Check it out!

Transcription

Check it out!

3
HIDDEN PL4CES
INDEX
Masthead...........................................................................................................6
Editor’s Letter...................................................................................................8
Jeffrey Deitch . . ................................................................................................ 12
Mirror Mirror.. ................................................................................................ 18
Est4te Four. . ................................................................................................... 36
Dustin Yellin.. ................................................................................................. 48
Pier Glass . . ...................................................................................................... 54
Good Fork....................................................................................................... 58
Vladi Banjac................................................................................................... 60
Lola Schnabel. . ............................................................................................... 66
Home / Made..................................................................................................72
Red Hook Winery........................................................................................... 74
Hope & Anchor...............................................................................................78
Fort Defiance................................................................................................. 82
Architects.. ...................................................................................................... 86
Future Green Studio . . .................................................................................... 90
Cora Dance Company.. .................................................................................. 96
Sunny’s.......................................................................................................... 100
SPECIAL THANKS
TO OUR CONTRIBUTORS
PHOTOGRAPHERS
Michael Mundy, Sue Kwon, Tyler Sparks, Patrick Hoelck,
Deborah Senise and Patrick McMullan
WRITERS
Jared Gabrow, Kelly Bartnik, Lauren Festa
EDITORIAL TEAM
William Lords, Genevieve Espantman, Angie Parker
Banco Luca Meda Hi-Line 6 Ferruccio Laviani Montecatini chair Gio Ponti Graduate bookcase Jean Nouvel
New York Flagship Store 60 Greene Street, Ph. (212) 673-7106
Modus Miami Miami, 4100 NE 2nd Avenue suite 103-203, Ph. (786) 363-9111
In-Ex Los Angeles, 8800 Wilshire Blvd., Ph. (310) 358-0500
4
moltenidada.com
HIDDEN PL4CES
HIDDEN PL4CES
PUBLISHER
Est4te Four
EDITOR-IN-CHIEF
Patty LaRocco
EDITOR
Gina Harrell
CREATIVE DIRECTOR
Risa Knight
ART DIRECTOR
Xander Vinogradov
6
7
HIDDEN PL4CES
RED HOOK AT A GLANCE
LETTER FROM THE
EDITOR-IN-CHIEF
Red Hook in the 1980’s had a mix of ruffians, artists
and industrial businesses creating a neighborhood
coined ‘Residustrial.’ It was an isolated section of
Brooklyn that had little draw to outsiders beyond
Sunny’s bar, which was a meeting place of locals
and ultimately the artists whose presence helped to
change the shape of the neighborhood.
I went to my first city auction for a group of
properties in Brooklyn in 1988. I had purchased my
loft in Tribeca in the early 80’s, which at the time was
far more desolate than Red Hook is today. All we had
was a liquor store on the corner of Canal and Watts, a
deli that was six blocks away, and two neighborhood
haunts: Puffy’s and Walker’s.
Anyhow, back to the auction! I fell in love with a
townhouse on Van Brunt that had been damaged by
a fire on the top floor. My budget was $50k tops, and
I was carrying $25k cash with me, as it is required at
city auctions to pay half at closing bid. I was only a
girl in my mid-twenties, but I saw Red Hook just as I
had seen Tribeca: as a special artistic enclave on the
water. I was sitting there in a room with men twice
my age – locals, contractors, teamsters, you name it
– and I was incredibly nervous but very determined.
I kept raising my hand as the bids painfully came to
40k, 45k, 48k (mine) and then finally 55k. I lost.
Fast forward to 2012. After seven years as a real
estate broker in the city, I had the opportunity
to work for artists looking for studio spaces, and
naturally my beloved Red Hook was at the top of my
list. I brought them all over Conover, Coffey, and
Van Brunt Street to name a few.
8
I was working with a high profile collector, who
wanted to build a museum. That’s when I discovered
202 Coffey, a Civil War period warehouse in near
original condition right on Valentino Park. The
existing characteristics of the building included
wooden trusses and ceiling heights of up to 35 and
55 feet in some locations. At that time I also had the
pleasure of meeting Estate4, the developers and
visionaries of the space. ‘The Italians’ as I call them,
were very excited that I was bringing a museum to
their beloved 202 Coffey. At 170,000 square feet, 202
Coffey was a perfect space for my friend and client.
It was then that I saw 160 Imlay, and after decades
of living in Manhattan, decided that this would be
my future home.
Then we all know what happened a year ago
in October: Hurricane Sandy. Needless to say,
he unfortunately decided not to buy. However,
the upside of the experience was that I saw Red
Hook differently than he did, and more than ever I
recognized a village that is tenacious and robust, full
of heart and passion. I am as determined as ever to
make Red Hook my home after 25 years of longing.
Thank you to everyone that has contributed time,
creativity, and endless hours to Hidden Places. I
especially want to thank the generosity of the locals,
as well as the vendors for sharing their stories and
love of this very special enclave. Special thanks also
to Gina Harrell and Risa Knight for making this
beautiful magazine happen.
Patty LaRocco,
Editor-in-Chief
9
HIDDEN PL4CES / P E O P L E
NEXT STOP:
RED HOOK
NYC arts stalwart Jeffrey Deitch highlights
the untapped potential of NYC Waterways
photography by
P A T R I C K M C M U L L A N text by J A R E D G R A B O W
Sitting down on a Friday afternoon in Jeffrey Deitch’s
new SoHo’s office, he looked enthused. “Welcome back
to New York”, I said with a smile. “Good to be back” he
said, almost instinctively. After his most recent post on
the west coast, Deitch is now bringing his talents back to
the city where he made Deitch Projects famous, among a
litany of other successful initiatives. Deitch has the sharp
look of a corporate executive that one might expect from
a Harvard MBA mixed with the sage insights of a Bob
Woodward. Deitch has had a storied forty year career as an
accomplished art dealer and curator, working alongside art
collectors such as Jose Mugrabi and the Goldman family.
When asked about the comparison between the LA and
NYC art scenes, Deitch puts things in perspective. “In the
1970’s, New York was really the place. Since then cities such
as London, LA, and Beijing are all on the map and have
lively art scenes. But NYC is still undoubtedly the capital”.
Deitch further explains how geography can play a role in
creating community. “In LA, artists have to make plans to
see each other since everything is so spread out. In NY, they
can bump into each other”.
12
13
Perhaps part of what also makes
the arts capital unique is what lies just
beyond the fringe. Deitch has long had
an appreciation for the waterfront, even
previously building his former namesake project in Long Island City. With
Deitch’s inclination to be close to the
water, its only natural that he’s currently evaluating several new potential art
projects in Red Hook. “The New York
City waterways are not only among the
most beautiful spots in New York, they
are perhaps among the most beautiful destinations up and down the east
coast”, Deitch claims. “There’s something underappreciated about them.
If you go back 150 years, staring across
the harbor view from Red Hook to Wall
Street, in some ways time has stood
still”. Recently however, the waterfront
has had a good run. Several supporters
of Mayor Bloomberg have pointed to
pro-development policies during his
tenure that helped clean up the waterways, create incentives, and spur new
developments. But equal time should
be given to the role that artists have
had to help create dynamic neighborhoods that have attracted new entrants
and businesses. These emerging artistic communities could further play a
continued role in NYC’s re-envisioned
future on the water’s edge.
Deitch helps explain. “Strong artistic
communities cannot be one-sided, but
must have a balance. Having only new
buildings and developments would
make an environment too sterile. But
on the other hand a lack of economic
resources limits the ability for art to be
discovered and flourish”. Deitch further
believes that great artist communities
usually have what he describes as “café
cultures” that all have common characteristics, including a strong support
network where artists feel comfortable
enough to linger and connect with each
other. Deitch also highlights the way
that technology may play a role in developing the type of communities that
attract artists. While not without its de-
14
tractors among artists, social media has
played a role in breaking down borders
that had previously placed different
groups of artists in silos. Now, within
certain communities a painter can connect through technology to grab a coffee
and run into a musician, photographer,
fashion designer, or writer, drawing
inspiration. This new artist gravitates
towards places that allow this type of
technological exchange to naturally
flourish. “Creating dynamic creative
communities has to be organic”, Deitch
explains. He says while tricky to pull off,
several developers are embracing the
importance of the intricacies in developing such artistic communities and are
