The Banks development team is close to finally securing a hotel at the multi-billion dollar development, according to multiple sources close to the project. After years of failed starts and negotiations, UrbanCincy has learned that AC Hotels by Marriott is the hotel now being eyed for the prominent central riverfront location.
The news is yet to be officially announced or confirmed by The Banks development team, but UrbanCincy has confirmed the information over the last week with individuals who have requested to remain anonymous due to the ongoing negotiations taking place.
The understanding is that construction could begin prior to the All-Star Game in July.
AC Hotel Madrid [Provided]
AC Hotel in Nice [Provided]
AC Hotel Work Space [Provided]
AC Lounge New Orleans [Provided]
The news comes after AC Hotels backed out of a deal at the former School for Creative and Performing Arts in Pendleton. Had that deal moved forward, it would have put it on track to be one of the boutique hotel’s first locations in North America, after establishing itself as a household name in Europe.
According to those sources close to the project, the AC Hotel at The Banks would be a seven-story structure with a rooftop bar named AC Lounge. Once open the hotel, which is expected to have between 150 to 200 rooms, would be managed by Cincinnati-based Winegardner & Hammons, which has close relationships with Marriott and Western & Southern, and has overseen the development of numerous hotels in the region.
According to Winegardner & Hammons’ most recent company report, they also recently signed a contract to manage an AC Hotel in Louisville that is scheduled to break ground in August of this year.
AC Hotels announced their aggressive North American expansion plans in 2013, and opened their first hotel in New Orleans in December 2014. After plans were scuttled for the SCPA project, developers at the $350 million Liberty Center announced that a 130-room AC Hotel would open there in late 2015.
Senior management at Marriott International says that AC Hotels is one of their select-service brands and targets a young clientele seeking a “design-led sensibility.” Overall, Marriott’s president and CEO, Arne Sorenson, says that AC Hotels has some 50 development deals signed nationwide, with dozens more in the works.
In an interview with Hotel News Now, Sorenson specifically identified North Carolina and the Midwest as opportunity markets.
In perhaps a view into one of the reasons behind the failed deal at the former SCPA in Pendleton, Sorenson also told Hotel News Now that the vast majority of the deals AC Hotels has in the pipeline are new construction. In fact, aside from the New Orleans project, he said that only one other project was a conversion.
AC Hotels include more European design influences and place a focus on sleek, tech-focused accommodations that appeal to Millennials. In addition to the rooftop AC Lounge, the new location at The Banks would likely include a communal working space, two to three meeting spaces, and a mixture of one- and two-bed guest rooms.
One of the company’s standard approaches is to locate in vibrant urban areas where significant activity already exists. Hotel management says this is to encourage guests to go outside of the hotel and patronize area businesses. To help further encourage that, most AC Hotels do not include an in-house restaurant, and instead allocate more area for public spaces where guests can mingle and interact with their surroundings.
It is not yet known where exactly the hotel will be located at The Banks, but it is assumed to be targeted for the long-vacant placeholder site along Main Street across from Great American Ball Park, which also happens to be located directly on the Cincinnati Streetcar‘s starter line.
EDITORIAL NOTE: Representatives with The Banks development team did not respond to UrbanCincy’s request for comment; however, sources say an official announcement is expected within the coming weeks. We will update this story with more information as it becomes available.
Urban ideation and practical implementation of projects are the dual subjects of the 2014 Annual Report from the Niehoff Urban Studio and Community Design Center.
The symbiotically connected interdisciplinary programs are administered by the University of Cincinnati’s College of Design, Architecture, Art, and Planning at off-campus studio in Corryville.
The recently issued report details that since the program began in 2002, more than 1,200 students in urban planning, engineering, architecture, design, anthropology, business, nursing, political science and urban geography have worked with nearly 150 organizations on projects to address urban issues throughout the Cincinnati region and make it more sustainable.
Over the past year, a major effort focused on Burnet Woods, and how it could become the epicenter of a larger ecodistrict in Uptown. That work included a civil engineering team that explored stormwater management and planners that studied how to convert the park into a landscape with edible forests, a fish hatchery and more, while also improving public health through amenities. A freshman innovation seminar further researched student perceptions of the park and how to inspire greater use.
“Some of the ideas are really out of the box thinking,” stated Willie Carden, Director of Cincinnati Parks. “These ideas could well blossom and inspire actual changes in the park someday.”
Support from the Niehoff Studio and UC is important, Carden says, in order to help think about how to enhance the experience and enjoyment of the city’s top-rated park system.
