest, written in the mid-16th century no less. The legacy of this manuscript is self-evident at every turn: typography, comic novels, portraiture, story-boarding, even immersive motion graphics. Anything telling a story in multi-media, really. The amount of detail in such small dimensions is astounding. The brilliance of color is arresting. The combination of story, illustration, painting, text, history, and ultimately a voice for an entire culture, sets a very high bar for content communication.

UPDATE! Mapos wins LEED Platinum and JUG of Tabasco

Colin wins Green, Caleb wins dark Orange/Red

In a bizarre turn of events, the LEED Platinum award was not issued to the Mapos designed Green Depot Flagship, but rather directly to Mapos Principal Colin Brice. This award was quickly upstaged by the announcement that Mapos principal Caleb Mulvena had won the coveted JUG of Tabasco for his tremendous and continuous consumption of pepper sauce over the years. Congratulations Caleb!

LEED Platinum Award at Green Depot

From Left: John Taberna (NYCT General Contractor), Caleb Mulvena (Mapos), Colin Brice (Mapos), Sarah Beatty (Founder of Green Depot), Chris Yeates (NYCT General Contractor), Michael Gresty (Kinetix LEED Consultant)

Just in time for Earth Day, the Mapos designed Green Depot Flagship hosted an awards ceremony for the presentation of its LEED Platinum Award.

VIPs at the presentation included:

Russll Unger, Executive director of Urban Green, the New York City chapter of the U.S. Green Building Council

Nydia Velázquez, U.S. Congresswoman

Carolyn Maloney, U.S. Congresswoman

Marty Markowitz, Brooklyn Borough President

Rohit Aggarwalla of the Mayor’s Office of Long-term Planning and Sustainability

AND in this Corner…

In this age of partisan politics, it is oh-so-human to simplify debates into tidy dualities of Us vs. Them or Right vs. Wrong. Mapos is certainly human – just check our 2009 tax returns – but we remain stubbornly optimistic that the human mind is robust enough to embrace the complexity of the times. I am constantly reminded of the scientists who work at the California Academy of Sciences. I had the opportunity to collaborate with them, years ago, in the development of their renovated institution in San Francisco. They were immersed in their fields of study, excited about the future, invested in the process, and cynical of the real-world need for the finality of deadlines. They do not work in the world of absolutes and final solutions. Theirs is a world of theory and continued exploration. It is not a simple world. It is a world of nuance and beauty and multiple opportunities.

A recent article in the Times outlined the development of waste-to-energy power plants in Northern Europe (no surprise there – Germany, Denmark, and the Netherlands have become the broken record of sustainable heroes) and the continued reluctance in the US to consider a future with logical feedback loops (dare I say cradle-to-cradle) of generation and consumption. We use the attached diagram in presentations to explain just that: let’s consider our own waste as a resource instead of relying on rapidly-depleting natural resources that must be dug out of the ground at great cost. While the Danes are comfortable living next to – and downright proud – of their waste-to-energy plants, the naysayers here in the States claim NIMBYism and the bizarre excuse of “negative public perception,” as reasons for our stagnation. Where, oh where, are leaders who see opportunity in research? When will we stop following the hysteria of the lowest common denominator that invariably thrives on a fear of change? What’s even more baffling is that the self-defined environmentalists are against waste-to-energy plants as well. They believe that the plants will spurn a growth in waste production – the plants have to be continuously fed – and thus de-incentivize recycling. Really? Does it really have to be a Waste vs. Recycling simplification? Is it not possible, in this country of 300 million people that generates 160 million tons of trash a year, that we can’t recycle AND burn trash for energy? In one town in Denmark, 61 percent of the waste is recycled and 34 percent is incinerated at waste-to-energy plants. If they can wrap their heads around the doing BOTH, couldn’t we?

Earlier this week I attended a surprisingly thought provoking symposium at the New School entitled, “Cities Respond to Climate Change: Locating Leadership in an Uncertain World.” It was surprising because most often, these academic get-togethers are nothing more than like-minded intellects talking to each other. While there was plenty of mutual head-nodding, there was room for dissent. Dissent is good. Dissent is healthy. Dissent is democratic. Dissent, however, neatly creates a duality. David Kreutzer of the conservative think tank Heritage Foundation argued that cities need to devote their dwindling resources on more pressing needs (crime, housing, e.g.) than sustainable growth initiatives. Others argued that sustainability is the pressing issue that affects everything else. The Us vs. Them rhetoric was tempered somewhat when Francis Murray, the CEO of NYSERDA, suggested that cities could deal with their imminent crises AND think about the future at the same time. Not a bad idea.