getting it right. “There are great examples, such as the new Spring Studios
on Varick St. in Tribeca and Wynwood
Walls in Miami. In particular, developers like Est4te Four and what they have
done in London and Milan are also great
examples of this type of organic and
authentic interchange. It’s been really
amazing”, Deitch says. “When it works,
it drives other artists to come”. Est4te
Four is planning a similar move out
of their playbook in Red Hook. Deitch
believes that Est4te Four’s developments in Red Hook are already starting
to have a familiar impact to that of their
previous work, as new galleries and
nonprofit art centers surrounding the
developments have increased funding
and new artists continue to descend on
the neighborhood.
When it comes to Red Hook’s potential to continue to grow into such a
community, Deitch believes it’s sitting
on a great deal of untapped potential.
While limited accessibility could be
argued both as a strength and weakness
for the neighborhood, the times seem
to be a-changing. “Red Hook really is
emerging into a bike culture”, Deitch
explains. In a recent gallery show with
SWOON in Red Hook, hundreds of art
lovers made it to the grand opening on
bicycles, and SWOON herself rode a
bike back home after the show. While
clearly bike culture in Brooklyn has
made it’s mark and is here to stay, other
interesting and more out-of-the-box
type ideas are starting to surface as well.
A recent NY Times article “Let’s Build a
Bridge - No Cars Allowed” made a plea
for NY to build a pedestrian bridge connecting the south Brooklyn waterway,
Governors Island, and lower Manhattan. While exciting to discuss, most
acknowledge that this type of solution
would still be years away, at best. Deitch
suggests Red Hooker’s reach for something a little more near-term. “How
about an enhanced water taxi service
like what they have in Hong Kong?” Deitch smiles. Over the past several years,
architects, developers, and government
transportation officials have worked to
enhance the waterways of Hong Kong,
helping commuters and tourists alike
gain accessibility along the waterways.
The recent initiatives have helped to
revitalize Hong Kong’s waterfront and
in particular have helped grow Hong
Kong’s art districts. As opposed to just
taking Hong Kong’s version of the MTA
Subway (the “MTR”), now people have
the option to hop from an arts gallery
show in West Kowloon, and grab a water
taxi afterwards for an amazing view of
the skyline, and to end up enjoying the
nightlife of Lan Kwai Fong. So could
New York be next with a night starting
at a Red Hook arts gallery, a view of
Wall Street and ending with drink in the
Meatpacking District? With Deitch’s offices in SoHo, upcoming projects in Red
Hook, as well as his love for NYC’s water
ways, he may be best served getting his
own boat.
15
HIDDEN PL4CES / F A S H I O N
MIRROR
MIRROR
photography by W I L L I A M
creative direction by R I S A
18
LORDS
KNIGHT
19
V E R E D A GREY FUR VEST (LEFT)
V E R E D A BLACK FUR AND
CROCODILE JACKET (RIGHT)
20
21
(LEFT) M I S G U I D E D
BLACK LACE DRESS
B - L O W BLACK LEATHERBELT
M C M BLACK LEATHER
STUDDED COLLAR
Y S L BLACK SUEDE BOOTS
(RIGHT) L A C A R I S A BLACK
LEATHER GLOVES
M I S G U I D E D BLACK
LEATHER & CREPE DRESS
23
ALON LIVNE
BLACK CHIFFON GOWN
PRIESTESS NYC
BLACK LEATHER SHOES
24
25
HIDDEN PL4CES / F A S H I O N
LA CARISA
BLACK CHIFFON GLOVES
PRIESTESS NYC
BLACK CHIFFON DRESS
TOM FORD
METALLIC PLUM LEATHER
SHOES
26
27
CHARLOTTE RONSON
BLACK PLASTIC JACKET
COURTNEY MAGINNIS
GREY SILK BODYSUIT
BRIAN ATWOOD
BLACK PATTEN LEATHER SHOES
28
29
LILA SHAWS
BLACK EMBELLISHED JACKET
V E R E D A GREY FUR VEST
COURTNEY MAGINNIS
BLACK SPANDEX BODYSUIT
30
31
COURTNEY MAGINNIS
BLACK SILK BRA
H U E BLACK NET STOCKINGS
P R A D A BLACK LEATHER BOOTS
32
(LEFT)
V E R E D A BLACK FUR JACKET
B L A C K D E N I M BLACK CREPE SUIT
(RIGHT)
stylist G E N E V I E V E E S P A N T M A N - make up A N G I E P A R K E R - hair D A X A N D E R S O N
PRIESTESS NYC BLACK
LEATHER HARNESS
M A N G O BLACK LEATHER SHOES
35
HIDDEN PL4CES / D E V E L O P E R S
EST4TE
FOUR
COMES TO
BROOKLYN
photography by
PATRICK HOELCK
HP: Can you give us a brief history of Est4te Four – How and when did the
company form? What are your respective backgrounds? Everything started 17 years ago in Milan when Alessandro was a professor
in Finance as well as an M&A advisor. He decided to begin a new adventure
in real estate driven by his passion for art, design and urban architecture. The Est4te Four trademark soon became the ability to transform historical
buildings and former industrial areas into exceptional and innovative
workspaces dedicated to the global fashion, art and design markets.
The company’s development concept lies in the regeneration of substantial
buildings in urban zones close to popular locations. With the primary
structure already established, the company subsequently converts these
often empty shells into dynamic environments popular with such industries
as fashion, art, public relations, advertising, graphic and product designers
and contemporary icons who wish to thrive in genuinely inspiring spaces. We
are very selective in choosing projects, taking into consideration the effect
the development will have on the surrounding area and understanding the
importance of achieving the perfect balance of tenants to ensure the viability
of a sustainable creative community.
A L E S S A N D R O CA J R AT I C R I V E L L I
36
MASSIMILIANO SENISE
ST E FA N O M A R C I A N O
37
38
39
We are very selective in
choosing projects, taking
into consideration the
effect the development
will have on the
surrounding area and
understanding the
importance of achieving
the perfect balance of
tenants to ensure the
viability of a sustainable
creative community.
1 6 0 I M L A Y – Exclusively marketed by Patty LaRocco & Douglas Elliman
Email [email protected] or call 212
40
460 0677
41
We built our reputation for crafting elegant, practical urban environments in Milan, creating a most unique space, dubbed
the Zona Tortona, which is arguably the largest fashion quarter in the world and houses
many leading brands’ headquarters, such as
Zegna, Tod’s Group, Armani and Diesel, to
mention a few. Prior to this transformation,
Zona Tortona was an area of derelict warehouses and factories.
After Milan, the company successfully
expanded into London, New York and Los
Angeles, where it exported its concept whilst
also, on a lesser scale, encompassing highend residential.
In London, we bought a sorting office in
Victoria (Howick Place) from Royal Mail
that we converted into a building for creative
people. Howick Place is a perfect example of
our expertise in changing the perception of
an area and accelerating its observance as
a vibrant, artistic and cool place to be. In
just one building, we have attracted two of
the most famous living designers: under
the same roof, we put the Headquarters for
well-known Australian designer Marc Newson, and the World Headquarters for fashion
designer and movie producer/director Tom
Ford. Howick Place is also proud to host the
European headquarters of the contemporary art auctioneer Phillips. Howick Place
has become recognized for its high-profile
events. These include the CHANEL and
Swarovski Fashion Shows, the Mario Testino and Annie Leibovitz exhibitions, and a
number of shows for London Fashion Week.
As a natural evolution of our business,
we also started to develop in New York. 50
Varick Street in Tribeca was our first project
and will soon become the home of Spring
Studios, a full-service fashion advertising
agency which is also recognized as Europe’s
leading photographic studio complex. 50
Varick will undoubtedly become an iconic
destination for the fashion industry in New
York.
Our story in New York is continuing with
Red Hook, Brooklyn, as you know...
42
43
HP Est4te Four is known as a development firm
that builds working and living spaces for artists. Can you tell us a bit about your inspiration for the
Spring Studios transformation in Tribeca?
We have been working for many years neck-toneck with many fashion designers and brands, and
we can anticipate exactly what their needs are, therefore gaining the reputation we have today. We were
contacted by the founder of Spring Studios to find
and develop their new location in New York, and that
is how 50 Varick was born. 50 Varick is a good example of how Est4te Four is different than other developers. Demolishing slabs to gain extra feet of ceiling
height to make the space more unique is something
very few developers would ever do in New York. Our
passion for design and beauty in general goes beyond
numbers and spreadsheets!
HP: What is the main goal in generating a creative space from start to finish? And how does the
surrounding neighborhood inform your creative
choices? The prospective inhabitants?
With Red Hook in particular, we were attracted by
the existing strong artistic atmosphere. We feel we
can be an accelerator of this movement of creative
minds, and bring in a wider variety of creativity,
achieving a critical mass that will eventually attract
a wider audience on its own.
HP:Tell us about the projects you are undertaking in Red Hook.
We have taken a remarkable presence on the waterfront. We think this will be a wonderful opportunity to regenerate a significant part of the area and
build a strong creative community – rediscovering
the industrial soul of the area with artistic craftsmen, and mixing this with media companies and
recording studios will diversify and foster collaboration and inspiration within the community.
HP: How are your plans for the Red Hook projects similar or different to 50 Varick or Zona Tortona?
Our Red Hook project is based on a similar concept
as Zona Tortona, except it will be dedicated to more
variety of creativity. The culture in Zona Tortona
was mainly based on fashion and design since those
are the dominant industries in Milan. 50 Varick represents fashion, and it’s just one of the components
you will find in Red Hook. Red Hook will also be