Dave Neyer, ULI’s chair and executive vice president at Al Neyer Inc. said, “The experience was exciting because, in some ways, the students were the ones doing the teaching by introducing mentors — industry experts with 20 and 30 years of experience — to new ideas and creative solutions. The competition was a great example of collaboration.”
Neyer says that another competition is planned for 2015, and that everyone involved is eager to see what the next class of Niehoff students will accomplish.
Complimenting the interdisciplinary studio is the Community Design Center, which is also directed by Frank Russell with assistance from co-op students and graduate assistants. The goal of the CDC, Russell says, is to help community groups represent underserved areas and underfunded projects.
During 2014, for example, staff and students worked with Cincinnati Public Schools on the Rothenberg Academy’s rooftop teaching garden; Cincinnati AIA Urban Design Committee on the Mill Creek Restoration Project’s West Fork Creek trail plan; and Center for Closing the Health Gap to help promote healthy corner stores in some of Cincinnati’s “food desert” neighborhoods such as Avondale and the West End.
As if that wasn’t enough, they also facilitated a two-day workshop for planning officials featuring Australian designer and theorist Tony Fry called Metrofitting Cincinnati for a Resilient Future.
In total, the 40-page report summarizes two dozen events from 2014, ranging from open houses and lectures to workshops and panel discussions, including a highlight on Modern Makers, a partner arts collaborative.
EDITORIAL NOTE: UrbanCincy is a partner of the Niehoff Urban Studio and Community Design Center, and collaborates to produce events throughout the year that engage the public with the work and research being done at the studio.
The popularity of urban living continues to rise in Cincinnati’s urban core, with new apartment and condos coming online seemingly every month. But recently, many developers have began to shift their focus to a new living option that combines the convenience of a downtown location with the space one would expect in other neighborhoods. These single-family homes might appeal to long-time urbanites that are starting a family and need more space, or those who want to relocate to the inner city without giving up the space they’re used to.
Property developer Urban Expansion gave UrbanCincy a tour of three single-family homes in Over-the-Rhine–one complete and two under construction. The developer is seeking LEED Silver certification for all three of these properties.
219 Wade Street is a 3,528 square foot, 4 bedroom, 3 full and 2 half bathroom home with a list price of $530,000 and a sale currently pending. The home is located directly between a Cincinnati Streetcar stop and the Central Parkway Cycle Track, and close to amenities like Washington Park. The home is the first major residential development on the street, but won’t be the only one for long. Urban Expansion will soon be renovating a neighboring building, and other developers are eyeing the remaining vacant lots and buildings on the street.
The properties located at 16 and 18 East 14th Street are a unique example of adaptive reuse. An existing one-story garage wasn’t a great use of this valuable real estate, so Urban Expansion added a two-story living space to the top. These homes will provide a rare opportunity for someone who wants the luxury of a private attached garage (with enough space for three cars) just steps away from the restaurants and shops on Vine and Walnut. The second floor will feature a semi-enclosed patio that offer views of the third phase of Mercer Commons. Construction on these homes will be completed in about a month.
During a press conference this past October, superstar architect Frank Gehry responded to criticism of his work by raising his middle finger to a Spanish journalist and saying, “Let me tell you one thing. In the world we live in, 98% of what gets built and designed today is pure shit. There’s no sense of design nor respect for humanity or anything. They’re bad buildings and that’s it.”
Gehry’s sharp retort sparked a firestorm in the press; op-ed pieces in The New York Times, Forbes, Architect Magazine, and countless blogs have chimed in with their own responses, and the inevitable responses to the responses soon followed. Despite the brash way in which the conversation started, it is a conversation about our built environment that is welcome and long overdue.
“I do not build in order to have clients. I have clients in order to build.” — Howard Roark in The Fountainhead
The Inescapable Art Blair Kamin, the Pulitzer Prize-winning architecture critic for the Chicago Tribune, described architecture as the inescapable art. “You don’t have to go to a play that the theater critic pans, a movie that the film critic hates or a restaurant where, according to the food critic’s taste buds, the chef can’t cook,” Kamin writes, but terrible reviews won’t make buildings disappear, and the public can be stuck with the consequences of bad design for decades. Architecture — good, bad, or mediocre — forms the setting in which we live out our lives and it affects us in profound ways whether we consciously realize it or not. Good design is more than just superficial window dressing; it’s the difference between Mac OS X and a Unix terminal prompt, and it’s the difference between a city that’s an attractive destination and a city that merely exists.