Unfortunately, this foray into nuance did not last long. The Mayor of Vancouver – surprise, surprise – discussed how his city has had a plan in place for the past 50 years to ensure sustainable food production for the entire population of British Columbia. If I had heard this from the mayor of Detroit, I’d be impressed. It loses a lot of it’s magic, however, coming from the uber-greenies of the pacific Northwest. (They’re our version of Denmark!) His American counterparts could only gape in wonder at the progressive practices that, once again, put us in our place South of the border. Our follow-the masses mentality is not nimble enough to see that far in the future. All that could be mustered was the familiar refrain that any advancement must be a partnership between government, business, and academia. Will this partnership succumb to partisanship? Based on recent history, most likely. Or maybe the denominator will climb from low to Vancouver.

IIDA Awards

Mapos joined other distinguished jurors this year to select the winners of the 2010 IIDA Honor Awards – Northern California Chapter. The most impressive entries became quickly apparent, and were solidified by the consensus of our peers. The projects that really stood out prompted us to utter these comments:

The Royal Hawaiian Hotel (by Philpotts & Associates) in Waikiki

“You had us at wall treatments and side tables! It’s extremely difficult to pull of a modern interpretation of classic design. Instead of an inauthentic theme or shallow pastiche, this project exhibits a keen respect for the historical setting while acknowleding it’s the 21st century. The rich patterns and deep colors complement the clean white “background” with a wink of freshness. The wall pieces, carpets and especially the inventively modern classic furniture add more than expected levels of high design.”

Wexler’s Restaurant (by Aidlin Darling Design) in San Francisco

“A real gem of a project that balances many design challenges with ease. Placed against the simple white volume of the existing building – a tasteful take on preservation – the ceiling installation is clear, fun, and a downright beautiful expression of the brand identity. The simple details in the bar and back bar showcase the materials. The furniture and especially the funky lighting fixtures complement the space perfectly. Not too heavy, not too light. A nice study in restraint.”


In the most recent issue of the Architect’s Newspaper (quickly becoming the most relevant mag for the New York design set), Jeff Byles gives an excellent overview of an underappreciated topic: the suburbs.

Since WWII, we have been moving out from the city and in from the country to create an ever expanding landscape of single family homes, cul-de-sacs, manicured lawns, and our own sense of personal kingdoms. The result? Architectural homogeneity at the cost of cultural alienation. More vehicle drive time. Ballooning house sizes. Cable TV packages to keep us entertained. Mapos respects the American ideal of home ownership, but at what cost? To compound the issue, architecture and design schools are still training us in the classical “urban” design model, ignoring the fact that more Americans today are living in suburbs than in rural and urban areas. Byles points to a handful of design projects in the pioneering suburbs of Long Island that shine a light on the need to take suburban development as a serious and necessary pursuit. But using the Big Idea ethic of mid-century urban planning in low density suburbia only exacerbates the problem. Master planning 17 acre brownfield sites is a a good step, but as currently imagined, the Hedgehog is still ruling the roost. These projects are almost all large scale, singular, insular, urban islands within the rising sea of sprawl.

Densification will help create walkable communities, for sure, but to effectively address this very significant planning typology, we need to look at the scale of the metropolitan region. Transportation links. Neighborhood connections. County-wide zoning regulations. Even cross-state commuting patterns. Let’s start by creating infill within the existing slivers throughout suburbia and constantly seek out opportunities to make connections through the inherent gaps in our picket fences.

Green Depot Light Booth Declared “Best New Idea 2010″ by New York Magazine

Photo: Aimee Herring

When Mapos was asked by Green Depot to come up with an interactive way to showcase emerging lighting technologies that is both educational and fun, our answer was the (now famous) interactive Light Booth.

Within this tidy little space (recalling the once ubiquitous photo booth), one can test and compare several different lighting technologies against your own selected palette of materials and colors. Not only is it, ahem, enlightening, but there are no more surprises when you get home and screw in that new warm white CFL you just purchased at Green Depot, because you’ve already given it a test drive in their Light Booth.

Needless to say, we were thrilled to learn that NY Magazine recently included the Light Booth in it’s “Best of NY 2010″ issue under the category Best New Idea.


Mapos can’t help but feel like proud parents to this wittle fella. To achieve this accolade at only 1 year old… Well, who knows what this Light Booth will achieve someday? Time Magazine’s Fixture of the Year? A MacArthur Grant?

Okay, enough fawning. Who wants some cake?

It’s Official! Green Depot is the FIRST LEED PLATINUM Retail project in New York City!

And maybe the World?! Thanks to:

Kintex LLC, LEED consultant (who really stuck with it!)

Johnson Lighting, lighting consultant

Shine Engineering, mechanical engineer

IDEA, structural engineer

NYCT Development, general contractor

MG Concepts, fixture fabricator

and especially the entire team at Green Depot.


On the Up and Up

Today, 800 billion hectares of land (the size of Brazil) is needed for the agricultural uses that feed us – both for human consumption and for animal feed. In the next 50 years, the world population is expected to increase by 50%. Do we have another Brazil lying around?

