Posts tagged with "Manhattan":
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 13th and 14th 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 14th 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.
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 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
As for St. Sava, the church is going through motions of fundraising to ensure its preservation.
Just yesterday, AN spoke to a number of attendees at a fundraising event. Gordon Bijelonic, a Los Angeles-based film producer who grew up in the community, mentioned how the church played a role for refugees arriving in the U.S. "This Church created safe passage for my parents to the U.S.A. from an Austrian refugee camp during the communist era of former Yugoslavia.” He added how it was imperative that the building maintains its landmark status. "This is not so much about religion either, it has become a cultural icon. The church is a pillar of culture for Serbians who come to the U.S.," he said. "We want to rebuild, not move. It's so important that it remains where it is."Newly appointed to the parish, Very Reverend Dr. Živojin Jakovljević spoke of how much the church welcomed the support they received after the fire. "At the time when our Parish and we, the people of Saint Sava, grieve the loss of a beautiful church, we also feel comforted, because we know we are not alone. We would like to thank all those, who, by their support and solidarity, have given us comfort and hope. Such attitude will not only help us rebuild the church, but also uplift the spirit of many lovely faithful people of our Saint Sava community."
A person is climbing Trump Tower in New York City.A person is climbing Trump Tower in New York City using suction cups. Posted by CNN on Wednesday, 10 August 2016
pic.twitter.com/290ZPqASu8 — Jason Chu (@JasonC1219) August 10, 2016
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: