Search results for "east new york"

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BandAid for OToole
Another entry in the good bad news department today, as the Post breaks the big story that St. Vincent's hospital in Greenwich Village is on the verge of bankruptcy again. According to the tab, crosstown rival Continuum Health, which runs Beth Israel, St. Luke's and Roosevelt hospitals is prepared to take over the city's last remaining Catholic hospital, and it could close many of the hospitals services, such as surgical and in-patient care, and possibly even the emergency room, one of the few on the west side of Manhattan. So how is this good news, that this critical hospital might close? Well, that pride of place, combined with the first bankruptcy, was part of the reason St. Vincent's used to justify its major expansion and real estate deal with the Rudins, which would have created a new hospital by Pei Cobb Freed and a huge condo project by FXFowle. Now all that could be in doubt:
The proposal throws into doubt St. Vincent's existing plan to build a new medical facility and sell its campus to the Rudin Co. for $300 million to erect a condo complex. The hospital had only just gotten the go-ahead from the city's Landmarks Preservation Commission last summer to proceed with its $1.6 billion modernization project after years of protests.
While there is still time for a resolution to be worked out—we got about a dozen different press releases about the news from shocked and concerned politicians today—it looks like the hospital's expansion plan is at least on hold, possibly indefinitely. This could mean that the dogged efforts by preservationists to preserve the O'Toole building, formerly Albert C. Ledner's one-of-a-kind National Maritime Museum Headquarters, could be back on life support and possibly on the way to a full recovery. Not to mention a victory for the Village NIMBYists who felt threatened by two new towers in their low-rise, historic neighborhood.
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Dan Rowen, 1953-2009
One of Rowen's largest projects was the headquarters for Martha Stewart in the Starrett-Lehigh Building.
Courtesy Martha Stewart

My friendship with Dan began in the fall of 1980. He was working for Charles Gwathmey, who had plucked him out of a Yale design studio to come work in his office. He went back to school just as I was leaving to interview with Charles for a job. When I proudly told Dan that Charles had offered me a job on the spot, it wasn’t surprising that Dan claimed full responsibility for arranging it all.

Courtesy coco Meyers
New York Architects' award-winning White Apartment.
Courtesy AIANY 

I was always in awe of Dan’s cool confidence and, dare I say, his cockiness in dealing with Charles. Everyone else in the office seemed to cower in fear. Dan had the gift of logic that he used to engage Charles. Only Dan could out-logic the logician and I believe Charlie saw Dan as a kindred spirit. During the design of the de Menil Residence, Charles was in the final stages of refinement of the plan and its site orientation when Dan was bold enough to tell him that the orientation of the house was backwards, and that the plan had to be flipped from west-east to east-west. After Charlie’s initial shock and withering fury, he came around to agree with Dan.

In 1984 Dan and I began our partnership, New York Architects. Our collaboration was a fierce one where we argued, butted heads, and fought for our ideas, but the work was all the better for it. I drew Dan out; he reeled me in. This dynamic tension met in the middle with our best work for Gagosian and the White Apartment. That apartment was a study in Zen minimalism, the perfect synthesis of us both. I finally saw how beautiful and exhilarating the color white and pure space could be, how fanciful and potent natural light could be.

In 1994, we dissolved our practice when it seemed we were pulling in opposite directions. Where most partnership break- ups end in bitterness, ours emerged in lasting friendship. After he established his practice in East Hampton in 2003, I watched his work develop with his projects for Larry Gagosian, Martha Stewart, and Michael Kors. His aesthetic, his eye for detail was probably influenced most by his love of racing and restoring vintage sports cars. He worked tirelessly on the restoration of his 1953 Siata, fretting over the details of the dashboard, the bezel around the speedometer, the hidden toggles, the precise hue of red paint. His insistence on automative perfection made an easy transition to architecture.

Even though I was three years older, I looked up to Dan as one would an older brother, a feeling that lasted right up until I said goodbye to him.

