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Architects have been on alert ever since Obama declared on December 6 that he aspired to a building plan as ambitious as any the country has ever known—or at least that is what architects wanted to believe they heard. In reality, it wasn’t actually so much about new buildings as possibly new transportation, and not even so much about new railroads or high-tech mag lev—with their attendant stations and hub development—so much as about prosaic road and bridge repairs.
The high hopes for a vast and visionary infrastructure push that would translate into a wave of architectural design have gradually faded. A January 20 article in The New York Times put it bluntly: “Big transformative building projects seem unlikely.”
And still the air of opportunity persists, bolstered by the lists of 10,000 schools to be updated, 90 ports to be secured, 75 percent of federal buildings to be weatherized, and 1,300 waste-water projects to be built. (Remember what stunning work Steven Holl and Yoshio Taniguchi did with those water and waste plants?) At some point the “private sector” is also supposed to kick in with a $100 billion investment in clean energy projects, some of which will have to be three-dimensional.
The brute fact is that—like the shot of adrenalin to Uma Thurman’s character in Pulp Fiction—the $825 billion stimulus package has to be delivered fast and straight to the heart of the problem: joblessness. Even fast-track architecture doesn’t normally operate at that speed. Some advocacy groups, namely America 2050, a national coalition of regional planners, scholars, and policy-makers focusing on innovative ways to solve infrastructure, economic development, and environmental challenges, is warning that the money must not be spent all at once, but rather in phases that allow for strategic planning, job training, construction, and engineering evaluations.
And that’s where architects can regain some ground. In a timely book about the relevance of architects, Architecture Depends (MIT, 2009), Jeremy Till, the dean of architecture and built environment at the University of Westminster in the UK, says that architects have to shelve the notion that they are in the business of solving problems where the answer is almost always new construction.
For if architects are not part of first imaginings, he writes, they are already hopelessly out of the game: “It is normally assumed that the most creative part of design is concerned with the building as object, hence the fixation with formal innovation, but it may be argued that the most important and most creative part of the process is the formulation of the brief.”
Many architects are already aware of this and have reprogrammed their practices to address a wider spectrum of analysis—of social usage, of historical relevance, of fiscal viability or even geological context—well before design takes place. More architects, the whole profession actually, needs to become better known for what planning theorist John Forester calls “sense-making” rather than form making. Cedric Price famously said that the best solution to an architectural problem may not be a building. And never has it seemed more imperative to the welfare and survival of the profession that architects make themselves known as designers of options, instead of icons.
AN is thrilled to deliver the Eavesdrop baton—oh, dare say cudgel, do!—into the dextrous hands of Sara Hart who has long impressed many with her wickedly apropos sense of humor. We count on you all to slip her innuendo-loaded emails, secret handshakes, and any floating info aching to land in print.
PENGUINS IN THE POOL ROOM
The Penguin Club lives! Seen at the Four Seasons on inauguration night was a reconvening of the so-called Penguin Club, the group of once-young avant-garde architects whom Philip Johnson had regularly hosted for all-male, black-tie dinners at the Century Club from the mid-1970s onward. The lineup of aging superstars included, among others, Michael Graves, Richard Meier, Charles Gwathmey, Harry Cobb, Jacquelin Robertson, Bob Stern, Steven Holl, Bernard Tschumi, and Jorge Silvetti. Conspicuous by his absence was charter-member Penguin Peter Eisenman, but conspicuous by his presence was Graves, whose enormous motorized wheelchair necessitated the group’s dining at a long table in the northeast corner of the Pool Room, rather than in the private space they had requested. According to Four Seasons co-owner Alex von Bidder, these events are an ongoing series, though they are not bankrolled, as had been widely speculated, by a bequest from Philip Johnson, whose entire estate along with the art-auction proceeds of his late longtime partner, David Whitney, went to the endowment for the Glass House.
