Search results for "Manhattan"
The Architect's Newspaper took an exclusive preview tour of the building over a year ago. The Beekman has quickly become an Instagram hotspot; visitors have taken some beautiful shots of its lobby, which features an intricately-detailed 9-story atrium. GKV Architects reports that the "historic cast iron balconies, the grand skylight, the atrium... the wood millwork doors and windows surrounding the atrium" were all part of their restoration effort.
The Temple Court Building—as it was originally named—was completed in 1883, with an attached annex completed in 1890. According to GKV Architects, it was the first of the "fireproof" skyscrapers in New York City, though that didn't stop a small fire from breaking out in 1983. The building and annex were designated a New York City Landmark in 1998.
The first 10 floors of the 68-unit condominium are attached to the hotel and the building's permanent residents will have access to the hotel's amenities. This includes personal training at the hotel's fitness center and in-residence dining by the hotel restaurant, led by celebrity chef Tom Colicchio.The opening of the Beekman Hotel is one of the year’s most anticipated New York City hotel unveilings. The soaring nine-story atrium of the gorgeous Temple Court has stunned since it was first built in the 1890’s, and it looks like Thompson Hotels’ overhaul of the landmarked structure will follow suit. #beekmanhotel #thompsonhotel #newyorkcity #luxuryhotels #templecourt #luxurytravel #getaway #experience #hotels A photo posted by Hudson Walker International (@hudsonwalkerint) on
Of course, all this luxury doesn't come cheap: units start at $1.475 million and run up to $3.75 million. A two-day stay at the hotel in early October will run you over $500 a night.At the Beekman Hotel in downtown Manahttan today for an exclusive event. We have our excellent bartender Mike Chiavetta serving the guest tonight. 🍸🍷 #beekmanhotel #exclusive #vip #privateparty #manhattan #beekman #catering #baronstaffing #bartender A photo posted by Baron Staffing LLC (@baronstaffing) on
NYC DCP to review plan for SHoP-designed supertall on Manhattan’s Lower East Side after all
ARO pays careful attention to symbolism, craft, security, and inclusivity in designing new Manhattan synagogue
“The Torah was the first building code,” said Rabbi Sharon Kleinbaum of Congregation Beit Simchat Torah (CBST), the prominent LGBTQ-welcoming synagogue. Stephen Cassell, principal at Architecture Research Office (ARO), quoted the rabbi, who was interpreting Deuteronomy 22:8, which set forth practically and ethically the need for parapets to keep people from falling off roofs. From simple safeguards to symbolic elements, ARO’s work for CBST integrates design details with values that Kleinbaum called “radically traditional.”
ARO remodeled the 1928 18-story Cass Gilbert building at 130 W. 30th Street, converting former furriers’ shops into CBST’s first permanent home after over 40 years in rented quarters. It was first in Chelsea’s Church of the Holy Apostles, then in a Westbeth loft. CBST members ceremonially marched last April 3 from the loft to the new site, where nine years of planning and design work have yielded a dignified space for Jews of every identity.
Preserving Gilbert’s Assyrian terra-cotta friezes, Cassell and colleagues wove a complex program into the 17,000-square-foot building. The sanctuary’s ner tamid (eternal light) is embedded into a column rising from the bimah (podium) and pews designed by London’s Luke Hughes are removable for social events. A structural-concrete rear wall supporting a panel of striated glass-fiber-reinforced concrete holds the Torah ark, and tilts back to admit a 46-foot-wide skylight—and enhancing sonic clarity and increasing perceptible area without exceeding allowable floor area. Chicago-based Threshold Acoustics optimized the space to accommodate both a highly musical congregation and the residences above it. Yahrzeit memorial candles are reinterpreted as individually controllable LEDs in a gray glass wall. Revising the traditional orientation of a bimah toward Jerusalem, this podium along the southern wall creates a wide 299-person space where no seat, even in the mezzanine, is more than 35 feet from the speaker.
Rabbi Kleinbaum’s brief, Cassell reported, specified that “everything had to be fabulous.” The 18-foot-high lobby declares CBST’s identity with lavender glazing and rainbow flags. “From day one of designing, we were designing for gay weddings; there was an assumption that they would be legalized; this took place in the middle of our working on the construction documents,” Cassell noted, adding, “We don’t want an outside hall to do that.” CBST’s Javits Center services on the High Holidays draw four-figure crowds.
The Torah ark is protected by a sliding panel of steam-bent oak staves and includes a custom-woven Bogotan tapestry and a laser-cut fabric whose 14th-century Spanish design recognizes Sephardim, the Jews who were expelled from Spain and Portugal after 1492. A chapel-library includes an additional ark incorporating 1920’s doors rescued from the Bronx’s Tremont Temple Gates of Mercy. Excerpts from secular and sacred literature proliferate. Though last month’s events in Orlando underscore the risks a diverse group faces in a society where the intolerant can be armed, CBST refuses to hide behind bollards or metal detectors. However, blast-resistant film coats the facade glass, protecting the lobby without shouting “security.”
Cassell found that congregants were closely attentive to the ways architectural features reflect priorities: “Everything was freighted with meaning, because this is the first time they’ve had a home of their own.” The question of whether pews rather than chairs are appropriate in a synagogue, he recalls, occupied “probably 25 meetings.... In some ways it is radically traditional; this aligns with [the question], what does it mean as a community to share a seat?” Classroom doorways include ADA-compliant mezuzot within reach of anyone in a wheelchair.
A nongendered restroom with eight full-height stalls that accommodate people of any identity with privacy and respect, illustrates CBST’s saga through a “history wall” of documents, including the Department of Buildings (DOB) variance allowing the restroom to bypass requirements for separate men’s and women’s rooms. “The rabbi wrote a phenomenally impassioned letter,” Cassell recalled, and DOB granted the variance. He wryly quoted its bureaucratic language about “‘the LGBT community, where conventional definition of gender is no longer sufficient.’ Hearing that coming from DOB is unheard of.”