And what’s more, should we continue to produce the food that contributes to our collective poor health (obesity, diabetes, etc.) and takes increasing amounts of fuel to truck it from the fields to the urban centers?

Could we grow healthy produce closer to our population centers? Could we add hectares within our cities? What kinds of issues could vertical urban farming address? What questions arise?

This past summer, at the Pioneers of Change Arts Festival on Governors Island, a Dutch consortium led by uber-crunk MVRDV showed some startling realities. Check them out on YouTube here:

Food City

Food Print City

Remember When?

Though we’ve been concepting and implementing “Pop-Ups” for years, very few brands have recognized the economy, flexibility, and overall immersive effectiveness this business model can bring. Until recently. Like a tipping point (or perfect storm) more and more brands are cutting back on capital projects at the same time that Pop-Ups are being recognized for their better investment, per media hit, of advertising dollars. New York is awash with temporary outlets this holiday season.

And in a reversal of the traditional medium – art as the antennae of society – the Hirshhorn Museum of Modern Art is learning from the world of retail. The recent history of museum architecture has been awash in capital campaigns, bond issues, starchitects, and the promise of economic revival from Bilboa to Boston. But with the economy slagging and  everyone trimming their budgets, everyone’s looking for a smarter alternative. The Smithsonian just announced an addition to their iconic Bunshaft-designed doughnut on the Mall in Washington. Designed By Diller Scofidio & Renfro (Ok – the starchitects are still here), the strikingly cheap addition ($5M) is flexible, temporary, and planned, of course, to be effective. the addition will literally inflate into the existing outdoor spaces to accommodate an entirely new program of contemporary art long ignored in stingy DC: film, performance and new media. And the punchline? Because it is a “temporary” construction, application and approval by the notoriously conservative DC review boards is not required. And like a true Pop-Up, if it doesn’t work, they can pack it up and chalk it up to a bold cultural experiment.

Maybe we’ll go back to the days when we confidently laid foundations and built things to last. For now, an architecture of “timelessness” takes on a whole new meaning.

And this just in…

It’s been surmised that periods of recession yield intense new directions and productivity in the art world. It makes sense to us – the more time on one’s hands, the more the mind, and then the hands, wander and conjure and make. The newness itself is invigorating. You feel youthful and refreshed.

And then you re-meet an old friend. It’s been awhile. You have fond memories. You remember what drew you together in the first place. Depth and character and soul. Take a minute to visit David Zwirner and Gagosian. Really. Go now.

Mapos in PFSK

PFSK just posted the GOOD Magazine event, featuring MAPOs and our recent talk on the development of Sunset Park. Check it out!

Someone loves you in Detroit

And speaking about community/urban/cultural development, my brother took me by the Heidelberg Project in Detroit last week. While we need to think holistically about all the issues facing our cities today, it is important to not be overwhelmed by the task at hand (especially in Detroit).

Every undertaking – from planting a garden to laying miles of light-rail – starts with a single step. In 1986 Tyree Guyton began inhabiting, upkeeping, and transforming one small corner of his city. The result is an ongoing art installation that moves from one abandoned lot or house to the next. Of course Detroit is not saved. But on one block in one dilapidated city, you can tell that someone cares.

An Urban Conversation

A great piece on WNYC this morning highlights a small intiative with big ambitions, and more importantly, a big audience. While it’s still in it’s infancy, we are encouraged by the Obama’s Office of Urban Affairs. It’s mission? Simply to connect, re-connect, and fertilize ideas across the many siloed bureaucracies in our federal government.

It seems logical in theory, though it has been almost invisible in practice. When we discuss the economy, or job creation, or urban planning, or education, or transportation, or public health, we are all talking on overlapping planes of development. No one issue exists in a vacuum. Cities and suburbs are, in fact, cohesive metropolitan areas that work and grow together. Nutrition affects health and relies on farming and transportation which influences transit and housing. Unwieldy? Perhaps. Compartmentalized? Hopefully not much longer.

Aldolfo Carron, the director of the Office of Urban Affairs, is asking federal agencies to consider “place” when drafting their 2011 budgets. And they’re listening.

Mapos + GOOD = Better

Mapos spoke last night at an event sponsored by GOOD magazine and Nau sportswear. How do we develop New York’s waterfront in a way that:

maintains industrial jobs, supports local communities, includes more affordable housing and creates open space at the waterfront all while planning for the rising sea levels and influx of storm surges?

Do we:

Build a wall? Float on the water? Raise above the rising waters? Maybe we should just become more accustomed with living with the water. Maybe we should just do nothing. Put on some big rubber boots people.

Fast Company: Ohio is the Heartland of Bold Architecture?

SANAA at the Toledo Museum of Glass

I just stumbled on a great blog post at FastCompany.com. It’s long been known to Mapos (and other aficionados alike) that there is a lot going on in Ohio, architecturally speaking.