NEW BLOGS IN TOWN
A new architectural/design blog has arrived to entertain and inform you. Edited by design writers (and AN contributors) Eva Hagberg and Ian Volner, Edificial (edificial.com) is the latest addition to Breaking Media’s stable of sharply written industry-specific blogs, which includes Above the Law, Fashionista, and Dealbreaker. The content will be gossipy, but it will also include back stories about projects, people, deal-making, and all kinds of design extranea. According to Hagberg, the editors plan to critique the critics and introduce new voices. “We’ll present the up-close play-by-play and the long view,” she said. “There will be roundups, link dumps, and essays. Edificial will be personal, political, and polemical.” No doubt it will be all of those things and, if successful, make money for Breaking Media. Best of luck! Meanwhile, over in the serious and sober nonprofit world, the Architectural League of New York went live with its own blog on January 5. Underwritten by the NYC Cultural Innovation Fund of the Rockefeller Foundation, Urban Omnibus (urbanomnibus.net) will feature “multimedia content to showcase design innovation, critical analysis, and local expertise” with the aim of encouraging “a more inclusive, more sustainable, more beautiful city that could be.” Bring on the multimedia. We’re parched!
Send tips and page views galore to email@example.com
Impresario André Balazs has set necks craning and tongues wagging with his structurally brazen, Polshek-designed tower over the High Line. That Balazs has transformed this high-visibility site into public accessibility—with a sprawling street-level plaza and elevated public spaces designed to connect directly to the High Line—makes the Standard all the more noteworthy. Julie V. Iovine takes in the view.
COURTESY cooper square
New York–based architect Carlos Zapata and famed Italian designer Antonio Citterio have created the latest addition to the fast-transforming edges of Astor Place. By incorporating existing tenements into the tower’s base and layering public and private spaces, hotelier Klaus Ortlieb extends a tradition of suitably incongruous East Village aesthetics. Alan G. Brake checks in.
Because a quirk in the 1961 zoning code treats hotels the same way it does factories, some hoteliers are plumping pillows where metalworkers once stamped tin. As demand drives new transient hotels in dwindling manufacturing districts—eight are under way blocks from the Gowanus Canal—job-retention advocates are crying foul. Matt Chaban investigates.
Buildings by well-known architects are transforming the shaggy edges of Cooper Square and Astor Place, once the domain of college students, homeless people, and Cube-spinning hangers-on. The latest addition, the Cooper Square Hotel, is a striking juxtaposition of old and new, with 19th-century tenements incorporated into its base and a curving, contemporary tower above. The building, designed by New York–based architect Carlos Zapata with interiors by famed Italian designer Antonio Citterio, engages with its context but makes a few clean breaks, as well.
“We wanted to create an architecturally significant building to reflect the changes in Cooper Square,” said Klaus Ortlieb, managing partner for the hotel, referring to the architecturally ambitious new buildings associated with Cooper Union. A new academic building by Morphosis is rising next door to the hotel, and the curves of Gwathmey Siegel’s condominium building at adjacent Astor Place are visible from its rooms. A new mixed-use project designed by Fumihiko Maki is also planned just two blocks away on the site of the school’s engineering building.
Unlike the developers of those buildings, however, Ortlieb and his partners chose not to clear the site. After initially planning to demolish three tenement buildings, one of which includes protected artists’ apartments, they reversed course and asked Zapata to redesign the building, incorporating the tenements into the new building’s base and creating a contemporary form above. Two apartments, one of which is home to a well-known poet, remain, and are now accessed through the hotel’s main entrance. In retaining these buildings, the developers avoided a messy public fight, which could have tainted the hotel’s relationship with the famously cantankerous neighborhood. (Zapata is no stranger to controversial additions to historic buildings: His most famous project remains the renovation of Chicago’s Soldier Field, designed with former business partner Benjamin Wood.) The hotel’s sleek glass tower, built by Sciame, is narrow where it joins the base and swells in the middle before tapering again at the penthouse level. This Miami-meets-McSorley’s relationship between old and new is interesting and somewhat jarring, but could be read as another iteration of the clashing of styles and repurposing of found objects that has long defined East Village aesthetics. The planned landscape design by Nathan Browning, which will include a large dining garden wrapping around the rear and side of the hotel, may help to bring these opposing sensibilities into greater harmony.
