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Designing New York: A History of the PDC

The Public Design Commission (PDC) was established as the Municipal Art Commission by the New York City Charter in 1898 (following the consolidation of NYC). The Commission was tasked with the oversight of all public artworks and monuments, but its purview quickly expanded to include public structures and open spaces. Renamed in 2008, the PDC reviews the design of permanent works of architecture, landscape architecture, and art proposed on or over City-owned property. Projects are submitted by City agencies and include the construction, renovation, or restoration of buildings; the creation or rehabilitation of parks, playgrounds, and plazas; installation of lighting and other streetscape elements; signage; and the installation and conservation of artwork, including monuments and memorials. The Commission also acts as caretaker and curator of the City’s public art collection, which is located throughout the city’s public buildings and open spaces, and maintains an extensive archive documenting the history of New York City's public works. The PDC Archive maintains a collection of projects reviewed by the Commission since 1902, documenting more than 7,000 sites throughout New York City and providing a unique view into the history of the City’s public works. The designs that have been reviewed by the PDC throughout its over 120-year history are representative of the policies and focus of Mayoral administrations while simultaneously following historical trends in public design, public health, and artistic and cultural movements in the city and country at large. The following examples illustrate the breadth of projects under the PDC's purview, from large scale developments to streetscape fixtures that often go unnoticed.

For an in-depth history of the Public Design Commission, see Michele H. Bogart’s book, "The Politics of Urban Beauty."

By

NYC Public Design Commission

New York City Hall

Art Commission boardroom on the Third Floor of City Hall, 1926.

Brooklyn Approach to the Manhattan Bridge

The first members of the Commission were renowned in their fields, including sculptor Daniel Chester French (who created these statues for the Brooklyn approach to the Manhattan Bridge) and architect Charles F. McKim. However, in the early days, from 1898 to 1902, the Commission's power was limited and it functioned informally. While the Art Commission was given the authority to approve or reject artworks for the City's collection, it could only review buildings and other structures if asked to do so by the mayor or Board of Alderman. To Mayor Van Wyck (in office 1898-1901) and the leaders of Tammany Hall, the Art Commission was a burden to suppress and avoid.

New York City Hall

In 1901, the Art Commission's jurisdiction expanded to include municipal structures with a budget of $1 million. In contrast to Mayor Van Wyck, Mayor Seth Low (in office 1902-1903) supported the Commission and moved its offices into City Hall, symbolically giving the Commission a central role in municipal government and making it easier for him to attend meetings. / Art Commission boardroom on the Third Floor of City Hall, undated.

Tennis House

Appointed by Mayor Low in 1902, Art Commission president John De Witt Warner positioned the Commission as an arm of progressive government with an activist approach. He hired Milo Roy Maltbie as his assistant secretary and together they established rules for recordkeeping, submission requirements, and meeting procedures that would further legitimize the Commission. The filing system put in place by De Witt and Maltbie is still used by staff to add new records to the archive. All unique locations, such as buildings, parks, or individual works of art, are assigned series numbers. Each document that was reviewed by the Commission, such as an application, photograph or rendering, is assigned an exhibit letter. This project, for example, was assigned to Series 222 and is exhibit "C". / Shelter and Tennis House in Prospect Park, Brooklyn, architects Helmle & Huberty. These designs were granted preliminary approval by the Art Commission on July 19, 1906.

Broadway and 73rd Street

As ex officio member of the commission, Mayor Low was kept informed of capital projects in the pipeline falling under the $1 million threshold and he actively referred these projects to the Commission, including lighting, signage, letter boxes, and public baths and comfort stations. In 1902, Art Commission members Frederick Dielman, Daniel Chester French, and William J. Coombs collaborated with the Municipal Art Society to develop approvable designs for self-illuminating street signs that were made with reflective materials. / Street sign box for Broadway and 73rd Street in Manhattan, architect J.T. Tubby Jr. The designs were approved by the Art Commission on September 23, 1902.

Hicks Street Public Baths

At the close of the 19th century, progressive urban reformers, citing issues of public health and morality (particularly in New York City's overcrowded tenements), urged municipal governments to establish free public bathing facilities. In 1895, the New York State Senate required that cities with 50,000 residents or more establish free bathing facilities. In 1902, the Art Commission began reviewing public bath sites for Manhattan and Brooklyn. / Public Bath located on the West Side of Hicks Street between Harrison and Degraw Streets, Brooklyn, architect Axel S. Hedman. Photograph by Russell & Wylie.

