An ongoing fight over a storied Manhattan landmark proves that indeed, size does matter.

Fosun International, the Shanghai-based owner of lower Manhattan’s 28 Liberty Street (formerly One Chase Manhattan Plaza), has commissioned Skidmore, Owings & Merrill (SOM) to revamp its own classic, 1960s International Style building and 2.5-acre plaza. Among its planned changes to the site, Fosun received Landmarks Preservation Commission (LPC) approval to build three glass pavilions on the landmarked plaza to serve as entrances to below-ground retail.

Although the commission approved the scheme, implementing changes at 28 Liberty requires an additional—and contentious—next step.

Fosun is seeking a modification of 28 Liberty’s deed restriction that would allow the pavilions to rise 11 to 17 feet above the highest points of the plaza, heights that far exceed the deed restriction’s stipulation that structures on the plaza shouldn’t be more than six feet tall.

SOM is updating the tower’s office space and plaza by reintroducing original details lost in prior renovations while transforming approximately 290,000 square feet of basement space into retail.

The developers maintain that the glass pavilions are a key part of the renovations. Fosun argues that the three pavilions will improve handicap accessibility to the stepped plaza as well as protect shoppers entering and exiting the retail spaces from inclement weather. The pavilions, along with glass storefronts along Liberty and William streets, are intended to activate street frontage and encourage more fluidity between indoor and outdoor, below-grade and street-level spaces of the plaza, and sidewalk and tower.

Although some later modifications imitate original conditions, all of the plaza’s elements are non-original aside from the Isamu Noguchi sunken garden. (The black-and-white Jean Dubuffet sculpture, installed 1971, was not included in the landmark designation.) The space is not a privately owned public space (POPS), but remains open to the public nonetheless.

Not all New Yorkers are thrilled with the changes. Some members of Community Board 1 (CB1), one of the city’s 59 local representative bodies, say the design and the deed restriction, although technically unrelated, cannot be considered independently from each other. They point to the scale of the pavilions as proof: According to plans filed with the Department of Buildings, the three proposed pavilions include a 17-foot-tall, 46-foot-long, 1,473-square-foot structure at the corner of Nassau and Liberty streets; another 16-foot-tall, 43-foot-long, 1,132-square-foot structure facing Pine Street; and a third 11-foot-tall, 18-foot-long, and 418-square-foot structure at Cedar Street.

The cubes’ sizes are not the only points of contention. Some residents think the architects’ renderings suggest the cubes are being rendered too transparently (a common offense in renderings), and that the built structures will impede sightlines on to the plaza, especially to the Dubuffet and Noguchi pieces.

“Depending on light and structural angles, a glass cube can be quite reflective. At most angles, glass cubes are pretty transparent, but they are not like a window, they’re totally going to interrupt the view,” said Michael Ludvik, glass engineer and founding principal of M. Ludvik Engineering.

SOM’s glass pavilions have been compared to the Apple Cube, which is not entirely accurate, Ludvik said. The Apple Cube is not made of anti-reflective glass, so when viewed from an angle, it can look almost opaque. To make the proposed pavilions as transparent as possible, he suggested using the thinnest and clearest glass available, along with appropriate fins, to minimize impact on clarity.

SOM could not be reached for comment on the glass choice, but a spokesperson for the developer explained that it is not far enough along in the process to have made a materials choice.

Alice Blank, an architect and resident who also serves on CB1’s board, asked why the design can’t be done differently, without the large pavilions that trigger the deed restriction modification: “I need to know, have all alternatives been considered before pavilions were added on top of the plaza? I need to know why the existing street-level entrances to the underground cannot be adapted.”

In July, a spokesperson for the developer issued a statement on the deed restriction modification to assuage concerns about the modification: “CB1 is voting on a MINOR MODIFICATION which would ONLY PERMIT THE CONSTRUCTION OF THE GLASS PAVILLIONS [sic] AS APPROVED BY THE LANDMARKS AND PRESERVATION COMMISSION [sic], AND NO OTHER CHANGES.  THERE IS NO CREATION OF ADDITIONAL RETAIL SPACE, AND NO CHANGE OF USE.”

Blank questioned the impact of the changes and the legacy they could set. “Development is important, but [a] violation of commitments to preserve open space for the public in perpetuity ought to be reviewed with extraordinary care in light of the compromise of the public interest. What would be next—Seagram, Lever House?”