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The Decorated Shed
The Urban Umbrella could replace the old construction sheds with a lighter, friendlier alternative.
Courtesy UrbanShed/Young Hwan Choi/Andres Cortes/Sarrah Khan

During the real estate boom, it seemed like every block in the city was decked over with at least one construction shed. Even now, with construction in decline, the Department of Buildings says there are roughly 1 million linear feet of sheds covering city sidewalks and buildings. These structures may be valued for their safety benefits, but they have also led to an outbreak of rickets and vampirism.

In the hope of banishing these unsightly overheads, the Bloomberg administration and the AIA New York Chapter launched the UrbanShed design competition in August to find a new alternative, which the mayor unveiled today in Brooklyn. The sheds, called Urban Umbrella and designed by University of Pennsylvania/Penn Design architecture student Young Hwan Choi, with Andrés Cortés and Sarrah Khan of Agencie Group, are not mandatory, though Mayor Michael R. Bloomberg insisted they will be popular with New Yorkers.

Mayor Bloomberg (right) and commissioner LiMandri (left) look on as Young-Hwan Choi describes his winning proposal.
Matt Chaban

“It’s about creating better options for the public,” the mayor said. “Once they’re out there, those who have the influence, the retailers and restaurateurs, the apartment and building owners, they will demand it.”

Department of Buildings commissioner Robert LiMandri, whose office helped lead the competition, said that over time, the expectation is that the new sheds will cost 30 percent less than their $100-per-sqaure-foot forebears, which have not been updated since the 1950s.

Plans are underway to install a prototype of the Urban Umbrella at a Lower Manhattan construction site this summer, under the direction of the Downtown Alliance, and, if everything performs up to expectations, to roll them out across the city. The mayor emphasized that it was up to the private sector to embrace the new structures, but when asked by AN if the city might lead the way by requiring them on all public projects, he replied “Yes, absolutely.”

The new shed has a distinctive design eliminating the need for cross bracing, creating a more light, airy, and spacious environment.

The new sheds were heralded for creating more light and space on the sidewalk than their plywood predecessors. This is achieved by using translucent fiberglass decking, on which tinted appliqués can be added, creating a kaleidoscopic effect.

The design team, whose members also include Will Robinette, Todd Montgomery, and Zachary Colbert, created palm-like supports that eliminate the cross-bracing that makes sheds such an annoyance for the city’s pedestrians, blocking off open access to sidewalks. The structure also takes up less space, and a fan-shaped lighting system has been cleverly integrated. And because of the Urban Umbrella’s airiness, it will block less of the buildings, making storefronts and underlying architecture more visible on the street.

The sheds are intended to appeal to store owners, as they will obscure less of the building behind and take up less space.

“This solves a problem that has been ubiquitous for years,” said City Planning Commission chair Amanda Burden, who served on the jury with LiMandri, transportation commissioner Janette Sadik-Khan, and a half-dozen industry professionals, including David Childs of SOM, Craig Schwitter of Buro Happold, and builder Frank Sciame. “Walking on the sidewalk should not be an ominous adventure, but it is,” Burden added. “These new sheds are gorgeous and innovative and safe.”

Young-Hwan, in addition to having his designs realized downtown and possibly across the city, will receive a $10,000 prize as well as pride of place at the Center for Architecture, which has an exhibition of the three finalists from the UrbanShed competition up through February 10. The 28-year-old designer, who grew up in Korea, was somewhat shy during his remarks to the press, though he closed with gusto. “I’m really happy to see this on the street,” he declared, cracking a smile.

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Philly, Ahoy!
A rendering of a new public space on the Race Street Pier, now being designed by James Corner Field Operations.
Courtesy James Corner Field Operations

The Central Delaware waterfront is a seven-mile stretch of postindustrial wastes, remnant port uses, big-box stores, planned casinos, and decaying piers—a daunting swath for planners hoping to remake Philadelphia’s eastern flank. “The toughest problem so far is just the scale of the place,” said Alexander Cooper, founding partner of Cooper, Robertson & Partners. “The Delaware River is not like the Schuylkill. It’s a big, wide, commercial body of water with another state on the other side.”

