Architects, Congress and the “S Corp.” tax hike

Very good article in THE HILL by George H. Miller, FAIA – 06/07/10 10:03 AM ET

When Congress returns this week, one of the first items on its agenda will be finding a way to pay for extending unemployment benefits to the millions of Americans who find themselves jobless even as the economy begins a slow and fitful recovery. The Senate hopes to begin work on the “tax extenders package” that was approved by the House of Representatives on May 28, just as lawmakers left for the Memorial Day Recess.

We sympathize with Congress as it looks for ways to pay for extending jobless benefits. Indeed, roughly 25 percent of my professional colleagues are unemployed – in some states the percentage is even higher – and would benefit from any extension, as well as from other provisions in the legislation, such as Build America Bonds. And yet, as world markets tremble from global debt anxiety, Congress is rightly pre-occupied with finding ways to fund the extension without adding to the ballooning deficit.

Bad decisions usually result when two such countervailing forces are at work. None is worse than the effort to help fund the extension by raising taxes on individuals and small businesses that form S Corporations. So-called S Corporations help to create jobs and economic growth by reinvesting hard-earned capital back into their enterprises. S-Corporation owners often pay themselves a salary, to which Social Security and Medicare taxes apply. But profits that are paid to the owner as a shareholder are not subject to payroll taxes. They will be for many S corporations, however, if this short-sighted provision passes and is signed into law by the President.

This type of tax hike comes at a time when many people – out of necessity due to layoffs and restructurings throughout the economy – are forming their own home-based consultancies, web design firms, landscaping enterprises and the like. If they structure themselves as an S Corporation – and many of them do – they would be caught up in this new tax just as they are planning to set up shop, hire staffers and buy the equipment they need to get started.

That is certainly the case in the architecture profession. We are struggling to find ways to restructure and resuscitate our careers and livelihoods after the collapse of the real estate market. Many of us operate as S Corporations, because it allows us the flexibility to compete in world markets and retain and attract the talent that has kept American architecture the envy of the world. We may be forced to lay off staff or stop hiring new staff to pay the new tax – even though this provision is in a “jobs” bill. The provision is particularly troubling in that it specifically calls out S corporations with three or fewer key employees.

We applaud Congress’s effort to find a way to extend unemployment benefits for individuals who need them. But as the economy begins to recover, now is the worst time to raise taxes on a sector that is a catalyst for job growth in the design and construction industry. After 27 consecutive months of contracting, the American Institute of Architects in May reported that architectural billings have trended upward for the third consecutive month. That’s an indication that new construction could be on the rise in nine to 12 months, which would create more jobs and advance our nation’s economic recovery.

Rather than hike taxes, Congress should enact legislation that generates revenue with little or no cost to the Treasury. One such bill is H.R. 5249, the Capital Access for Main Street Act of 2010, introduced by Reps. Ed Perlmutter (D-CO) and Mike Coffman (R-CO). This legislation would change accounting rules for community banks with less than $10 billion in assets as they work with borrowers to renegotiate loan terms, avoid large sums of commercial foreclosures, and free up credit that can be used more constructively.

Unscrupulous businesses do use S corporation status to avoid paying their proper share of taxes and they should be caught and punished. But the Internal Revenue Service is already empowered to address that issue. This tax hike lumps together the good and the bad, penalizing thousands of honest small businesses that follow the rules. We strongly urge Congress not to support this inappropriate tax increase.

George H. Miller is president of the American Institute of Architects, based in Washington, D.C.

Send in the Clouds – MIT in bubbly bid for London Olympic Tower

Thanks to writer Julie V. Iovine and the folks at The Architects Newspaper, I came across this project.  It looks fantastic and I would love to see it built.  Although I admit I am not so sure I would ever reach the top to put my head in the “clouds”.  My fear of heights and intended airy and light feel of the structure might stand in my way. This of course assumes I ever travel to London.

A proposal spearheaded by MIT's Senseable City Lab envisions an inhabitable sculpture for London's 2012 Olympics.

All Photos Courtesy Raise the Cloud

In early November, British architects discovered with dismay that Mayor Boris Johnson of London was conducting a secret competition to select a designer for a $33 million beacon for the 2012 Olympics. Brushing aside the standard procurement process—which involves publishing a notice in The Official Journal of the European Communities—Johnson invited 30 firms to submit proposals for a prominent addition to the city’s skyline.