Pier 25, Hudson River

Prior to the boom of free public bath houses in the early 20th century, a series of floating baths were already sprinkled throughout the waterfronts of New York City. These baths were seasonal and eventually phased out after the rivers had become too polluted. / Floating Bath for installation citywide, architect Johnathan B. Franklin. These designs were granted final approval by the Art Commission on April 24, 1907.

Queensboro Bridge

In the early 20th century, the Art Commission typically rejected overly ornate decorations. For the Blackwell's Island Bridge, they approved the general designs, but disapproved the proposed decorations on the towers. Commissioner Henry Rutgers Marshall noted at this meeting "this Commission expresses its belief that the proposed bridge would be a structure creditable to our time and civilization. A more aesthetic and architectural bridge should be designed for this prominent position." / \_ Blackwell's Island Bridge (Ed Koch Queensboro Bridge), architect Henry F. Hornbostel. These designs were approved (except for the decorations upon the towers) by the Art Commission on February 10, 1903.\_

Surrogate's Courthouse

Sculptural elements on buildings were particularly in vogue at the turn of the century, as exemplified by the Surrogate's Courthouse at 31 Chambers Street. Over 50 unique statues were installed on the exterior facade of this building. The Surrogate's Court was designed by architect John R. Thomas and built between 1899 and 1907. After Thomas' death in 1901, the building was completed by Arthur J. Horgan and Vincent J. Slattery, who had connections to Tammany Hall. Despite attempts by newly elected reform Mayor Seth Low to remove the firm from the project, Horgan and Slattery managed to retain control over the sculptural decorations on the building's façade. In 1902, Horgan and Slattery began submitting proposals for the sculptures by Philip Martiny and Henry Kirke Bush-Brown to the Art Commission for review. The Commission "disapproved" a number of the proposed sculptures and reprimanded the architects for incomplete submissions. It was rumored that they were retaliating against the firm and Tammany Hall. At one point, Horgan and Slattery bragged to reporters that they had tricked the Commission into rejecting famous artworks, but subsequently sent a letter to the Commission denying this. / "Electricity" by Philip Martiny for the Reade Street façade of the Hall of Records (Surrogate's Courthouse). These designs were approved by the Art Commission on June 2, 1904.

New York City Farm Colony

The Richmond County Poor Farm in Staten Island was established by the local government of Richmond County in 1829. When Staten Island became a borough in 1898, the farm was taken over by the City of New York and renamed the New York City Farm Colony. The colony was established to provide the impoverished local population with room and board in exchange for farm work. Located across the street from the colony, Sea View Hospital opened in 1913 and was the largest tuberculosis hospital at the time of its construction. Sea View Hospital and the Farm Colony merged in 1915, and the entire complex became known as Seaview Farms. The Art Commission reviewed projects at both locations, including the addition of dormitories, dining halls, chapels, and administration buildings. / General lay-out of the New York City Farm Colony in Staten Island, architect Raymond F. Almirall. These designs were granted final approval by the Art Commission on October 13, 1909.

USS Maine Monument

The oldest project records in the Public Design Commission's archive are for the "Maine Monument" (1901-1913), designed by sculptor Attilio Piccirilli and architect Harold Van Buren Magonigle. The monument is a memorial to the American sailors who were lost when the U.S.S. Maine exploded off the coast of Havana, Cuba on February 15, 1898 and the soldiers who died in the Spanish-American War of 1898. On June 10, 1902, the Art Commission approved preliminary designs for the monument in Long Acre Square (Times Square) at the junction of Broadway, Seventh Avenue, and 45th Street. Through an apparent administrative error, this location was then given to a comfort station in 1903. A new location for the monument at Eighth Avenue and 59th Street was submitted in 1908, but was rejected as it was too close to the "Columbus Monument" and would impede pedestrian traffic. In 1911, the Commission approved final designs for the monument in its current location. / "The Pacific" by Attilio Piccirilli for the Maine Monument located at the Merchants' Gate entrance of Central Park, Manhattan, architect H. Van Buren Magonigle. Photograph by A.B. Bogart. These designs were approved and the original proposed location was disapproved by the Art Commission on April 14, 1908.