Cincinnati is blessed with a cornucopia of notable architecture that other cities in its league can only dream of having. In addition to the well-known favorites like Union Terminal, Carew Tower, and Music Hall, there is also a wide variety of contemporary architecture that has helped put Cincinnati back on the cultural map. In addition to the usual cast of flamboyant “starchitects” like Frank Gehry, Peter Eisenman, and Zaha Hadid, Cincinnati is also home to projects by less flashy but no less talented firms like Moore Ruble Yudell, Architecture Research Office, and Gwathmey Seigel Kaufman. There are also homegrown firms such as FRCH, Glaserworks, and John Senhauser Architects creating notable projects in Cincinnati and beyond. When it comes to the quality of its built environment, Cincinnati punches far above its weight.
The sad irony, though, is that relatively little of what gets built today is actually designed by architects. Despite the resurgence of the urban cores of Cincinnati and other cities throughout the country, most new construction is still in the suburbs and exurbs, planned and designed by developers and retail chains according to carefully-honed formulas created to guarantee the greatest return on the dollar within the shortest period of time.
Suburban “McMansions” aren’t designed by architects to be lived in; they’re designed by developers to look good on realtor listings and be sold. Big-box retail stores, fast food outlets, and car dealerships are built from prototypes designed not to inspire or to even be pleasant, but to generate short-term profits with maximum efficiency. Some nameless architect may have stamped the construction documents somewhere along the process to ensure the structure meets applicable codes, but his or her influence on the end user experience was likely minimal at best. In the case of most single-family houses built by developers, an architect was not likely to have been involved at all.
False Choices This is no doubt the “98% of what gets built and designed today” that Gehry was referring to, but it has remained largely unmentioned while pundits squabble over the implications of his diatribe. Some commentators have chosen to blame celebrity architects such as him for the current state of our built environment, nostalgically harking back to some mythical past in which architecture was driven by the local vernacular. What they fail to mention is that, like it or not, badly-designed sprawl is the vernacular today, and it has gone global. Blaming a few starchitects for the quality of our built environment is like bashing Kraftwerk for being too esoteric while the latest Nickelback album is at the top of the charts.
Cincinnati’s Music Hall [Jake Mecklenborg]
That said, architects and architectural academics are often accused of being elitist and out of touch with reality, and in many cases the criticism is well-deserved. Too many architects have read Ayn Rand’s The Fountainhead as the manifesto it was meant to be rather than as the cautionary tale it should have been. Architecture is a collaborative discipline above all else, and there is no room at the table for an ego the size of Howard Roark’s. Too often, the prestigious design awards and glossy magazine articles have been for projects built for sheer spectacle rather than for lasting quality. Spectacle is what sells magazines and generates fodder for discussion around the water cooler, but sometimes the most appropriate design solution is to do less designing. Being a conscientious architect means knowing when to make that call.
What’s missing from the discussion is the vast middle ground between avant-garde starchitecture and crowd-pleasing vernacular design, and the idea that architecture, above all else, should be a human experience, rather than an abstract object to behold or a mere commodity to the bought and sold. It’s not a question of modernism versus traditionalism or suburban versus urban; it’s a question of bad versus good.
Healthy cities need an attractive mix of architecture; this mix includes high-profile starchitecture, anonymous background buildings, new and old, traditional and modernist, and everything in between. What matters is that what gets built is of consistently high design quality. A smattering of notable buildings within a context of ugly schlock is insufficient; what’s needed is a cohesive cityscape of well-designed buildings where the overall quality of the urban experience is greater than the sum of its architectural parts. To use a baseball analogy, one or two sluggers won’t save the season if the rest of the team is in a slump.
Good design doesn’t just happen; property owners and the general public need to realize its value, and commission talented architects who will deliver it. Samuel Hannaford didn’t leap out from behind a bush one night and create Music Hall by sheer force of will; Music Hall exists because the City of Cincinnati wanted a venue befitting its highest cultural aspirations, and they commissioned Hannaford to design it. Music Hall, while notable enough in its own right, also exists within the fabric of a historic neighborhood. Relatively few of the neighborhood’s Italianate row houses would be particularly notable as individual structures, but together they form the streetscape of Over-the-Rhine, one of the largest intact historic districts in the country. Music Hall and its surrounding neighborhood enhance and compliment each other in ways that would be impossible if either existed in isolation.