A Guggenheim-like spiral wrapped in cable netting will support the clouds, with much of the structure open to the public.

Called “the Cloud,” the structure starts with a slender spire that is ringed by a spiraling ramp, stabilized with a cable net, and sturdy enough for strollers and bicyclists to mount to a sky full of bubbly spheres. This upper aerie would host three types and sizes of spheres: The largest and most structural are Buckminster Fuller–type geodesic domes; next, cable-net bubbles would cluster around observation decks; and then, blurring the edge, bunches of hot-air-filled balloons create that head-in-the-clouds feeling.

The EFTE inflatables would be covered in a new type of distributed LED that is readable from any direction and could provide a constant stream of information, including game statistics, weather forecasts, traffic advisories, alien greetings, and presumably, advertisements.

Olympic visitors at play in "the Clouds."

Intended to stand 400 feet tall, the Cloud will barely have a footprint, sustainability-wise. Photovoltaic film, whose effect will be magnified by mirrors, is spread over the spheres. And while visitors can only ascend the one-kilometer ramp on foot or by bicycle, they can descend by means of a “regenerative lift” that uses the same braking system as a Prius to recoup electricity, as will water-wheels embedded in the column through rain collection.

The exact size of the Cloud remains to be determined. Taking a page from the grassroots innovations of the Obama campaign, the team has organized a structure that can expand or contract depending on donations. The density of the cloud cover—the number of spires and individual clouds, in fact—will depend on how many people sign on to contribute.

London Mayor Boris Johnson envisions a beacon for the Olympics, and mit's is only one of several proposals thought to be under consideration.

While the contenders—said to include Foreign Office Architecture—have yet to be named, one team is already spreading the word about their entry on Facebook. Carlo Ratti, architect and director of MIT’s SENSEable City Lab, joined forces with German engineer Joerg Schlaich, Arup, artist Tomas Saraceno, corporate sponsor Google UK, and others to create what Ratti described as “not a building for London but a symbol of global ownership.”

The Facebook page Raise the Cloud was launched on November 11 with 1,000 fans and counting, according to Ratti, who would like to see as many as three spires covered in clouds at the as-yet-unselected site. “We can build our Cloud with five million pounds or 50 million,” he said. “The flexibility of the structural system will allow us to tune the size of the Cloud to the level of funding that is reached.” Whether or not selected by Mayor Johnson to be the official 2012 Olympic Tower, the Cloud is certain to attract plenty of air time.

Where Does the Freelancers Union Stand on Healthcare Reform?

Freelancers Union strongly supports the national effort to increase quality, affordable coverage for our members and all independent workers.

The current health care system is failing, and it hurts independent workers more than most.

Freelancers Union has been building solutions within, around, and despite our nation’s crippled health care and insurance system for over ten years. We have confronted some unpleasant realities along the way—from skyrocketing medical costs to an outdated employer-based system.

We have also found many inspiring models, some of which have not only informed our work but are also reflected in the health reform proposals being crafted on Capital Hill. But with the debate moving into high gear, politics and buzzwords are overshadowing conversation about priorities and goals.

 What kinds of reform have the potential to truly benefit Freelancers Union members? We’ve outlined five measurements of success and explained the ideas behind them and the policies that could achieve them. We hope these pages will help you better understand our organization and the freelancer’s place in the national debate.

Learn more about where they stand here.

CFA is a member of the Freelancers Union but does not endorse all policy or advocacy positions taken by them.

Venice Biennale creative directors named

28 September 2009 | by Gemma Battenbough | Architecture & Design

Architectural photographer John Gollings and Melbourne-based architect Ivan Rijavec will head the creative team for the Australian Pavilion at the upcoming 12th Venice International Architecture Biennale.

The team’s two-part ‘NOW + WHEN Australian Urbanism’ exhibition will highlight three of Australia’s most interesting urban regions as they are ‘now’, before dramatically representing futuristic urban environments as they may be ‘when’ we reach 2100.
 
Opening in September 2010, the exhibition will feature a range of dazzlingly visceral digital stereoscopic (three-dimensional) images, which will fill the two-level Philip Cox-designed Australian Pavilion and represent both the NOW and WHEN components.