519 St. Ann's Avenue

In 1907, the School Board announced a plan for a public lecture system to be held in public schools throughout the city, offering over 2,000 public lectures on topics like history, biography, art and music. Presumably in response to this plan, the Art Commission received an application for illuminated lecture signs to be placed in public schools citywide. These designs were rejected, likely due to the temporary nature of these lecture programs. / Illuminated lecture sign public school buildings citywide, designers Bofinger Brothers, Inc. These designs were disapproved by the Art Commission on July 1, 1908.

Public School 19

From 1891 until his retirement in 1923, Charles B.J. (C.B.J.) Snyder served as the Superintendent of School Buildings for New York City's Board of Education. During his tenure, Snyder designed and oversaw the construction of and additions to over 400 public schools throughout New York City. Snyder's schools are notable for their grand architectural designs and innovative features. He implemented physical and material changes that focused on the health and safety of students, creating standards for school furniture, adequate light and air, safe construction materials, and indoor plumbing. Beyond merely classrooms, Snyder's schools often included laboratories, gymnasiums, swimming pools, and auditoriums that could be used by the surrounding community, as well as public art. Though not all continue to function as public schools, 20 C.B.J. Snyder buildings have been designated New York City Landmarks as of May 2014. Currently, capital projects for public schools are managed by the School Construction Authority and are not under the jurisdiction of the PDC. / Addition to Public School 19 located at South 3rd Street and Keap Street, Brooklyn, architect C.B.J. Snyder. These designs were approved by the Art Commission on February 8, 1910.

Delancey and Bowery Street

As the city grew and transformed, so too did the jurisdiction of the Art Commission. They first began reviewing designs for railway stations in 1903, while the early subway was still under construction. A variety of designs for elevated stations, underground stations, street level entrances, and station decorations and signage were brought before the Commission. Since 1953, New York's public transportation system has been operated by the New York City Transit Authority, a public benefit corporation, and is no longer under the jurisdiction of the PDC. / Subway entrance on Delancey Street near the Bowery in Manhattan, architect Public Service Commission for the First District. These designs were granted final approval by the Art Commission on October 13, 1908.

Sunset Park

The Art Commission reviews a variety of projects ranging from elaborately detailed buildings to small utilitarian structures that may go unnoticed in the landscape. Somewhere in between, this staircase to Sunset Park included durable materials and elegant yet simple details. / Granite steps, copings and posts for Sunset Park in Brooklyn, architect L.S. Sudlow. These designs were approved by the Art Commission on November 9, 1909.

New York Public Library, Main Branch

In addition to approving the installation of new artworks, the Commission also reviews artwork conservation projects. The two lions in front of the main branch of the New York Public Library were designed by Edward Clark Potter and approved by the Art Commission in 1910. They were carved out of Tennessee Pink marble by the Piccirilli Studio, which was located in the Bronx. The lions were named Patience and Fortitude by Mayor La Guardia in the 1930s. In 2019, the Commission approved a proposal to conserve the lions, which included a laser cleaning. / Lion by E.C. Potter for the Fifth Avenue entrance of the New York Public Library, Manhattan. Photograph by A.E. Sproul. These designs were granted final approval by the Art Commission on October 11, 1910.

276 Center Street

Used by everyone, trash and recycling bins are an essential component of our streetscapes. A well-designed receptacle can improve the cleanliness of our streets and make our sanitation workers' jobs easier. While the Commission no longer formally reviews trash bins, it approved these simple and durable bins in 1910 and most recently participated as a juror in the Department of Sanitation's Better Bin design competition. / Waste receptacles for Richmond (Staten Island), designed by the Superintendent of Street Cleaning for Richmond. These designs were approved by the Art Commission on November 15, 1910.

330 Broadway

In 1910 and 1911, the City of New York organized budget exhibitions in the Tefft-Weller Building at 330 Broadway in Manhattan. These were likely inspired by a 1908 exhibition to show the public how taxpayer money was spent, highlighting waste, and encouraging the reform of government spending. Organized by the New York Taxpayers’ Conference along with the Bureau of Municipal Research, the City Club, the Allied Real Estate Interests, and a number of invited City department heads, the two-week event was held in the City Investing Building at 165 Broadway in Manhattan and included a series of discussions with City officials. These exhibitions were largely an effort to educate the public about City expenditures in preparation for upcoming budget hearings. Along with their tax bills, citizens received invitations encouraging them to visit the exhibitions to learn how their tax dollars would be spent. The Commission currently publishes similar information in Annual Reports, which can be found on online. / Art Commission display, New York City budget exhibit, 1911.

