Search results for "432 Park Avenue"

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Viñoly's latest Manhattan skyscraper will only be half the size of his 432 Park tower, but that's still really tall
Rafael Viñoly's latest Manhattan luxury tower almost seems quaint next to his 1,396-foot-tall, trashcan-inspired 432 Park AvenueNY YIMBY has published renderings of the architect's 281 Fifth Avenue in NoMad, which is only about half the size of his Park Avenue behemoth. To be clear, this does not mean the new tower is short—it weighs in at 705 feet tall—but it does reinforce that 432 Park Avenue is really, really tall. As for its design? On its most basic level,281 Fifth Avenue's limited renderings released so far show a glassy box—a lot like other recent New York City skyscrapers. The tower sets itself apart with a series of horizontal spandrel bands between rows of ribbon windows that increase the amount of glass as it ascends—much like a slinky being pulled up from the ground. According to permits filed with the New York City Department of Buildings, the building contains 141 condominiums and nearly 8,000 square feet of retail on the first and second floor. Demolition is currently underway at the site, and the building is slated to be completed in 2018.
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Was Rafael Viñoly's 432 Park tower inspired by an architect-designed trashcan?
AN had the unique opportunity to walk around the top floor of the supertall 432 Park Avenue tower, where the full-floor penthouse with a $95 million view of Central Park is nearing completion. A Saudi billionaire, Fawaz Al Hokair, was recently announced as the buyer. Ironically, The Real Deal has reported this week that it was also announced by one of the architects—at a Cornell Center for Real Estate and Finance lecture in December—that the Rafael Viñoly design was inspired by, wait for it, a trashcan. 432-park-trash-can2 It's no ordinary trash can, however. The alleged inspiration is a design by Viennese Secession/ Wiener Werkstätte mastermind Josef Hoffmann. His gridded designs represented a new rational, rigorous way of composing objects in the beginnings of modern industrial design. Today, apparently, they are being copied at a larger scale for entire building. The geometric purity of the tower originally looked to us like it came from Aldo Rossi, but Hoffmann makes more sense, especially given the urban context/political ambiguity of the building. In the lecture, Harry Macklowe, who co-developed the building with the CIM Group, revealed that Renzo Piano was also considered for the tower but didn’t work out. The idea for a tall building with a pure form came from Piano, and Macklowe carried that idea forward through the project. “Renzo Piano had said to me—if you have a pure architectural form like a square and you uphold the integrity of that architectural form you will build a beautiful building,” Macklowe to the Real Deal. “That stayed in my mind, and I had considered Renzo Piano for the architect, but it didn’t work out for several reasons.” While the world's super-elite who will soon call the tower home likely would snub the idea of living like an albeit more sophisticated Oscar the Grouch, they might do well to pick up their own Hoffmann trashcan, available for a cool $225 from the Neue Galerie.
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Another supertall tower to rise in Manhattan's increasingly crowded supertall district
If you guessed that the newest luxury tower planned for Midtown, Manhattan would be very tall, skinny, and glassy then you, wise architectural observer, are correct. But don't be too proud of your guessing skills—predicting that a luxury New York City skyscraper will be a glass-wrapped giant is like guessing Hillary Clinton will be the Democratic nominee. It's too easy is what we're saying. Without further ado, we present to you 1 Park Lane, a 1,210-foot-tall glass condo tower revealed by New York YIMBY and designed by Handel Architects. The new building will replace Central Park South's Helmsley Park Lane Hotel which did not receive landmark status last year. "Windows will measure 10×14 feet, while ceilings on every floor will stand 15’5" tall," wrote YIMBY. "It appears the developers will maximize views by gutting the vast majority of the existing Helmsley Building and turning it into an enormous foyer, which will allow them to stack the extra floorspace up top." After a few massing setbacks, the building begins it rise. On the way up, there are four seemingly double height notches that are filled-in with plantings and get illuminated at night. The effect is similar to the passthroughs at Viñoly's 432 Park Avenue a few blocks away. The building is expected to be completed in 2020, so get those checkbooks ready, global elite!
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Take a look at the view from the tippy top of Rafael Viñoly's 432 Park, the supertall tower that will soon house the world's billionaires
AN got a rare look at the penthouse of 432 Park, Rafael Viñoly's soon-to-be-tallest residential building in the western hemisphere. After a six-minute ride on the construction lift, expansive, $95 million views open up in a 360 degree panorama from large square windows along all four sides of the full-floor apartment. While the building is still under construction, it has already topped out some 1,396 feet above New York City's sidewalks below. The 85-story tower is expected to be completed early next year, but some of the lower floors will be available for move-in this fall, if you are interested. Deborah Berke is handling the interior architecture in the building. Here are some pictures from the six penthouses at the top of Viñoly’s incredibly tall building on Manhattan’s Billionaires' Row.
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ODA reveals two new boxy New York City towers, each featuring an urban forest
ODA recently unveiled two major New York City projects, both of which are tall and expectedly boxy. The first is a 600-foot-tall, super-skinny tower near the United Nations. The Daily News reported that the building has “six 16-foot-high gaps in the facade—each filled with a full-floor, canopied green space that will wrap around the core of the tower.” The visual effect is a series of glass and, what appears to be, steel boxes that are suspended off the tower’s main spine. The extremely narrow structure has 2,600-square-foot floor plates, which the News points out are one-third the size of those in Vinoly’s supertall 432 Park Avenue. If the city approves the project, construction is expected to start in September and wrap up in late 2017. Just days after that project was revealed, NY YIMBY published a rendering of another ODA project in Lower Manhattan. This 229,000-square-foot tower also has a boxy aesthetic, but appears more sculptural due to the notched-out corner terraces. But most surprising about the design is the small forest that is planted on top of the building. Based on drawings, the trees would be planted behind a 12-foot parapet and grow to a height of about 40 feet. Executing this will be tricky, so we’ll just wait and see if the urban forest takes root.
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As the Camera Flies
Vincent Laforet/