On the pavilion’s upper level, NOW will feature current urban environments in Sydney, Melbourne and Surfers Paradise. Stereoscopic visuals will show contrasting views of these cities from macro-scapes at 20,000 feet to ‘helicoptering’ views of urban and architectural icons at close range. All three cities will be filmed at dusk, when the “Australian urban spectacle becomes luminous and articulate in conveying the way our cities work”, the proposal states.
 
On the pavilion’s lower level, WHEN will imagine Australian urban spaces in 91 years time, with the intent of “catapulting urban debate into eye-popping visceral entertainment set in a soundscape”. Australian architects will be asked to submit 3D entries for inclusion by entering ‘Ideas for Australian Cities 2100’, a national competition. A range of entries will then be chosen focusing on the creative potential of architecture.
 
Two stereo screens mounted back-to-back at the rear of the upper and lower exhibition spaces will be the focus of the installation. An urban themed black and white geometric matrix will be projected on the walls, floors and ceilings of both levels leading to two stereo screens, which will feature the urban environments in continuous three-minute loop cycles.  
 
“As countries around the world continue to move into a post-GFC economic recovery phase, it’s vital that Australia maximises every opportunity to reinforce the nation’s competitive strengths and standing on the world stage,” recently appointed Venice Biennale commissioner, Janet Holmes à Court, said.?

The Venice Architecture Biennale, now widely regarded as the most important event on the international architecture calendar, is “un-missable”, Holmes à Court said. The 2008 event attracted 130,000 informed visitors from around the globe over 10 weeks and the 2010 Biennale is expected to eclipse this, she said.??

“I have every confidence that the appointment of our 2010 creative director team – led by John Gollings and Ivan Rijavec – affords us a great head-start in the promotion of the nation’s incredibly rich and diverse architectural talent,” Holmes à Court said.
 
The full 2010 creative directors team comprises Australia’s pre-eminent architectural photographer John Gollings, leading Melbourne-based architect Ivan Rijavec, graphic designer David Pidgeon, astrophysicist Professor Jeffrey Shaw, architect and sound designer Nick Murray and 3D experts Sam Slicer and Daniel Flood.
 
A total of 29 submissions were received for the role of creative director, with five proposals shortlisted in a rigorous selection process ahead of today’s announcement of the winning team.
 
The Venice Architecture Biennale was inaugurated in 1980 and is now held every two years, alternating with the Art Biennale. Thousands of the world’s leading architects and city planners plus more than 52,000 people visited the 2008 Australian Pavilion.

Australia’s attendance at the Venice Architecture Biennale is an initiative of the Australian Institute of Architects, which pledged funding for each of three Venice Architecture Biennales – 2006, 2008 and 2010. Fundraising efforts continue to guarantee an ongoing presence in Venice.

Winter Street Architects, Salem, MA – Biting the BIM Bullet

I have said numerous times lately that the lessons of this prolonged recession and necessity to achieve efficiency’s to survive will be a game changer for BIM acceptance in AEC firms.  Everyday I see evidence supporting that.  Here is a post from a firm in Salem, MA that agrees that BIM is key in moving forward and competing:

Photo-realistic BIM Rendering of the Salem State College, Weir-Stanley Building Music Rehearsal Space

If you haven’t done it by now, you better get to it!  Or fall so far behind you may never be able to catch up.  Bite the BIM bullet.  It’s the future of the building industry and the future is now or just around the corner.  Our firm swallowed the BIM pill way back in 2003; a year after Revit was first introduced to the market by Autodesk.  What we saw then was what other industries have been doing for years: virtually prototyping and testing designs prior to fabrication.  Economics and compute power had the practice relegated to big business and complex industries, but now the industrial evolution has finally availed these tools to the AEC Industry that allow us to rise up and shed our Neanderthal trappings.  Those who will not adapt and wait, or dismiss it as a passing fad, will surrender to Natural Selection ending up in their own version of the La Brea Tar Pits. What BIM allows us to do is create buildings in the same way that we think about them; as visualized complete projects.  We don’t think in plans, elevations, sections and details.  These methods deconstruct the total visualized idea into two dimensional components simply to communicate complexities of the idea to someone else or to allow us to coordinate others’ work into our complex idea.