Down on the Ohio River, Cincinnati may lead the pack with Zaha Hadid’s Contemporary Art Museum. The University of Cincinnati is single-handedly transforming into a Who’s Who of American architecture (Gehry, Eisenman, Morphosis, Gwathmey Seigel, etc.)

Up North, Cleveland made headlines with I.M. Pei’s rock and Roll Hall of Fame, Frank Gehry again at Case Western, and now Vinoly at the Museum of Art.

Toledo (SANAA, Gehry), Wooster (LTL), Bowling Green (Snohetta) and Akron (Coop Himmelb(l)au, Polshek) even got in on the action.

But what about the capital? This Columbian credits Eisenmann’s Wexner Center as instrumental in his own early impressions on architecture. His convention center is worth a look and don’t miss Scogin Elam’s architecture school at The Ohio State University.

Ohio, it turns out, is not Iowa.





Fun on the Run


On October 24th, Mapos wrapped up a months long project with joy, sweat, and world record times. Well, at least joy and sweat!

A large athletic company based in Oregon (the name escapes me), hired Mapos to develop programming, event management, recruitment strategies, graphic design, and exhibit design for a one-day running event dubbed “the Human Race”. Using GPS and online technologies, this 10k race was run on every corner of the world by over 100,000 people. To highlight the day, a handful of hub cities hosted planned group races. Here in New York, the flagship venue for the race (and arguably the entire human race!), over 5000 people joined up early Saturday morning for an organized race in Prospect Park.

As a lead up to the race Mapos designed a series of kiosks scattered around popular running routes around the city. These served as recruitment stations that advertised the race and encouraged online registration. They incorporated Mapos-designed graphics and scavenger-hunt-like give-aways. A couple of the kiosks were actually Smart Cars (covered in Mapos graphics), roving the city on set itineraries. If runners visited every kiosks – and tracked down the Smart Cars via Twitter – they could enter a grand prize sweepstakes.

For Race Day, Mapos designed a fun and inspiring “village” in the middle of Prospect Park. After the race, runners and VIPs could relax in a global lounge, get a massage, food and drink, learn about the newest running gear, get consults from running pros, and rock out to the musical duo Matt + Kim (check ‘em out, really. Mapos is now their number one fan). The highlight was a 20 foot long custom-designed Community Table where runners could check their times, download their favorite running tunes, upload pictures and learn more about Ni.. er… the aforementioned athletic company from Oregon.

Event design. Pop-up construction. Graphic Design. Project Management. Brand Centric Experience. Free massages. 10k record times!

Surround Yourself with Wind and Danish

Everyone knows that Scandinavians lead the field in their commitment, investment, and application of green technologies. This is partly due to the abundance of non-fossil fuel resources. Norway is 96% powered by hydro-electricity due it’s plentiful waterfalls, for example. Denmark – surrounded on three sides by the gusty North Sea – has more windmills per capita, by far, than any other country.

By this logic however, Canada and Argentina would be tapping tidal surges and all of Australia would be fueled with solar power. On the contrary, despite the lack of winter sunlight and over-all sunny days, Northern Europe leads the world in the engineering and application of  solar technologies (Germany is leading the way on this one, with Denmark and Sweden close behind).

Why is this? The citizens on the Danish island of Samso may be an example. Some 10 years ago, this small island of farmers banded together to see if they could be modern world’s first self-sufficient community. And they just announced they are. The incentives to live off the grid are well known: cheaper energy (in the long run), less (or no) pollution, and now in this down economy, an opportunity for new high-tech jobs. For a relatively poor but hard working community, these reasons are self-evident. What’s not explicit, but equally important, is the need for an isolated community to have a shared a common purpose that can form their identity and provide goals for the future. On a larger scale, these Northern countries have the highest taxes in the world, living a socialist ethic that pulls everyone together for the common good (and causes friction with their influx of immigrants – but that’s another story). Whatever your politcal leanings, however, on a smaller scale, this commitment to collaboration and self-reliance can green this planet one island at time.

Repair Mon Frere

Like any notable movement, the Great Restart of 2008-09 has given us many trends: large and small; serious and frivoulous; dull and riveting; depressing and, well, funny.  Sure we have been affected in ways that tested our very existence, but one lesson learned around the halls at  Mapos is to keep an optimistic perspective of the forces around us. If we didn’t see the laughable absurdity in the machinations on Wall Street, or the many smaller (and exponentially less serious) trends that pop up like internet celebrities after a heavy rain, we would have lost our marbles long ago. Humor helps. Pass it on.