Blank’s concerns mirror public outcry over the recent Rivington House scandal, in which the city lifted a deed restriction that mandated the property be used as a healthcare nonprofit, a move that allowed the owner to profit handsomely from the sale of the property. In response, Mayor Bill de Blasio has announced a series of reforms to the deed modification process that could impact the dealings at 28 Liberty in the near future. Faulting “a process that has failed to protect and preserve significant community assets, like Rivington House,” councilmember Margaret Chin, whose district includes 28 Liberty, along with Manhattan borough president Gale Brewer, favor a process that would make deed restriction changes subject to a rigorous public land use review.

Judgment day for the plaza is near if the city can agree on how, exactly, to process deed change requests. Right now, the mayor’s office is forging ahead with rules for the Department of Citywide Administrative Services (DCAS) that would provide clear guidelines for changes to deeds.In parallel to the mayor’s office, sources tell AN the city council could vote soon on legislation that would create a more rigorous public review than the mayor’s rules. Although the board’s decision is purely advisory, in October CB1 voted in favor of council-led deed change reform.

UPDATE: Fosun decides not to build huge glass pavilions on landmarked plaza

On a blustery night this week, local architects and members of the public came out to relax in hammocks in the middle of 5th Avenue for a festive holiday season kick-off. The hammocks, suspended on white powder-coated steel armatures, are part of Flatiron Sky-Line, this year's winning installation in a contest hosted jointly by the Van Alen Institute and the Flatiron/23rd Street Partnership Business Improvement District (BID). The Flatiron Public Plaza Holiday Design Competition, now in its third year, asks architects to design a temporary structure for the traffic island at Broadway, 5th Avenue, and 23rd Street, adjacent to Madison Square and with the famous triangular building at its southern edge. LOT, the New York City– and Greece-based firm founded by Eleni Petaloti and Leonidas Trampoukis, won the invited competition to design a temporary interactive installation that anchors the Partnership's holiday programming. Ten connected arches with strategically-placed mesh hammocks, illuminated with inset LED lights, mirror the form of the Flatiron Building. “Flatiron Sky-Line creates a dynamic new social space underneath its illuminated arches. The structure invites visitors to walk within and around it, gaze through it toward the skyline, and experience the Flatiron District’s surroundings through a unique lens,” said Trampoukis. “The simplicity of the design draws in passersby and inspires them to savor this iconic intersection.” The installation is open every day from 9:00 a.m. to 9:00 p.m., as weather permits. See The Architect's Newspaper's coverage of the 2014 and 2015 winners here, and here.

Local news sources, including The New York Times, are reporting that a 550-foot-tall windowless tower in Tribeca is being used as a "listening post code-named Titanpointe by the National Security Agency." The article was inspired by short film—dubbed Project X and first reported on by The Intercept_—that says Titanpointe was one of the facilities used to collect communications (with permission granted by judges) from international entities that have at least some operations in New York, such as the United Nations, the International Monetary Fund, the World Bank, as well as 38 countries. Construction began in 1969, and by 1974, the skyscraper was completed. Today, it can be found in the heart of lower Manhattan as 33 Thomas Street, a vast gray tower of concrete and granite. The brutalist structure, still used by AT&T and, according to the New York Department of Finance, owned by the company, is like no other in the vicinity.

Except for the rarified homes of the rich and famous (or just plain rich), “spacious” is a relative term in New York real estate. Finding enough space for a growing family can be a challenge, so many choose to stay in place and maximize the square footage they have, any way they can.

For a loft on Jane Street, on a prime West Village corner, one family commissioned Architecture in Formation (AiF) to design a space that was warm, refined, and practical, and that took advantage of the 13-foot ceilings to compensate for comparatively little floor space.

”Before our renovation, the space was this classic hodgepodge 1970s artist’s studio that featured all the horrible tropes from that period,” said principal Matthew Bremer. The family needed room for more members, and once the ’70s touches were removed, the pre-war, former manufacturing building offered plenty of flexibility for a mutable layout with ample storage.