New York City has been photographed from nearly every vantage point: sweeping panoramas, up close in detail, and from high above. But few images have captured the city’s density and sprawl, its tightly packed grid, its constellation of yellow and neon colored lights, and its changing skyline quite like Pulitzer Prize–winning photographer Vincent Laforet’s recent aerial series, Night Over New York.

Commissioned by Men’s Health magazine for a piece on psychology, Laforet proposed chartering a helicopter and shooting the city from high altitude. “I always thought the streets of New York look like brain synapses,” said Laforet. As a native New Yorker, who grew up enthralled by the cityscape, this assignment also presented a unique opportunity to photograph his home from a different perspective, one that is “between a satellite view and street view.” Laforet, however, is not new to aerial photography. He has shot wildfires in California, the devastation of Hurricane Katrina, and beach scenes at Coney Island from high above.

Laforet took these aerial photographs on a clear winter’s night from a helicopter hovering at 7,500 feet. With the exception of some added saturation and highlights, the images are untouched.

Before soaring thousands of feet in the air, he needed clearance from the Federal Aviation Administration (FAA) and air traffic control towers. Once he received the green light, he flew up in an open-door helicopter, 7,500 feet above the city, balancing 20 pounds of camera equipment. The images, explained Laforet, are the culmination of a perfect storm: a perfectly clear winter night, today’s advanced technology, and an intuitive sense for a visually compelling picture.

“They are just photographs of the city but from a unique angle and it seems like the city takes on a different importance and you can almost feel the energy of the city,” said Laforet.


The 50-plus images provide a myriad of views that at once convey the expansive breadth of the city and the concentration and individual character of the buildings that populate Manhattan’s intricate network of streets and avenues. One of the more salient aspects of this series, from an architectural standpoint, is the shifting scale of the city, marked by new construction in the last few years. In one picture, as we look down from above Central Park toward downtown, we glimpse a cluster of new and old skyscrapers jutting up toward the sky between 57th Street and Herald Square; from there, the landscape flattens as the buildings and the streets get smaller and more compact, branching off from the grid in Lower Manhattan, and then narrowing at the very tip, punctuated by SOM’s towering One World Trade Center. Revealed in these photos is the tension between the transience of the city and our own illusive fixed image of the iconic skyline. Some new additions posed a challenge for Laforet, specifically Rafael Vinoly’s recently erected monolithic 432 Park Avenue. “It ruins the skyline and almost every aerial I shoot,” said Laforet.


This entire project was completed and posted in a short period, which didn’t allow time for retouching. Aside from sensors that pick up light, and adding some saturation and highlights, little was done to the photographs.

Working off the momentum of this series, Laforet is embarking on a multi-city tour from San Francisco to Tokyo, to capture these metropolises at night. “These pictures speak to how big the city is, how massive it is, and how connected and small we are,” said Laforet.

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In Detail Favorites
432 Park Avenue will be one of the few high-rises in New York in which structure and expression are one and the same.
Courtesy dbox

For our In Detail column, AN goes behind the curtain wall, if you will. Through a careful study of a project's many details, we can provide an in-depth look at some of the country's most impressive new works of architecture.


Fulton Center

Lower Manhattan gets a scrumptious taste of sexy British high-tech. 


[Continue reading.]



19 East Houston Street

S9, an affiliate of Perkins Eastman, serves up a contemporary interpretation of Soho's cast iron facades.



58 Kent Street

Scott Henson Architect preserves the marks of time on an industrial facade in Greenpoint, Brooklyn.



150 2nd Street, Cambridge

Elkus Manfredi designs a cost-effective LEED Platinum spec lab building.



432 Park Avenue

How Rafael Vinoly Architects is building Manhattan's second-tallest tower.



837 Washington Street

Morris Adjmi adds a twisting topper to a meat packing landmark.



Atlanta Falcon's Stadium

360 Architecture and BuroHappold designed a stadium with a retractable, petal-like roof for the Atlanta Falcons.



Clark Art Institute Water System

Diving into a sophisticated water retention system by Tadao Ando and Reed Hilderbrand with Gensler.



BP Computing Center

HOK designs a data center and workspace in suburban Houston.




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AA Studio
11 North Moore, New York, New York.
Courtesy AA Studio

AA Studio works out of a converted mechanics garage in Williamsburg, Brooklyn. It is the type of space you would expect for a firm that transforms old, industrial buildings into sleek, modern spaces. The 10-person firm was founded a year-and-a-half ago by Italian architect Aldo Andreoli and has a growing body of work that is clustered in two different New York City neighborhoods: Red Hook, Brooklyn, and Tribeca. AA Studio is currently working on multiple projects with Morris Adjmi Architects under the moniker Adjmi & Andreoli.

In Brooklyn, AA Studio is turning warehouses into lofts and cultural spaces, and designing ground-up townhouses. In Manhattan, alongside Adjmi, the firm is producing high-end residential projects and mixed-use cultural spaces. Andreoli’s Italian background is infused throughout his firm’s work. With a minimalist approach, and a muted color palette of whites, grays, and blacks, AA Studio showcases high-end, often-times Italian-made fixtures and finishes. It helps that Andreoli knows Italian fabricators and manufacturers, and that, given Italy’s economy, they are eager to work abroad.


11 North Moore
New York, New York

Working alongside Morris Adjmi, AA Studio designed 11 North Moore, a 10-story, loft-style building in Tribeca. The building, currently under construction, is clad primarily in brushed limestone and has expansive window panels. The result is a grid-like façade that has been compared to Vinoly’s super-tall 432 Park Avenue, albeit on a much smaller scale. Eleven North Moore’s exterior is broken up with a two-story base made of black steel beams and dark gray granite that runs up the building on its Varick Street side. A significant setback on the sixth floor creates spacious terraces for the apartments, which are fittingly decked out with high-end Italian finishes.


