At the reopening of the renovated Norton Museum of Art earlier this month, Norman Foster revealed his two points of inspiration for the project: an existing banyan fig tree and Claes Oldenburg and Coosje van Bruggen's Typewriter Eraser, Scale X sculpture from 1999. Both elements were crucial to the architect’s intuitive redesign and reorientation of the museum’s entrance. The new west-facing forecourt features a 43-foot-high metal canopy with a scalloped cutout that cuts around the towering tree. Within the shaded hollow the overhang creates, an embedded reflecting pool surrounds the massive sculpture. This careful approach carries through the entire project. Rather than create another statement-piece museum where the architecture steals the show, Foster + Partners opted for a contextual approach that spotlights the Norton's vast collection. Adding over 12,000 square feet to the original 1941 Art Deco building, the firm introduced a 210-seat auditorium, the museum’s first restaurant, and additional gallery spaces. Major extensions include the new 3,600-square-foot, double-height Ruth and Carl Shapiro Great Hall, featuring a unique concave skylight. The 150-foot-long, glass-walled Ira and Nicki Harris Family Gallery extends from the former south-facing entrance. This addition flanks a covered promenade and a new sculpture garden. Occupying what was originally the Norton Museum of Art’s main 20,000-square-foot parking lot, the green space is Foster’s first ever public landscape project. The sculpture garden divides into two curated "rooms." Native plant species were spread throughout to highlight the museum’s subtropical surroundings. Foster + Partners' renovation blends new and old components with a minimalistic, all white, stone facade. The firm also restored the museum’s existing galleries and six historic artist residence homes, located nearby. The redesign champions historic architectural detailing while also introducing large light-filled voids. The overall reprogramming of the space mirrors the Norton Museum of Art’s curatorial vision; some of the museum's key historical collections are dispersed between temporary shows. The museum places emphasis on exhibiting female, African-American, and living artists. The Norton Museum of Art officially reopened on February 9. This unveiling is only the first milestone in a 20-year masterplan that Foster + Partners has conceived for the museum.
Posts tagged with "Foster + Partners":
An analysis of the Foster + Partners–designed “Tulip,” the 1,000-foot-tall observation tower first proposed for Central London in November of last year, has revealed that the as-is scheme would clash with the London Plan. In its 15-page report, the Greater London Authority (GLA) had “significant concerns with the design approach” and the potential impact on the public’s ability to see the Tower of London. The London Plan, a strategic planning resource for development across the metropolis, lays out economically and environmentally sustainable development criteria that preserve the city’s heritage. The plan is also a framework for the mayor to consider when considering strategic planning applications submitted to the mayor's office. As the plan notes, responsibility for reaching the goals therein is shared between the Mayor’s Office, London’s 32 boroughs, and the Corporation of the City of London—with the GLA set up to administer the plan. In their January 14 review of the Tulip’s strategic planning application, the GLA voiced its concern that the tower failed to comply with the London Plan. The authority pointed out that the scheme conflicts with London Plan Policy 7.7, which mandates that tall buildings set aside a free-to-enter public space (it’s presumed that the Tulip will charge for entry to its bulb-like observation area). As for the design, which would balance the solid concrete shaft and glass observation topper above a two-story retail podium, the GLA wrote that: “officers have significant concerns with the design approach. The height appears unjustified and the introduction of significant expanse of solid and inactive building frontage would appear incongruous in the existing faceted context of the Eastern Cluster, drawing significant attention in this heritage sensitive location.” The report goes on to note that the planning application made use of pedestrian numbers from 2015 as opposed to a 2025 forecast, and that as such, “The proposals are considered to result in a poor quality, unwelcoming, unnecessarily confined pedestrian environment contrary to Policy 6.10 of the London Plan and Policy to D1 of the draft London Plan. The proposals would not reflect the Healthy Streets approach detailed within Policies T2 and T4 of the draft London Plan. The level of cycle parking would not accord with draft London Plan Policy T5.” The Tulip’s impact on the sightlines for historic buildings was also called into question. This isn’t the first time official concerns have been raised over the building, as the London City Airport requested that construction be postponed until it could study how the gondola pods on the observation bulb’s exterior would impact its radar systems. In response to the GLA report, Foster + Partners released the following statement to the Architects’ Journal: “We are pleased to see that the mayor of london considers the use of a visitor attraction as complementing the City. “We welcome the detailed technical comments by GLA officers and, as part of the ongoing planning process, we will continue to work closely with the City of London Corporation and the GLA to resolve those matters raised and to improve the package of public benefits associated with the Tulip.” If construction proceeds as scheduled, the Tulip is expected to break ground in 2020 and open to the public in 2025.
In November 2018, news first broke of the five-firm shortlist competing to design the $8.7 billion Terminal 2 at Chicago’s O’Hare International Airport. The star-studded list held both international and local firms, and today, Chicago city officials have made public designs for each team’s proposal. Chicagoans and frequent fliers have until January 23 to vote for their favorite designs and offer feedback, here. The O’Hare 21 expansion, which will expand O’Hare from 5.5 million square feet to 8.9 million square feet, is a pet project of outgoing mayor Rahm Emanuel. O’Hare currently serves nearly 80 million travelers a year, and with demand projected to grow, the extant Terminal 2 (built in 1963) needs to be expanded. The team of Colorado’s Fentress Architects, engineering and architecture firm EXP, Brook Architecture, and Garza Architects have proposed an undulating terminal with a ribbon-like canopy, held up by slender, full-length columns. A split in the terminal’s massing would allow natural light into the center of the building, a necessity given that the team has stacked more floors into its terminal than the other four. Foster + Partners has been working with local firms Epstein and JGMA, and have produced a dramatically curved, cave-like terminal fronted by an enormous wall of glass. Foster’s terminal resembles a draped piece of fabric swaying in the wind that splits into three separate arched halls at the rear but opens to what they’ve dubbed a “theater of aviation” at the tarmac. The use of a crisscrossing truss system topped with glass creates a coffered ceiling effect while also allowing in natural light. From the renderings, it appears that the terminal’s interior will be clad in a warm wood finish. Studio ORD Joint Venture Partners, the team formed by Chicago’s Studio Gang, Corgan Associates, Solomon Cordwell Buenz, and STL Architects, was heavily influenced by themes of convergence and confluence. Three curves join in the middle to carve out space for a massive central skylight. The roof of each curve, formed from ribs that extend into the terminal’s interior, tent in the center; it appears the underside of each will be clad in timber. The team has described their proposal as one that’s layered but easy to navigate. Skidmore, Owings & Merrill (SOM), who have partnered with Ross Barney Architects and Arup, are proposing ORD, from a shortening of Orchard Field, the original name of O’Hare (unrelated to Studio ORD above). Although their plan is squarer than the others, the SOM team has also designed an undulating roof supported by coffered timber trusses. The roof would cantilever out over the terminal’s tall glass walls, and according to the video, ample landscaping that references Illinois’s nickname as “the Prairie State.” Intriguingly, the terminal would also include enclosed outdoor plazas, complete with tree-strung hammocks, for passengers to relax in. Last but certainly not least, Santiago Calatrava and local firm HKS have presented the most ambitious of the five proposals (though it fits quite snugly within Calatrava’s oeuvre). Resembling a ship’s prow, the glass facade bulges in the center before terminating at a sharp point. Inside, large, unbroken spans are supported by Calatrava’s signature structural “ribs” to create a soaring interior space. The team has also proposed turning the existing parking area to the terminal’s rear into a landscaped “hotel, retail, and business complex,” though there’s no telling how much that would add to the budget. The city and Chicago Department of Aviation are being pushed to make a decision before Mayor Emanuel departs in May of this year, and the project is expected to finish in 2026. Models of each team’s submission can be viewed at the Chicago Architecture Center until January 31, and Terminal 2 will be displaying the new designs digitally until the 31st as well.
Foster + Partners revealed renderings of the much-anticipated Lusail Iconic Stadium, an 80,000-seat soccer venue that will house the opening and final games of the 2022 FIFA World Cup in Qatar. The project, commissioned by Qatar’s Supreme Committee for Delivery & Legacy, will be situated within the center of the up-and-coming Lusail City, an under-construction modern metropolis set nine miles north of Doha. The British firm designed the centerpiece structure to mirror the ancient Arab craft of bowl weaving. It will feature a shimmery, gold palette wrapped around a slightly undulating exterior and a saddle-form retractable roof that will float above a concrete seating bowl. According to the architects, the stadium will boast a highly-efficient energy saving system, a requirement for FIFA World Cup constructions. Since Qatar’s climate is so intense, the building will help cool players and fans. Solar canopies will also hover over the parking and service areas to produce energy for the stadium and power the surrounding buildings. With Lusail Iconic Stadium, Foster + Partners joins the star-studded roster of studios that have designed projects for the tournament, including Zaha Hadid Architects and its controversial stadium in Al-Wakrah, which is near completion. Fenwick Iribarren Architects, a Spanish firm, is building a modular, 40,000-seat stadium made of repurposed steel shipping containers. After the tournament, the arenas are expected to be reused by the cities in which they’re built. The seats within Lusail Iconic Stadium, for example, will be removed and the structure will be used as a community space with room for shops, cafés, athletic and education facilities, as well as a health clinic. The project is slated for completion in 2020.