Lions Park Scout Hut by Rural Studio [Timothy Hursley]Engineering Value Cost considerations are often touted as an excuse for poor design, but this is a cop-out. It’s easy to clad a terrible building in exotic materials and pass it off as a notable work of architecture (see: numerous projects developed by Donald Trump), but a talented architect can creatively turn cost constraints into a brilliant design solution.
The iconic cross-braces on Chicago’s John Hancock Center meant being able to eliminate a third of the structural steel that would’ve otherwise been required for a building that tall. At a much smaller scale, Auburn University’s Rural Studio designs hand-built structures of sublime beauty for disadvantaged communities in rural Alabama. These structures, often created from recycled materials and found objects, cost pennies on the dollar compared to more typical construction.
When Washington, DC was planning its Metro system, the transit authority assumed the cheapest way to construct the underground stations was to give them straight vertical walls covered in tile, flat ceilings, and a forest of columns similar to what’s found on older subway systems. Their architect, Harry Weese, was able to demonstrate that a vaulted station shell made of waffle-slab concrete actually cost less to build than a more conventional design. This motif became the most celebrated design feature of the system, subtly recalling the coffered ceilings of the District’s neoclassical civic monuments but without reflexively copying them.
What is Good? All this talk of good architecture begs the question: What does it mean to be good? Is it something that can’t be defined, but we know it when we see it? Aaron Betsky, former director of the Cincinnati Art Museum and now Dean of the Frank Lloyd Wright School of Architecture, recently penned an article that explicitly addresses this question:
I do not think there is one style or one approach that has all the answers. I am wary of what I think are pseudo-scientific approaches to measuring such things, though I am open to ways in which we can more clearly articulate and judge what is good and what works. However, instead of taking solace in formulas or a rote recitations of traditions, we should always ask the question what is appropriate, what is needed, what is possible, and what are our dreams and aspirations. We should build with what we know, for a reality, but also towards a better — again in a social, environmental, and aesthetic sense — reality.
Betsy concludes the article by saying, “Architecture should be neither weird nor boring, neither alien nor alienating, neither wasteful nor wanting in the qualities that make us human.”
The Washington Metro’s iconic vaulted station design was actually a cost-saving measure. [Wikimedia Commons]
To this we might add: In order to be good, architecture should be honest in its materiality and its place in history, and be responsive to its context. Wood should look like wood and not be painted to look like marble. A building built in 2015 shouldn’t attempt to look like a building built in 1895. A sentimental appeal to nostalgia is no excuse for faux-traditional buildings that cheapen their context with knee-jerk imitation, but a building designed for downtown Cincinnati should be sufficiently distinguishable from a building designed for a suburban office park in Southern California.
Good architecture should engage all the senses in a meaningful way, and acknowledge the web of meanings and experiences that we have come to associate with the built environment. Brick is more than just a cladding material; it imparts a sense of stability and permanence. Glass and stainless steel are associated with notions of high-tech precision. A fireplace is more than just a decorative feature in the living room; the sound and smell of burning firewood recalls fond memories of family camping trips, a bonfire on the beach during a church retreat, or a brisk fall evening with close friends on the patio at Neons. A door made of solid wood has a more substantial feel to the hand than a flimsy hollow door made of pressed paper, even if they both look the same at first glance. Whether we are consciously aware of them or not, these things matter.
Local Interest The discussion about the nature of our built environment has been happening in Cincinnati for quite some time; debates about the streetcar, gentrification, redeveloping the riverfront, form-based codes, and historic preservation all revolve around what kind of place Cincinnati wants to be. Is it a place where one merely goes to see a Reds game once or twice a year before getting back on the freeway to a house in the suburbs, or is it a place to live and work 24/7 throughout the year? Is it a dumping ground for the indigent, a playpen for the affluent, or home to a diverse mix of people and activities? All these issues are closely related to matters of design.
The Cincinnati Enquirer recently published an angry screed by Hyde Park architect Robert-Pascal Barone that sharply criticizes a number of recent projects. Although the article contained a few valid points, the overall tone read as a shrill rejection of anything built in the city after 1950, which undermined the possibility of a constructive dialogue.
This was an unfortunate missed opportunity, because it’s a dialogue that needs to happen. Belligerent naysaying does nothing to improve the city, but even the most successful projects are not exempt from intelligent critiques that offer lessons for future projects. Cincinnati has progressed beyond the point where new development for the sake of new development, no matter how ill-conceived, should get the red carpet treatment by default. The city deserves top-shelf design, and is now in a position to demand it.