Spring Studios at 50 Varick
New York, New York

Just a few feet from 11 North Moore is 50 Varick, another Adjmi & Andreoli project. The team transformed the upper floors of a Verizon telephone center into an event space worthy of a Fashion Week runway. The revamped 130,000-square-foot space has become the New York outpost of Spring Studios, a London-based design company. The project includes studios, greenrooms, a restaurant and café, a gallery, cinema, library, offices, post-production facilities, event space, and a green roof terrace. Many of these spaces are connected with a dramatic, jagged staircase that is intended to evoke M.C. Escher’s iconic “Relativity” print. The black steel structure was realized with a digital 3D model, fabricated in Italy, shipped over in pieces, and welded into place on site.

The focal point of Spring Studios is the multi-story, glass wall that is cut into the structure’s facade. From the street, the massive expanse of glass allows the public to peer inside, and from within Spring Studios, it provides dramatic views to the West.


160 Imlay
Brooklyn, New York

For decades, this massive, century-old warehouse has been a hulking, decaying shell on the Red Hook waterfront. But by 2016, the 230,000-square-foot structure, first known as the New York Dock Building, will be filled-in with million-dollar lofts. Set against floor-to-ceiling windows, these well-dressed spaces have exposed concrete ceilings and columns, and modern, Italian-made kitchens and baths. When starting on this project, Andreoli said he first decided to preserve and expose as much of the original structure as possible. Accordingly, there are no major design gestures added to the building’s exterior; instead, concrete is repaired and new windows are slotted into place. Andreoli said one of the main challenges with converting such a long building was dividing it up into homes that were both sellable and livable. The firm decided to separate the building into individual lofts that span the width of the building—offering views of Manhattan from the living rooms and of Brooklyn from the bedrooms.


AA Studio Offices
Brooklyn, New York

Behind a rolling glass and steel gate, framed by an elegant dark-brick facade, is the Italian-crafted, workspace of AA Studio. Completed in 2013, the 2,500-square-foot office is defined by gray, symmetric volumes that contain storage, bathrooms, and kitchen facilities. These forms are angled to create an illusion of added depth between the meeting area upfront and the workspace in the back. The office’s rectangular conference table was crafted by the Italian company Boffi and sits just feet from the sidewalk. Further back are the office’s workstations, which are separated into two rows and set against exposed brick walls. Running between those stations is a 24-foot-long table that was designed by AA studio and fabricated by Molteni & C, another Italian furniture company. Beyond the workstations, towards the back of the office, is a floor-to-ceiling oak bookshelf, and sliding glass doors by Lualdi that open up to another meeting room and office.