Late last year, the Delaware River Waterfront Corporation (DRWC) named New York–based Cooper, Robertson as part of the team to develop a masterplan for the area, along with landscape architecture firm Olin, architects KieranTimberlake, and economic analysts HR&A Advisors. At the same time, the DRWC is charging ahead on designs for a pier near the Benjamin Franklin Bridge, plus a trail that will open public access to the long-blockaded riverfront.

Cooper, Robertson will help plan a seven-mile stretch of the Delaware River waterfront in Philadelphia, most of it separated from the center city by I-95.
Courtesy Google Maps

In awarding the $1 million masterplan contract, the DRWC looked to the site’s industrial past as a key to its rebirth. “For waterfronts we’ve worked on, the predominant land use tends to be residential,” Cooper said. “People here are much more interested in job creation, and that’s tough in this economy.” Other challenges include the fact that 95 percent of waterfront parcels are privately owned, meaning that the team will likely pursue land swaps to facilitate the area’s redevelopment.

Throughout the year-long process, Cooper will rely on Olin and KieranTimberlake, both based in Philadelphia, for their understanding of the site, which stretches from Allegheny to Oregon avenues and from the river to I-95. They’ll also need to anticipate a high-speed transit corridor on the water side of the highway, whose precise alignment is now being studied by federal officials. The rail line should help unify the waterfront and, with its spur into central Philadelphia, offer a needed link to the river.

WRT and pennpraxis helped produce a vision plan for the river in 2007, whose principles will be incorporated into the master plan. (Click to enlarge)
Courtesy WRT

Designers have a head start in a 2007 vision plan developed by Wallace Roberts & Todd and PennPraxis. “Through the process of the PennPraxis plan, there’s a greater awareness in Philadelphia of the river having a public component,” said Sarah Thorp, masterplanning manager at the DRWC, noting that a new zoning overlay calls for a 100-foot waterfront setback. “The master-plan needs to go through on a parcel-by-parcel basis and figure out how to execute that open-space network.”

For now, projects on tap include James Corner Field Operations’ designs for Pier 11, now known as the Race Street Pier, expected to open by 2011. And design-build proposals are being studied for a parcel at Pier 53, linking to a trail that should increase access from South Philadelphia. That $570,000 project, which Thorp said will “clean and green” the pier’s upland area, is due to open this summer.

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Can the Center Hold?
As of Saturday, the bookstore will vacate its longtime home at the Villard Houses.
Anna Vignet

Urban Center Books will close its doors on January 23, leaving New York—temporarily, at least—without a bookstore wholly devoted to books and journals on architecture and urbanism. The shop will continue to sell books online while it looks for a new home near the Municipal Art Society’s (MAS) new offices in the Steinway Building on 57th Street.

The move comes as the New York Palace hotel reclaims the spaces in the Villard Houses that have long held offices as well as galleries and lecture space for various groups relating to the built environment, collectively known as the Urban Center.

A patron browses the shelves.

While Urban Center Books (UCB) says its online business is growing, it remains committed to a physical space. “Shopping online is not a substitute for browsing the shelf. It’s a curated collection that’s heavily edited,” said Jo Steffens, UCB’s director. UCB is a nonprofit store owned by MAS, and is itself considering space in the Steinway building.

Steffens is also looking at two other spaces near 57th Street. The Steinway building space, she said, is larger than they would like, lacks a street presence, needs to be brought up to ADA standards, and does not have a permit for public assembly (necessary for lectures and book parties). She hopes the UCB will reopen in the summer or fall, and may open a temporary space at the Center for Architecture in the spring.

The Urban Center's longtime tenants—the bookstore, MAS, and the Architectural League—are all decamping from the Villard houses on 57th street.

In September, after a long tenancy next to MAS, the Architectural League decamped for new offices in Soho, gaining a considerable amount of desk and meeting space but losing the shared lecture and gallery space. Their lecture programming is being held in a variety of venues, including the New Museum, the Cooper Union, the Trespa showroom, and Parsons the New School for Design.

The exhibition program will also likely be mobile, possibly including vacant retail spaces. “We’re inhabiting the city,” said Anne Rieselbach, program director at the League. “Having our center of gravity downtown made more sense.”

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Facade and Curtain Wall
The Cooper Square Hotel  by Carlos zapata Studio with Josef Gartner
Courtesy CZStudio


185 Varick St., New York;

Gordon H. Smith Corporation
200 Madison Ave., New York; 212-696-0600

Josef Gartner USA
321 North Clark St.,
Chicago, IL;

Leavitt Associates
72 West Cedar St., Boston, MA; 617-823-3926

R. A. Heintges & Associates
126 5th Ave., New York;




2626 Glenwood Ave.,
Raleigh, NC;

Extech Exterior Technologies
200 Bridge St., Pittsburg, PA; 800-500-8083

26300 La Alameda St.,
Mission Viejo, CA;

500 East 12th St.,
Bloomsburg, PA;

123 Day Hill Rd., Windsor, CT; 860-298-2000

22 Wakefield Ave.,
Port Washington, NY;

62 Greene St., New York;

W&W Glass
320 Airport Executive Park, Nanuet, NY;

41 Cooper Square by Morphosis with Gordon H. Smith
Iwan Baan

“The skin of L haus is fairly unique. It’s a field-assembled rain screen wall. We looked at a number of pre-engineered systems and those were all too expensive for the project, so we designed something with Jonathan Leavitt of Leavitt Associates. He engineered the framing members and connections with us and taught the contractor what to do with those. Jonathan actually got out on the scaffolding and went through a number of details with the mechanics in the field.”
Brian McFarland

“The architecture that we do is geometrically challenging and that trickles into the execution of all the details. It requires a higher level of commitment and understanding and capability. Josef Gartner in particular, having to fabricate the Cooper Square Hotel facade, which takes the brunt of the complications, delivered a very high-quality product consistent with the design intent.”
Anthony Montalto
Carlos Zapata Studio

“At 11 Times Square we did this highly engineered glass wall at the entrance. Alberto De Gobbi at Permasteelisa did everything from adjusting the dimensions and finish of the stainless steel joints to working through 20 different frit patterns and colors to make sure that those joints were concealed.”
Dan Kaplan

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Toni Stabile Student Center by marble Fairbanks with Maloya Laser
Jongeo Kim

A-Val Architectural
Metal Corp.
240 Washington St.,
Mount Vernon, NY;

Accent Architectural Metal
18918 Clark Graham Ave.,
Baie D’Ufre, Quebec, Canada;

American Railing Systems
1813 McClelland Ave., Erie, PA; 814-899-7677

Argosy Designs
20 Grand Ave., Brooklyn;

Art Metal Industries
71 Commerce Dr.,
Brookfield, CT;

Beck Steel
401 North Loop, Lubbock, TX; 806-762-3255

1005 Beaver Grade Rd.,
Moon Township, PA;

Fry Reglet Architectural Metals
1377 Stonefield Ct.,
Alpharetta, GA;

L. Russo Fence
220 Industrial Loop Rd.,
Staten Island;

Lazer Engineering
Unit 7, Newhailes Industrial Estate, Musselburgh, Midlothian, Scotland;

Maloya Laser
65A Mall Dr., Commack, NY; 631-543-2327

Michele Oka Doner
94 Mercer St., New York;

68 Lombardy St., Brooklyn; 718-388-6476

Seetin Design
57 Grand St.,
Brooklyn, NY;

Superior Iron Works
45034 Underwood Ln.,
Sterling, VA;

1955 5th Street, St. Romuald, Quebec, Canada;

Tebbens Steel
4062 Grumman Blvd., Calverton, NY;

Castro Barros 527,
Buenos Aires, Argentina;

216 Fairmount Ave., Philadelphia, PA;

Wilson Conservation
100 East 5th St., Brooklyn;

Zorlu Corporation
P.O. Box 197, Cutchogue, NY;

Mill Pond Park by Wendy Evans Joseph and Stantec with American Railing Systems and L. Russo
Courtesy Wendy Evans Joseph

Art Metal Industries [formerly J. Frederick] fabricated all of the bronzework for our New York Stock Exchange streetscapes, from the no-gos to the recently completed turntables in perforated bronze. These are very tricky components involving a lot of steps and security issues, and they completely live or die in the fabrication. Kevin Biebel did super-elegant and totally reliable work.”
Robert Rogers
Rogers Marvel Architects

Michele Oka Doner is an artist based in New York and Miami. After seeing her work at the Miami airport, I asked if she wouldn’t be insulted to adapt one of her patterns for an air-conditioning grill. She said not at all, and designed and fabricated hand-burnished aluminum grills that were works of art with biomorphic patterns. She was very easy to work with, very professional, very organized, and on time.“
Alexander Gorlin
Alexander Gorilin Architects

Seetin Design did the railings and ornamental metal work at the Jerome Robbins Theater. Bob Seaton’s shop drawings were particularly good. They showed his attention to detail and his enthusiasm.”
Martin Kappell
WASA/Studio A

“We worked with Front on the curtain wall and skylight glazing design. They set us up with this engineer based in Argentina named Dante Martinez, with a company called Tisi that engineers and builds metal structures. He’s an Argentine renaissance man. He helped us with the moving wall in terms of how to design a system to lift a five-ton door, and Tisi built it in Argentina and installed it in New York as well.”
Adam Marcus
Marble Fairbanks

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TKTS BOOth by Perkins Eastman with David Shuldiner, Eckelt Glass, and IPIG
Paul Rivera/Archphoto
520 8th Ave., New York;

122 Hudson St., New York; 212-226-6370

180 Varick St., New York;

Champion Metal and Glass
45 East Industry Ct.,
Deer Park, NY;

David Shuldiner
35 Irving Ave., Brooklyn;

Eckelt Glass
Resthofstraße 18, Steyr, Germany;

Galaxy Glass & Stone
277 Fairfield Rd., Fairfield, NJ;

General Glass International
101 Venture Way,
Secaucus, NJ;

Goldray Industries
35 Kent Ave., Brooklyn;

Atlantic House, 45 Hope St., Glasgow, Scotland;

Joel Berman Glass Studios
Merchandise Mart,
Chicago, IL;

Oldcastle Glass
1350 Avenue of the Americas, New York;

Pilkington North America
811 Madison Ave., Toledo, OH; 419-247-3731

325 Newhall St.,
San Francisco, CA;

800 Park Dr., Owatonna, MN; 507-451-9555

Bendheim provided all of the interior glass for all our glass walls at 166 Perry, and they were particularly helpful in procuring this blue glass. There’s only one or two shops in the world that make it, and they were instrumental in getting it for us.”
Christopher Johnson

David Shuldiner came in halfway through the TKTS job. They were terrific at solving problems on the fly. It was amazing to watch them work. You get a new respect when you watch these guys installing.”
Nick Leahy
Perkins Eastman

Goldray Industries’ depth of experience with glass types and fabrication has been critical to the Nexus. They worked with us to generate a large number of ceramic frit glass colors and translucencies to create a glass face that blends into the adjacent masonry brick campus context.“
Mike Harshman

“At Harlem Hospital we put a series of images over a 65-foot-high by 185-foot-long facade with just under 500 separate glazing units. In order for the images to appear continuous, all the sections had to align perfectly and have color continuity. We were really pushing the envelope and General Glass’ ability and interest to invest in innovative technologies helped us reach our goals.”
Richard Saravay

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St. Aloysius Church by Erdy McHenry Architecture with Unadilla.


