Hudson Yards, the real estate development that opened in March on the far west side of midtown Manhattan, is an astonishing feat of American industry. This is especially true at a time of diminished industrial expectations, when American muscle often lifts little more than the latest app. Yet for all of its impressive mass, its glass, concrete, and steel, the forms that have risen at Hudson Yards are spiritually longing, oddly so, for what should be a display of towering confidence in human enterprise. Even as it stretches to the skyline, the shortcomings of Hudson Yards speak to a loss of faith and an inward turning of urban perspective.
Cut from whole cloth, the $25 billion complex of Hudson Yards, now partially completed, rises above a train yard that continues to operate as the western terminus of the Long Island Railroad, where lines of passenger cars await deployment to the platforms of Pennsylvania Station to the east. Beneath these trains run additional tracks, including the pair of North River Tunnels built by the Pennsylvania Railroad a century ago that still serves as the arterial link of the Northeast Direct service between New York and New Jersey. In total, some three hundred caissons, fourteen thousand cubic yards of concrete, and twenty-five thousand tons of steel have been built around thirty working tracks and four tunnels to form just the first ten-acre eastern platform, on which now sits the largest private real estate venture in American history. A second phase, of residential towers to rise above the rail yard to the west, will soon follow. To construct anything atop this transportation corridor without service interruption or the ability to create basement space is an achievement of engineering and manpower. To do so in a way that attracts worldwide attention while creating commercially viable real estate is a triumph of capitalism.
The popularity of Hudson Yards, apparent in the crowds that already flock to this new nexus of office, retail, and residential offerings, where upscale materials coat every surface of its multifaceted forms, is one reason its critics have been so bilious in their condemnations of the complex. “A shopping mall and a quasi-gated condo community targeted at the 0.1 percent,” is how Michael Kimmelman painted this “vast neoliberal Zion” and “architectural petting zoo” in The New York Times. “A grand gift of urban space to the global elite,” sniffed Justin Davidson in a cover story for New York magazine, which depicted the complex as an Emerald City at the end of the Yellow Brick Road that is the High Line—the astonishingly successful elevated park built a decade ago on an abandoned spur of the New York Central Railroad. “Too clean, too flat, too art-directed,” Davidson continued. “I suppose this apotheosis of blank slate affluence is someone’s fantasy of the twenty-first-century city, but it isn’t mine.”
Having just redirected the river Amazon from establishing a spillway in the borough of Queens, the critics bemoan the industrialists of The Related Companies, the real estate juggernaut founded by Stephen M. Ross, who have made it through their gauntlet of condemnation to create the twenty-eight-acre complex. Sketched out in the aftermath of the attacks of September 11, approved and developed through the economic downturn of 2008, Hudson Yards emerged out of the last innovative period in New York leadership—so distinct from the current era of de Blasios and Ocasio-Cortezes—that understood what cities must do to thrive. When completed, the entire complex will boast new parkland, a new school, and twelve massive office and residential towers containing four-thousand new apartments and space for fifty-five thousand workers.
Legitimate arguments should be made, and have been leveled, against the many zoning dispensations, tax abatements, and regulatory loopholes that brought the development to fruition. The urbanist writer Kriston Capps has noted one egregious example, in which gerrymandering has permitted the developers to soak up foreign investment by offering visas through a program meant to help impoverished areas, all by linking Hudson Yards to low-income housing miles away in Harlem.
Ultimately, such criticism merely draws attention to the stultifying effects of New York’s endless zoning ordinances, taxes, and regulatory hurdles. Hudson Yards reveals the fructifying energy that can flourish when the long shadow of government gives way to the sun of human striving, if only such light could shine across all endeavors rather than a single favored project.
The technical complaints, I suspect, also mask the greater concern for most critics: that this final flowering of Hudson Yards serves as a delayed reminder of a city that was planted and tilled under two decades of Republican supervision. For them, the problem of Hudson Yards is not its failures but its many commercial successes.
And indeed, from what was once a sunken railyard there now emerges a multitude of attractions. Connected to the $2.5 billion extension of the 7 Train on one side and the pedestrian High Line park on the other, Hudson Yards has overnight become a new measure of urban orientation. In the two months since it opened, I have dined on a surprisingly expensive fish called a milokopi in a top-floor restaurant of its 720,000-square-foot shopping mall, attended an inaugural performance in its cross-disciplinary contemporary art venue called The Shed, and walked twice up the spiraling stairs of its open-air sculpture called the Vessel (the first time after its ribbon-cutting ceremony presided over by the television personalities Anderson Cooper and Big Bird).
Like the Mareographic Zero measurement on Venice’s Punta della Salute or the Prime Meridian line that runs through the Royal Observatory in Greenwich, England, Hudson Yards lays claim to its own central marker. This is the Vessel, or at least that’s the temporary name of the bauble dreamed up by the new-age British designer Thomas Heatherwick that rises fifteen stories in the middle of Hudson Yards, looming over its quasi-pedestrian plaza with 154 flights of 2,500 steps and eighty landings. The shiny, copper-colored object was a secret fancy of Ross, who kept the model locked in his office and paid for the Italian fabrication of its elaborate steel latticework.