Full article via Winter Street ArchitectsBlog

Charles Gwathmey, Architect of the Modernist School, Is Dead at 71

As the owner of Consulting For Architects, I have had the opportunity and privilege to work with the architecture firm, Gwathmey Siegel from the mid nineties to present as a provider of staffing services.  Mr. Gwathmey’s passing is a loss for his family, friends, firm and the profession and I hope to bring together some of the things others have said about him recently in regards to his passing.

From the New York Times:

Charles Gwathmey, part of a generation of architects who put their own aesthetic stamp on the “high Modernist” style, died on August 3. He was known both for residential work — he built living spaces for Steven Spielberg, David Geffen and Jerry Seinfeld — and sometimes controversial public buildings.

In the New Yorker Magazine architecture critic Paul Goldberger said:

Postscript: Charles Gwathmey

In 1965, Charles Gwathmey, three years out of the Yale School of Architecture, designed a house and studio for his parents, the artists Rosalie and Robert Gwathmey, on Bluff Road in Amagansett, on eastern Long Island. Gwathmey was twenty-eight, an age when most architects are toiling away in large corporate offices and hoping for the chance to renovate a friend’s kitchen. When Gwathmey’s project, a pair of crisp, sharply angled structures covered in cedar siding, was finished, a year later, it became one of the most influential houses of the decade: a composition of cubes, cylinders, and triangles, it was a study in inventive modernist geometries. It cost somewhere around thirty-five thousand dollars, and it inspired a generation of beach houses in the Hamptons and elsewhere.

Architectural careers generally develop slowly, which made Gwathmey’s particularly unusual, the architectural equivalent of the young writer who comes out of nowhere and produces a brilliant first novel. In some ways, Gwathmey was the architecture world’s Norman Mailer, with the same bravado, the same raw talent, and the same career-long anxiety about whether he could continue to equal his spectacular first performance. Over the years, Gwathmey’s work became more complex than the house and studio in Amagansett, and vastly more elaborate. The cabinetry in any Gwathmey kitchen was certain to cost several times as much as his parents’ entire house.

A few years after the house in Amagansett was finished, Gwathmey and his architectural partner since 1968, Robert Siegel, designed an apartment at the El Dorado, on Central Park West, for Faye Dunaway, and over time they became the architects of choice for clients in the entertainment industry who were sophisticated enough to want something other than an interior decorator’s French Provincial. The firm of Gwathmey Siegel designed modernist houses and apartments for David Geffen, Steven Spielberg, Jerry Seinfeld, Jeffrey Katzenberg, Ron Meyer, and Frank Marshall and Kathleen Kennedy, not to mention grandiose modernist villas for Michael Dell, the computer maker, and Mitchell Rales, a Washington, D.C., industrialist, for whom Gwathmey also designed a private museum, Glenstone.

By the time the large villa that Gwathmey had designed in East Hampton for François de Menil, now owned by Larry Gagosian, was completed, in 1983, it was clear that Gwathmey had become not the avant-garde architect that his early success had promised but something closer to a modernist Stanford White or John Russell Pope. Gwathmey’s modernism, by then, had become not so different from what a Georgian manse was in the nineteen-twenties: a symbol of refinement and sophistication more than of cutting-edge sensibility. Maybe it didn’t matter: after all, his houses were impeccably designed and exquisitely crafted, and his clients were not just any rich people but ones who knew the difference between a Gwathmey house and someone else’s.

Still, Gwathmey hated to be thought conservative, and the unspoken theme of his career was the struggle between his desire to continue to make buildings that were new and different and his passion for a kind of classic modernism, which as time went on seemed ever more to be a part of history. He never copied anything literally, and he couldn’t bear to think of himself as one of those architects who replicate the past. He kept trying, over and over, to find new ways to rearrange the basic geometric shapes he loved so much—he was earnest, almost innocent, in his passion for pure architectural form—and his late work, if not dazzling in the way that his parents’ house was, had a striking richness to it. He tried new surfaces, he tried new materials, he tried new shapes, but there was always the same kind of sleek, crisp formality to his work. If there is such a thing as blunt intricacy, Gwathmey’s architecture has it.