courtesy cooper square
Inside, Zapata has woven a complex and layered sequence of public and private spaces into the narrow site. Bar and restaurant patrons can enter just to the left of the main hotel entrance. The bar area has a curved ceiling covered in black subway tile that forms the underside of a 20-person stadium-seating screening room. Behind the bar and restaurant, bordering on 5th Street, the outdoor garden and dining area will be accessible to both guests of the hotel and restaurant and bar patrons. In the back of the garden, a stair and catwalk lead to an elevated outdoor bar built over the base of the building.
On the interior, Citterio used natural materials such as slate flooring, with pieces hand-broken in Italy and shipped to the site, and warm walnut panels in the lobby and the lounge-like library, which is carved out of space from one of the tenements. There is no reception desk, but attendants hover close by and will instantly know your name and preferences. Patterned glass with an abstracted leaf motif lines the elevator core. Citterio designed almost all of the furniture, which was then produced by B&B Italia in a palette of black leather, wood, and steel (a few other pieces, such as seating from Herman Miller and Poliform, are interspersed). The library and the guest rooms are stocked with used books provided by the Housing Works Bookstore Cafe, which are for sale with all proceeds benefiting the nonprofit service provider. A Persian rug in the lobby and subtle floor and side lamps round out these chic but comfortable spaces. “We wanted it to have a residential feel,” Ortlieb said.
The rooms have an even quieter appearance, and here all of Zapata’s glass and the location really pay off. Set on the square on one side, where the Bowery and 4th Avenue meet, with the mostly low-rise East Village on the other, the rooms have spectacular views both on the lower levels and upward. On the lower levels, the church steeples, rear yards, and rooftop gardens of the neighborhood provide endless fascination for the eye, while on the upper floors, the entire city, including the outer boroughs and the banks of New Jersey, open up to view. Inside, Citterio’s pieces have clean lines, and the bathrooms have large windows with fritted glass and no curtains, offering both views and privacy. “The bathrooms are very important,” Ortlieb said. “You spend most of your waking hours in a hotel in the bathroom.”
While the rooms—145 in total, ranging from small, 225-square-foot rooms to junior and full suites—are luxurious without being flashy, none will compare with the two-bedroom, two-and-a-half bathroom 21st-floor penthouse suite, currently under construction. With 360-degree panoramic views and a wide terrace on three sides, the space will surely be one of the most desirable in the city for private events and late-night debauchery.
It is a difficult time to launch a new hotel that caters to “global creatives” in the art, fashion, and entertainment industries. Ortlieb, who worked for both Ian Schrager and André Balazs before becoming a developer himself, remains confident. “Not everyone looks only at prices,” he said. “Especially in New York, there will always be people looking for something a bit more unique. I opened the Mercer [with Balazs] when the market wasn’t strong. Things come around.” He’s confident enough to be planning two additional hotels with Zapata, one in Chicago and one more in New York, though he plans to work with different interior designers on each of these upcoming projects. He does not necessarily think his concept of small, architecturally ambitious hotels will be copied. “These are not inexpensive buildings to build,” he said. “I hope it’s my direction, not the new direction.”
New York is a hotel town. Glamorous haunts like the Plaza and the Carlyle are etched into the city’s lore, while boutique newcomers—the Mercers, Maritimes, and Grands—have transformed its social life. The newest category to make its mark is not doing so through cachet, however. More likely to overlook scrapyards and warehouses than Broadway theaters and four-star restaurants, these hotels are the strange progeny of a boom economy and an anomaly in the zoning code. They are, to coin a phrase, the industrial hotels.
“Here’s what you’re looking at—Manhattan Mini-Storage on one side, the Holland Tunnel on the other, and a waste transfer station over there,” said Sean Sweeney, director of the Soho Alliance, expressing his dismay over the most famous such hotel, the Trump Soho, now nearing completion at 246 Spring Street.