“The space is a celebration of storage and display, and articulates the positive relationship between the two—it’s 95 percent storage, five percent display,” Bremer said. The overall design stems from the white-accented arched living room window, which floods common areas with sunlight. Steel columns and beams are accented by raw brick and semi-industrial touches, like the dining room light switches, while teal counter-height chairs and a dark blue island add a subtle warmth that complements the lacquered cabinets. The family actually cooks (“unlike some of my Manhattan clients”) and entertains, so kitchen appliances and fixtures are top-of-the-line functionally, not just showpieces.

Taking advantage of the soaring ceilings, the architects were able to create a lofted mezzanine space—for sleeping, storage, or studying—above the bathrooms and closets that is accessed from a ship’s ladder in the master bedroom. The transition from public to private space is grounded by a pocket door between the master bedroom that allows the space to merge with the main living areas, if desired. At the ground level, the apartment is scaled to children, as well as four-legged family members—there are dog bowls built into the kitchen island. From every angle, the 1,500-square-foot home expresses coolness and subtle contrast in an extraordinary volume.

Located between 61st Street and 59th Street, and next to the Henry Hudson Parkway, the newly-announced multi-tower "Waterline Square" development will stand among an interesting set of neighbors. On the other side of 61st Street is One Riverside Park of "poor door" infamy; across 59th street is the IRT Powerhouse, a massive Stanford White-designed steam production facility operated by ConEd (it was originally a subway power station). And just south of the IRT building—with its massive 240-foot-tall smokestack, the last of six originals—is Bjarke Ingles Group's hyperbolic paraboloid Via 57. Waterline Square—which is being developed by the Boston-based GID Development Group, owner of two nearby residential developments—will feature three glassy towers: One Waterline Square (Richard Meier and Partners Architects), Two Waterline Square (Kohn Pedersen Fox Associates (KPF)), and Three Waterline Square (Rafael Viñoly Architects). "Together, we are transforming one of the last remaining waterfront development sites on the Upper West Side of Manhattan, into a new, vibrant neighborhood," said James Linsley, president of GID Development Group, in a press release. Waterline Square will occupy the final large empty lot on Riverside Park South, which stretches from 72nd to 59th Street. The towers' luxury condominiums will be accompanied by "100,000 square feet of best-in-class sports, leisure, and lifestyle amenities, as well as a beautifully landscaped park and open spaces spanning nearly 3 acres," according to the press release. The new park will contain "a playground, fountains, and waterfalls." Construction actually began on Waterline Square in 2018 but this appears to be the first major release of the project's details and renderings. For more details, see the development's website here.

When we saw the "Rare Albino Graves" proposal for Miami surface last year, one wonders if perhaps Richard Meier too had his eyes on bucking his own trademark color palette. The Pritzker Prize-winning architect did offer some explanation as to why his design for 685 First Avenue—his firm's tallest residential building in New York—dons a "Terminator-black" facade. “We asked ourselves, can formal ideas and the philosophy of lightness and transparency, the interplay of natural light and shadow with forms and spaces, be reinterpreted in the precise opposite—white being all colors and black the absence of color?” said Meier in a press release. “Our perspective continues to evolve, but our intuition and intention remain the same—to make architecture that evokes passion and emotion, lifts the spirit, and is executed perfectly." Developer Sheldon Solow has owned this site since the turn of the century, but plans have been a long time coming. Skidmore Owings & Merrill (SOM) initially worked on a masterplan for the five-acre site in 2008 which involved an office block, six residential towers, and public parks. Some of that land had since been sold off by Solow and now construction has finally started on the site (initial exterior renders were revealed in May earlier this year). Back then, the Wall Street Journal was far from complimentary in describing Meier's work as “a plain rectangular slab." "The new building, except for its color, is vintage Meier inside and out, a polished specimen of neo-Modernist simplicity.” Sources close to AN also poured scorn: “A cheap lighter.” “Nice gap tooth.” “Looks like they hired no one to design it.” “Should have stuck to white.” The 556-unit tower will rise to approximately 460 feet (42 stories). 408 of these units will be available to rent while the remaining 148 will be condos. This programming is expressed through 685 First Avenue's facade with a double-height divider—emulative of a rogue Tetris piece—that can be found on the 27th floor. Above that gap is the project's 148 condos, of which 69 will provide balconies and views of Midtown Manhattan. Renders of these luxurious interiors can be seen in the gallery above. Along with the living units, amenities include specific rooms for games, yoga, work (on laptops/tablets), dining, as well as a children's play area and a 70-foot swimming pool and fitness center. These will be located on the building's second floor, while at ground level, residents at the public will have access to retail services.