Ace Styline
1747 West Carroll Ave., Chicago, IL;

Allegheny Millwork
104 Commerce Blvd.,
Lawrence, PA;

Architectural Woodwork Industries
1616 Walnut St., Philadelphia; 215-546-6645

CKS Architectural Millwork
2408 Reichard St., Durham, NC;

D. Reis Contracting
327 Sagamore Ave.,
Mineola, NY;

Eastern Millwork, Inc. (EMI)
18 Chapel Ave., Jersey City, NJ;

Fabio Salvatori Woodworking
63 Flushing Ave., Brooklyn;

Fetzer Architectural Woodwork
6223 W. Double Eagle Cir.,
Salt Lake City, UT;

Molba Construction
392 Liberty St., Little Ferry, NH;

Nova Remodeling
65-35 Yellowstone Blvd.,
Forest Hills, NY

RB Woodcraft
1860 Erie Blvd. East,
Syracuse, NY;

S&S Moulding
309 Wavel St., Syracuse, NY; 315-437-7759

Terminal Millwork
10 Erie Blvd., Albany, NY;

Unadilla Laminated Products
18 Clifton St., Unadilla, NY; 607-369-9341


Bamboo Mountain
110 Pacific Ave.,
San Francisco, CA;

Bettencourt Green Building Supplies
75 Freeman St., Brooklyn;

16301 NW 15th Ave.,
Miami, FL;

Mensch Mill & Lumber Corp.
35-20 College Point Blvd., Flushing, NY;

Smith + Fong Plyboo

Vixen Hill Manufacturing
69 East Main St.,
Elverson, PA;

Beach House by Alexander Gorlin with D. Reis Contracting (left) EMPAC by Grimshaw with AWI and Terminal Millwork
Michael Moran, Peter Aaron/ESTO

Ace Styline is a very professional company that strictly follows AWI standards. They have a large, efficient shop and install all over the country. These are the guys to use if you’re looking for low drama and someone willing to help solve problems.”
Rhoda Kennedy
Deborah Berke Architects

EMI brought a high level of craftsmanship and precision to the millwork on the New York Law School project. There are 12 classrooms and a large auditorium with Socratic seating, all with different radii requiring custom desk installation. EMI was able to provide quality shop drawings that required limited revisions, and all components of millwork were tracked with barcodes to facilitate craftsmanship and a high level of coordination with other trades.”
David O'Neil
BKSK Architects

“Our dialogue with Fetzer on the millwork in Alice Tully Hall was very collaborative and incredibly rewarding. They have a young team of engineers and were really able to assist us on a challenging project. They could have pulled back and covered their tracks when it got hard but instead they engaged with every step from fabrication to assembly.”
Anthony Saby
Diller Scofidio + Renfro

“The guy that engineered the roof of St. Aloysius Church is Daniel Tully out of Santa Fe. He patented this technology in the late ‘70s. No one’s used it in 20 years. It’s a hyperbolic paraboloid structure with wooden beams that outline a frame topped by three layers of plywood. Unadilla Laminated Structures fabricated it as a monolithic structure in their shop in upstate New York, which looks like a big skateboard park. Then they cut it apart, shipped it to the site, and reassembled it.”
Scott Erdy
Erdy McHenry Architecture

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Concrete, Masonry, Stone, and Tile

A Voce Columbus by Rockwell Group with Unlimited Stone
Courtesy Rockwell

P.O. Box 55, Cabin John, MD; 301-320-0042

Archetype Construction Corporation
147 Broadway St.,
Hawthorne, NY;

Bagno & Company

Belden Brick Company
P.O. Box 20910, Canton, OH; 330-456-0031

6840 Hayvenhurst Ave.,
Van Nuys, CA;

Concreteworks Studio
349 Dunhams Corner Rd.,
East Brunswick, NJ;

D. Magnan & Co.
32 Cortland St.,
Mount Vernon, NY;

7834 C.F. Hawn Frwy.,
Dallas, TX;

David Allen Company
150 Rush St., Raleigh, NC;