Trump and his partners at the Bayrock/Sapir Organization could just as easily have built to the east of 6th Avenue in Soho proper. But then they would not have been able to create what at 44 stories will be the tallest building between 34th Street and the World Trade Center when it opens this fall. The area, known as Hudson Square, is zoned for high-density light manufacturing, and is full of the mid-rise loft buildings that were once at the heart of the city’s printing industry. But like manufacturing districts citywide, it allows developments such as Trump’s, thanks to a quirk in the 1961 Zoning Resolution that permits hotel construction as of right.
Both industrial buildings and hotels require high-density sites, though for precisely opposite reasons. A manufacturer typically builds out to the edge of the lot to get wide-open floors conducive to machinery and storage. An hotelier, on the other hand, is more likely to choose a taller building with a narrow floor plate so that each room has a window. Any given warehouse and hotel may have identical floor area ratios, but their form and the kinds of jobs they provide could not be further apart.
But beyond the physical advantages of developing hotels in manufacturing districts, there is also substantial demand. According to NYC & Co., the city’s tourism arm, lodgings in the five boroughs averaged an 86 percent occupancy rate since 2004, while the average room rate rose from $210 to $312. And as the city continues to rezone industrial areas like Dutch Kills in Queens, which saw more than a dozen hotels built within an eight-block area in three years, it’s best to get in while land is still cheap.
“We’ve been losing manufacturing at an alarming rate,” said Eve Baron, director of the Planning Center at the Municipal Art Society (MAS). In 2001, she completed an inventory of the city’s manufacturing zones with the New York Industrial Retention Network (NYIRN) and the Pratt Center for Community Development. While the resulting study found a number of development pressures threatening industrial areas, Barron said that hotels never came up. But now they are a serious issue, she argues, because unlike big-box retailers or illegal conversions, hotels tend to be physically out of scale with the buildings in manufacturing areas: “It changes the character of a neighborhood.”
Look no further than Hotel Le Bleu. Opened in November 2007 during the peak of the hotel boom, it briefly charged more than $300 a night, despite being within a block of the famously polluted Gowanus Canal. And yet it’s the first of eight hotels going up nearby. Like its Williamsburg sister Hotel Le Jolie, which charges similar rates for views of the Brooklyn-Queens Expressway, Le Bleu’s style is more Best Western than Biltmore. Still, next to its low-slung neighbors, the eight-story Le Bleu has unrivaled views, albeit of the canal, but also of Manhattan off in the distance.
Despite cries from manufacturers and groups like MAS and NYIRN, the city sees no problem. “Transient hotels are compatible with commercial and light industrial businesses, and important to the overall economic health of the city,” said Jennifer Torres, spokesperson for the Department of City Planning. “Hotels need to be able to locate where business is conducted, as well as where they can serve demand generated by nearby residential neighborhoods.”
Adam Friedman, director of NYIRN, did acknowledge the Bloomberg administration’s work on industrial retention with the creation in 2005 of Industrial Business Zones (IBZ) that provide protections to companies located therein. But they do not preclude hotels. Friedman points to one NYIRN study that found that of the 23 hotels built in manufacturing districts in the last five years, 12 were built in IBZs.
He would like to see the creation of Industrial Employment Centers, which would require any non-manufacturing use to go through environmental review and approval by the City Planning Commission and the City Council. The council voted in support of such a measure in 2006, but has taken no action since.
Some might argue that with the recession in full swing, the market will move away from such development. According to NYC & Co.’s numbers, occupancy since October has fallen an average of eight percent despite a record-breaking August, when it was at 92.4 percent.
But according to numbers from hotel consultancy PKF, the city has enjoyed 80-plus percent occupancy rates since the late 1970s, meaning the recent boom in hotels is not a fad but the new reality, at least once the city climbs back out of the current recession. In essence, it is the entire city that is encroaching on its few remaining manufacturing zones, and the hotels were just first to get there.