open to other types of liberal expressions, like music,
art and creative media.
44
45
HP: Why did you choose Red Hook as the location
for these new undertakings and what features of the
neighborhood are most inspiring to you artistically?
Red Hook was like love at first sight for us. We were
immediately intrigued by the mystique and sense that
it was ‘undiscovered’ and the compelling views of New
York’s most iconic structures. There is a great sense of
nature in Red Hook, which is difficult to find in New
York City.
HP: Tell us about your Regeneration work.
All of our developments will be driven by a high respect of the original character of the buildings, while at
the same time creating something new. Our mission is
to keep the authenticity of the neighborhood.
HP: What are the benefits for a neighborhood like
Red Hook to be on the receiving end of projects such
as yours?
Red Hook will benefit from a livelier, more vibrant
environment, additional public transportation and educational programs. In particular, as a member of the
Game Changer program, we are focusing on creating a
new water taxi station in Red Hook, and to create a bike
sharing program throughout the community. We are
also sponsoring an art community center called The
Point that organizes visual art programs at The Good
Sheppard, and so far it has been a tremendous success. We are confident that other educational programs will
be created or sponsored by us and our future tenants.
HP: How do you envision Red Hook in 10 years?
The most wonderful place in New York!
46
47
PIONEER
MAN
Dustin Yellin’s Grandiose Visions for the
“Fishing Hamlet on the Edge of the Abyss”
photography by
M I C H A E L M U N D Y text by J A R E D G R A B O W
Tucked just a block away from Red
an already vibrant Red Hook art scene.
Hook’s main thoroughfare, Van Brunt This labor of love is the brainchild
street, sits an old shipyard building of 38- year old contemporary artist
that looks like it has many stories to
Dustin Yellin, who many now consider
tell. Only a few hundred yards away
to be a local celebrity due to his
from the Clinton Wharf, you can see
popular art galleries, and his strong
how the brick industrial building with network among artists, curators, and
high ceilings at one time was an ideal celebrities. Yellin had been eyeing
setting for building and repairing the property on Pioneer Street from
ships before setting back to sea. Since his nearby studio for the several
then, the building has taken on many
years before purchasing it in 2011. In
different lives, most recently known as a ribbon ceremony during the grand
the Time Moving and Storage building, opening, Yellin cast his vision of a
a 24,000 square foot Civil War era “creative utopia” where artists could
industrial warehouse. Now it’s better
come to draw inspiration, innovate,
known as a trophy for the arts called
and create alongside others. “Great
“Pioneer Works”, Center for Art and
things happen when you are around
Innovation, the latest fixture added to
great people”, Yellin would later say.
48
49
Driving up and finding parking, the
view of the Manhattan skyline looking
out from the building’s massive doorway is stunning. A perfect cure for space
starved Manhattan, I could see the appeal
of Red Hook. “People come here because
it’s a place with a soul where people can
see the sky”, as one local puts it. Given
the reputation for the size and scale of
Yellin’s work, this looks like just the place
to house a 12-ton sculpture, which just
so happens to be one of Yellin’s recent
projects. “The Triptych” is described as
a “massive 12-ton, three-paneled epic
that embodies his vision of the world and
human consciousness”. Walking up to the
doorway on a late fall Friday afternoon, a
small army of people were busy preparing for the evening’s special donor event.
White tablecloth was placed over high
circular tables with crates of bottles of
wine wheeled in underneath. While the
building is still getting its sea legs undergoing several renovations, the place already has the look of a first rate venue that
will host many exhibitions, performances,
and lectures. A dry run dress rehearsal of
the evening’s event was underway. Walking past the exhibition hall an opening
led to an outdoor courtyard garden with
natural walkways surrounded by crabtrees. “He’s a sweetheart so no worries”,
an assistant yells out from across the
room, referring to the half Labrador, half
Rhodesian Ridgeback who seemed to
consider the courtyard home. A projector
sat on a table casting the individual names
of guests onto a white canvas in the form
of an industrial wall towering what had
to be over 30 feet. “Take a look around,
Dustin will be here shortly”, one of the
facility’s young assistants said. Walking
up to the second floor, on one side of the
building were open studios where there
were several artists at work. On the other
side of the building was the open view of
the first floor and the massive exhibition
hall. Walking up and down the hallway,
you could feel a positive energy. The space
certainly had the typical gallery feel of
what you might find in SoHo, Chelsea,
50
or nowadays in Bushwick. But Pioneer
Works is clearly something more - a place
where other artists and scientists want
to come – to create, build relationships
and explore. One could start to envision
what Yellin had in mind when he said he
wanted to bring a “creative utopia” to
Red Hook. In many ways, Pioneer Works
is a redemptive, life-positive response to
the dystopian art that characterizes the
brokenness of many of Yellin’s pieces. If
the role of many artists is to present us
with questions, it appears that Yellin is
also suggesting answers. And it seems as
though Yellin’s ambition for what Pioneer Works could become is about the
size of his sculptures. New York City has
the reputation as a “for-profit” arts scene
which does not have many examples of
non-profit arts projects getting off the
ground and surviving, making the idea of
Pioneer Works an ambitious one. In addition to serving as a large-scale exhibition
hall, the venue will also house an artists’
residency program, open classrooms, an
arts magazine, and a sculpture garden.
It will also host visitors for symposiums
and public programs. I was starting to feel
that Yellin may just be the James Franco
of artists – a jack of all trades, but one of
the rare people who can pull it off. “You
should check out some of our classes”,
another assistant suggests. Looking at the
brochure, an eclectic range of class topics
ranged from “Why We Have Sex?” to
“Contemporary Shokunin: Using Traditional Japanese Hand Tools”.
Walking back downstairs, Dustin entered with a small entourage of assistants
and greeted me with a smile. “Let’s walk
and talk”, he said. Dustin looks the part
of Brooklyn hipster with a friendly yet
reticent vibe that could be characterized
of many artists. You can gain a sense of
the impatient personality that drew him
to drop out of high school for the simple
reason that he was not learning what he
wanted to. But when asked what drew
him to Red Hook as a young artist, Yellin
smiles. “Well take a look – it’s a fishing
hamlet on the edge of the abyss!” You
get the sense that it’s an equal marriage.
Yellin is lucky to have Red Hook, and Red
Hook is lucky to have Yellin. He’s a bit
more reserved and humble when discussing his role as an arts community leader
and how his programs may help children
discover their love for the arts. “Pioneer
works is really about creating culture and
knowledge for the neighborhood. Hopefully it’s also a way to give back”. Dustin
also put’s Red Hooks growing popularity
and development into perspective for
how it could be a boon to the area’s artists.
“Let’s hope that Red Hook’s emergence
will help bring the community more resources”, Yellin says.
Wrapping up the interview, I started to
see patrons and donors start to fill up the
space and vie for Dustin’s time. But I still
had one burning question left. How’s the
man able to balance it all? After all, Yellin
wears many hats, and one may wonder
how he has the time spearhead Pioneer
Works, produce an upcoming documentary entitled “The Little Grandfather”,
keeping a personal life, maintain his reputation as an artist that helps other artists,
and still have time to work on art projects
of his own. Yellin concedes at times his
schedule does seem crazy. “But the ideas
of Buddhism help”, Yellin offers. “It’s
great for letting go of attachments”.
51
HIDDEN PL4CES / AROUND RED HOOK
LIKE MOTHS
TO A FLAME
photography by S U E K W O N
text by L A U R E N F E S T A
Mary Ellen Buxton + Kevin Kutch started a small
studio in 1994 with the intention of staying private;
having fallen in love with a run-down space on what Mary
Ellen refers ‘the private side of the Pier’. Since their first
celebration -- their 17th anniversary is coming up this
Halloween -- Pier Glass has since come into public view in
a big way. The glass blowers have quite literally attracted
locals with their magic, ‘like moths to a flame’, with their
colorful, sculptural and innovative glass designs. They
have relocated to the public side of the Pier, still of course
in Red Hook, and are maintaining a true sense of artistry
unique to this special neighborhood.
54
55
HP: What is Pier Glass?
We are a process studio, working with
lighting designers, artists, architects,
firms and museums. We also have one-onone lessons open to the public on Saturdays, as is our show room. We deal a lot
with making prototypes, commissioned
work, and additionally the teaching. It’s
a 2/3 and 1/3 balance. Recent projects
include work with Bradley Stevens, Jacob
Designs, Peter Murino; mostly private
clients, and some residential. We have
worked on restoration projects with
places like Merchant House, we have done
lighting for New Jersey State House, and
we’ve also worked with the MoMA. That
project was about 6 years in the making.
We created lanterns for their Islamic Art
wing, a fairly new addition to the museum. It’s gorgeous how our lighting, even
though is sometimes hidden, is very much
a part of the art and the atmosphere that
the room emits. There is Asian art and
European art, and our lighting plays to a
Mosque look. It is contemporary lighting,
juxtaposed with 12th century artifacts.
Within the ten rooms, some of our products are there but you can’t necessarily
see them, yet they create a sort of protection. They are there, but floating.
HP: How long has Pier Glass been in
Red hook?
We opened up a small studio in a rundown building in the month of May, when
Kevin and I moved to New York from
Denver about 17 years ago.
HP: How would you describe Pier
Glass in a few words?
We are multi-functional.
HP: Why do you choose to live in Red
Hook?
Well, Kevin and I moved here from
Colorado. Kevin came to the city for work
as a studio manager at Brooklyn Glass, a
56
firm right along the harbor. We loved it instantly. That ‘big sky’ - it really gives you
a different feeling, living out here. There
is a certain openness about it. When we
first arrived, Red Hook was rough and
ready. There were two main buses, and
you needed to be aware of your surroundings at all times. Our first studio literally
had no roof; talk about ‘big sky’ and no
power, but it was perfect. We approached
the landlord who helped us secure it and
we set to work on restoration. It’s changed
a lot since then. There are local shops
popping up here and there where there
once was nothing. From coffee to clothing,
yet it’s still this very tight knit community. Lots of young families have moved in,
but also artists and creative types. People
like us. I also feel like housing here is at
a premium. When new spaces are built
or are available on the market, people
know about it. It’s very attractive. Imagine the buildings in Manhattan are like
mountains. Well, coming from a place like
Denver, in Colorado, you could literally
climb the mountains. But that’s the difference. It is big and open and spacious. No
mountainous buildings. Red Hook is just
like that.
HP: What is your favorite hidden place
in Red Hook?
For a long time I would say, it was us
and our studio! - Especially when we were
on the private side of the Pier. We were
sought out by people who had read about
us. For instance, in 2006, I remember a
French couple came in who had brought
with them one of those airplane magazines that featured an article from Time
Out New York, talking about Pier Glass!
We like to keep it that way, even though,
we have become pretty well known, of
course, locally, but also around the world.
Visit Pier Glass at 499 Van Brunt St.
57
A FAMILY AFFAIR
photography by
S U E K W O N text by L A U R E N F E S T A
Good Fork’s owner and operator Ben Schneider, along with his wife and head chef Sohui Kim, know what’s
good for your fork. Their Korean inspired American menu will surely beckon for second rounds. Admittedly
one of the biggest business risks the couple could have ever undertaken has proven the old adage of ‘Location!
Location! Location!’ wrong. Or, perhaps, being in Red Hook, it could not be any more right….
HP: Can you give a brief description of yourself, the restaurant, your
involvement and the main team?
Before opening Good Fork in 2006, I
was a working actor and a carpenter; my
wife Sohui had graduated from culinary school. I trusted her talents with
food to the point where we decided we
should open up a restaurant of our own.
Good Fork is now a destination restaurant. Being in Red Hook, there isn’t a
whole lot of foot traffic, so everything
that typically should have been bad for
business on paper, has proven to be the
exact opposite. People come from all
over New York City and really all over
the world. We are able to do what we do,
despite the ‘small town’ vibe. My team
is a family. It’s really quite amazing. Together we’ve created this physical place,
but also this very unique identity and
that makes it special.
58
HP: Tell us about your signature drink
or dish.
HP: Why do you choose to live in Red
Hook?
Though we say ‘Korean inspired’ we
are not a fusion restaurant by any means.
As for dishes, our Korean-style steak and
eggs is a top contender, along with our
‘addictive’ chicken dish. And perhaps our
most famous dish that has been featured
on The Food Network and which Sophie
won the culinary contest on Bobby Flay’s
Throwdown, is our dumplings. That was
a great experience for us! As for drinks,
people have come to love our rendition of
a Blood Orange Margarita.
HP: What kind of crowd do you draw?
We get all types of people. Intellectuals, hipsters, artists, business types, elderly folk, Manhattanites. Everyone here
is comfortable in the company of their
differences. It’s really an awesome mix.
It’s grown up and sophisticated, without
being stuffy.
I grew up on the Upper East Side and
then moved to Chicago for about ten
years. I just really love the feeling of living
in a small town in a big city. I love the
strange characters you get here. The community feeling that we’ve built. Everyone
knows each other. It’s a great feeling of
support. It’s just so charming, like that
old industrial feel, and something of a
Mid-Western movie era.
HP: What is your favorite hidden
place in Red Hook?
There are many, but probably Valentino Pier. There are also beautiful parks.
photography by SUE KWON
59
REELING IN
RED HOOK’S FINEST
photography by M I C H A E L M U N D Y
Art is not an object so much as it is a
conversation. How to have one? Usually,
it begins with people in a room sharing
a dialogue of common interests. Such is
the idea behind Estate4’s projects 202
Coffey and 160 Imlay, of which self-described jack-of-all-trades Vladi Banjac,
is a ‘small’ part. The vision: not to live in
the past of the oft-glamorized hell hole of
1980’s New York City, but to revitalize the
idea that artists, both known and struggling, can have a place to come and to live,
really live, not just get by, and to converse
and create art.
HP: Vladi, tell us about the contrast of
Red Hook in the 1980’s and 90’s and how it
compares to what we see today.
The 1980’s in Red Hook and in much
of New York City was littered with drugs,
gangs, and hookers. It was the wild west
of New York. The Lower East Side was the
capital, but Red Hook was not a safe place to
60
raise a family. All the way up to the 2000’s,
there were a lot of killings and turf wars,
a lot of drug dealings. Right now we don’t
have those gang wars, no more prostitutes,
no more cops harassing people. We have
some annoying parking laws and Pier curfews, but ultimately, Red Hook has changed
so much. It is still this industrial area, and it
is an artists’ capital. Williamsburg was sort
of the same. There was all kinds of crime
twenty years ago. Artists started moving
there and things started to change for the
better. But then we see money-hungry people coming in and making it too expensive
to live. I think Red Hook is safe from that
kind of fate. It is not as accessible as Williamsburg is via Manhattan.
There is no real viable transportation,
no trains you know. I think also everything
changed after 9/11 for all of New York City,
Red Hook included. There is a shift and
new pioneers here.
61
HP: How did you end up in Red Hook?
I have been hanging out here for 14
years. Right before they built the new
Pier, going back even to when it was really
horrible. Money helped to build a new
Pier and a new park in the days when Greg
O’Connell started to flex his muscles. It
was transforming into a place for artists,
but it did not happen overnight. At first,
the people who were running things here,
the locals, were looking at all of these people and saying what is happening here?
Why are they moving into our neighborhood?
HP: Why do you think they started
moving to Red Hook?
What is so appealing to them – and
this only my opinion – but I think because Williamsburg and the Lower East
Side, as well as SoHo and West Village
became too expensive to rent, the standard of living became too high. If you
were an artist, you couldn’t afford your
career, especially if you weren’t popular.
They looked to places in Brooklyn, first
Williamsburg, but even today we can see
that this place has become just as bad,
in terms of cost of living as anywhere in
Manhattan. The places for ‘culture’ have
become a sort of trust-fund-kid party
land. That’s what started driving a lot of
artists to Red Hook.
Don’t get me wrong. There has been
art here the whole time -- steel workers
and painters – they were the pioneers of
this place, here in the gritty beginnings.
I think these people inspired everybody
who would come after. Red Hook is not
for people who feel they are entitled to
live here. Red Hook is a place for people
that deserve to be here. It is for a mature
audience. There are lots of people with
kids and married people, without the
Carroll Gardens aspect, you know, the
families and the nine to fivers. Red Hook
is a haven for the struggling artist who
doesn’t have to struggle so much, as he
would in Manhattan, let’s say. The people
who live here are part of a tight-knit community and everyone knows each other
in a way.
62
HP: What kind of work do you do in
Red Hook?
I am a general contractor. I have a lot
of different skills. I graduated from FIT
as a fashion designer, and worked in the
Fashion District for 8 or 9 years. Fashion,
I realized, is an art, but if you really want
do your own thing in fashion, you need
money. I decided that it was not for me. I
looked to business, and later learned how
to do tiling, be an electrician, and telecommunications. I am also a fisherman.
You need to know how to do a few things if
you want to live in New York, I think.
Red Hook is for a
mature audience.
It is not for
everyone and not
for just anyone.
HP: What is the main goal for the Red
Hook projects?
A physical goal would be constructing
all the buildings, but the ultimate goal is
to bring in artists, it is my grand vision of
Red Hook, I believe that there has to be
a place in New York where it is only for
art and not for cultureless rich people to
come and take over it.
The whole goal is to deserve Red
