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The Barclays Center as seen from above (against the larger NY cityscape)

I hope my non-New York audience will bear with me through this post.  Even though it concerns contemporary Brooklyn (my home), it also touches on larger topics.  Today is the grand opening of the much-anticipated Barclays Center, a multi-purpose indoor sporting/concert venue, which lies at the center of a five billion dollar restoration/remake of the Vanderbilt Train Yards at Atlantic Avenue (where Ebbets Field once stood and where most of the city’s trains meet at a huge terminal).  The devilish development work which went into creating the complex took a decade or longer and required lots of high finance deals and acrimonious court cases (which, in turn, involved crushing and annexing lots of little guys via eminent domain).   The final structure involves an unholy business alliance between billionaire developer, Bruce Ratner; Russian oligarch and kleptocrat,Mikhail Prokhorov; British investment bank, Barclays PLC; hip-hop mogul, rapper, and accused stabber, Jay-Z; and, of course, New York’s hapless taxpayers who got foisted with big portions of the tab.  The stadium will be the home arena for the boringly-named Brooklyn Nets (a basketball franchise), the stage for mega concerts by the likes of Justin Bieber, Lady Gaga, & Jay-Z, as well as the sight of large scale attractions like the circus, Disney-on-ice, and professional boxing.

Looking at the above paragraph, one might be somewhat inclined to disparage the project (or, indeed, to despair of humanity), but we are not here for that: instead this post is meant as aesthetic contemplation of the architecture of Barclays Center and of the changing directions of megacities at large.

The Finished Barclays Center

A timber rattlesnake (Crotalus horridus)

The arena was designed by architectural firm Ellerbe Becket and features three bands of pre-weathered (i.e. rusted) steel plates latticed together around a futuristic glass curtain wall.  Apparently the juxtaposition of glass and rusted steel was meant to evoke Brooklyn’s famous brownstone townhouses, but the effect is more jarring than traditional.  So far critical reaction has been mixed, with local critics comparing the building to a giant coiled rattlesnake.  As the building took shape, it made me think of a science-fiction movie where the heroes crash on a supposedly deserted planet—and then discover monstrous corroded alien ruins of a shape so sinister that it foreshadows horrible events to come.  However when I walked by the finished building last night it struck me that the building actually does look like a timber rattlesnake—and I like rattlesnakes (though not in a way that makes me want to be close to them).  The sinuous curves and non-euclidean light projections gave a futuristic impression.  The employees of Modells sporting store were working overtime stripping the store’s featureless onyx mannequins naked so that they could be dressed in all-black “Nets” gear. The proud blue and white space eagle of Barclays glowed on its tri-lobed bizarro-shield. For the first time since the recession began so many years ago, I felt like Brooklyn was stepping into a prosperous (albeit authoritarian) future.

Still scene from “Bladerunner” (1982)

I have heard from concert-promoters (who were allowed early access) that the inside is stunning.  Although there are many extra boxes–and super-boxes–for the extremely well-healed, the space is said to put other similarly sized venues to shame.  The line-up of sports events and acts, though tawdry, will undoubtedly create huge business (probably surpassing that of Madison Square Garden).  Urban life is meant to be flashy, fast-paced, and busy with different people from different places who like different things.  If one loved beauty, quiet, and meaning, one would move to the country.

Gradiva’s Fourth Wall (Diana Al Hadid, 2011, steel, polymer gypsum, wood, fiberglass, paint)

Cities should be bigger than life—that is why lots of people come here.  I prefer the idea of a growing & dynamic Brooklyn to a changeless 1950s concrete jungle (which is what the railyards were) or, goodness help us, a dying city returning to wasteland, like Detroit.  Cities which are dynamic and changing require big bold risks, like the Empire State Building in the 1930s or the Centre Pompidou in the 1980s.  I am happy to see that Brooklyn is taking such chances–even if it does mean some toes get stepped on or a few giant space rattlesnakes get built.

I foresee a great shining future for the Barclays Center, although you might not see me there anytime soon.  Also be very careful crossing the street near the monstrous thing.  The one element preserved from the fifties was a disregard for the lives of people not rich enough to travel by car.

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