Receiving light from all four sides of a Manhattan dwelling is a chance that seldom comes along. So Bryan Young, principal-in-charge of New York studio Young Projects, took full advantage with the Gerken Residence. Occupying the 13^th and 14^th floors of a historic cast-iron Tribeca building, the apartment’s 1,500-square-foot rooftop offers downtown views—notably of Frank Gehry’s 8 Spruce Street—while its roughly 6,000 interior square feet host a lush cutout courtyard and a collection of private, yet fluidly connected spaces.

Inside, the most eye-catching element is a polished stainless-steel screen found on the main floor. Divided into segments, it can be moved from one side of the building to the other, creating a partition across the space. Cuts made in the twisted, shimmering steel create a visually semipermeable membrane. Subsequently, guests can have restricted or open views depending on the position of the screen: It provides more privacy and opacity when viewed from the elevator entry, while it is more open and transparent when viewed from the living room.

This divider, Young explained, is one of four key spatial elements that organize the program on the 14^th floor residence. Three of these—the fireplace, the courtyard, and the screen—can be found arranged around the fourth element, described by Young as the “plaster core,” a sensuously textured volume that houses the back-of-house programmatic elements and allows the rest of the apartment to be more open.

The defining feature of the core, however, is its surface. At first glance it appears to be draped in a frozen, CNC-milled curtain, but upon closer inspection it becomes clear that the material is handmade plaster. With no indication of joinery, the surface’s exquisite hand-detailing of serrated and curvaceous forms, augmented by light and shadow, produce a slightly strange effect, one Young describes as “tectonically unclear.”

Like many research projects in the office, the concept was born from a series of questions about the possibilities of new materials and the process of making.

Young emphasized that the final product is not pulled plaster, but rather an arrangement of plaster casts. To create the effect, Young said, six “master molds” were created using a variation on the traditional technique used to make crown moldings. Here, a custom designed profile, or “knife” and “horse” were moved back and forth laterally, pulled along the length of the custom designed rail to form the plaster in three dimensions. Done by hand, the technique produced casts where serrated edges peeled away in an S-shape, giving way to a contrasting smooth surface. These were then used to create the six master molds, which were used to make the casts that clad the core.

To ensure the monolithic quality Young desired, each cast rose to the same height on either side, allowing them to join in a vertically arranged running bond. “There is a continuity and discontinuity that is rationalized across the entire surface,” said Young. He added that the analog, hands-on method contributed to the sense of material ambiguity that the plaster creates. “It was interesting for us to take a centuries-old technique and rethink the manner in which that process is defined.”

The plaster allows the core’s interior facade to respond to the surrounding spatial elements. More dramatic, “aggressive” casts were employed on the volume’s double-height spaces, most notably by the stairway, which is exposed to direct sunlight, while less articulated, “softer” casts were distributed elsewhere.

The courtyard or “glass core” lies opposite the plaster core and bathes it and the stairwell in light.

“As you move around the house, what initially reads as a negative element starts to read as a positive volume,” Young said of the courtyard. Working with landscape design firm Future Green Studio, it is filled with vegetation that hangs from the rooftop. Young intends for this visual connection to strengthen over time as the greenery piles over, offering a rare dose of thriving interior vegetation in an urban apartment.

The spatial organization of an interior courtyard juxtaposed with a solid, materially ambiguous interior wall gives the projects its raison d’être: The courtyard’s plants glow with light, questioning familiar notions of interior and exterior, much like the transformation of plaster gives new characteristics and life to seemingly familiar materials, taking all of it almost into the realm of the unreal.