Moving Forward There is reason to be optimistic that we are once again making good architecture a priority. For the past 20 years, the University of Cincinnati’s Signature Architect Program has raised the profile of the university and has led to UC consistently appearing on lists of the world’s most beautiful college campuses. More importantly, it has greatly enhanced the quality of campus life and has had a snowball effect on other projects around town.
Main Street at the University of Cincinnati, with the Campus Recreation Center (left) by Morphosis and KZF Design, Tangeman University Center (center) by Gwathmey Seigel Kaufman and GBBN Architects, and the Steger Student Life Center (right) by Moore Ruble Yudell and Glaserworks. [David Cole]
In recent years the city has stepped up its efforts to save and preserve the architectural landmarks that previous generations have built. The dilapidated Metropole has been beautifully reborn as the 21c Museum Hotel, Hamilton Country taxpayers recently approved a modest sales tax increase to restore Union Terminal, and the long-awaited restoration of Music Hall continues to gain support and funding.
Much work remains: the Terrace Plaza Hotel still sits vacant downtown, and despite the pace of redevelopment in Over-the-Rhine and other close-in neighborhoods, each year sees a number of vulnerable structures succumb to neglect or outright greed. The city needs to be more proactive about preserving its history, rather than merely reacting when a problem becomes a crisis.
Smaller cities like Cincinnati have a unique role to play in the design world, and offer advantages of access and affordability not found in the usual hot spots like New York and San Francisco. In a recent CityLab article titled Why Architects and Second-Tier Cities Need Each Other, Amanda Kolson Hurley notes:
New York, Boston, Chicago, and other major metros have a lot of construction activity, but also a lot of architects. It’s a competitive field made more so by the sheer number of talented firms in the same handful of cities. That contributes to the culture of stress and overwork that many architects bemoan, some of them — women in particular — even leaving the field in frustration. By contrast, an ambitious architecture practice can carve out a niche for itself in a second-tier city, where the scene is often dominated by “legacy” firms that play it safe.
Hurley goes on to highlight the example of Louisville-based De Leon and Primmer Architectural Workshop, which recently won an AIA Honor Award for their Wild Turkey visitor center in Lawrenceburg, Kentucky. Neither Roberto De Leon nor Ross Primmer are Louisville natives; they met in architecture school at Harvard and made a business decision to open their practice in Louisville because, like Cincinnati, it was primed for growth. Cincinnati has the additional advantage of being home to one of the top architecture schools in the country, and many faculty members have their own small practices producing innovative design.
Wild Turkey Visitor Center in Lawrenceburg, Kentucky [De Leon and Primmer Architecture Workshop]Cincinnati would do well to aggressively harness that local talent as well as put out the welcome mat for transplants from outside the region. Fairly or unfairly, Cincinnati has a reputation for being a conservative, insular city that is wary of outside ideas and talent. As such, it needs to work extra hard to put that stereotype out to pasture. Civic and corporate leaders should make a point to consider emerging architects for new projects and include them in discussions about the city’s future. For its part, the architectural community needs to resist its natural inclination to circle the wagons, and make an effort to engage the public and ensure their needs are being met when designing new projects.
Most importantly, the general public needs to demand a consistently high standard of design and hold its leaders accountable when opportunities are missed. Uncritical boosterism is often a veneer for complacency, which is a far more destructive force than vigorous debate. Sometimes the boat needs to be rocked. Cincinnati has a rich history and enviable assets, but it cannot rest on its laurels. No city has ever made itself a prime destination by bragging about how magnificent it used to be.
Get Involved At the national level, the American Institute of Architects has launched an ambitious media campaign to highlight the role of architects in shaping our built environment, and by extension, the role of the built environment in shaping our lives. The campaign features web videos, television ads, and social media content under the hashtag #ilookup.
For those wishing to become more involved in conversations about the future of Cincinnati’s built environment, the Cincinnati chapter of the AIA and the Architectural Foundation of Cincinnati have full calendars of activities and events, and the annual ArchiNATI festival offers unique opportunities to engage with the city’s built environment.
If all that sounds daunting, start by simply grabbing a sketchpad and heading off to explore some corner of the city that looks interesting. Look up, and you’ll rarely be disappointed.
David Cole is a native of Fort Thomas, Kentucky with a strong interest in architecture, urban design, transit, and social justice. He earned his Master of Architecture degree from the University of Cincinnati’s College of Design, Architecture, Art, and Planning, and is pursuing professional registration as an architect while working as a designer at the New York office of STUDIOS Architecture.
If you would like to have your thoughts published on UrbanCincy, simply contact us at editors@urbancincy.com.