Maybe it’s the self-fulfilling social world of New York City that we live in that has given us so many memorable gems. Hey, it’s the worst downturn in 70 years, so let’s celebrate the frugal recessionistas, enjoy our staycations, recycle, reuse, and repair. It’s good for the wallet, great for the planet, and can earn you valuable social capital on Facebook and even, dare I say, in real-life. In his column this past Sunday, Rob Walker jumped on the band wagon and showcased an entrepeneurial designer who champions reuse and helps others realize their hidden potential in recycling. Umbrellas into skirts. Boxes into wallets. Film canisters into room dividers. On Governor’s Island last weekend, the Dutch art group Platform21 produced a performative version of their “Repair Manifesto.” Workshops and installations included the visitor in creative acts of reuse and repair via points like, “make your products live longer!” and, “repaired things are unique.”

Don’t get me wrong, we’re big proponents of reuse, and more, not tapping new resources when alternatives exist. The examples in the Times and out on Governor’s Island are smart, efficient, and beautiful. With thought and care, lemons can be made into lemonade and even a lemon tart. But admit it.  It is a funny turn of events when recycling your shirt into curtains and mending your own socks becomes trend-worthy.

There’s an installation at MoMA by the artist Song Dong. He literally unpacked his mother’s house in rural China and laid it on the floor of the museum. His mother saw value in everything. Her livlihood depended on it. Her hardscrabble life was pieced together with objects of necessity now organized into high art.  I’m sure she never heard of Martha ond Oprah and the popular rise of knitting in the US. You can pay $20 and visit.

Green Depot and Mapos in Contract Magazine

I was having a nice conversation with a journalist a couple of months ago. She promised it was “off the record.” Looks like the big news slipped out anyway. Check out the article here.



Just when you think you know the sordid tale that is “Development in New York,” a new chapter is published leaving the readers agog.

Will the Atlantic Yards follow the age-old tradition we’ve come accustomed to in this city? (Grand plans. Public outcry. Well-intentioned Grander Plans. Budget restraints. Media overload. Stakeholder input. Design by Committee. Value Engineering. Forgettable Civic Construction. Mini-mall.) Mapos certainly hopes not, but it’s off to a familiar start. Ratner hired Gehry. The public was up in arms (and still is). Budget realities came crashing down. Gehry re-designed and downsized and disappeared. Ellerbe Becket plunked a functional-and-cheap-box in its place. More outcry. And now iteration #73 is on the boards. All of Brooklyn and New York should hope, and expect, for the saga to end here and all of us can ride into the sunset.

It was announced yesterday that SHoP has partnered with Ellerbe Becket to give their banal box a fancy dress. Of course, we all know that good design can be a stooge for rampant development, and it should be! Design matters and it can also show the citizens in this fair city how buildings can make a difference. Integrated outdoor public space. Inventive use of materials. Contextual links to the historic rail yards. Sustainable measures to reduce energy use. And a postcard perfect image for Brooklyn branding to boot.  SHoP has quickly become New York’s coolest firm with the coolest projects with the know-how to get things built. Let’s get shovels in the ground so the Nimbys at “Develop Don’t Destroy Brooklyn” learn that “develop” and “destroy” are not antonyms.

Cash for (housing) Clunkers


Somewhere in the concept of Reuse is a win-win-two-bird-profit-making-social-impact solution. Here at Mapos we’ve always tried to integrate existing elements, equipment, materials, anything, into our designs. It adds unique context, character, and comes at a reasonable price: free.

There are myriad obstacles, of course. From extracting nails from old-growth timbers to refurbishing 25-year old boilers to meet current ASHRAE standards, reusing existing materials and equipment can also mean losing time and money on labor. The small but growing industry of Housing Deconstruction aims to dismantle empty and foreclosed homes (mostly in the rapidly shrinking cities of the Midwest) and re-sell and reuse as much of the material as possible. It seems like a good idea until you realize it takes 40 times the man-hours to dismantle a house as it does knock it down with a bulldozer. And with tipping fees at such a bargain, the economics don’t add up. That is why the most inspiring and inventive reuse mentors out there occur ont the fringes of the design and construction trades persistently plucking at the equation with a conviction for success.

Sambo Mockbee and D.K Ruth saw promise in the will of students to turn carpet tiles and windshields into homes and chapels. The rural poor of Alabama were thankful and the middle-class students worked for free. Dan Phillips scavenges through the dumpsters of East Texas and turns trash into treasure for low-income residents. Is it perfect system? Not by any means. These gems are photographed and championed, but are also often neglected and vandalized. The bulldozers keep on grinding and the landfills keep on growing. They sometimes go into foreclosure and get snapped up by eager middle-class aesthetes. But Dan will keep on building, reusing materials and putting people into shelter. There’s a profit making equation in there somewhere.