“Of course they’ll be back,” Friedman admitted. “Within a year or two, the market will be strong again, and the underlying issues will still be there—how do you have a manufacturing district like Long Island City so close to somewhere like Midtown Manhattan?”
In general, Fashion Week is one of the most vibrant events that New York has to offer. We are pleased that they have chosen Lincoln Center as their venue. It suggests that Lincoln Center’s efforts to shift perceptions of the facility from elitist acropolis to popular forum have been effective. Those efforts include the redesign of course, but also include more youthful and affordable programming. For heaven’s sake, I saw Sufjan Stevens perform there. And my tickets were free!Now while we agree with that sentiment, Fashion Week seems to run counter, more exclusive elitism than than inviting populism. Still, our dear Renfro persists:
Like most events at Lincoln Center, one can purchase tickets to Fashion Week tent shows, though I will admit that price points are higher than the current $20 Met cheap seats. And they sell out fast. Fashion Week is not that different than a Giants game: If you have any desire to go, you can buy a ticket. If you can get one, a seat on the 50 yards line will set you back $700 while a fashion week tent ticket will set you back $150, and all the tent seats are essentially 50 yard line seats.If you say so. As for the park itself, "We haven’t moved into that phase of the redesign yet," Renfor wrote, and it remains to be seen if, whether, or how Fashion Week might impact the redesign--a rather controversial one at that, because it will remake one of Dan Kiley's more famous landscapes. Best known for free summer concerts--we especially enjoyed Mahmoud Ahmed last year--the new digs will almost certainly be fancier than the former ones, at least after DS+R is through with them. The trade offs: far less subway access--the Times points out that Chelsea Piers posed a similar challenge in 1997--and a departure from the industry's psychic home, the Garment District. Still, the move was inevitable, as Times fashion writer Eric Wilson makes clear:
Although the fashion shows, now operating as Mercedes-Benz Fashion Week to reflect a corporate sponsorship, were welcomed in Bryant Park in 1993, there were frequent clashes with the management company that controls its maintenance and security. The dispute intensified in 2006, when the Bryant Park Corporation announced it would no longer allow the shows to happen in the park, because they were interfering with plans to operate a skating rink in the winter and public use of the main lawn in the late summer.And so, greener pastures have now been traded for chicer ones.
There is a familiar complaint, from Tom Wolfe on down to the blogosphere, that the fame of one’s architect—particularly in connection with a certain Upper East Side gallery building—entitles the developer to lighter treatment from the city’s Landmarks Preservation Commission. But even if one of the commissioners had not insisted on the contrary at a January 13 meeting on 980 Madison, the verdict the project received should, once again, affirm the commission’s refusal to play favorites.
“I just want to say, addressing some of the comments that have been showing up on blogs and such, that this doesn’t have anything to do with who the developer is, or who the architect is,” commissioner Margery Perlmutter said, referring to Aby Rosen and Norman Foster, the team behind the project. “It’s a good piece of architecture, and that should be encouraged in New York City.”
But beyond Perlmutter’s general approval of the project as it was presented, and commissioner Christopher Moore’s prurient endorsement—“I wouldn’t want to see a timid design,” he said. “If you’ve got a great bottom, you should have a great top.”—the commissioners roundly agreed that the proposal was too tall. Still.
It has been a long slog for Rosen and Foster, who first presented plans to build atop the famed Parke-Bernet Building in 2006. The 22-story elliptical glass tower they sought to build atop the 5-story, full-block masonry building caused quite a stir, attracting famous supporters and detractors before being voted down by the commission in January 2007.
The team then returned last July with a five-story addition designed to match the proportions of the building below, which was panned by a number of locals who testified against it. Fewer stars turned up on that occasion, including Lord Norman, though Wolfe, who lives across the street from the proposed development, did make an appearance.
When the team returned last week, they presented essentially the same plan, except that the aluminum rods that comprised the addition’s sunscreen had been lightened from a terra-cotta color to one that Brandon Haw, director of Foster + Partners' New York office, described as “champagne,” and a parapet on the top floor had been set back, as opposed to being flush with the street wall as originally proposed.
