New York City’s $20 billion, 28-acre Hudson Yards project will feature some of the most advanced infrastructure technology to be found in any building complex in the country.
Among its innovations will be The Shed, a 170,000- to 200,000-sf, $425 million steel-and-glass retractable canopy, mounted on rails that allow the structure to expand and become an independent, multifaceted performance and arts space.
The Real Deal has called The Shed “The Batmobile of Buildings.” Designed by Diller Scofidio + Renfro with Rockwell Group, the six-story structure—once known as Culture Shed—is scheduled to open in 2019 (two years later than expected), just in time to host New York’s Fashion Week.
“It will be the world’s most flexible cultural institution,” says Dan Doctoroff, the former New York Deputy Mayor who is CEO of Sidewalk Labs, a Google-funded technology company that is moving into Hudson Yards and is focused on developing ways to improve city life. Doctoroff is also chairman of the Shed. He told Women’s Wear Daily earlier this year that the idea for The Shed “started when Diane von Furstenberg came to Mayor Bloomberg, me and Patti Harris [another deputy mayor] when we were in office in 2004, saying there is no home for fashion in New York.”
The Real Deal reports that technology will allow The Shed’s retractable canopy to open and close within 15 minutes, and transform from an open-air public space into an indoor venue. It is designed with 25,000 sf of museum-quality space, a 500-seat theater, event and rehearsal space, and an artist lab.
The New York Times reported last month that the nonprofit Shed has started programming some of its upcoming events, including the first of its commissions with conceptual artist Lawrence Weiner, who will produce a new work to be unveiled at the Shed’s opening.
Shed Fly Through Animation from The Shed on Vimeo.
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The story of the Fox Oakland Theater is like that of so many movie palaces of the early 20th century. Built in 1928 based on a Middle Eastern-influenced design by architect Charles Peter Weeks and engineer William Peyton Day, the 3,400-seat cinema flourished until the mid-1960s, when the trend toward smaller multiplex theaters took its toll on the Fox Oakland.