It’s not all Botox and Beverly Hills


Some years ago I was at friend’s party in Los Angeles. I was living there at the time and becoming immersed – and enthralled – with the “city” and mindset in Southern California. Like any place I spend a particular amount of I time, I inevitbaly try to discern what is unique about a place. What could only happen here that could not happen anywhere else? Call it a quest for identity, and taste for the zeitgeist, or simply an innate desire to not feel like an outsider, I wanted to know what it was about LA that made it tick. And despite my New York centric view of the world, I wanted to know why I liked it so much.

There were the obvious reasons, to be sure. The weather. The ocean. The beaches. The mountains. The desert. The laid-back “California lifestyle.” There’s also the fact that LA could be considered a one-industry town. Like politics to Washington, Autos to Detroit, and insurance to Hartford (snooze), Los Angeles is about film-making, and this singular industry just happens to be a creative act that generates huge sums of money which then supports other creative industries, from the arts, to music, to architecture. At last count there are 7 major architecure schools in the LA area (and countless more design academies) -  more than found here in New York – graduating young and energetic creative types who throw themselves at their craft with progressive vigor and experimentation. And the climate helps, too. It’s easier to push the boundaries of architecture if you don’t have to worry that much about rain and snow and insulation. All of this creative output definitely makes Los Angeles a capital of creative output in this country. Now don’t get me wrong. New York, and Mapos with it, are not going anywhere. There’s just something about LA that I was trying to put my finger on.

In a recent article in the Times, Nicolai Ouroussoff pays tribute to Charles Gwathmey and the fading importance of the “New York Five,” who are now the elder and passing figures of New York’s prominence in Art and Design. Somewhere along the way, Gehry and Kappe and Mayne and Rotondi and Ruscha and Irwin and Turrell and Moss and Eames and Koning grew into the most influential and exuberant artists and designers in the US. What happened to the promise of New York?

At my friend’s party, a fellow guest quickly – and without any prompting – suggested why LA was the epicenter of a movement, and the reason for my crush. He simply said , “it’s the Wild West.” His theory was we were living at the Western edge of the Western hemisphere and we had run out of places to move on to. This is where civilization came to some sort of wall and doubles back on itself, building on the collective captive energy pushed up against the end of the world. Anything is possible in LA. The sun keeps moving West.

Data Detroit


If we had a dollar for every time we said to ourselves, “what is going to become of Detroit?” we’d be rich men. Well, our accountant may say otherwise, but that doesn’t stop us from pondering the ins, outs, ups, downs, and what-ifs for our favorite urban punching bag.

On a recent trip, I had taken my family on a bit of an urban scavenger hunt, travelling from abandoned building to empty lot to derelict factory. The result? An idea we call DATA DETROIT.

Detroit once was the global capital of the automobile industry. It was the hub of several transportation networks that both imported raw materials and labor to its factories and exported automobiles to the world.

Detroit is arguably still at the center of this network, though it is rapidly losing its industry and its work force leaving hundreds, if not thousands, of abandoned buildings and square miles of empty land.

Several cities in the North East US (the Rust Belt) and around the country are experiencing similar shifts in population and infrastructure.

Using its existing under-utilized infrastructure, Detroit could become the regional (and then global) capital of a new industry: the reclaiming, recycling, and re-purposing of automobiles, trains, ships, technologies and housing. The networks that once brought and sent materials and automobiles can now bring in used and abandoned consumer goods, strip them down to their base elements, and ship them out to interested buyers. Detroit’s excess building stock would serve as warehouses for these various goods.

  • The GM and Ford plants would receive, recycle, and store automobiles.
  • The River Rouge delta would become a recycling yard for boats and ships.
  • The train yards would become the center for recycling locomotives and train cars.
  • Various empty factories would recycle and store the growing number of technologies: cell phones, computers, TVs, etc.
  • The empty neighborhoods would become massive yards to store and display the reclaimed and recycled housing stock being shipped to Detroit.

All of the commercial activity would likely happen online. Buyers could surf the multiple websites of the multiple recyclers looking for their desired goods. This would require server space. Millions of gigabytes of server space. A select number of abandoned buildings would become server farms – data centers – that would store the billions of photos, specs, and information on the world’s recycled materials. The new center of Detroit would be a symbol of its place in the new world economy.

  • The Michigan Central Railway terminal would become the world’s largest data center.

Full of servers, it would be a beacon for Detroit and the first of many new data centers around the city. It would become the center a new digital network, linking Detroit to the world.

  • The massive cooling loads needed for data centers would be engineered using natural ventilation. Wind “scoops” would be strategically placed to capture and direct the prevailing winds eliminating the need for air conditioning.
  • The heat exhaust would be captured in a new mechanical factory on the roof for storage and heat exchange furnaces in the winter.

Late Night in Bangalore


Earlier this year we were asked to concept a new restaurant and lounge in Bangalore. Light fare is offered during the day. VIP treatment is promised after dark. Valet parking is a must.

While these images may stay firmly planted on our server, it’s still fun to imagine having a cold cocktail on warm summer evening, surrounded by the hippest that the Silicon Valley of India has to offer.