The internet was aflame last week after Foster + Partners and the development company J. Safra Group revealed plans for the tallest building in Central London, a skyline-busting observation tower with a suggestive shape that would overshadow the Gherkin. Although planning documents for the Tulip have already been submitted, the London City Airport has requested that construction not move ahead until an assessment of the tower’s impact on the airport’s radar systems was conducted. The 1,000-foot-tall observation tower would resemble a sprouted version of the adjacent Gherkin, with a bulbous glass pod balanced atop a solid concrete core. At 984 feet up, visitors would be able to take in London (and much further beyond) in 360-degree views from a series of internal observation decks, as well as glass gondola pods that would rotate on an exterior track. Those sky-high Ferris wheels are cause for concern, according to the London City Airport (LCY). In a letter submitted to the City of London yesterday, Jack Berends, technical operations coordinator for the airport asked that: “Construction shall not commence until an assessment has been carried out on the impact of this development on the radar coverage.” Skyscrapers can impact radar results, either hiding real objects or creating the impressions of aircraft where there aren’t any. Modern radar systems are generally capable of differentiating buildings from actual moving objects, but the airport fears the moving gondolas will throw off the safeguards such systems have in place. A fly-through of London's Tulip from The Architect's Newspaper on Vimeo. "No part of the proposed development or associated construction activities shall commence until LCY is satisfied that there will be no reduction of the integrity of the current instrument landing system in use at London City Airport," said Berend in the letter. The airport maintained that it would be closely coordinating with the U.K. Civil Aviation Authority to resolve the issue. Construction of the Tulip was expected to begin in 2020, with a 2025 opening date. When reached for comment, a spokesperson for the J. Safra Group told AN that: “As part of the planning process, interested parties have the opportunity to respond to the proposals and raise any questions or seek clarification. We look forward to working collaboratively with London City Airport, and other stakeholders, to work through planning matters during the current consultation period.”
The Gherkin may be getting a much taller sibling, as Foster + Partners and billionaire Jacob J. Safra have revealed renderings of a 1,000-foot-tall observation tower for a Gherkin-adjacent site in Central London. If the planning application for “The Tulip” is successful, the rod-shaped building would become the tallest tower on the northern side of the Thames (directly across the Thames, Renzo Piano’s Shard is three feet taller). Tulip is an appropriate name for the project, as the renderings show a glass “bulb” supported by a slender, windowless, high-strength concrete stem. A two-story entrance atrium at the 31,100-square-foot building’s base will feature an occupiable public roof deck and retail to create a street-level presence for the tower. A new pocket park around the entrance that would include two green walls, and 284 bicycle parking spaces are also planned for The Tulip’s ground floor pavilion. At the 984-foot-high observation deck, visitors would be able to take in 360-degree views of London and beyond. The steel-framed observation “bubble” would be fully wrapped in high-efficiency glass, and feature sky bridges, glass slides, a restaurant and bar, and multiple floors worth of programming. The most impressive part is likely to be the gondola system Foster + Partners have envisioned for the bud’s exterior. Guests would be able to ride in glass pods along the tower’s facade on what amount to three sky-high Ferris wheels. Although The Tulip was envisioned as a destination attraction, the J. Safra Group has also included an educational facility. The tower would give free entry to 20,000 London public school students a year and offer classes on London’s history inside of what Safra described as a “state-of-the-art classroom.” A planning application for The Tulip was submitted on November 13, and if everything moves along smoothly, construction is expected to begin in 2020 and wrap up in 2025.