Every commissioner applauded the considerable thought and detailing that went into the design. “It’s very elegant, as we’ve seen before,” commissioner Stephen Byrns said. But, as most commissioners agreed, there was one major issue. “I think it has a real scale problem,” Byrnes added. The major challenge facing the commission was that they wanted further concessions from Rosen, who had been very patient thus far, at the same time they applauded his desire to restore the old gallery to its former glory.
“The fact that this building has been so screwed up, with the addition of the third floor windows and the changing of the fourth and the awkward penthouse, that buys you a legitimate addition,” Byrnes continued. “The question is, how much of an addition?” The consensus seemed to be two stories, with possible setbacks from there, but the special Madison Avenue preservation district presents a very tight zoning envelope, as Rosen’s attorney pointed out.
"It's the base we should be celebrating here," commissioner Roberta Smith said, referring to the original building, "and we shouldn't even be calling it that. It's not a base, it's the main attraction. The edition needs to be lower."
“The question is, is it reconcilable with the landmarks law we are required to uphold as well as the precedents we set every week?” asked commission chair Robert Tierney. “I think this is achievable, but this is not yet it, and the issue remains one of scale.” Thereafter, the meeting adjourned, and Rosen held a half-hour meeting with his team in a conference room off the hearing room. When he finally exited, he seemed flustered. Asked about the future of the project, he said simply, “We’re studying that.”
In recent years, some of the best architecture in the world has been built underground. The infrastructural imperatives of subway systems have brought out the best in architects, as evidenced in London’s Jubilee Line Extension, in Paris’ Meteor, and perhaps above all others, in the Bilbao subway designed by Norman Foster: True, it runs for just over a mile and is thus of little use, but it looks great.
Naturally, it would never occur to the magistrates of New York (at least in the past half century) to care greatly about such things. But some of our stations are better than others, and a new station at South Ferry, at the very base of Manhattan, has much to commend it. Set to open at the end of January, South Ferry, which will serve as the terminus for the 1 line, differs from the competition in two key architectural respects, and was designed by in-house MTA architects working under Porie Sakia-Eapen. Neither the above-ground entrance nor the overall conception of the site is radically new. What’s different is that the area where the trains pass has been covered with a long barrel vault about 16 feet high. Though the fact is seldom remarked, the ceilings in New York’s subways are usually very low, which only adds to the dispiriting dreariness of most stations. By contrast, the combination of South Ferry’s high concave ceilings, its pink granite floors, and the white porcelain cladding of its columns and walls suggests the sort of infrastructural grace that one associates with Northern Europe.
Also impressive is the way that at one point, a bridge spans the tracks, making it possible to see and feel the trains passing underneath. In the more than 400 stations that make up the city’s subway system, this is not unique, but I know of no other such bridge that is underground or that provides windows permitting riders to see the trains as they pass. Though the windows were something of an afterthought, this bridge cannot fail to engage the avid attention of anyone with an appetite for infrastructure.
More immediately striking than either of these architectural features, however, is the large-scale decoration of the entrance concourse, a 150-foot parabolic wall, 14 feet high, covered with the site-specific installation See it Split, See it Change, created by the artistic team of Doug and Mike Starn. This work consists of 425 fused-glass panels that depict the darkened branches of trees in Battery Park silhouetted against a stark white ground. These branches, whose relentless ramifications suggested to the artists the complexity of the subway system itself, appear as well in a stainless-steel fence, also designed by the Starn twins, that separates the entrance from the station proper.
The final component of their installation, rather different from the rest, is a mosaic of Manhattan from the Battery to 155th Street, based on a U.S. census map from 1886, that integrates a map from 1640 in such a way as to superimpose the 1811 grid over the geological specifics (like the spring at Spring Street and the canal at Canal Street) that have been covered up in the course of centuries.