Take a plunge in the Gowanus


Here at Mapos we like a nice cool dip like the next start-up design company. (Laps at the Y are part of our daily routine. Well, at least for one of us). Can we get an invite to the Dumpster-Pool on the Gowanus Canal? We’d be remiss if we didn’t comment on this inventive and industrious project by Macro-Sea for a couple of reasons. One: We like to swim (see opening line). Two: We like re-using things. Especially finding new lives for “discarded” cheap and industrial things. Three: I live in this neighborhood and am fairly obsessed with our quaint little waterfront called the Gowanus Canal. Four: Yes, we’re pretty jealous of these guys. Great idea, and even better, they got it done.

Design in the Dark

A much nice bill - in different sizes!

A much nice bill - in different sizes!

Here at Mapos, we have a self-serving saying: Design Matters. Since we are immersed in this culture everyday, it certainly feels like design can be more than a tool to produce tangible objects and buildings.  It can be a communication device to creatively approach and define complex issues – in multiple media, dimensions, and scales – to affect positive change in every aspect of daily life. Ok, ok, this is a little design obsessed. Or is it?

I read with delight Allison Arieff’s latest musings about the power that design can have. She goes as far to say that the absence of design can leave to confusion, bewilderment and at its worst, down right calamity. Put to good use, design can make meaning out of the mundane, present complex issues clearly and harmonize dissonance. Think of those mortgage applications. Or prescription medicine directions. Or zoning guidelines. Since Vitruvius, we’ve been trying to formalize our ambitions for firmness, commodity, and hopefully, delight.

Last week a friend took me through an interactive exhibit called, “Dialog (sic) in the Dark.” A series of galleries, depicting a cafe, a busy urban street, a supermarket and a park, were built without lights. We visitors were led through with white canes and a patient guide, allowing us to experience our environment as a blind person would, and essentially, to use and appreciate our other 4 senses. How could a better use of design help here? There are too many worthy issues to list. Sidewalks, shelving, automobiles, chairs. Each left a bit to be desired when sight was not a possibility. The biggest disappointment by far was our currency. Trying to buy a coffee, the great American greenback is just as deficient in the dark. In her post, Arieff gives a greak synopsis of it’s well-known visual demerits. All you have to do is buy something in Zurich. Or Sydney, to see how we lag behind in our design conciousnees. And without sight?  I can understand now why the single is the bill of choice for the visually impaired. Use anything else at your own peril. How about making different denominations different sizes? Printed on different paper? As our (blind) guide said, “being blind means putting your trust in others everyday and in everyway.” How can using design effectively empower people?

A River Runs Through It

Seoul1Some years ago, my old boss and professor Fred Koetter told me about a project they were working on in Seoul, Korea. His firm, Koetter Kim & Associates, was re-designing a huge portion of central Seoul around a soon-to-be-uncovered river. His plan featured new housing and commercial districts, yes, but also a new waterway and park, running straight through town. It was like cracking the window in a stuffy car. Like many waterways in many cities around the world, the Cheonggyecheon had become an open sewer and pesky barrier to traffic and commercial growth. The solution was to relegate this unruly natural phenomenon to a dark and murky tunnel beneath the buzz of progress. It became a myth. A story. A home for alligators and creatures of the night that thrive out of sight and in the dark.

And then something funny happened on the way to the Forum. We started to value our resources. We realized, surprise, surprise, that we are human beings, and as such, are part of the natural world. By banning all things green and breathing and flowing and growing from our man-made utopia we were putting ourselves in concrete cages and ignoring a critical piece of our DNA. The Times reported yesterday of the amazing success that Seoul has found in letting their river see the light of day again. Sure there were naysayers, arguing about parking problems and road constriction. But the response has been exuberant and exalted and, well, expected. It should come as no surprise that humans like things that flow and grow. As the assitant mayor said, “we’ve basically gone from a car-oriented city to a human-oriented city.” It’s like a taking a deep breath. What a novel idea.

Los Angeles has been thinking about this for years. As has Hartford, CT. And Rome. And Paris. And Peekskill. Seoul has shown us there is immense value beyond the $384 million construction cost. Sitting by a river? Priceless.


The Inside Man


Tucked away in a corner of Southwest Connecticut is one man’s retreat and symbol of the independent spirit. No one would dream of calling Phillip Johnson an outsider architect, yet his Glass House in New Canaan was an attempt to create balance from the daily lunches at the Four Seasons and the harried business in the city. Or was it?