The Vessel is the quintessence of the complex. Meant to reference an Indian stepwell used to walk down to varying levels of well water, here the staircase leads up to dry nowhere. The higher you go, the less fulfilling the experience becomes, at least for the views looking outward. As the Vessel is hemmed in to a greater and greater extent by the surrounding buildings, what mainly comes into focus is the Neiman Marcus sign outside the top floors of the mall. While the surrounding buildings each boast a different architectural pedigree, from above they cross-breed into smoky-glass mutts.
One building known as the Equinox Tower—designed by David Childs of Skidmore, Owings & Merrill—still lays claim to a few distinguishing characteristics. In its limestone pinstripes, we can see the bespoke tailoring you only get from som. And the Shed building, a combined tower and concert hall designed independently of The Related Companies by Diller Scofidio + Renfro, the architects of the High Line, boasts a novel rolling shell developed around an industrial gantry. On the outside, the building resembles a shopping cart return, while the drafty space within could be a zeppelin hangar. The skin of this structure is made of inflated mylar, which reduces its rolling weight and gives its outer surface the sensuous appearance of a quilted handbag or a designer puffer jacket. It remains to be seen if this venue on city land, a Kunsthalle that has put the Halle before the Kunst, will “redeem” Hudson Yards, as many have promised. So far, its anti-elite elitism seems like mere puffery, with the usual high-flying art world suspects, including Hans-Ulrich Obrist, the über-curator hatched in a Swiss free port, and the Park Avenue Armory’s Alex Poots tapped to run the show. “Let’s get away from this crazy high-art, low-art concept,” Poots announced at the opening. “Why do we need to create a false hierarchy?”
If you have to ask, you will never know. The self importance of The Shed, which cost $400 million just to build, not to mention the price of sustaining it, underscores a what-if that I have been asking since the city first set this parcel aside for a cultural venue. What if a world-class museum, namely, New York’s Museum of Modern Art, had moved here? With the Whitney Museum of American Art now anchoring the southern terminus of the High Line, having relocated from the Upper East Side, just think of the genuine cultural corridor that might have been created with moma at its northern end. The museum’s present location, straddling Fifty-third and Fifty-fourth Streets in midtown, is a product of historical circumstance, not strategic planning. It just happened that the Rockefeller family owned their townhouses there, and donated the parcels to become the first kernels of the experimental modern museum. Indeed, there was a time when midtown was residential. No longer. For the past fifty years the museum has been buckling under the pressures of its surrounding real estate, profiting along the way, save for the museum experience that has resulted. It should have been time for a fresh start.
The Shed may surprise everyone and fulfill its many promises, but for now the Vessel remains the main attraction at Hudson Yards, even though as a walkable sculpture it provides lackluster views, at least looking out. Its orientation is, rather, directed in and down to its own emptiness. When Ross unveiled its design two years ago, he declared he wanted the equivalent of the famous Christmas tree at Rockefeller Center, but with an attraction that would stay up all year. Such comparisons between Rockefeller Center and Hudson Yards may be numerous, but they work mostly as comparisons in contrast. Created by John D. Rockefeller, Jr., and designed by Raymond Hood at the height of the Great Depression, that other complex is imbued with spiritual meaning. An Art Deco Roman temple dedicated to American industry, Rockefeller Center reflected the family’s belief in John Wesley’s evangelical economics—to “gain all you can, save all you can, and give all you can.” As an open-air cathedral, that complex terminates in an altar of Paul Manship’s golden Prometheus. Every Christmas season, with the tree, its pagan idolatry is redeemed through a pageant of conversion.
Hudson Yards conveys no such meaning. Its Vessel is an empty basket. Its towers stretch uneasily to nowhere. At street level, its sightlines are also nonexistent. One of the most consequential decisions at Hudson Yards was to obstruct any sense of the street grid. The way the mall turns its back to Tenth Avenue is an affront to the city. The avenues and cross-streets of New York are the open naves of a great urban church, all stretching up and out to the infinite. By deliberately blocking their view, Hudson Yards takes the straight lines of the city and curves them in, with an orientation that is circular and inward, rather than straight and out. The Vessel is the vortex of this overall scheme, one that speaks to themes of regression and surveillance rather than motifs of aspiration and uplift. At its center, instead of inspiring thoughts of others, the Vessel is the Christmas tree to the self.
Like its Vessel, Hudson Yards will leave you feeling hollow, with an emptiness that will never quite be sated by expensive fish or quilted handbags, despite the many suggestions to the contrary proposed here by its hundred shops and restaurants. Hudson Yards is advertised as a “new way of living,” filled with self-serving and often infantile adult distractions, but the result is unfulfilled and unfulfilling. By having us face ourselves in an infinite reflection of polished metal and darkened glass, Hudson Yards ultimately turns its back to the unbought grace of life in the big city.
This article originally appeared in The New Criterion, Volume 37 Number 9, on page 46
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