He was at his best at small scale, which made him the opposite of almost every other major architect of our time. He did a few towers, none of which were great, and several institutional buildings, few of which equalled his best houses. (He was almost alone among first-class architects in making houses a central part of his practice, even when he had plenty of bigger, more lucrative projects.) Toward the end of his career, he poured his heart and soul into a non-residential commission he cherished, the restoration and expansion of the Art and Architecture Building at Yale, by his teacher Paul Rudolph. The Rudolph building is an impossibly difficult neo-Brutalist masterpiece from 1963, and Gwathmey made it look better than it has in forty years. His addition is smart and well planned on the inside, and too complex and overwrought on the outside. It tells you all you need to know about its architect, who couldn’t bring himself to sit quietly beside his mentor. Gwathmey paid loving homage to Rudolph in the restoration, and then he wanted to get into the ring with him. I don’t think he was trying to show his teacher up. He just worried about what it would look like if he didn’t assert himself. He never wanted anyone to think that he didn’t have the right stuff.

More from the New York Times:

While in his 20s Mr. Gwathmey became a sensation by building a house for his parents on the East End of Long Island. The house, completed in 1966, was consistently described as one of the most influential buildings of the modern era. Two years later he and Robert Siegel founded Gwathmey Siegel & Associates.

Perhaps the firm’s best known work was its addition to Frank Lloyd Wright’s design of the Guggenheim Museum on the Upper East Side, the rectangular tower beside the building’s famous spiral.

Mr. Gwathmey’s Astor Place condominium tower drew criticism from those who said it was insufficiently deferential to its surroundings.

Mr. Gwathmey in 1976, outside of Whig Hall at Princeton University. His renovation of the building was known as one of his more daring projects.

The Museum of the Moving Image in Astoria, Queens.

Mr. Gwathmey created a proposal for the World Trade Center site, along with Richard Meier, Peter Eisenman and Steven Holl.

Mr. Gwathmey in his apartment in Manhattan.

Via New Yorker Magazine and NYT

NYC Firms and Unions Will Cut Costs To Boost AEC Work

The following deal was announced on May 29th in NYC.  Two months have passed by and there has been no quantifiable increase in announcements of the projects mention herein nor any recently issued Building Permits.  The idea for this deal and subsequent cost cutting agreements are quite an achievement and should begin to payoff for the local economy and AEC professionals.  I will continue to monitor the situation for you.

Here’s the announcement from New York Construction News:

In an effort to jump start building projects in New York City and put idle union construction workers back on the job, the leaders of more than 40 different building trades and union employer groups announced on May 29 what they termed a “historic compact” to cut wages of both labor and management and end expensive work rules. Proponents claim the citywide project-labor agreement will cut costs by as much as 21% on the first 12 high-rise and other commercial projects that it covers, representing $2 billion of construction and 10,000 jobs. But some are less enthusiastic about the cost savings, some unions are declining to participate and some developers may have to rethink profit margins in a changed city economy.

The agreement was reached between the Building and Construction Trades Council (BCTC) of Greater New York, which represents 100,000 union workers and the Building Trades Employers’ Association (BTEA), which includes 28 contractor groups and 1,700 union firms. The groups have been negotiating since last October, said Louis J. Coletti, BTEA president. “Contractors would have liked more, unions less, but we’re trying to save jobs in New York City,” he says.

Building trades agreed to no strikes or work stoppages on projects included under the pact, as well as standard workdays and other work rule changes and enforcement. Contractors agreed to cut wages and benefits for management employees, reduce profit margins and strive for “improved project management and efficiency,” among other changes.

Several unions, which were not specified, have also agreed to one-year wage freezes and benefit cuts, according to BTEA. The pact is set to generate project cost reductions averaging 16% to 21%, based on a study conducted for BTEA by Hill International Inc., a Marlton, N.J., project and risk management firm. That figure does not include union wage-freeze cost savings, says the group.

“We have two problems in New York: the financial crisis and creeping nonunionism. This will help both,” said John A. Cavanagh, a former building contractor executive and chairman emeritus of the Contractors’ Association of Greater New York, a BTEA member group. He credited BCTC President Gary LaBarbera, a former teamsters’ union official. “Everyone had to do what they didn’t want to do, especially on the union side.”

The pact won praise from New York Mayor Michael R. Bloomberg (R). “Labor and management are not content merely to wait for a national rebound,” he said on May 29.“Their agreement is an important step to get stalled projects going again.”

But Stephen Spinola, president of the Real Estate Board of New York, said, “It doesn’t go far enough.” He also says savings may be only between 3% and 8%, according to published reports. “We will be talking to our partners to bring costs down further,” he said.