Everyone knows of Phillip Johnson. Up until his death, at age 98, he was the consummate insider. Witty, wealthy, and connected, he created a career around knowing the right people at the right time. Straddling many decades and corresponding to the prevailing architectural style of the day, his portfolio is a visual zeitgeist and three-dimensional review of who he was currently courting. His innate reverence created, among many others, the Glass House, the New York State Theater at Lincoln Center, and the Sony (nee AT+T) building. Flighty? Possibly. Trendy? By all means. Talented? To be sure. The man who gets credit for formalizing Modernism and preaching Post-Modernism, was also the back-room matchmaker for three generations of architects. He was like the Kevin Bacon of 20th century art and design, but 5 degrees of separation closer. Whether you knew him, wanted to know him, or wished that you had never met him, he had a connection to everyone.

True to his Miesian roots, his compound in Connecticut followed this same ethos. He could not really retreat into the woods. He went to New Canaan because a group of his friends were already buying property up there. He couldn’t just build a simple weekend home, he built a series of “follies” that continued a noisy dialogue long after he went back into the city. His famed painting collection was safely entombed underground. His sculptures were placed in a modern-day Greek Temple. His house – the famous house – has no walls. He turned his desire for escape into a stage. What is inside is now outside, for all to see and celebrate. We know of the Glass House not through Johnson’s personal musings, but through the many, many stories of his guests. His friends. His mentors. His disciples. His people. The cult of personality turned the inside man out.

And now, we take trains up to New Canaan and walk circles around the house snapping digital stories and posting them on blogs. Good on you PJ, you’re still the perfect host.DSCN0468


Low Stress Ito-Essence Obsolescence


There’s a funny thing about architecture. It is a permanent art, one for the ages. Once something gets built, it is supposed to stay put. At least that’s the idea. If architects designed buildings with that in mind (as opposed to, say, the 25 – 30 year business model of real estate developers) we might have a lot healthier, durable, sustainable communities. We might get buildings that were built to last – that we respect and actually WANT to remain – not the mediocre boxes made with mediocre materials that ask, even beg, for the bulldozer.

Money talks and architects listen. Don’t’ get us wrong, Mapos is a firm believer in reuse and recycling, in all scales and applications. But what happens when you can’t hold back to tide? That’s not the funny part.

The funny part is that, while “architecture” may be permanent, buildings are not. They get old. They change use. They get renovated. They deteriorate. They sometimes go to pasture. The Japanese, among many other cultures, design and build temples based on the understanding that our lives, and our buildings, are temporary. We are part of larger forces at work.

When Toyo Ito’s U-house was being torn down in the early 90’s, the architecture community was up in arms. Ito wasn’t. He designed it that way. It served its purpose, had a good life, it’s owner (Ito’s sister) had moved, and it went its course. Nicolai Ouroussoff reminded me this week of Ito’s house, and his career. Well known in architecture circles, he is little known outside of Japan. With an inspired and accomplished body of work (be sure to check out his Sendai Mediatheque and Tod’s boutique, both in Japan), he has continued to change and evolve throughout his career, just as his buildings have and continue to do. His signature style is the absence of one. Perhaps that is why he has maintained his indie status his entire career – he doesn’t fight for permanence nor for developer inspired transience. He probably doesn’t fight at all. Less stress. Better sleep. Better architecture.

Pimp My Mass Transit

While there is no silver bullet, it is always encouraging to hear of creative ideas that can affect and change more than one challenge at a time. Obama certainly highlights that the “green revolution” will have transformative effects on our economy that both creates jobs and weans us off of fossil fuels, making us safer from unstable oil-rich threats. Or the revamping of health care will give access to quality treatment for everyone and help lead us out of deficit spending.

Transportation, always a thorny issue in urban planning debates, is also a challenge to the environment as millions of vehicles release millions of tons of CO2. How about a system that can decrease the amount of cars (and trucks and buses) on the road which would simultaneously reduce traffic congestion and greenhouse gas emissions? And furthermore, do it on the cheap? Many cities around the globe have been implementing Rapid Bus Systems for decades. (I rode workable routes in Pittsburgh and Adelaide, Australia back in the early 90′s).  Trains – both subterranean and surface – definitely have the cool factor, but have proven to be exponentially more expensive to implement than re-organizing existing streets to create dedicated bus lanes. For cash-strapped municipalities, especially in the developing world (where almost all of the 21st century mega-cities will be found), this is a no-brainer. Bogota, population 7 million, is going strong with a growing fleet of low-emission buses and willing passengers. Car congestion is down and so are emissions. Their biggest obstacle? Making sure the bus lanes stay clear of other traffic and convincing riders that bus travel can be cool.

Could this work in the US? Bogota already had a massive population that grew up riding buses. Here we would need to break the car-culture, ingrained in our suburban psyche. The only way to get us out of our cars is to hit our pocket-books and day planners. Spend 2 hours in traffic and $4/gallon on gas and we may just see the light. Oh, and have localized competitions for the bus re-design. Lights, tags, graphics, music, news and entertainment. Zip to work in a fuel-sipping-media-displaying-wheel-spinning-mega-ride.

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