The historical sensitivity revealed in this choice of map is enhanced by the nearby reconstruction of an ancient wall that was once the limit of Manhattan Island, discovered in the process of constructing South Ferry Station. Like the display of unearthed fragments along the walls of Brooklyn Museum’s new subway entrance, or in various stations of the Athens subway system, this reconstruction suggests an almost curatorial sensibility. It reveals a deep reverence for the past in the very heart of the newest addition to the infrastructure of New York City.
For the past four years, we’ve surveyed architects throughout New York City and the region, asking them to break code and divulge the cream of the crop in terms of consultants, craftsmen, and suppliers. This year we’ve changed the format a bit, targeting specific projects, for the most part completed in 2008, and asking—nay, badgering—firms to tell us who and what made those projects a success. The response has been overwhelming, and while the list below contains many of the usual suspects (can you imagine not listing R. A. Heintges & Associates under facade consultants?), you’ll also find many fresh faces, from a supplier in France of an incomparably shiny black metal to a team of steeplejacks who will scale the walls of your next restoration project. In the words of the designers we spoke to, the endorsements below vouch for the badasses and superheroes of the industry—the men, women, and international corporate conglomerates—who can build, fabricate, troubleshoot, or provide anything and everything you might need.
Produced by Aaron Seward
F. J. Sciame Construction
K Construction Company
Ronan O’Dwyer Building
Shawmut Design and Construction
Tishman Interiors Corporation
“Mosaics don’t come as single pieces but in nets, and the problem is always laying them in without showing the seams. Biordi did a magnificent job at 25 Bond Street laying in the tiles on a really complex 3-dimensional shape, and without cutting any.”
“Cafco, the GC on Styx, was excellent. They have a very professional approach, understand how to put a team together, and are careful to create a stable tripod between the client, themselves, and the architect. They take those frictions and manage them well so everything goes smoothly. They also have a real depth of experience and know how to take care of details and know how to listen.”
“Eric Dernoshek at Foundations was excellent. His patience is unusual in construction. He was incredibly diligent when we worked through some of the details on a Soho penthouse in the project, like the 1-inch radiator diffuser slot that he helped us coordinate; it all had to be flush in a line with the adjacent materials.”
“One thing that made our Greenwich Village Townhouse so successful was our contractor, Lico. They demanded the most from their subcontractors, and on top of that, their subs were very good. They also worked hard on establishing a relationship with the client. For instance, they have a very organized maintenance department, so if there are leaks after the fact or other issues, they’re prepared to help their clients deal with them.”
“Chris Mills at Plaza Construction was really proactive and helpful in streamlining the process. Riverhouse is a very complicated building from a technical standpoint and a very fast-track project for its size, and because Plaza’s team was very hands-on they made it go as smoothly as a project like that can go.”
COURTESY bentel & bentel
“Our renovation at the New School was like operating on a patient without anesthesia. Richter+Ratner were careful about staging the work to maintain student access and fire egress. They had a super on site who was very precise in the way he organized the different trades and personally double-checked measurements and layouts. He was great at preventing mistakes.”
“Based on the highly accelerated schedule for Rouge Tomate, Shawmut did an outstanding job of keeping everyone together and focused. For two months, laborers from a wide variety of trades were all on site simultaneously, and Shawmut was really effective in keeping them out of each other’s way without sacrificing the quality of the work. Despite the hectic pace, they always maintained their composure and kept their sense of humor. It was really a pleasure working with them.”
Carol Bentel and Thomas J. Lozada
“Structure Tone was really outstanding. They worked with us on the Bank of America before there was even a hole in the ground in terms of establishing a budget and working on value engineering. They really know their stuff.”
“K Construction was very good. They were on time and reasonably priced. I’m using them again on another townhouse project.”
“I’ve worked with Fulton Landing on a number of projects and he’s honestly one of my favorite contractors in the city. The concept that came from Nike brand design was like a ship in a bottle and so some of the strategy and the timeline was tight. They had contractors build as much offsite as possible, and the design really lent itself to that construction approach.”
“We enjoy working with Wise whenever we can on exacting private residential projects in the city because of their precision. They leave no stone unturned in completing their projects and give to everyone complete confidence in their abilities. We completely trust them.”