I was reading the New York Times this morning and I stumbled upon an interesting article about Shubert Alley. I wasn’t aware of Shubert Alley, but I’m sure many of you probably are. It’s a 300-foot long pedestrian-only alley in the theater district of New York. It connects 44th Street and 45th Street and runs west of Broadway.

And apparently it’s a big deal in the theater world – or at least according to Richard Hornby in 1991: “In New York, the desirability of a theatre is inversely proportional to its distance from Shubert Alley.”

But what you may not be aware of is how the alley–which today serves as a public gathering space–was actually created. In 1913 when the Shubert and Booth theaters were built, the fire code dictated that theaters had to have separate fire exits on the sides of their buildings that connected directly to a main street. 

Most of the time this led to blank sidewalls, but in this instance, the Shuberts and their architect Henry Beaumont Herts, decided to run an alley all the way through the block to serve as their emergency exit. 

But what seemingly started as a pragmatic response to a code requirement, ended up creating what some people would consider the heart of the theater district. Sometimes constraints can be a good thing for design.

Image: New York Times

I must have been living under a rock because I just discovered this weekend that Toronto is in the midst of hosting WorldPride. I obviously knew that it was Pride Week, but I didn’t realize that we had outbid Stockholm in 2009 in order to be awarded the event. 

I also didn’t realize that Cawthra Park near Church Street & Wellesley Street was being revitalized in preparation for both WorldPride 2014 and for the Pan Am & Parapan American Games in 2015 – which Toronto will also be hosting.

Here’s a site plan of the final design:

And here’s what the completed design looks like:

I like the pavers and I like the overhead LED lights. Those may not seem like big additions, but it’s amazing how those small little details can impact the way a space feels. I think it creates an intimate and inviting space. What do you think?

Images: thinc design

I’m a big fan of Canadian developer Ian Gillespie and his firm Westbank. They are the developers behind projects like the Shangri-La Vancouver, the Shangri-La Toronto, the mixed-use Woodward’s complex, and the upcoming Vancouver House (shown above) designed by Danish architect Bjarke Ingels (who just so happens to be one of my favorite architects). I would easily count them as one of the preeminent city builders in the country today.

In support of their commitment to city building (and as a way to offer the public a peek of Vancouver House), they recently staged an exhibition called Gesamtkunstwerk. I think this is great on so many levels. Not only was it probably a great sales tool, but it’s also introducing the public to a largely obscure and academic term, and showing off a deep commitment to design. Unless you studied art, architecture, or something like the philosophy of aesthetics, you probably haven’t come across this term before.

Gesamtkunstwerk is a German word, which literally translates into a “total work of art.” It was introduced in the 19th century by an opera composer by the name of Richard Wagner, who felt that opera represented a total, or complete work of art. Later, the term was picked up by architects. Some interpreted it to mean that architects should be responsible for everything from the building itself to the furniture and everything else that goes inside of it. Everything was art.

Westbank now wants to introduce the idea of gesamtkunstwerk into the real estate development business. They want to use it as a guiding philosophy for all of their projects. And what that means is that the building itself and its relationship to the greater city should be thought of as a “total work of art.” They seem to be reintroducing the term with an inherent city building tinge–one that I don’t think was ever there before. 

What a great philosophy.

Image: Westbank