Far from Chelsea, such a room itself might be unheard of. Still, Cassell notes, “it’s not rocket science.” Creating spaces appropriate to a population’s diversity, this building suggests, merely requires design sense fused with common sense and common decency.Resources Lighting Designer Tillotson Design Associates Ark and Custom Furniture City Joinery
Memorial Wall and Ner Tamid Fabricator RUSHdesignRitual Items Design Mark Robbins Acoustics Threshold Acoustics
New York City is one of the most expensive global cities for office space, along with London, Hong Kong, Beijing, and Shanghai. According to data from real estate firm JLL, the average cost of office space per square foot in New York for 2015 was $171. So it is no wonder that companies are turning to innovative ways to rethink where and how they work.
A midtown Manhattan office interior unites three companies—America’s Kids, Gindi Capital, and Mad Projects Industries—across 15,000 square feet to make the most of this precious commodity. (The three companies are leasing the space as one entity.) New York–based architecture firm Only If — was tasked with creating a balanced range of spaces: Half of the space is dedicated to interactive and open space, while the other half to more closed areas for focused work. At one end, toward the right of the lobby, is Gindi Capital and at the other end is Mad Projects with America’s Kids housed in a space near the middle. Among the three companies, there are open work areas and private offices, conference rooms, a studio, a showroom, as well as a lobby, lounges, and a kitchen.
“The three companies, which range from fashion to real estate, had different and often conflicting requirements, but we mainly interfaced with Mad Projects. Mad Projects supported our work but also pushed us further in a way that was truly collaborative,” explained Adam Frampton, principal of Only If —. “During the design process, we were often in a position of mediating and resolving the conflicts between companies that, given their different operations, by definition, had very different needs and visions for what their office should be. Aspects of the design brief were totally contradictory.”
Only If — focused on a simple palette of black and white to help tie the spaces together. “At first, given that each business is very different and relatively independent, we considered expressing differences throughout the entire space as different zones,” said Frampton. “The monochromatic approach provides a relatively neutral background. It doesn’t look overdesigned, and it doesn’t look like the so-called contemporary creative office where one finds tech startups or coworking spaces. As an architect, it’s the kind of space I’d like to work in.”
The firm also employed a range of materials to help break up the space and introduce variety. There are wood, felt, stone, glass, and mirrors that cloak the plus-sign-shaped clothing display and storage module in Mad’s showroom. “The perpendicular and parallel relationships between mirrored surfaces create cascading visual effects,” said Frampton. The mirrored module also helps to divide the showroom into separate display areas.
The firm started working on the project in summer 2014. The clients moved in March 2015, and the interior was finished by fall 2015. “Within an accelerated schedule, a lot of the design also happened while the project was already under construction,” said Frampton. “Technically, the black, seamless floor was also quite challenging to achieve. It’s a poured resilient polyurethane, and because the building was originally two separate buildings, there are different subfloor conditions that had to also be constructed.”
The midtown office project gave Only If—an opportunity to think more deeply about the next wave of office interiors. “The project allowed us to speculate on what we think the future of the creative workplace will be,” said Frampton.
Furniture - Products:
BKSK Architects + Morris Adjmi
Two modern developments in Manhattan’s Noho neighborhood given the green light by the LPC
LPC grants tentative approval to New Classical replacement townhouse on site of blown-up Manhattan building
Hercules Art Studio Program
A new model for affordable artist studios in Manhattan
“I just got tired of people always talking about the same problem—it’s simple, just don’t go for the highest dollar [as a landlord],” said sculptor Andrea Woodner in response to constantly hearing how hard it is to foster the arts in New York City. When the third floor became available in her building, 25 Park Place, she worked with architect and business partner (the pair cofounded Design Trust for Public Space) Claire Weisz of WXY to renovate it for artists’ work studios to be leased below market rate. They dubbed it the Hercules Art/Studio Program (named for the 1930s Hercules Seating sign on the building).
Woodner initially envisioned the type of studio she once had: a large, empty sunlit space. However, after talking with a few artists, she amended her plans from three 1,000-square-foot studio spaces to seven 300-square-foot spaces, which would be cheaper. “It’s custom-made for this generation of artists,” said Woodner. “It’s not what I had, but it’s what they wanted.”
Weisz gutted the 5,700-square-foot space to create the seven studios, a common area, an industrial kitchen, bathrooms with showers, and a gallery. “It looks simple, but it took a lot of fussing,” said Weisz.
Getting sunlight to permeate the north-south-oriented floor proved particularly tricky. Weisz built partial, eight-foot-high walls to provide privacy without inhibiting natural light or the flow of heating and cooling. Although the budget was tight, Weisz opted to splurge on gallery-quality lighting designed by Domingo Gonzalez of DGA.
Woodner selected the seven students to fill the space by visiting local graduate programs at Hunter College and Columbia University. Each applicant had to submit a statement explaining that having a rent-controlled studio was critical to him or her to be able to continue working. Finalists were then interviewed to make sure they would be a good fit for the collaborative space. Woodner plans to host discussions, shows, and panels in the building to further connect the artists to the community and vice versa.
There are hopes to expand the program. “I’m a realist,” said Woodner. “The headwinds are in appreciating real estate value, so to do anything other than that is an uphill climb. I am doing it because I can afford to do it. I am happy to do it. I would like to encourage other landlords to contribute space as well. We are only going to be able to chip away at this, but if we can make some incremental changes toward bringing artists back to lower Manhattan, it can be mutually beneficial…the city needs the artists as much as the artists need the city.”