installation

The Hudson Company on the High Line

 
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New York’s High Line is renowned as a botanical oasis in the middle of the busy, formerly gritty neighborhood of West Chelsea. With plantings thoughtfully chosen by Dutch landscape architect Piet Oudolf, the elevated park is home to over 120 species: coneflowers, sumac, grasses and birch trees, to name just a few. Some are native to the region, and some are exotic. But plant diversity on the High Line isn’t restricted to the living specimens that make it lush and green. Thanks to the success of The Hudson Company’s wood-sourcing trip to India in 2017, there is teak to be found on the High Line in benches, steps, seating and furniture. The journey of this wood from a teak forest somewhere in Southeast Asia centuries ago, to exquisite buildings in Hyderabad’s old Muslim quarter, to New York City’s High Line illustrates how architectural preservation—even the accidental kind—can give materials a second life when they’re salvaged sustainably. 

Teak, known to botanists as tectona grandis, evolved for harsh conditions, which is why it’s long been a popular choice for decking material, outdoor furniture, and boats. It’s native to the hot, tropical climates of India, Malaysia, Thailand, Bangladesh, Indonesia and Sri Lanka, and it’s cultivated in parts of Africa and the Caribbean, but half the world’s naturally occuring teak comes from Myanmar. Teak is a hardwood with a high oil content and tight grain, which gives it great tensile strength and a natural resistance to weather. It’s so strong, in fact, that it can wear out metal tooling and blades over time. It’s also very insect-resistant, and tends to be impervious to termite infestations. All of these qualities have led architects and builders in tropical climates to choose teak for centuries, using it to construct doors, beams, wall panels, and floors. Intricately carved screens and pilasters made from teak can be found in buildings throughout Southeast Asia.

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One of the great places to source vintage teak wood elements today is Hyderabad, India. Today, Hyderabad is widely known as one of India’s largest high tech centers (it’s nickname: Cyberabad) and travelers who visit on business are likely to spend most of their time in the city’s modern downtown, which is full of glass and steel high-rises. But old Hyderabad is a treasure trove of historic temples, mosques and houses dating from the 16th century, including Golconda Fort, a former center for the diamond trade and the capital of the Qutb Shahi dynasty. Hyderabad’s historic architecture is distinct, with elements of Hindu and Muslim styles reflecting its complex cultural heritgage. 

Buildings from the 16th and early 17th centuries built during the Qutb Shahi period drew design elements from Persian architecture, with domes and soaring arches. At the beginning of the 18th century, Mughal rulers were responsible for building Hyderabad’s city wall. The families of the Nizam dynasty, which followed the Mughal era and ruled Hyderabad from 1724-1948, built palaces in an increasingly European style, because they ruled as vassals of the British Empire. All of these successive dynasties in Hyderabad represented a mix of different cultures and religions, and as with much of India—and multi-ethnic cities around the world—various populations tended to remain in their enclaves.

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Because it resisted westernization and modernization in the latter part of British period, the largely Muslim older sections of Hyderabad tended to remain intact, if a bit down at the heels. This meant that much of the historic architecture escaped the rush of bulldozing and new construction that has transformed the city’s modern, high-tech center, and remains a key source of beautiful old teak wood. When The Hudson Company visited, we made trips to two sites where well-preserved teak can be found. Demolition in the old city yielded boards as long as 22 feet, some dating back to the 17th century or even earlier. Then we worked with an aggregator who organizes auctions of antique beams, boards, doors, and exterior elements. Ultimately, we gathered 10,000 BF (that’s one shipping container’s worth) of teak, and sent it to our facility in Pine Plains where it was milled. We worked with Friends of the High Line and Sciame Construction to source the wood and find what was needed to craft seating, steps, and other design elements. It’s gratifying to see that these pieces of antique timber, which grew centuries ago in India or elsewhere in Southeast Asia, survived long enough in the buildings of old Hyderabad to be harvested and given a second act in New York City. Visitors may not know the wood’s story, but they can admire its natural beauty and appreciate its impressive weather-resistance on a blustery New York day.

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Crafting The Whitney Floors | Part 3

Writing for The Wall Street Journal, Kelly Crow notes that the design of art museums has traditionally fallen within two camps: classicism or stark modernity.

Historically, collectors encouraged museums to create spaces that resembled cultural temples, with classical columns and ornate crown moulding to match the significance of the objects on display. In recent decades, many museums and galleries favored an architecture of stark white-cube rooms with walls treated in sleek, modern finishes...
[Yet] when the Whitney began considering designs more than a decade ago, Adam Weinberg, the director, said he asked architects for the exact opposite.

Ms. Crow goes on to describe how the new Whitney Museum of American Art is a museum, 'designed to wow artists as much as audiences.' In her piece on the new Renzo Piano designed museum, Crow outlines Mr. Piano's intentions for the Whitney to be a new kind of museum - one that invites curators and artists alike to be flexible, innovative, even playful:

'...the 84-year-old [Whitney] museum is changing far more than its address...
The new building’s nearly 50,000 square feet of gallery floors will be made of neither trendy concrete nor lavish marble. Instead, Whitney officials chose reclaimed Heart Pine from former area factories, so artists could hammer nails into it or tear up small sections if needed. (The museum has a cache of extra planks in case anyone does.)
A lattice-like grid on the ceiling of the main gallery means artists won’t have to cut through drywall to suspend their work. That 18,200-square-foot room has no columns, making it the largest museum gallery in New York City with uninterrupted views.”

Donna De Salvo, the museum's chief curator, told ABC News that, 'artists will be inspired by the new spaces and will "reinvent them over and over again." They're tailored to the needs of how artists — and curators — work, she said. Floors throughout are sprung, allowing for both performance and installations. Open-grid ceilings permit walls and art to be arranged into multitude configurations.'

In crafting the over 50,000 square feet of Reclaimed Heart Pine flooring for the new Whitney Museum, The Hudson Company is honored to be a part of this landmark of innovative, contextual, and culturally-significant architecture.

The industrial history of the Reclaimed Heart Pine floors (sourced from decommissioned American factories) supports the Whitney’s mission to create a space that Director Weinberg calls, 'rough and ready' artist’s canvas.  The nature and dimensions of the Reclaimed Heart Pine flooring, along with it's intentionally flexible profile, allows for the floors, like so much at the new Whitney, to be modified to best fit the needs of the museum, artists, and audiences using the space. 

Click for more details about The Hudson Company Reclaimed Heart Pine [Chalk Finish] flooring featured throughout the new Whitney Museum of American Art.

Click to learn more about The Hudson Company + Whitney Museum Design Installation.

Click to watch the new Hudson Company Video.

Detail of Reclaimed Heart Pine [Chalk Finish] installed at new Whitney site.

Detail of Reclaimed Heart Pine [Chalk Finish] installed at new Whitney site.

Floor during install.

Floor during install.

Floor Install, NYC Skyline in the background.

Floor Install, NYC Skyline in the background.

Flooring Install, during finishing.

Flooring Install, during finishing.

Whitney floor, during install.

Whitney floor, during install.

All Installation Photos by Martin Hyers of Gentyl&Hyers Photography for The Hudson Company. Cover photo by Max Touhey for ny.curbed.com.