Hook and not turn it into another club
paradise. We are looking at the long run.
We want to be part of the new wave and
the history that is being made in Red
Hook. To construct and make all of these
buildings takes a lot of work. Aldo works
really hard and everyone involved too.
We want to create a place for painters,
sculpture-makers, even musicians, really
any kind of respectful art that brings in a
respectful crew. You can be a symphony
orchestra or ballet dancers or hip-hop,
whatever; there is no discrimination, as
Beautiful, from
the inside out.
long as it’s controlled and peaceful. There
are quite a few artists living here now,
who are realizing what Red Hook is. I
don’t mean to say, you have to be an artist
to live here. There are respectful people
who don’t make art, but they respect the
art making and that’s fine. People in art
and people who are broke and people who
love art are welcome. I just never want
Red Hook to change into some new Upper
West Side. I not interested in having
young people who are fake as fake flowers.
Manhattan is for them, a place to party
and to be single. You know, I have a really
talented eleven-year-old son who thinks
Manhattan is the coolest place. I think
one day even he will get over it. But like I
said, Red Hook is for a mature audience.
It is not for everyone and not for just
anyone.
With its modular design, seamless integration
and ClearView lighting™ system, Miele’s
Independence™ refrigeration series is beauty
to behold. Featuring self-adjusting temperature
and humidity controls, Miele refrigerators
and cooling systems preserve full flavor
and nutritional value of your foods, while
complementing your design style perfectly.
in Red Hook?
I do a lot of kayaking around here and
there are a few places that I probably am
trespassing, but they are my favorite and
they are definitely hidden. One is behind the New York City grain building in
Gowanus Bay, where Quadrozzi supplies
cement for the World Trade Center, there
is a huge abandoned ship and it’s a perfect
little ghost town.
My second hidden place would be
behind the Snapple building, but not
so much because now I have the keys!
There is also a building next to Fairway,
owned by Greg O’Connell. Inside, it has
the water taxis and the old trolleys that
used to run in Red Hook. It is 200 yards
long, with thick walls, and when you look
straight down a room, all you see is long
arches all the way to the window. It’s
really beautiful. But spending an entire
summer at 202 Coffey St. certainly has
addicted me to it. If only I could show
it to all! Red Hook is special. It has the
best view of Manhattan and the Statue of
Liberty. Remember how I told you I hated
Brooklyn? I love Brooklyn now!
8mieleusa.com &800.843.7231
64
202 COFFEY ST.
photography by DEBORAH SENISE
photography by TYLER SPARKS
65
A SOFT SPOT
FOR RED HOOK
text by
LAUREN FESTA / GINA HARRELL
Lola Schnabel, 29, may be young in age in the art world,
but she is no novice. The Brooklyn-based visual artist has
been profiled by The New York Times and Interview, has
held solo exhibitions, and counts Francesco Clemente,
Sandro Chia, Salman Rushdie and John Ahearn as
people in her circle. Her art captures the temperament
of a person, rather than the likeness; hazy, inky lines
form delicate shapes and faces on her canvases . Her
own temper? Some call it violet. Courtney Love calls
Lola “her own woman”, complimenting Leo Steinberg’s
anacoluthon reference for the artist, the Greek term
meaning ‘not following’. We talk to this young talent
about her work, living in the infamous artist haunt that is
the Chelsea Hotel and recently locating to the emerging
artist hub of Red Hook.
66
67
HP: What is your connection to Est4te
Four?
I’m hoping to do a concert at the Coffey
Building with this wonderful new musician named Benjamin Clementine, who is
like Nina Simone, and make some kind of
very large scale work in that space.
HP: How did you end up in Red Hook?
You know, I don’t know exactly how. I
lived in the Chelsea Hotel for the last 10
years so; it’s kind of like a time capsule
when you leave a building like that. You
realize that you’ve been there for 10 years
of like extremely fast-paced action. I lived
in this little tower on the roof and so I just
think it’s very important for me to have
some outdoor space. I love nature and you
know, to see the sky and also it’s become
so noisy in the city that it’s unbearable. I
just rented an apartment on Van Brundt
that has a chicken coop so I’m pretty
happy and excited about that! And it has
these two beanstalks; it’s like Jack and the
Beanstalk going up to the sky. I’ve been
painting in this barn in Amagansett and
it’s a little bit isolated, which I like. I have
a little shed with a wood burning stove
but I need to be able to have people come
and look at my work! I just wanted a little
transition from Chelsea to deciding where
I wanted to go. For a while I thought I’d
move out of New York. I’d always walked
to Red Hook because I went to school at St
Ann’s from the ages of 5 to 17 in Brooklyn
Heights. I’d just walk down Court St to
the water and just look at the water. I did
my driving test there when I was 16 and
I’ve always had a soft spot for that neighborhood. But now it’s really a neighborhood so, it feels a little less isolated like
there’s a whole community that’s started
there.
HP: Red Hook is a storm-zone. Did
that deter your decision in any way?
The storm didn’t freak me out at all
about the area. That happens every 100
years you know! Some people are scared
of that. When we had the storm about 3
week ago, I was there in Red Hook in the
68
warehouse on Coffey St and I still loved it!
I mean, it was so theatrical! And kind of
romantic. I don’t know, that’s the kind of
stuff that doesn’t scare me at all because
it’s just nature. To tell you the truth with
the lights shut off I get to do everything
I like to do -- I can read by candlelight, I
can paint, I can meditate, I can cook if I
don’t have to use the gas -- I’m not really a
computer person, so the electricity being
off doesn’t really affect my interests or my
work.
HP: Red Hook seems perfect for you!
Why do you feel it’s the right place to be?
It really is. I love the people here, you
know they’re smiling and they’re walking
their dogs, and they know each other on a
name by name basis, and there is something really nice about being able to see
the sky and the water. I’ve always been inspired by being near the sea or any kind of
water. It’s very calming to me and kind of
informs my dreams and I just don’t want
to hear construction and horns going off
every five minutes.
I really like being around cutting edge
thinkers, writers, illustrators, and artists.
I like being where artists are because I
don’t fit in to any other group of people.
That is so important to me; to be around
creative people and people who are resourceful.
HP: We know you want to do some
work at the Coffey Building. What are
your thoughts about this building and
Imlay?
I think they are the two most beautiful buildings in the neighborhood. If you
go to the roof of Imlay, it’s like being in a
church. Just the view there is stunning.
And then those beams in the building on
Coffey St are so impressive. Also, I’ve met
a lot of nice people since I’ve been there,
like the caretaker, Vladi who could not be
nicer. Here’s an example: We were playing soccer the other day and the storm
came and I couldn’t get a car service. Vladi
had just caught a fish, so he pulled out a
barbecue and made us dinner! And he has
kayaks right there. It’s so sweet!
The nice thing about Alessandro is
that he’s kind of an anomaly. I’ve been to
the space that he did in Milan and it’s just
interesting to see this kind of real estate
broker/ visionary bringing together this
nice community of people through his
developments.
HP: What is his space like in Milan?
It’s a big industrial park, almost like
Rivington Park in Los Angeles, with
flat-roof buildings. I don’t think anyone
thought there was promise there and he
really imagined that this neighborhood
could be good and basically researched
it and brought the Armanis, who moved
there, and later all these galleries started
moving there too. It’s become kind of like
a design district. He turned this neighborhood that was nothing into something.
Just the fact that we get along shows how
sensitive he is!
HP: What is your favourite hidden
place in Red Hook?
I have a few. I went to the barbecue
place the other night and it was just so
nice to wait in line and get your meat
there. I felt like I was in Wyoming or
something. It’s fantastic and I love the
guys who run it.
I love all these little bars and restaurants that serve clam chowder and lobster
rolls; you feel like you’re in Maine or New
England.
HP: How do you think the Est4te Four
project will change Red Hook?
I think it’s interesting that Alessandro
comes from such a progressive background and it’s amazing that this is where
the modern day version of that spirit in
his family ends up, you know. The thing
is that in the early days of artists there
were always patrons that had to do with
the pope or the Vatican. It takes someone
with this kind of foresight and sensitivity
to understand that for any community to
be born the art and the artists come first.
Wherever the artists go, everyone else
follows...
69
70
71
WHERE THE
HEART IS
photography by
text by L A U R E N
SUE KWON
FESTA
A lesser known H & M is worth a trip to Brooklyn’s far side any day of the week. Home/Made started out
as a tiny wine bar aptly named Tini, just down the street from the newest and current location at 293 Van
Brunt Street. We caught founder and Chef Monica Bryne and partner Leisah Swenson in the midst of a very
busy wedding-filled weekend. From tracking guest lists to prepping tables, arranging flowers and planning
the menu, it is just a small part of what Home/Made does. The fully functioning restaurant serves five-star
brunch, lunch, dinner and drinks, keeping all of their ingredients seasonal and local, using products like