Designworks Tile and Stone
20 West 22nd St., New York; 212-645-3723

Endicott Clay Products
P.O. Box 17, Fairbury, NE;

Evans & Paul
140 Dupont St., Plainview, NY; 516-576-0800

2 Champagne Dr., Toronto; 416-635-8030

Querceta (Lucca),
Via Deposito, 269, Italy;

Lido Stone Works
4062-601A Grumman Blvd.,
Calverton, NY;

Marmo Masters
2419 24th Ave., Queens;

Pagliaro Bros. Stone Co.
6301 Foxley Rd.,
Upper Marlboro, MD;

1180 Lakeshore Rd. East, Mississauga, Ontario, Canada;

Pompili Precast Concrete
12307 Broadway Avenue, Cleveland, OH;

SMC Stone
640 Morgan Ave., Brooklyn; 718-599-2999

Stone Source
215 Park Ave. South, New York;

Swenson Stone Consultants
P.O. Box 651, Hanover, NH; 603-643-0363

P.O. Box 1145, Pittsfield, MA; 413-499-1441

Unlimited Stone
239 Washington St.,
Berkeley Heights, NJ;

Vermont Structural Slate Company
3 Prospect St., Fair Haven, VT; 802-265-4933

The YN 13 House by Morris Sato Studio with Evans & Paul
Amanda Switzer

“For the parking garages around Yankee Stadium, I worked with Endicott to develop four different colors of green brick. It took a while to get a really good palette, but I’m very pleased. I wanted the actual red clay of the brick itself to come through the glaze, to get an effect that varies in the light. They were able to keep the colors of the batches very standard, and that quality control was key.”
Wendy Evans Joseph
Wendy Evans Joseph  Architecture

“A very big part of research for us is experimenting with crushed stone, playing with the aggregate, adding flecks of mica and the like, and Pompili was very capable of giving us just what we wanted.”
William Horgan

“For A Voce’s facade, we needed four slabs of really nice marble to get the minimal chic Italian look we were after. Theresa Quintong at Unlimited Stone searched all over upstate until she found them. We call her the Marble Lady.”
Gregory Sanford
Rockwell Group

“Our client, Rockefeller Brothers Fund, wanted their new headquarters to be elegant, understated, and timeless, and to be a living model of their sustainable mission as an organization. Slate was strategically used in the main public gathering spaces of the project, as it embodies all of these qualities. Vermont Structural Slate is 500 miles from most locations in the northeast, which minimizes material transport and therefore environmental impact. Stone is a natural material that does not off-gas. It is also highly durable, which means it is unlikely to end up as waste material.”
Sara Agrest



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Fittings and Furniture
Autodesk Headquarters by KlingStubbins With Herman Miller and Tandus
Jeff Goldberg/ESTO


Bentley Prince Street
91 Fifth Ave., New York;

311 Smith Industrial Blvd., Dalton, GA;


Fleetwood Doors & Windows
395 Smitty Way, Corona, CA; 800-736-7363

Lambton Doors
235 2nd Ave., Lambton, Quebec, Canada;

McKeon Door Company
44 Sawgrass Dr., Bellport, NY; 800-266-9392

Raco Interior Products
2000 Silber Rd., Houston, TX; 800-272-7226

9017 Blue Ash Rd.,
Cincinnati, OH;


Barrett Hill
150 West 22nd St., New York; 212-239-4314

Bop Art NY

Herman Miller
855 East Main Ave., Zeeland, MI; 616-654-3000

Ian Ingersoll
422 Sharon Goshen Tpk,
West Cornwall, CT;

76 9th Ave., New York;

1325 North 59th Ave.,
Duluth, MN;

Moroso dba Unifor
146 Greene St., New York;

Peter Mann Studios
400 South Jefferson St., Orange, NJ;

Poliform Home Furniture
150 East 58th St., New York; 212-421-1220

Poltrona Frau
141 Wooster St., New York;


Assa Abloy
110 Sargent Dr.,
New Haven, CT;