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Archtober Building of the Day #7: Virgin Atlantic Clubhouse at JFK
Archtober Building of the Day #7 Virgin Atlantic Clubhouse Terminal 4, John F. Kennedy International Airport Slade Architecture in collaboration with the Virgin Atlantic in-house Design Team “The memory of having a really appalling cup of coffee served to you by someone who woke up on the wrong side of the bed can really ruin your experience,” said Jeremy Brown. Service is the obsession of the senior design manager of Virgin Atlantic Customer Experience, who was leading the Archtober tour of the new Virgin Atlantic Clubhouse at New York's JFK Airport. Virgin and Slade Architecture have spared no expense and left no detail unattended to in the pursuit of creating a memorable experience. Virgin’s clubhouses all intend to reflect their locations, so Slade focused on a mid-century notion of “Uptown” Manhattan. Far from Harlem, Slade was thinking of Mad Men–era opulence, and layered, inviting open spaces, with the Eero Saarinen TWA terminal visible across the tarmac. The entrance is totally white, with only subtle variances in texture. Brown said he didn’t want to use “a sledgehammer of red to cover everything.” The “Upper Class” passengers, for whom the lounge is intended, are accustomed to subtly. The only red is the uniform of the Virgin “colleague”—their word for employee—at the front desk. Framed by the entrance, the clubhouse’s central seating area beckons alluringly. Hayes Slade explained that, from the very first, experiencing the clubhouse must be intuitive. Working from the uptown metaphor, the clubhouse is organized around a “central park” space anchored by the bar, around which, Brown admitted, the experience of the clubhouse tends to revolve. The unusual but cozy furniture, by Situ Studios, is meant to evoke the landscape of the park, “comfortable but not what you’d have at home,” said Slade. A semi-transparent wall of walnut fins screens the space, their irregular heights meant to evoke the skyline around the park. Leaving the central park space, there are various sitting and dining areas, some intended for conversation and others for solitude and work. There is even a spa, complete with a massage table and showers. High-quality materials like solid wood, leather, and wool are used throughout—materials that, Brown said, affluent passenger would be used to living with. Slade and Virgin agree that details matter. James Slade said the intention was for “perception to engage the occupant.” The traveler who has a longer stay will notice details like custom-made Empire State and Chrysler Building wallpaper in the dining room, a hotdog cart and apple wallpaper in one private nook, and Park Avenue blueprints in the bathroom. The experience is meant to be flawless, avoiding even one bad cup of coffee. “Service, and the memorable experience you can have in a beautiful place,” should be the only take-away, Brown explained. Today's tour will be at 3:00p.m. at the recently-opened National September 11 Memorial Museum by Davis Brody Bond. Tyler J. Kelley is a freelance journalist living in New York City. He also teaches printmaking at Parsons The New School for Design. Find more of his writing at
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"Walk For The Dead" Urges Pedestrian Improvements in Los Angeles' Highland Park
While Los Angeles implements plans for new bike lanes and other pedestrian improvements along its streets, there is still plenty of work to do. As part of that struggle, Highland Park residents and local activists this week staged the "Walk For The Dead," along North Figueroa Street, wearing Day of the Dead makeup and costumes as a reminder of the pedestrians and bikers who have been killed by cars on the thoroughfare. The road is often used as an alternate route to the nearby 110 Freeway, with cars traveling at excessive speeds, claimed the protesters. They also noted that while LA has chosen the road to become one of the its "Great Streets," local councilman Gilbert Cedillo has resisted efforts to make Figueroa a "Safe and Complete Street," with bike lanes and other traffic calming  measures. "The community is sick of unsafe streets, and wants to see improvements," said Eric Bruins, Planning and Policy Director for the Los Angeles County Bike Coalition. Bruins said that plans for bike lanes on the street have already been approved by the city's Department of Transportation (as part of the 2011 city bike plan), but that the department is still awaiting Cedillo's sign off. AN's request for comment from councilman Cedillo's office has so far gone unreturned. The Bike Coalition hopes that bike lanes are the first phase of improvements on the street, added Bruins. Future measures, dependent on funding, would include plantings, street furniture, improved crosswalks, and other pedestrian improvements. But for now safety is the chief concern.  "Our children deserve safe streets," said local community leader Monica Alcaraz. "North Figueroa is not a Freeway."
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432 Park Avenue
432 Park Avenue will be one of the few high-rises in New York in which structure and expression are one and the same.
Courtesy dbox

Topping out at around 1,396 feet, 432 Park Avenue will be the second loftiest building in Manhattan when it is completed late in 2015. It will not hold this title for long. Already there are taller buildings in development, including the 1,550-foot-tall 215 West 57th Street just around the corner. But even once it is surpassed in height, 432 will stand out among the crowd of super-tall residential buildings in New York City by dint of its unconventional and elegant structural system.

Courtesy Taylor Scott Mason

In addition to being very tall, 432 is very slim. Its footprint is 94 feet square. This extremely slender height-to-width ratio created several challenges for Rafael Viñoly, whose studio designed the tower with executive architect SLCE and structural engineering firm WSP USA. For one, the wind vortex acting upon such a spindly structure promised to create a very uncomfortable amount of acceleration in the upper reaches of the tower, unless strong measures were taken to brace against it. And then there was the challenge of devising a structure that would not only keep the residents from becoming sea sick and the water from sloshing around in the toilet bowl, but would also provide efficient and flexible floor plates capable of being reconfigured by apartment owners.


