The new addition to John Jay College
on 11th AvenueFrom the October issue: Bigness is back. By “bigness,” I do not mean height — rather, I refer to a kind of hulking squatness, an unapologetic, as-of-right occupancy of a plot of land — without any namby-pamby purchase of “air rights,” or any rising up in a zigguratted setback to heights made possible by the construction of some cynically insufficient, “privately owned public space.”

Two recent and conspicuous examples of this new bigness are the Lucida and the Brompton, which occupy the southeast corners of 86th Street at Lexington and Third Avenues, respectively. These structures hark back to the days before the 1916 legislation that mandated how high a building could rise in New York relative to its footprint.

But an even more striking instance of this upstart subgenre is on the West Side — the addition to John Jay College of Criminal Justice (part of the City University of New York) that has just opened in time for the beginning of the new school year. [more]

A rendering of the new theater (Source: H3 Hardy Collaboration)

For those of you who worry about the potential desecration of the Vivian Beaumont Theatre at Lincoln Center, in the form of Hugh Hardy’s newly announced black box venue that is scheduled to take up residence on the landmark’s roof, I can offer this consolation: the work that has already been done on the Beaumont’s plaza and surroundings, according to designs by Diller Scofidio + Renfro, has wrought such a change upon the place that the new addition should make little difference.

We will not know until next fall, apparently, the success of that work, which includes, among other alterations, the creation of a huge grassy mound for sunbathing and a new restaurant along the sides of the reflecting pool that continues to hold Henry Moore’s titanic “Reclining Figure.”

What we can say is that the feel of the place will be — indeed already is — vastly different from what it was. The spare, almost minimalist, geometry of the post and lintel theater, the perfectly square reflecting pool, and the surrounding grounds, together with the way they all responded to the striated side of the Metropolitan Opera, provide one of the most muscularly modernist experiences in New York City. [more]