The New York City Landmarks Preservation Commission (LPC) today voted to calendar and move forward on the creation of the Sullivan-Thompson Historic District, the third and final phase of a proposed South Village Historic District. The new district, which has been a goal of preservationists for a decade, would be bounded by Houston Street to the north, Watts Street to the south, 6th Avenue to the west, and Thompson Street to the east, abutting the Soho Cast Iron Historic District extension. 60 percent of the building stock in the neighborhood was built before 1840. The collection of rowhouses and tenements includes many early examples of Italianate, Queen Anne, and Beaux-Arts styles. It is not your everyday proposed historic district, however. It is connected to the controversy surrounding the proposed rezoning of the St. John’s Terminal site at 550 Washington St., which many in the neighborhood have been opposed to due to its scale and proximity to the South Village neighborhood. This is exacerbated by the New York State Legislature’s approval of 1.3 million square feet of air rights/FAR that could end up being bought and used for parcels in the nearby neighborhood that the new historic district would protect, and in fact, according to the Greenwich Village Society for Historic Preservation (GVSHP), “in recent years developers like Donald Trump son-in-law Jared Kushner has [sic] bought properties in the neighborhood such as 156 Sullivan Street, formerly the home of beloved neighborhood institution Joe’s Dairy.” The St. John’s terminal project continues to be controversial, as it still needs approval from City Council, a process that could take a while. The project has raised concerns in the community and is still evolving. The GVSHP, with the support of CB2 and councilmember Corey Johnson, is using the creation of the Sullivan-Thompson Historic District as part of a list of demands that Westbrook Partners and Atlas Capital Group, the developers of 550 Washington St., should meet if they want to develop the proposal at St. John’s Terminal. According to Johnson’s office, the list includes a call for real public open space, public community facilities, more financial support for the pier, significant pedestrian safety measures and traffic mitigation for Hudson Square, and limits on the size of retail at the new development, which has already been reduced when the City Planning Commission removed the “big box” stores from the plan. The St. John’s Terminal project is being considered in a public hearing today, where the Subcommittee on Zoning and Franchises will weigh in on the Uniform Land Use Review Procedure (ULURP), which is required for a rezoning of the Washington Street site in order to make it residential. Westfield wants to purchase air rights from Pier 40 for the site across the street and get a new zoning designation in order to build residential. The next step for the historic district will be an LPC public hearing which will be on November 29, and will likely be voted on in December.