Red Hook-raised eggs, turning out small plates that taste as good as ‘home made’. Like many of the bars and
restaurants in the area, Home/Made hints at an incarnation and restoration, keeping price tags on their
vintage furnishings right on the furniture. A cool and shady patio surrounded by trees makes it the perfect
spot to rehash the week with close friends or start new life chapters with new-found loves.
HP: When was Home/Made started?
Home/Made was founded by Chef
Monica Byrne and myself in 2006. It was
then called Tini wine bar and was just
down the street from our current location.
HP: Have you always lived in Red
Hook?
Monica has worked in Red Hook for 10
years, but we both moved here in 2007.
HP: What about Red Hook suits your
business and your lifestyle?
We like the industrial artistry of this
laid back neighborhood and feel that we
are at home when we are in Red Hook. It’s
a small town in the middle of the city.
HP: What is the signature drink or
dish at Home/Made?
Grilled Pizza with seasonal toppings
like gorgonzola, local figs and Red Hook
72
honey, or our Home/Made lemon ricotta
with fresh oregano and chilies. Our signature drink is a Rose Sangria with fresh
peaches and basil.
People who are our customers enjoy
rustic, fresh, simply prepared, delicious
food and wine or craft beer in a relaxed
but lovely atmosphere. Everyone is
welcome though, whether you are in your
ripped paint-splattered jeans or in a wedding dress – it’s happened!
HP: Tell us about your favorite place
in Red Hook.
For the view go to Valentino Pier. For
fabulous shopping, browse and buy at
Metal & Thread. For food and drink – other than ours – we love all of our neighbors,
especially newcomer Hometown BBQ &
Fort Defiance for great cocktails!
HP: What kinds of people would be
interested in coming to and living in Red
Hook?
Those that are attracted to Red Hook
enjoy life a little more than the average
person. True Red Hookers know their
neighbors, for better or for worse, but we
are all cut from complementary fabric. We
are creative, resourceful and resilient!
HP: Future plans for Home/Made?
We plan to open our own multi-disciplinary arts and event venue in the near
future. At some point we’ll get tired and
will retire to Northern California . . . there
might be goats in our future. And golden retrievers. Make that several golden
retrievers!
73
SPILLING
GRAPES
Mark Snyder wants to make the people of New York
City and beyond aware that there are wine-worthy grapes
closer than California. His winery is most unusual,
located not on gently sloping hills or bedrock and
limestone, but on a gritty corner of Brooklyn waterfront
in Red Hook. Mark’s wines are made entirely of grapes
from New York-based vineyards, New York State being
the third largest grape and wine producer in the country.
An advocate of locally made wine, Snyder has been
splitting grapes in half for his unique method of wine
making, with over seventy varieties. His winery, simply
named Red Hook Winery, is the hub of a wine revolution.
74
75
HP: Can you give a brief description of
yourself, the winery, your involvement in
the operations and the main team?
I started in 2008 coming from a
business distribution company in 2004. I
saw a hole in the market, really, the need
for awareness about local grape growing
regions. I noticed that there was not a lot
of knowledge about it, and I happened to
have friends who were wine makers. We
decided through distribution and making
that we would plant deeper roots. Our
model is different than most in that Red
Hook Winery is the first in Brooklyn to
promote local and great quality wines.
HP: How would you describe Red
Hook Winery in a few words...
We’re sharing resources and information. We are experimental. All vineyards
that we work with are in New York, namely the Hudson Valley, The Finger Lakes
and Suffolk and North Fork. If you know a
little about wine, you probably have heard
words like Napa Valley and Bordeaux.
Historically there is little awareness and
we are aiming to change that.
HP: Do you have offer wine tasting?
Yes. Tastings are every day from 11am
to 5pm, and tours can be booked, as well
as special occasions and by appointment.
You can pick up our wines at many retailers in the city too, keeping the winery as a
point of production, from grape to bottle,
and a point of education.
in Red Hook?
All of it. I grew up visiting Red Hook
with my dad and I always remember
loving the industrial spirit. Large manufacturing facilities, the small businesses
and artists. Unlike Williamsburg that is
very gentrified, it seemed like Red Hook
has stuck to the original concept of blue
collar hard working people, with no public
transportation, no Starbucks. There’s a
lot of spirit, and a slow sense of transition.
It is, I think, the last outpost for real true
industrial New York City spirit. Since we
started the winery, it’s become even more
evident.
HP: Do you have a signature wine?
We don’t have a signature wine, really.
Our principal wine makers are Robert Foley and Abe Schoener, and the grapes we
use are divided into two main winemaker
techniques, so the wines produced are
always different. The similarities between
the two create our own ‘terroir’ of our
region and unlock the secrets. Because
each wine is unique -- we have 70 different wines -- following our philosophy to
focus on local areas. For each grower, we
work with what they make. Some wineries will take a vineyard block and blend
grapes, but we do it differently. We want
to micro-examine the regions. We have
traditionally styled wines and then there
are wines we call avant-garde wines, like a
skin fermented white wine. Using the skin
is not common practice, but it works!
76
“Red Hook is, I think, the last
outpost for real true industrial
New York City spirit. Since we
started the winery, it's become
even more evident.”
77
AN ANCHOR
IN A HOPEFUL
PLACE
text by K E L L Y B A R T N I K
Neighborhoods have long been defined not merely by
physical location, but by the appeal of the businesses that
inhabit them; particularly those select few that literally
provide an ‘anchor’ for residents and visitors alike. The
community in Red Hook has been able to rely on local
restaurant and bar Hope & Anchor since 2002 as such a
staple institution. Years before the influx of local stores
and weekend visitors into Red Hook, Hope & Anchor has
been recognized as a neighborhood pillar with its unique
diner-inspired décor, its inventive take on American fare
and a community-driven atmosphere. Current owner,
Pete Ascolese, offered us some insight into his experience
with operating a business in Red Hook
78
“Red Hook has such a great small town feel. All the fellow
business owners know it’s not about competing with each other.
It’s about making people want to come to the neighborhood.”
HP:How long have you owned Hope &
Anchor?
I was working there prior to the owners
offering me the business. I saw a great opportunity. We were already in business for
8 years at that point and Hope &Anchor
was THE only place in Red Hook in 2002.
So I knew I had to keep it open.
HP:What is it about the community in
Red Hook that makes it stand apart from
other neighborhoods in New York and
Brooklyn?
Red Hook has such a great small town
feel. All the fellow business owners know it’s
not about competing with each other. It’s
about making people want to come to the
neighborhood; and when they come, they’re
“Hooked” (Oh boy!) We know that when
one restaurant or bakery or business succeeds, it’s good for the whole neighborhood!
80
HP:In addition to owning one of the
most popular restaurants in Red Hook,
you are also a performer. Can you tell us
a bit about what you do and if you have
any shows coming up?
Being in the restaurant biz is a tough
gig. But I’m lucky enough to have an
amazing kitchen staff, most of who have
been with Hope & Anchor from the start,
almost 11 years ago. I do have the freedom
to do other things. We have Karaoke every
Friday & Saturday at 9pm, and I get to
host every once in a while as my alter ego
Stella Dora. Also I’m workshopping my
new musical called For Pete’s Sake! which
will be performed at The Cora Studio
Theater at 201 Richards St. on November
8 & 9th (also in Red Hook).
HP: What do you envision for the
future growth of Red Hook?
Red Hook is one of the most buzzed
about neighborhoods in Brooklyn today.
The buzz becomes a double edge sword
in a way. Landlords and property owners
are well aware of the buzz and are slowly
pushing some businesses out. Being one
of the first places to open in 2002, we have
seen it grow up around us. I’m just hoping
we can stay in the neighborhood a little
longer. Red Hook is such a special place
to all of us at Hope & Anchor, and I like
to think that Hope & Anchor is a special
place for Red Hook.
81
DEFYING
THE FORT
Hidden Places Takes a Look at Red Hook’s Fort Defiance
photography by
M I C H A E L M U N D Y text by L A U R E N F E S T A
Fort Defiance, a bar-cafe located in Red Hook, is quickly
becoming the major food destination for tourists, locals, food
novices and experienced connoisseurs alike. Operating for
just three years, Fort Defiance has already garnered press
from those in the know, notably a near-perfect star rating
on Yelp, landing on the pages of New York Magazine, Urbanspoon.com and more. The building is a real life manifestation of its name, located on a strong, hard-to-miss corner
lot that spans along Van Brunt St. Named after an American
fort built during the Revolutionary War, the bar-cafe maintains its rightful place in Red Hook’s history.
Owned and operated by St. John Frizell, an award-winning food and drink writer, the seasonal American menu is
created and prepared by Matt Fleming, who brings his culinary expertise from popular New York establishments like
James, The John Dory and The Spotted Pig. Fleming creates
dig-in-worthy dishes, but it’s the locals that have made the
layered deli sandwich a Fort Defiance must-try.
Aside from the food, Fort Defiance lives up to its unusual