McCarren Park

Charles F. McKim, a principal at the renowned architectural firm McKim, Mead and White, was the first architect member of the Art Commission, serving from 1898-1901. McKim, Mead and White work in New York City included the original Pennsylvania Station, the Columbia University campus, Brooklyn Museum, 11 branches of the New York Public Library and the Washington Square Arch. / Comfort station (restroom) and locker house for McCarren Park, Brooklyn, architects McKim, Mead & White. These designs were approved by the Art Commission on September 12, 1911.

Erie Railroad Ferry, Hudson River

Bulkhead shed for the Erie Railroad Company at Pier 7, Manhattan, architect Graham King. These designs were approved by the Art Commission on November 14, 1911.

U.S.S. New Hampshire

The City's collection includes hundreds of markers or tablets to commemorate people and events, most of which were donated to the City by groups or individuals. This memorial tablet was donated by sailors of the U.S.S. Hampshire. On October 1, 1910, 23 sailors of the battleship were drowned while returning from shore leave. They boarded a boat to return to the ship at 156th Street and a strong gust of wind and flood tide overturned the boat, throwing about 100 sailors into the water. / U.S.S. Hampshire Memorial tablet located at Riverside Drive and 152nd Street, Manhattan purchased from the Gorham Company and donated by the men of the U.S.S. New Hampshire. These designs were approved by the Art Commission on February 13, 1912.

Grand Central Terminal

Viaduct carrying Park Avenue from 40th Street to Grand Central Terminal, architects Warren and Wetmore. These designs were approved by the Art Commission on April 9, 1912.

Trinity Building

The Art Commission not only approves structures on City-owned property, but structures over City-owned property. In this case, this pedestrian bridge extended over public property, though it was connecting two privately owned buildings. / Bridge over Thames Street connecting the Trinity Building and U.S. Realty Building located at Thames Street and Trinity Place, Manhattan, architect Francis H. Kimball. These designs were approved by the Art Commission on August 13, 1912.

Manhattan Municipal Building

The redesign of the New York City flag and seal were largely influenced by the Art Commission Associates (composed of former Commission members). Under the auspices of the Art Commission, an associates working group presented the flag and seal redesign to the Board of Alderman on March 23, 1915. The flag was intended to incorporate the Dutch and English empires with symbols of America (the Lenape native to Manhattan) and included a more refined reconstruction of the corporate seal used in 1686. / New York City seals to be placed in the elevators of the Municipal Buildings in Manhattan, architects McKim, Mead & White. These designs were granted final approval by the Art Commission on March 10, 1913.

West Broadway and Reade Street

The opening of the Old Croton Aqueduct in 1842 supplied clean, fresh water to the congested and rapidly expanding city of New York. At that time, urban reformers hoping to abate the spread of disease and provide a source of clean water to humans and animals began advocating for the installation of public drinking fountains "for man and beast" throughout the city. For the most part, these fountains were donated to the city by private citizens and charitable organizations, including the Women's Temperance Union and the American Society for the Prevention of Cruelty to Animals (ASPCA). The fountains donated by the ASPCA were intended to provide relief for the horses that served as the primary means of transportation during the late 19th century. / Drinking fountain for horses West Broadway and Reade Street, Manhattan, architect M. McGrath and Company and donated by the American Society for the Prevention of Cruelty to Animals. Photograph by M.J. & E. These designs were granted final approval by the Art Commission on August 11, 1913.

Forest Hills Inn

Although electricity had been slowly incorporated into public street lighting since the 1880s, these designs were not uniformly placed throughout the city. The Commission began reviewing streetscape designs, including streetlights and signs, in the early 1900s. Early light pole designs were easily approved, possibly because the submissions were closely managed by the Municipal Art Society. / Lamppost for Forest Hills Gardens, designed by Grosvenor Atterbury and Sage Foundation Homes Company. These designs were approved by the Art Commission on January 12, 1914.

Federal Office Building

When reviewing mailboxes in the early 1900s, the Art Commission contended with the federal government and the United States Post Office Department. The first proposed box, an iron pull-down that awkwardly topped a pole base, was disapproved in 1903. The Commission was particularly concerned about clutter on the streets, since the boxes would be affixed to individual posts, and advocated for an artist-designed mailbox. The battle over design and placement of mailboxes raged on for another decade, concluding with the Commission taking no action on final mailbox designs, therefore allowing the boxes to legally go on the streets without the federal government forcefully undercutting local authority over city streets. / Letter boxes for the United States Post Office for locations citywide, architect George W. Breck. These designs were approved by the Art Commission on October 13, 1915.