In the New York City mayor's office, the council chamber, and one borough president's headquarters, officials are hashing out critical—and competing—land use reforms that could impact at least one major development in lower Manhattan. One reform is a slate of new rules from the mayor's office while the other is legislation in the city council; both are making their way right now through the review and approvals process. Currently, there is no unified process for the removal or modification of deed restrictions (the legal covenants that outline the use of land). As deed restrictions limit the use of a property, potentially reducing its value, there is often incentive to have those restrictions lifted. Deed restrictions are also widespread: The Department of Citywide Administrative Services (DCAS) and other city agencies have put (or have grandfathered in) deed restrictions on thousands of city properties, both through the sale of city-owned parcels and through the Uniform Land Use Review Procedure (ULURP). The mayor's office has introduced agency-level reforms to address shortcomings in the deed restriction modification process. DCAS is holding a hearing next week on these reforms. The mayor's rules call for a review process with a public hearing, plus a stipulation that the community board, borough president, and appropriate councilmember be notified of the pending changes. Parallel to the mayor's reforms, Manhattan borough president Gale Brewer and city councilmember Margaret Chin are advancing legislation that would, among other measures, subject deed modifications to a more rigorous public review. Although Chin and Brewer’s bill, Intro 1182, grew from public outcry over the lack of oversight around the removal of the Rivington House deed restriction, Chin's district also includes 28 Liberty (formerly known as One Chase Manhattan Plaza), another flash point property. Its owner, global developer Fosun, is pushing to modify the deed restriction to construct 11- to 17-foot-tall glass entrances to below-ground retail on the landmarked plaza. Both the mayor’s rules and the Intro 1182 have special importance for Manhattan Community Board 1 (CB1). 28 Liberty lies within the CB1's boundaries and, in a mirror of the citywide conversation, the property has been a controversial issue for the board since the Landmarks Preservation Commission (LPC) approved changes to the landmarked plaza last year. At the CB1's Planning Subcommittee meeting last week, CB1 board members debated a resolution on deed restriction modifications that will go before the full board at their October 28 meeting. In drafting the resolution, board members repeatedly raised three points: The difference between a "major" or "minor" deed restriction, how that difference should be determined, and by whom. Currently, there's no system in place determine that difference—a minor modification to some could be a radical change in use to another observer, as the ongoing discussion around 28 Liberty's pavilions illustrates. "From what we've seen, putting a deed restriction in place seems to always benefit the public," said James Caras, the borough president's general counsel and director of land use. He added that the burden of proving the benefit of substantial deed modifications or removals should fall on the entity seeking the changes. The borough president's office believes that deed modifications that change the use of a property would "probably benefit" from public review under Brewer and Chin's proposed law. If a developer wants to change the use from public to private, for example, that action may be subject to ULURP, while a continuation of public use may not be. In soliciting the public's voice, Intro 1182 has precedent. Right now, deed restrictions that were the result of a ULURP must be removed through the same process. Intro 1182 would subject major modifications, which are typically granted per the administrative procedures of the DCAS, or the relevant agency, to a ULURP—what they call "the gold standard of public review." In September 2016 testimony given to the Council Committee on Governmental Operations and the Committee on Investigation, Brewer and Chin raised considerable objections to the proposed DCAS rules. The rules' foundations, they said, would not be as strong as the competing law passed by the council, as rules could be changed at any time by the agency itself or by the next administration. As CB1 planning committee member Reggie Thomas pointed out, a ULURP process can be prohibitively costly and time-consuming. Yet, during the meeting there seemed to be a consensus from the board on some kind of public review when the proposed deed changes involve a switch from public to private use. CB1 chair Anthony Notaro called the decision-making process for other properties "a gray area," but said that regardless, the community "should be on the front line, one of the hurdles, before any decision is made." Specifics like these, Caras said, would be worked out in legislation. In light of the lifting of deed restrictions at Rivington House and the Dance Theater of Harlem, as well as continuing conversation around 28 Liberty, Brewer's office is reaching out to each community board in its jurisdiction to answer questions about the pending reforms. Until the city and the council hammer out their respective plans, though, there's no clear process on how to modify deed restrictions, so projects like 28 Liberty are treading water. While plans on file with the Department of Buildings (DOB) show that interior upgrades are progressing, construction on the plaza's glass pavilions appears to be on hold, because the project can only move forward if a deed restriction regulating the height of objects on the plaza is removed. The LPC-issued Certificate of Appropriateness from November 2015 states that no work on the plaza can begin until the agency has received and reviewed the final DOB filing set of drawings, specifications, and a scope of work that details the restoration of the on-site Dubuffet sculpture and Noguchi garden. A spokesperson for the LPC confirmed that the agency has not received DOB specs or drawings. In a statement, Fosun said "all Landmarks Preservation Commission comments regarding the Dubuffet sculpture and Noguchi garden have been resolved to the satisfaction of the LPC," adding that interior work continues to "prepare for the exterior work." At press time, The Architect's Newspaper (AN) was able to confirm that the scope of work for the restoration of the Noguchi garden was on file with the LPC. (As a freestanding object, the Dubuffet, it turns out, is not part of the landmark's designation and is thus outside of the LPC's purview.) Fosun declined to comment on the status of the glass pavilions, reasons for the delay, and whether construction documents exist for the plaza modifications. New York–based SOM, the architect for the project, also declined to comment. In July 2016, Bloomberg News reported that Fosun is preparing to sell $6 billion in assets between now and the end of next year in an effort to raise its junk credit rating and alleviate its massive debt, although AN was able to confirm the seeming hold-up on the plaza is unrelated to Fosun's financial status. On Tuesday night the CB1 planning committee revealed its resolution to the public. It called the reforms drafted by the mayor's office and DCAS "neither sufficient nor in the public interest" due to the fact that they may be easily changed by another administration. The board instead supports a legislative process and expressed support for elected officials as they research the kind and quantity of deed-restricted properties (there's no unified database right now) to create "an appropriate process" for deed restriction modification or removals. The full CB1 board approved the resolution unanimously.