The team began by locating the core in the center of the plan and moving the rest of the structure—all reinforced concrete as is typical of residential construction in New York—to the perimeter, leaving clear span bays of 27 feet. The conventional structural solution for managing lateral forces in this type of construction is to use shear walls, which are wider at the bottom of the building and get narrower up the elevation. This, however, did not suit Viñoly’s goal of providing a maximum of flexibility, since it meant that lower floors would have less access to exterior views than those toward the top. Instead, the team came up with a “basket grid” solution of beams and columns based upon a regular, repeating module that would provide the necessary stiffness and the same permeability across the entire structure.

The dimension for the module that the team came up with is 3-foot-8-inch-wide columns and 3-foot-8-inch-wide spandrel beams, leaving six equal open bays across each face of the building—the basket grid. The depth of the columns ranges from 20 inches at the top of the building to as much as 5 feet 4 inches at the bottom. The floor-to-floor heights are 15 ½ feet with 10-inch-thick slabs, though at the top of the building the slabs are 18 inches thick in order to add more mass to combat acceleration.


MEP Engineer
IBA Consultants
Concrete Contractor
Roger & Sons


Still more had to be done to relieve the wind vortex acting on the structure. Here Viñoly struck upon a particularly ingenious idea: opening the facade at regular intervals and letting the wind simply pass through. Every 12 floors, two levels of the basket grid modules are left empty. Within these open floors are circular enclosures housing mechanicals that serve the six floors above and the six floors below. Breaking up the mechanicals in this way also meant that the architects could keep the ducting at a minimum, preserving valuable saleable square footage. Two large tuned mass dampers at the top of the tower and outriggers in certain of the mechanical floors further contribute to steadying the building.

At 432 Park Avenue, the structure is the facade. The building was literally designed from the inside out. The basket grid of 14,000 psi white Portland cement, cast around preassembled full-floor cages of #20 rebars with steel formwork, filled in with 10-foot-by-10-foot windows, is left without any fascia. It is as simple and elegant an expression of what makes the building work as one could hope to see in a New York City luxury condominium.

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One Park To Bind Them All
Courtesy James Corner Field Operations and LAND Studio

As many metropolitan areas around the Midwest begin to reap the benefits of a downtown resurgence that has graced cities from Cincinnati to Chicago, Cleveland plans to turn its lackluster Public Square into a 10-acre park in the heart of downtown.

James Corner Field Operations, Cleveland-based LAND Studio, and transportation consulting firm Nelson/Nygaard have designed a plan to close a two-block section of Ontario Street, a major thoroughfare, and leave Superior Avenue open only to buses. The site is currently four squares, segmented by Superior Avenue and Ontario Street. The proposal hopes to unify them thematically and spatially beyond the closure of Ontario Street.

Picnic Hill.

“Public Square at this point is a means to an end,” said LAND Studio senior project director Nora Romanoff. “It’s just not very pedestrian-friendly at all.”

In the design, tree-lined pathways and grassy hills weave the square together. The programming aims to make it a true civic space. Dedicated spaces, such as “Picnic Hill” and “Speakers Terrace,” complement space for kiosks, cafes, and ice-skating.

Superior Street bisecting the site will be open only to buses.

In Cleveland, downtown development has gathered considerable momentum since the 2008 financial collapse. The city’s mall is getting a facelift, and recent developments include a massive new medical mart and convention center, a casino, and downtown residential and hotel developments. In early June, Cuyahoga County and the City of Cleveland announced another $360 million for planned development linking Public Square with the lakefront.

Concert hill (left) and the plaza around an existing monument (right).

While redevelopment efforts in the 1990s failed to produce the public interest that comes with a true civic renewal, planners today are focused on parks and cultural experiences. The designers of Public Square hope to unite citywide development gains, stitching together a lively downtown with a leafy civic space.

“We’re trying to optimize all of these catalytic projects that are happening around Public Square,” Romanoff said. “If we’re doing our job right, absolutely this is a park that spurs all of these other things that have nothing to do with the park, but at the same time have everything to do with the park.”