coffee and spirit fusion description, and we aren’t talking
B52’s. For anyone who thinks that one establishment cannot
be good any serving many things, Fort Defiance quietly
challenges these naysayers. The talented Fort Defiance staff,
from front to back of house, has truly thought of everything, serving Counter Culture coffee, a New York favorite,
during the day, and easily transitioning to the nightlife,
when mixologist Zac Overman takes over the bar. Thursday
night is Zac’s night - what he calls and what locals know as
‘Forbidden Island’. Overman’s guided tour of all things Tiki
has become quite the weekly event; an exploration in exotic
drinking opportunities, like the many-feathered Jungle Bird,
82
the Vicious Virgin and the mighty Samoan Fog Cutter, paired
with a dish called Forbidden Noodles. This night especially
draws an eclectic crowd, a wonderful mix of locals, looking
for a stay-cation in the borough.
Of course, all that is wonderful about Red Hook, but
places like Fort Defiance have had their share of strife. Much
like rebirth that comes from revitalization, what so much of
Red Hook is built on, Fort Defiance is no exception. If you
recall Hurricane Sandy, you’ll know that towns closest to
the water were hit the hardest. The surrounding area in Red
Hook sustained considerable amounts of property damage
– Fort Defiance taking a lot of the blow. One thing is for sure
though: the water of any wave can’t dampen the spirits of a
Red Hook resident, nor the establishments they frequent. It
is a small example that illustrates the resiliency and the community-feel that has resonated with many of our subjects,
the people and places of Red Hook. Fort Defiance was badly
damaged during Hurricane Sandy, the basement completely
submerged in water with much of their equipment and inventory lost. Their insurance company would not give them
a dime, and the government has offered a not-so-helpful
disaster loan. Instead of wallowing in despair and closing its
doors, Fort Defiance staff reached out to the community of
Red Hook for monetary and emotional support. It’s amazing
to think that a business could reach out in this way, but once
you begin to understand the fabric that unites Red Hook, it
isn’t such a crazy proposition. Red Hook is not just a place
of people, so much as it is a place of friends. Patrons of Fort
Defiance have helped to rebuild their beloved establishment
ever since. How many New York City business owners could
say the same? In Red Hook, you almost forget the roar of
“For anyone
who thinks one
establishment
cannot be
good at serving
many things,
Fort Defiance
challenges these
naysayers.”
84
money-hungry venture capitalists and
that New York sense of hustlers’ survival mentality. It is in these small acts of
community support and generosity that
Red Hook stays different - a true hidden
gem.
If you should so feel inclined to donate, Fort Defiance has a website. Check
them out online at fortdefiancebrooklyn.
com/blog. It features the latest updates
from the restaurant, as does their @
FortDefiance twitter feed, coupled with
current happenings that matter to the
foodies of Red Hook and interested
novices and regular Fort Defiance-goers. Visitors can find more information
on daily specials and happenings and
even awards won by Fort Defiance;
their most recent being a nomination
for wine director Alex Halberstadt for a
James Beard Award. They also discuss
techniques like ‘tumbling’ oysters along
the East Coast, giving critiques where it
matters. Guests who are in the restaurant
are encouraged to ask one of the waiters
for the complimentary WiFi password.
How nice!
If you needed another reason to go to
Fort Defiance, how about taking in their
favorite view of the water from Fairway?
Breakfast, lunch and dinner are yours to
discover. Except on Tuesday nights when
Fort Defiance closes its doors and lets its
hard-working staff take a night off. After
all, the greats need their rest too, and like
neighboring Manhattan, Wednesday is
never very far off in sight . . . .
opposite page: photography by SUE KWON / this page: photography by TYLER SPARKS
85
HIDDEN PL4CES / A R C H I T E C T S
THE ARCHITECTS:
ALDO ANDREOLI +
MORRIS ADJMI
photography by
MICHAEL MUNDY
What is your inspiration for the design of 160 Imlay?
We recognized in this building, and generally in Red Hook,
the creative spirit that led in the past three decades to the
redevelopment of Soho, Tribeca, Chelsea and the Meat Packing
District. We are old New Yorkers and we believe that this spirit
is slowly abandoning Manhattan, leaving Brooklyn as the new
frontier for visionary design.
Continued...
86
87
We also saw the opportunity to design
larger units; real New York-style lofts that
could be sold at a very competitive price
compared to the same product in Manhattan.
In light of the aftermath of Sandy, we
also saw an opportunity to create a resilient and sustainable building, with the
contribution of the Landscape design of
Future Green.
HP: How did designing in The New
York Docking Company, one of Red
Hook’s most iconic buildings, impact
your thought process?
We wanted, first of all, to keep as much
as possible; the purity of the existing concrete structure, incorporating at the same
time the best new technologies available
for energy efficiency and design quality.
The New York Dock building was
built at the dawn of reinforced concrete’s
invention. Everything is beautifully
engineered and designed. The rebars are
oversized and the forms were perfectly
constructed as we can see in the texture of
the columns and beams structure.
We made sure not to hide these details,
respecting the original structural grid
as much as possible and exposing the
existing details in key locations of the
apartments. We decided to create five
new cores incorporating exit stairs and
elevators in order to eliminate the need
for long corridors and allowing, for most
of the apartments, the possibility of enjoying views of Manhattan from the living
rooms and views of Brooklyn from the
bedrooms, all at the same time.
HP:The renderings show an exceptional range of textured surfaces. What
materials are being used in the design
and how do you approach incorporating
such a wide spectrum of materials?
A great source of inspiration was the
view of the harbor in front of the building,
with the phenomenal beauty of the apparent chaos created by the containers, the
trucks and the cranes. This chaos is only
apparent; in reality everything moves
according to a very well-coordinated set
of actions.
88
The wide spectrum of materials that
we intend to use in the project reflects
this aspect as well. As a consequence, we
decided to use concrete, corten, steel,
deconstructed real containers, oversize
industrial windows, metal panel, and
cement wood boards.
We decided to design a very pure white
kitchen, specially fabricated for us by
Molteni in Italy, in order to create an
interesting contrast between the old and
the new, the industrial and the relaxed,
and a warm atmosphere of contemporary
Italian furniture; together with native
vegetation, deciduous plants, grass and
grass-crete. This palette appears chaotic
but it’s a very well balanced and coordinated set of colors and materials. We
revised and discussed every component
several times among us, the project manager and the developers.
HP:This building appears to us as being inspired by New York harbor living at
its finest....how did the city influence your
decisions when designing the Imlay?
We love the contrast between the urban Manhattan skyline in the background
versus the green and almost pastoral
landscape of Governor’s Island in the
foreground. We find the contrast between
green and concrete, nature and human
creation, a very fascinating aspect of New
York. The success in the creation of The
High Line is a clear example of this somehow unique and interesting interaction.
We love this marriage between the industrial city and nature. Humanity is moving
into the big cities throughout the planet.
Let’s make the cities more human.
HP: Please describe the experience of
collaborating with Est4te Four to create
this one-of-a-kind property?
Meeting Alessandro Cajrati Crivelli
and his team has been an incredible point
of inspiration for us. The first project we
did together, Spring Studios in Tribeca, was one of the most interesting and
challenging undertakings of our career as
designers. In Est4te Four’s vision, money
is not the only ultimate goal. They work
in a very dynamic way; they create spaces
for the creative people and the creative
people become an important part of their
development. To work with them is an
incredible source of inspiration. We are
given a lot of space in our creative freedom, and actually we are encouraged to
explore new paths in our design process.
We also appreciate Est4te Four’s courage to venture into uncharted territories
every time they undertake a project as
they did in Milan and London, and now in
New York and Los Angeles.
HP: Please feel free to elaborate on
Coffey.
202 Coffey is a very rare historic building. As soon as we saw it we recognized its
landmark value. Prominently located in
front of Valentino Park and directly across
the water from the Statue of Liberty on
the opposite side of the bay, this building
is almost a mirror of Punta Della Dogana in Venice; carefully renovated into a
museum by the vision of Francois Pinault
and the design of Tadao Ando. It’s almost
incredible that a building so similar in its
structural elements is also standing in an
area on the waterfront.
This building is inclusive of multiple
oversize warehouses. The walls are in
brick and the structure holding the roof is
made of heavy timber trusses. The volume
of each space has almost a church-like
quality to it, with ceiling heights reaching
up to 45’ in certain locations. We strongly
believe that 202 Coffey has the perfect
pedigree for the conversion into a museum or a conglomerate of art galleries.
FUTURE GREEN
STUDIO
images courtesy of
FUTURE GREEN STUDIO
Built in 1913 by the New York Dock Company, the