Mitchel Square

"Washington Heights-Inwood War Memorial" by Gertrude Vanderbilt Whitney located in Mitchel Square Park in Manhattan. This design was approved by the Art Commission on November 14, 1921.

Central Park West and 81st Street

Specimen of petrified wood relocated to the 81st Street entrance of Central Park, Manhattan, donated by William A. Burns. These designs were approved by the Art Commission on May 14, 1923.

City Hospital, Welfare Island

Kitchen and Dining Room for City Hospital on Welfare Island (Roosevelt Island), Manhattan, architect Mitchell Bernstein. These designs were approved by the Art Commission on September 8, 1931.

Old Bellevue Hospital

The Works Progress Administration's Federal Art Project (WPA/FAP), part of President Franklin D. Roosevelt's New Deal to stimulate the economy and create jobs during the Great Depression, employed thousands of artists between 1935 and 1943 to create artworks for public spaces. This groundbreaking democratic experiment celebrated and supported American art and artists by providing a source of income, enhancing public buildings, and enriching the lives of Americans in the throes of the Great Depression The Art Commission reviewed hundreds of Federal Art Project commissions during this period, including murals, sculpture, and mosaics. / "Interdependence of Industry and Agriculture" by Phil Reisman for the Men's Large Therapy Room in the Psychiatric Building of Bellevue Hospital, Manhattan. These designs were approved by the Art commission on March 8, 1938.

Harlem Hospital

In the late 1930s, the WPA/FAP commissioned a series of murals for Harlem Hospital. It was the first major United States government commission awarded to Black artists. While the WPA approved the artists' sketches, the hospital's superintendent and the commissioner of hospitals objected to four of the proposed murals on the grounds that they included too much "Negro" subject matter. In response, the Harlem Artists Guild, the Artists Union, and the hospital's first Black physician, Louis T. Wright, worked to support the artists and publicize the controversy. With this support, the artists prevailed and their murals were submitted to the Art Commission for review and approval. / "Mother Goose Rhymes" by Selma Day for the Children's Medical Ward, Harlem Hospital, Manhattan. These designs were granted final approval by the Art Commission on March 8, 1938.

Fulton Fish Market

The Art Commission collection of public projects highlights trends in Mayoral administrations. For example, Mayor H. LaGuardia's administration waged a "war" on pushcart vendors in the City. LaGuardia found these pushcart vendors and open air markets to be a nuisance and a public health calamity and set about disbanding those markets and promoting the use of more uniform indoor retail markets. / New Fulton Fish Market located on South Street and Fulton Street, Manhattan, architects Lewis and Churchill. These designs were granted final approval by the Art Commission on April 12, 1938.

St. George Terminal

St. George Ferry Terminal in Staten Island, architects Madigan-Hyland and Fay, Spotford & Thorndike. These designs were granted preliminary approval by the Art Commission on July 8, 1946.

Brooklyn Botanic Garden

The Garden of Fragrance, created in 1955 by landscape architect Alice Recknagel, was the first garden in the country designed specifically for the visually impaired. The garden is divided into four sections (all labeled in Braille): fragrant flowers, textured plants, scented leaves, and kitchen herbs. / \_Garden of Fragrance for the Visually Impaired for the Brooklyn Botanic Garden, landscape architect Alice Recknagel. These designs received final approval by the Art Commission on February 14, 1955. \_

Times Square

Mosaic mural by Edward Meshekoff for the exterior of the Information Center in Times Square, Manhattan. These designs were granted final approval by the Art Commission on July 14, 1958.

120 East 184th Street

While the Art Commission has the power to review and approve or disapprove projects, it's not always the case that approved projects are completed, sometimes due to loss of budget, change in administration, or social and cultural changes. / Landscaping alterations to the Bronx Community College located at 120 East 184th Street, Bronx, architects Perkins and Will. These designs were approved by the Art Commission on January 11, 1960.

120 East 184th Street

For example, a modernization of an exterior space outside of Bronx Community College (now Middle School 363), including paving, benches, and planting, was approved in 1960. This project didn't come to fruition and the space is still a parking lot. / Landscaping alterations to the Bronx Community College located at 120 East 184th Street, Bronx, architects Perkins and Will. These designs were approved by the Art Commission on January 11, 1960.