Trinity Church Wall Street, located in New York's Financial District, has released images of what their new Parish Centre at 74 Trinity Place will look like. Designed by New Haven–based studio Pelli Clarke Pelli, the building will offer offices, a gym, cafe, gallery, a children's area, spaces for education, performances, and community activities, as well as offices for their Ministry in downtown Manhattan. 74 Trinity Place will rise to 26 stories and feature 310,000 square feet. Located at the building's base will be the Parish Center and the first nine floors will accommodate most of the programming listed above. Meanwhile, the remaining stories will be used commercial purposes, supplying 160,000 square foot of office space. "The new project forms an ensemble with Trinity Church and Churchyard, creating an enlarged public setting for the ministries of the church," said Pelli Clarke Pelli in a statement. "The resulting design, emerging from a highly collaborative design process, is conceived of as a companion to the historic church building—a supportive and resonant element in a larger urban composition, a sacred and welcoming public space." Within its Wall Street setting, the architects also said how the "new parish building will form a contemporary backdrop for the historic church." Light metal framework will encase glass paneling to form the building's facade. As a result, the tower "resonates with the intricate stonework of Trinity Church Wall Street," a Gothic Revival Episcopal landmark that boasts one of Manhattan's most impressive spires that has stood tall since 1846. With the Parish's programming taking place on the lower levels, the glass fenestration will allow the public to view church activities and facilitate further community engagement. The design has been two years in the making. Both the Church and architects worked with the community to establish the building's aesthetics and program, tailoring it to the needs of all stakeholders including the Trinity’s congregation, ministry partners, neighbors, and the city. The Reverand Dr. William Lupfer, Rector of Trinity Church, said: “Our building is a statement of Trinity’s dedication to serving the people of this community, this neighborhood, and the city of New York for a fourth century. Having been in conversation with our neighbors every step of the way, we are creating a dynamic, engaging home for Trinity’s ministry activities.” According to a press release, building plans are currently pending approval. Groundbreaking is currently scheduled for early 2017, with the 74 Trinity Place being due for completion in 2019.

Can you see yourself at Times Square this month? Running through November 21, visitors to Times Square in Manhattan will find The Beginning of the End. The reflective intervention comes from the Times Square Arts, Cuban Artists Fund, and Cuban artist Rachel Valdés Camejo and asks audiences to think about the relationship between an object and its surrounding space—Broadway Plaza between 46th and 47th Streets. Camejo’s first work in the U.S., The Beginning of the End sees the bright lights and razzmatazz of Times Square amplified through a corridor of mirrored surfaces. Visitors can walk through and glance down to see the sky at their feet along with the vibrant streetscape around them. Immersed within the new perspective of their surroundings, the audience is prompted to contemplate the way they view the vicinity. The Beginning of the End also works as a successful installation at night too. Despite not being able to walk on the sky, Camejo's installation encapsulates and reverberates the visual chaos of Times Square has to offer. Speaking in a press release, Camejo gave her thoughts on the installation:

For me it is wonderful to have this opportunity to present my work in a public space such as Times Square. It is certainly a place totally different from the environments where I have shown my installations before. My pieces always work according to the environment that concern them and in this case will be very different. I build objects to create dialogues between human beings, the object and space. So far the other environments in which I worked are quieter places, even places that become inhospitable, so to have my work this time in a place where so many people pass, and in a city like New York, it gives a whole other visual and conceptual possibility to my work.

“This work pulls in the sky to draw it underneath your feet, wrapping Times Square completely around your body," said Times Square Arts Director, Sherry Dobbin. "The natural skyscape, the electronic billboards and the office buildings combine in a human kaleidoscope, in which each twist of your body brings about new perspectives.” Meanwhile, Tim Tompkins, President of the Times Square Alliance, said, “Times Square has always been a reflection of America and ourselves. Ms. Camejo’s work allows the marvelous mix of people in Times Square to intersect in ever-new ways.”

The Temple Court Building in lower Manhattan, at the corner of Nassau Street and Beekman Street, recently re-opened as The Beekman following a period of heavy renovations. The Renaissance Revival style building is now a hotel, with a 51-story condominium building on the adjacent lot. Both the renovation and new building were executed by New York-based Gerner Kronick + Valcarcel, Architects (GKV Architects).

Coming soon to a #siesta near you #beekmanhotel

A photo posted by 🍴🍸😴 (@eatdrinksiesta) on Jun 17, 2015 at 8:23am PDT

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.

A photo posted by The SKW Team (@theskwteam) on Jun 1, 2016 at 8:37am PDT

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 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 Aug 24, 2016 at 9:29am PDT

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.

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 May 25, 2016 at 2:30pm PDT

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.