See press release here.
Three awardees and the City’s choice for a new NYC POPS logo were ANNOUNCED on May 20, 2019.
“Have a Seat” – Submitted by Emma Reed
The Department of City Planning Director’s Choice for the Official POPS Logo
“More Than a Tree” – Submitted by Gensler NYC Brand Design Studio
“Constellation” – Submitted by John Schettino
Advocates for Privately Owned Public Space, the New York City Department of City Planning, and The Municipal Art Society of New York joined forces to sponsor a design competition for a new POPS logo to be utilized on POPS signage throughout the city and to represent the face of New York City’s POPS program, with funding provided in part by Knoll.
Submissions were invited from anyone or any entity worldwide. Submissions were posted online and displayed at a public exhibition during the Competition. A seven-person panel, along with a public vote that counted in the panel evaluations as the equivalent of an additional eighth panel member, selected three Awardees.
The Director of the Department of City Planning chose one of the three selected logos to become the official New York City POPS logo. Awardees received $2,000 and were honored at an event. The Awardee of the logo Submission chosen by the Director of the City Planning Department as the official New York City POPS logo received an additional $2,000.
Go to Competition Website at popslogo.nyc.
Harvard Professor Jerold Kayden, his organization Advocates for Privately Owned Public Space, and the Municipal Art Society of New York announced their POPS collaboration in 2012, at the third annual MAS Summit in New York City. This video captures the moment.
The City of London has created its own dataset of the city’s privately owned public space.
Boston Harbor Now, a nonprofit organization dedicated to protecting the public realm along Boston’s Harbor, has published a map locating POPS and their amenities along the Harvard.d
Long-time San Francisco Chronicle urban design critic John King writes about POPS and the challenge of keeping some of them public and usable in San Francisco.
John Hill’s “A Daily Dose of Architecture” blog entry weighs the new owner’s proposal to eliminate the arcades and through block covered pedestrian space at the once named “AT&T” and “Sony” building, designed by Philip Johnson, and replace the CPS with a larger through block outdoor public plaza.
Submitted by Ruth Grigorov
I approached The Cohen Brothers Park at 135 East 57th Street by walking south on the west side of Lexington Avenue. As I was half a block away, I saw the massive circular sculpture looming over the busy corner of 57th Street and Lexington Avenue. The pillars, made of dark heavy marble, held up a circular structure resembling a huge cement donut. I rounded the corner so as to get a better view of the structure and felt very small. Inside the circular pavilion, benches are carved into structure to provide seating. On each side of the structure, there are several plants, and a small waterfall. There are steps up to the pavilion from the corner of the block, and ramps to enter the plaza from both sides.
135 East 57th Street is a property owned by Cohen Brothers Realty, a global property management company. What is interesting about this property, is that it actually contains two privately owned public spaces. The first is the entrance described above, and the second is a small park, much more secluded, around the corner from the main building. This offers a dramatically different experience than the main plaza area on the corner of 57th and Lexington. As opposed to the grand theatrical experience a visitor feels upon approaching the plaza, the park is deep, narrow, and much more intimate, as it penetrates into the block north of 57th street. Unfortunately this park was closed when I visited on Sunday afternoon, so I was unable to go inside. However, a view through the gate provided me with plenty of information. At the back there is a waterfall, and on the sides of the park there are several benches surrounded by plants, flowers, and trees. In the middle there are tables and chairs for more seating.
The two POPS are interesting in relation to David Harvey’s spatial theory. The two spaces located on the same property lot are, of course, absolute spaces within themselves. They can be considered relative in that they provide platforms on which circulation of energy and people take place at all hours. They are relational in that they were created on the basis of laws which were made to re-define the standards of space in New York City; a change to the history of Manhattan. Furthermore, I found this location similar to the Panopticon in that it is circular in nature, and directly visible by the security desk in the lobby of the main building on the plaza. I stepped inside the building for a brief moment and observed that whoever is standing guard at the desk has a full view of the entire plaza from one end to the other. I couldn’t help but wonder if this was an intended design feature for the building and plaza.
Overall, I found this POPS to be very successful according to New York City standards for a POPS. Both areas were ADA accessible, and had plenty of greenery to create a sense of calm to distract from the busy neighborhood. The waterfalls also added to this effect.The circular design of the plaza allowed for functional circulation of pedestrians, as well as lots of visibility to ensure a sense of safety and openness. There were more than enough seating areas to accommodate a large number of people, making this POPS an ideal place for a quick break from the office.
Senior tech reporter Stephanie Lee writes about Apple’s efforts to make, some would argue brand, its stores into “town squares.” Her article poses the question whether and to what extent privately owned space is ever public.