He is tall, lean and blond, with dazzling white teeth, and he looks ever so much like Robert Redford. He rides around town in a chauffeured silver Cadillac with his initials, DJT, on the plates. He dates slinky fashion models, belongs to the most elegant clubs and, at only 30 years of age, estimates that he is worth “more than $200 million.”
Last week the New York Times published a special investigation looking at the Trump family’s real estate empire and the suspect tax schemes that they allegedly employed over the years to preserve, grow, and pass it down.
According to the Times, all of which has been rebuked by a lawyer for the president, Donald Trump received at least $413 million in today’s dollars from the family empire.
I just finished reading the investigation in its entirety. It’s a long one. But if you’re interested, you can do the same here. If you’d prefer the Coles Notes version (Cliff Notes for you Americans), have a scroll through the headlines in this article instead.
New York Magazine is running a weekly series right now that tells the stories behind key moments in the city’s cultural history. This week’s is about how the Time Warner Center came to be.
Like most real estate projects, it took an enormous amount of time for it be realized. Multiple developers had attempted to buy the site, which previously housed the New York Coliseum.
In 1987, the agency put out a call for proposals, its parameters calculated to yield the highest price and the biggest building. Among the 13 developers who responded was Donald Trump, who proposed the world’s tallest tower, 137 stories high.
It’s a good example of just how difficult it can be to get a large project off the ground. The Time Warner Center opened in 2003. Thank you Paul for sending this along. Click here for the full story.

“It’s remarkable that even as the internet disperses information and enables us to form online communities across great distances, our politics are still highly correlated with physical environments. Who we are is largely defined by where we are. For architects and urban designers, this is an important reminder that space is and always has been political, from the days of the valley section to the postmodern stage of Trump.”