But the pact press release coincided with the May 29 announcement by New York City-based Forest City Ratner Cos. that it plans to resume work on Beekman Tower, a planned 76-story mixed use project halted two months ago at the 37th floor. Reportedly set to be capped at 40 floors, the structure now will be built to its full planned height, says the developer, noting the new labor pact and cost reductions in materials and finishes. Kreisler Borg Florman is project contractor. Others among the first 12 projects that could restart include those being built by Bovis Lend Lease, Turner Construction, Tishman Construction, F.J. Sciame Co. and Plaza Construction. But Coletti acknowledged that not all may restart.

Even so, Coletti thinks the labor agreement is “more the end of the beginning,” noting that trades and employers are still discussing pact details and inclusion of new projects. The AFL-CIO’s Building and Construction Trades Dept. is set to review an additional 12 to 15 projects and the local labor-management committee will review up to nine more in the next week, he said.

One footnote, the city approved the master plan for the Coney Island Revitalization & Development Project yesterday.

The Standard Hotel New York By Polshek Partnership Architects

I can’t wait to tour this building for its architecture and design, as well as, hanging out at the supper club and lounge. 

Here’s some of what Sharon McHugh, US Correspondent for World Architecture News.com had to say:

The erection of the eye-popping glass slab structure occurs in the trendy Meatpacking district and rises from stilts 18 stories above the High Line, a disused elevated rail line that is today one of the city’s hippest parks. Designed by Todd Schliemann of the New York-based Polshek Partnership, the hotel opened in January. It houses 317 guest rooms, several restaurants and bars, and a gym.

 The building is decidedly modern, if not instantly iconic, with a mix of styles peppering its interior. Its slab on stilts design recalls the pioneering works of le Corbusier and other notable international style buildings, like the locally based Lever House and United Nations. The interiors, designed by Hollywood set designer Shawn Hausmann and New York based Roman and Williams, “get more modern the higher you go up”, said Balazs in an interview with Vanity Fair magazine.

The hotel lobby, which sits under the High Line, is early 20th century design, while the guest rooms in the tower above are designed with mid-century works in mind. On the top floor is a double height glass enclosed space that houses a supper club and lounge. Its design pays homage to Warren Platner, a protégé of Saarinen’s, who designed the Windows of the World restaurant in the World Trade Center.

If your shopping for a hotel in the city, aside from its fetching design and proximity to all the Meatpacking District has to offer, the best reason to bed down at The Standard is the stunning, unobstructed views it offers of the city’s most cherished sites: the Empire State Building, the Hudson River, and in the distance, the Statue of Liberty

 

EDITT Tower – Singapore Goes Eco-Friendly

Every time I see this new genre of eco-friendly-green-buildings (like the EDITT Tower) I am inspired.  These buildings are inviting to look at and like I did as a young boy exploring Navy vesels in New York Harbor with my dad, I want to explore every floor, view and perspective.  Because these buildings have the potential to change the urban living experience for future generations, including rethinking the impact of sustainable design on our personal lives, I am showcasing them here.

Freshome Blog: What, you though only Dubai and China have the most stunning buildings in the world? Guess again, because EDITT Tower (“Ecological Design In The Tropics”) will be built in Singapore with the financial support of their National University and should be the most eco-friendly in the country. The most interesting thing is that this 26-storey building will use photovotaic panels and will be wrapped in organic local vegetation that will act as a living wall insulator. More to it, the skyscraper was designed to collect rain-water, both for plant irrigation and for its “needs”. If you want to congratulate someone, T.R.Hamzah & Yeang have had their hands on the project.

Article via Freshome Blog

West 8 Replaces Frank Gehry on Lincoln Park Project, Miami

Simcoe Wavedeck in Toronto by West 8

Frank Gehry has officially been replaced by dutch firm West 8 for the Miami Lincoln Park project. gehry and the city were at odds after he could not stick to budget.  the project will still ahve to be approved by the city of Miami before it’s finalized.

The firm specializes in contemporary landscape architecture and has designed projects including Governor’s Island New York, Bridges Parque Lineal de Manzanares, Madrid and most recently the Simcoe Wavedeck in Toronto.

The 2.5 acre park will serve as an entrance to the Gehry designed New World Symphony scheduled to open in january 2011. it will also provide an outdoor venue for concerts and expansive green space.

Via designboon