7733 Old Plank Rd., Stanley, NC;

25 East 26th St., New York; 800-423-3531

HB Ives
2720 Tobey Dr.,
Indianapolis, IN;

Knape & Vogt
2700 Oak Industrial Dr. NE, Grand Rapids, MI;

LCN Closers
121 West Railroad Ave.,
Princeton, IL;

5535 Distribution Dr., Memphis, TN;

330 Reservoir St.,
Needham, MA;

480 Myrtle St., New Britain, CT;

Von Duprin
2720 Tobey Dr., Indianapolis, IN; 800-999-0408


AF New York
22 Wezt 21st St., New York; 212-243-5400

Davis and Warshow
57-22 49th St., Maspeth;

1700 Executive Dr. South, Duluth, MN;

P.O. Box 240, Hornberg, Germany;


25 Mercer St., New York;

66 Crosby St., New York;


Munrod Custom Upholsterers
111 East Sanford Boulevard, Mount Vernon, NY;

Timshell Rivers
39 East 12th St., New York; 718-768-8147

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The HigH Line by Diller Scofidio + Renfro and Field Operations with L'Observatoire International
eric Laignel


Domingo Gonzalez Associates
25 Park Pl., New York;

Fisher Marantz Studios

22 West 19th St., New York; 212-691-3020

Focus Lighting
221 West 116th St., New York; 212-865-1565

Horton Lees Brogden
Lighting Design
200 Park Ave. South, New York;

Leni Schwedinger
Light Projects
336 West 37th St., New York;

Lighting Design Collaborative
1216 Arch St., Philadelphia, PA; 215-569-2115

Lighting Workshop
20 Jay St., Brooklyn;

256 Hanover St., Boston, MA; 617-227-6920

L’Observatoire International
295 Lafayette St., New York; 212-255-4463

MCLA Lighting
1623 Wisconsin Ave. NW, Washington, D.C.;

Technical Artistry
145 6th Ave., New York;

Tillotson Design Associates
40 Worth St., New York;


46 Greene St., New York;

1000 BEGA Way,
Carpinteria, CA;

30500 Whipple Rd.,
Union City, CA;

Gotham Lighting
1400 Lester Rd., Conyers, GA; 800-315-4982

Kramer Lighting

Linear Lighting
31-30 Hunters Point Ave., Queens;

7200 Suter Rd.,
Coopersburg, PA;

Pinnacle Architectural Lighting
12655 East 42nd Ave.,
Denver, CO;

5 Lumen Ln., Highland, NY; 845-691-7723

5455 de Gaspé, Montréal, Quebec, Canada;

7400 Linder Ave., Skokie, IL; 847-410-4400

Zumtobel Lighting
44 West 18th St., New York;

Focus Lighting did the lighting design for Aureole Restaurant. I thought the lighting they selected was very appropriate for each room’s use. They were very aware of the setting of each room and how all the spaces worked together.”
George Avalos
Laurence G. Jones Architects

“We didn’t want to use exposed lighting fixtures at the NYC Information Center, so the only things emitting light are the media. Kyle Chepulis at Technical Artistry helped us figure out how to take all of the fixtures and stagger them so that we didn’t get any hotspots, and integrate the lighting with our media system so they can be tuned together.”
Claire Weisz
WXY Architecture + Urban Design

Suzan Tillotson is always brilliant and easy to work with. The lighting at our Southampton house had to be recessive, but there was a lot more to it. I design with twilight shots in mind, to capture that twinkling, magical time between day and night. Suzan’s the master of the twilight hour.”
Alexander Gorlin
Alexander Gorlin Architects

“In lighting the High Line, we wanted to make sure that the city lights would feature strongly as part of the evening landscape and L’Observatoire saw eye to eye with us on that concept. Instead of using typical overhead pole lighting that makes your eyes close down, they worked with us on developing a custom extrusion for linear LED light that doubled as the guardrail.”
Matthew Johnson
Diller Scofidio + Renfro