6-story, 235,000 square foot warehouse was one of the first
benches, providing a continuity in materiality. Rows
poured-in-place, reinforced concrete structures erected
of white birch will be arranged on an extension of the
in New York. The site is imbued with a rich history and
original column grid, recalling the peeling paint and the
an inherent beauty that derives from regular geometries,
beautiful sense of perspective of the found condition
monolithic concrete columns and material traces of its
within the building. Steel ribs in the ground floor garden
industrial past. The landscape design strives to embody
will recall the rhythm, structure and materiality of the
the memory of the site and evolved out of a process of
railroad that was an integral part of past operations.
reduction. Through analysis, the site was pared down
Hidden patterns inscribed in the concrete of the
to its necessary essences and invariable components.
sidewalk will be revealed only when it rains producing
Discarded wood beams will be transformed into custom
an ephemeral phenomenon that will mimic the fleeting
nature of memory and experience. In our fabrication
shop, we explored this technique by creating prototypes
of moisture sensitive concrete.
The landscape is also designed to address the storm is recorded in low-maintenance plant palettes developed
events that are becoming an increasing issue along New using resilient, drought tolerant perennials, sedums and
York’s waterfront, especially in low lying Red Hook. The woody ornamentals. At 160 Imlay, the plant selections
ground floor garden is habitable when dry with paths that are further informed by the texture, color and form of
wind through a grassy urban meadow and concrete seat- the vegetation that colonized the site in its abandoned
walls that step down from the former loading dock at the state. Plants such as Prairie Dropseed (Sporobolus
buildings edge. The garden is planted with salt tolerant heterolepis), Seaside Goldenrod (Solidago) or Butterfly
species that will withstand inundation and will act as a Weed (Asclepias tuberosa) all recall the character of a
sponge during heavy rain events as water collects in low- spontaneous urban meadow.
lying paths and swales. Future Green Studio’s signature
90
91
www.antoniolupi.it_silenzio, design domenico de palo_ayati, design massimo broglio_ design flesso, design al studio_a.d. riccardo fattori_ph. zerotremedia
222 Merchandise Mart Plaza, suite 128
Chicago, IL 60654
www.antoniolupichicago.com
[email protected]
92
93
94
95
HIDDEN PL4CES
ALL THE
RIGHT
MOVES
photography by K A M A U W A R E
text by S H A N N O N H U M M E L
Founded in 1997 and opening their home
studio-theater in Red Hook in 2009, Cora Dance
performs the work of critically acclaimed choreographer and Red Hook resident Shannon
Hummel. Called by the New York Times “the
modern-dance version of an eloquent short story
writer (creating) choreography as vivid and true
as a Eudora Welty story” among other substantial
praise, Hummel is known for her moving works
of great emotional potency performed by outstanding, intuitive, stunning performers. Seeking
a home base that allowed the company to develop
new work while fulfilling a mission of bringing
exceptional dancing to underserved communities, Cora opened its home studio-theater in
2009 in Red Hook, Brooklyn. Since that time,
the work of Cora has exploded and abounded in
Red Hook and beyond. Cora has not only become
a fixture in the lives of many RH community
members through its innovative pay-what-youcan education programs and presenting season
96
in its studio, but Hummel and the company have
received substantial recognition for their artistic
and community work from press, elected officials
and major presenters across the country. In 2014
Shannon Hummel/Cora Dance plans expansion
of its programs in Red Hook into two new dance
studios in the Red Hook Public Library (through
a partnership with Spaceworks), while touring
throughout the country and even preparing for
its first ever season at the Brooklyn Academy
of Music’s Fisher Space. But despite the prestige that these honors bring, Shannon and Cora
always consider Red Hook their artistic home and
their newest project literally brings that home.
The company will premier phase 1 of COMMON
DANCES, a suite of site-based dances for park
benches, doorways, park paths, restaurants and
even the cars and living rooms of Red Hook residents in July 2014. Visit www.coradance.org for
details and keep your eyes peeled. When Cora is
around, dance can happen anywhere.
97
HIDDEN PL4CES / A R O U N D R E D H O O K
98
99
HIDDEN PL4CES
SUNNY’S:
NICE &
NORMAL
Sometimes a bar is just a
bar, and then sometimes
it’s something more. That’s
Sunny’s bar, the oldest
continually run bar on
Brookyln’s waterfront.
Co-owner Tone refers
to Sunny’s as a cultural
institution and regularly
hosts art shows and theatre
performances.
100
101
HIDDEN PL4CES / A R O U N D R E D H O O K
A musician herself, her
business partner and husband,
Sunny Balzano, is the image
maker. Inheriting the eponymous
bar from his father and uncle,
Sunny and Tone have seen their
beloved neighborhood change
in the best of ways. Much like
running a family business, living
and working in Red Hook is a
labor of love.
HP: How long has Sunny’s been operating in Red Hook?
It’s been so many years, at least 100, we
say! It’s the only bar that has survived the
many changes in the neighborhood. There
used to be bars on every corner at one
point. Bars come and go, but Sunny’s has
remained.
HP: How would you describe Sunny’s
in a few words...
Time warp! When you come inside, you
feel you have entered a different era. You
leave the world behind and you’re someplace else. We have kept the turn of the
century feeling. The building itself used
to be horse stables that were converted.
Sunny’s was operating in a time before
electricity. Can you imagine how a hundred years ago, you used to have to drag
ice down? Having a cold drink was truly a
luxury! Ice in the time when there was no
electricity. You had to think about transporting it, storing it, and finally chopping
it up at the bar. Sunny’s has been through
the ages!
HP: How you came to own Sunny’s?
Myself and Sunny are the current owners and operators, but the bar has been
in Sunny’s family for generations. They
own the building. There were two brothers, Sunny’s father and his uncle, took it
over and it was the only thing they knew
how to do, and do well. Sunny came back
to help his father and uncle out when his
102
father got older. Eventually, Sunny took
over the family business, and it marked a
transition. Sunny is artistic, and went out
in the world exploring as a photographer.
When he started out running Sunny’s he
didn’t exactly fit in or attract the same
crowd that had been coming there all
those years. But even though he didn’t fit
into the neighborhood the way it was back
then, he has come to attract people who
are like him. So now we have this neighborhood in a great rebirthing stage. All of
Red Hook, I think is largely changing to
this more creative population, because of
places like Sunny’s. It was around during
war time, and after that, when you could
buy a house very cheaply in Red Hook
on auction. Now? There is revitalization.
It’s a very exciting time to be here. I’ve
witnessed it since 1995, when I moved
here; Tone moved here in 1996. It was the
start of a new era of the bar. It is true I
think that the Sunny family have put out
a certain spirit over the years that people
have come to value and appreciate.
All kinds of people! Artistic types, you
know, I mentioned. What I really love
seeing is that when you walk in Sunny’s
you will see every generation at every age
sitting in the same place, and they are all
comfortable! Every race, every gender…
it’s such a good mix. We are all about
people. They all feel what is important is
that people don’t have to fit in. if you ask
yourself that you’re in the wrong.
HP: What is your specialty drink?
With the colder months coming, hot
cider is a favorite. We make a great dark
and stormy, even though it’s no Bermuda,
Sunny’s is a block away from the water!
We like to keep it classic with the drink
menu. We do classic cocktails, Manhattan,
Old Fashioned…nothing fancy. Sunny’s
makes a regular drink. “Nice and Normal”.
We keep the selection small, not having a
bunch of bottles that no one knows what
to do with.
HP: What kinds of people do you think
would be interested in buying real estate
in Red Hook?
I would say people who are investing in the village, in friendships and in
the lifestyle. It is so valuable. We have a
community experience living here. You
know when you live in a denser part of the
city, you have your job and your friends,
but you get busy, and people come in and
out of your life so quickly. But Red Hook
and its people really grow together. That’s
part of the reason people come and never
leave…
HP: Why do you choose Red Hook?
The reason I moved here was because
I wanted to have breathing room for my
mind. I need that. When you live in the
city, there is a certain density, and you have
to ask yourself ‘how dense do you want to
live?’ I needed breathing room! You can
really run into friends on the street here. It
is a neighborhood, really. People know each
other. It’s important, for me at least. Size
and proportion matter.
HP: Tell us about a hidden place in Red
Hook...
I love the waterfront. The pier, the
parks. I’m from Norway so I need to be
close to the water. I could go on…
Visit Sunny’s online:
www.sunnysredhook.com and
253 Conover Street in Red Hook.

Check it out!

Transcription

Similar documents

FLAT PACK GRAPPLING HOOK

Gartside Gurgler

Waterhen Bloa - Total Flyfisher Magazine

Super 100 Large Capacity Chain Hoist (16 to 50 ton capacity)

information - Sandy Hook Foundation

McFly egg - Total Flyfisher Magazine

Utah Killer Bug – version 1

Cotton Dappled Shells Throw

Ah-Nab-Awen Park - City of Grand Rapids

Serving The Sewing Industry For Over 50 Years