San Diego's East Village District [Google Street View]
It has become painfully clear that we are not building enough housing supply to meet demand for center city living. In order to meet those demands, and prevent runaway price increases, now is the time to go big and develop thousands of more units.
In 2014, CBRE released a study about the strength of Cincinnati’s urban real estate market, and noted that the center city housing market could support thousands of additional residential units, even as 2,500 were under development at that time.
This was reinforced by CBRE’s economic outlook for the region released just days ago that said, “The multifamily recovery continues with unabated strength in the Cincinnati MSA with strong demand fundamentals pushing rents higher.” With occupancy hovering around 95% and the strongest demand in the urban core, their real estate analysts expect rents to continue to rise.
Residential development has boomed in OTR, but its numbers are limited [Randy Simes
While 3CDC has done an incredible job at establishing a viable residential market in Over-the-Rhine, they have only produced a few hundred units over the past decade. Bigger projects in the central business district are turning historic office towers into posh residences, but are doing so at about 100 units per project. Even the long-planned residential tower at Fourth and Race Streets will only include 208 units once it is complete several years from now.
The rate of production at The Banks, which is by far the largest development in the center city, only averages out to a couple dozen units per year when you consider the time it continues to take to build out that massive undertaking.
Something bigger is needed. Something much bigger. Here are two options.
City Hall Quarters
Cincinnati’s majestic City Hall is unfortunately surrounded by decrepit, low-slung parking garages and a smattering of parking lots. The area’s proud history, however, can still be seen by taking a leisurely walk along Ninth Street. There, one can view the regal structures that were the original homes of Cincinnati’s economic and political elite.
Just around the corner, however, is a collection of parking lots controlled by collection of different limited liability companies. The original owner of the lots, if it is different from now, had long-planned to build offices on the site similar in nature to what was developed on its north side along Central Parkway. That building was completed in 1983, and times have certainly changed since then.
City Hall Quarters District [Google Maps]
City Hall Quarters Perspective [Google Street View]
Denver’s Cherry Creek District [Google Street View]
The large collection of parking lots allows for a unique opportunity to create a residential sub-district within the central business district. Look to Atlanta’s West Midtown, Chicago’s South Loop or Denver’s Cherry Creek District of examples of the type of development that could rise here.
Its density would respect its historic surroundings, but its scale could provide hundreds of residential units. Instead of lining each street with retail, thoughtfully placed corner markets and cafes could be placed intermittently in order to maintain a residential character for the sub-district.
CL&N Heights
Like its Broadway Commons neighbor to the north, this area was once part of the large warehouse district that previously occupied the site with the CL&N Railway. Those proud buildings, and the history that went along with them, are now largely gone and have been replaced by I-71. There are, however, some of the historic warehouse structures that can still be seen in the Eighth Street Design District and immediately to the south.
CL&N Heights Panoramic [Randy Simes]
This collection of parking lots is largely out of site since they sit beneath I-71 and at a lower grade than the rest of the central business district. Procter & Gamble currently owns the vast majority of the site, but Eagle Realty has recently acquired some land with the interest of building a parking structure along with some office space.
Unlike the City Hall Quarters site, this location has an opportunity to go even bigger.
In order to properly develop the location, it would make most sense to raise the site up to the same level as the rest of the surrounding street grid. This would essentially create a situation akin to The Banks, where two or so levels of parking could be built as a platform, with the structures then rising from there.
CL&N Heights [Google Maps]
Seven at Broadway overlooks CL&N Heights [Randy Simes]
San Diego’s East Village District [Google Street View]
Instead of building four- to five-story structures, like at The Banks or near City Hall, this site would be an ideal location for a handful of sleek, modern residential high-rises. In this case, think of Vancouver’s Yaletown or San Diego’s East Village near their ballpark.
In this location it is conceivable that four to five residential towers could be constructed, while also preserving some land for pocket parks and other neighborhood amenities. At such a scale and density, this site alone could produce upwards of a thousand residential units.
Like the City Hall Quarters site, there would be no strong need to build retail as part of this project. Instead, a small collection of service offerings, like dry cleaners and convenience stores, could be built as part of the development, thus allowing the new influx of residents to bolster the existing and potential retail offerings in the central business district and Over-the-Rhine.
Both development sites include their challenges, but they offer immense opportunities to not only provide the much-needed injection of housing, but also improve the city’s tax base, hold down skyrocketing residential prices, bolster center city retail, and rid the city of two of its largest-remaining surface parking lots.