Lincoln Center

Display fountain at Lincoln Center, architects Harrison and Abramovitz. These designs were granted preliminary approval by the Design Commission on March 11, 1963.

East River Waterfront Dog Run

East River Waterfront Dog Run on South Street between Wall Street and Maiden Lane, designed by SHoP Architects and Ken Smith Workshop (EDC, DCP, SBS). These designs were granted final approval by the Public Design Commission on June 29. 2009.

472 2nd Avenue

The Municipal Recycling Facility is tasked with processing all of the metal, glass, and plastic collected by the Department of Sanitation's curbside recycling program. The facility is sited on the Gowanus Bay's working waterfront to facilitate the delivery of recyclables via barge and rail. The design modifies cost-effective pre-engineered structural elements to accommodate each step of the recycling process, most notably employing an exposed mainframe structure that extends as a canopy over the barge dock. The facility's visitor center is connected via an open-air truss bridge to catwalks in the operational spaces, providing unique opportunities for firsthand environmental education. / Municipal Recycling Facility located at 472 2nd Avenue in Brooklyn, designed by Selldorf Architects. A project of the Economic Development Corporation, Department of Sanitation, Department of Small Business Services and Sims Metal Management Municipal Recycling. The project was granted final approval by the Public Design Commission on January 31, 2011.

94 62nd Drive

Right of way bioswales, sited uphill from catch basins, divert storm water runoff from the combined sewer system, thereby decreasing the discharge of combined sewer overflow into the local waterways during rainstorms. Similar in appearance to a standard street tree pit, but specially designed to capture and absorb water, these bioswales feature engineered soils and versatile native plantings that are tolerant of both wet and dry conditions. / Prototypical sidewalk bioswale located on 94 62nd Drive in Rego Park, New York, designed by the Department of Environmental Protection. These designs were granted final approval by the Public Design Commission on March 12, 2012.

32-11 Harper Street

Adjacent to the raised Van Wyck Expressway, the Harper Street Yard is the maintenance and refueling site for Department of Transportation vehicles. Chevron-shaped in plan, the diesel monitoring booth includes a bent ribbon window to capture a panoramic view of the yard and fueling station. The booth's façade light-heartedly references traffic symbols and road markings with alternating black and white glazed tile cladding set in a chevron pattern and Safety Yellow accents. / Harper Street Yard Shed located at 32-11 Harper Street, designed by nArchitects. A project of the Department of Design and Construction and the Department of Transportation. This project was granted final approval by the Public Design Commission on April 2, 2012.

West 215th Street step street located between Park Terrace East and Broadway

West 215th Street step street located between Park Terrace East and Broadway, Manhattan, reconstructed by AECOM and WXY Architecture + Urban Design. A project of the Department of Design and Construction and the Department of Transportation. These designs were granted final approval by the Public Design Commission on April 23, 2012.

Schomburg Center

Distinctive sidewalk for the Schomburg Center for Research in Black Culture, located at 515 Malcolm X Boulevard in Manhattan, architects Marble Fairbanks and SCAPE. A project of the Department of Design and Construction, New York Public Library and Department of Transportation. This design was granted final approval by the Public Design Commission on September 9, 2013.

Unity

"Unity" (2019) by Hank Willis Thomas located on Tillary Street between Cadman Plaza East and Adams Street, Brooklyn. A project of the Department of Cultural Affairs Percent for Art Program, Department of Design and Construction and the Department of Transportation. These designs were granted final approval by the Public Design Commission on March 30, 2020.

Unity

"Unity" (2019) by Hank Willis Thomas located on Tillary Street between Cadman Plaza East and Adams Street, Brooklyn. A project of the Department of Cultural Affairs Percent for Art Program, Department of Design and Construction and the Department of Transportation. These designs were granted final approval by the Public Design Commission on March 30, 2020.

Lincoln Terrace Park

The Design Commission's mission during the current administration has been to advocate for innovative, sustainable, and equitable design of public spaces and civic structures, with a goal of improving the public realm and therefore related services for all New Yorkers throughout the five boroughs. / Reconstruction of Lincoln Terrace Playground in Lincoln Terrace Park in Brooklyn, designed by the Department of Parks and Recreation in-house. These designs were granted final approval by the Public Design Commission on January 18, 2017.