Five finalists have been selected in the competition to design the new $8.7 billion expansion of Chicago’s O’Hare International Airport, narrowing the field from the longlist of 12 released in September. The shortlist features a mix of local names and international studios: Skidmore, Owings & Merrill (SOM), Santiago Calatrava, Foster + Partners, Chicago’s own Studio Gang, and Colorado’s Fentress Architects. The expansion, part of a modernization initiative dubbed O’Hare 21 by outgoing mayor Rahm Emanuel, will totally replace the V-shaped Terminal 2, a holdover from the airport’s opening in 1944. O’Hare is one of the busiest airports in the world and currently services nearly 80 million passengers a year, and O’Hare 21 will expand the airport’s footprint from 5.5 million square feet to 8.9 million square feet. Such a large project means that these teams likely won’t be going it alone. Fentress is joined by Brook Architecture, Garza Architects, and engineering and architecture firm EXP, Calatrava will be working with local firm HKS, while Foster + Partners has teamed up with local firms Epstein and JGMA, and Studio Gang has partnered with Corgan Associates, Solomon Cordwell Buenz, and STL Architects. SOM will also be joined by Ross Barney Architects and Arup in their bid. After a review by the Department of Aviation, one team will be chosen to design the Terminal 2–replacing O’Hare Global Terminal, while a second will be tapped to design the airport’s two new satellite concourses. Perhaps what’s most interesting is who didn’t make the cut. BIG was knocked out, as were HOK and Gensler. Even Helmut Jahn, a Chicago wunderkind who designed O’Hare’s Terminal 1 in 1986, wasn’t chosen. Now that the shortlist has been chosen, an official selection committee of business, civic, and transportation leaders from Chicago will choose who ultimately gets to design the new facilities (with local architecture firms and cultural institutions providing technical support). Mayor Emanuel is pushing the city to choose before he leaves in May of 2019, and if all goes as planned, the multi-phase O’Hare 21 should be complete by 2026.
Apple's product design may win the company accolades, but the same cannot be said of its recent forays into architecture. Stockholm is the latest city after Melbourne to push back on the tech behemoth's plans for a new store. What Apple is calling its "town square" concept, designed by Foster + Partners, is being decried as an attempt to privatize the city's oldest and arguably most important public space, Kungsträdgården, or the King's Garden. Stockholm's new city government, elected into office this month, has announced that the Apple store project is welcome elsewhere, but that it would block the company's attempt to set up shop in the park. Currently, Kungsträdgården establishes a direct visual link to the Royal Palace and serves as the site of the city's major celebrations, protests, and public debates. “It is the thread that pulls together the historical power of the monarchy with the commercial blocks of Hamngatan and the working-class districts of Södermalm. This is very important for democracy because it has to do with power, symbolically and spatially,” Johanna Jarméus of Nyréns Arkitektkontor, a Swedish architecture firm, told The Guardian. The design by Foster + Partners dominates the public square, making it appear to be the main structure defining the space, with the garden serving the building. Or, as the editor of Arkitektur, a major Swedish architecture magazine, put it more bluntly, “It’s like a parasite.” The Apple store design requires the company to annex about 4,000 square feet of public park space in addition to the plot it has already purchased. The company has made a similar proposal to use public land for its Federation Square store in Melbourne. The King's Garden plot is offered to developers on the condition that they offer restaurants and cafes for the park, and is currently home to a TGI Fridays. The Apple design would also require rezoning the site for retail. For Apple, the dominance of public space is itself the point. "We call them town squares because they’re gathering places where everyone is welcome,” as Apple's vice president of retail said last year at one of the company's staged launches. It appears that the residents of Stockholm and the 1,800 public comments, most negative, against the plan, disagree. Stockholm's city government may have declared its opposition to the Apple "town square" store, but there's a hitch—the company still owns the plot of land. Still, some are envisioning a public park where there is no building at all, requiring a much bigger, longer battle to define what the park's future will be.
Mexico City’s new Foster + Partners–designed airport has been canceled while already under construction. In a referendum today voters rejected the partially completed project that’s been beleaguered by accusations of corruption, ecological irresponsibility, and lack of community involvement. The referendum was originally proposed by Andrés Manuel López Obrador, the president-elect of Mexico, as popular opposition grew against the project that was approved by President Enrique Peña Nieto in 2014. Not only was the project, called NAICM (Nuevo Aeropuerto Internacional de la Ciudad de México), deemed inordinately expensive at an estimated USD$13 billion, its location was less than ideal. The wetland plain of Texcoco outside the city that it was to be built on is quite literally sinking—as much as 16 inches a year. Not only does building the airport require thick supports, like much of Mexico City, which was built on former lakes dredged by the colonizing Spaniards five centuries ago, but it the area accommodates stormwater runoff for the city, requiring a complicated and expensive system of plumbing, tunnels, and canals to manage potential flooding. Furthering the environmental infeasibility is the impact it would have had on numerous bird species as well as its effect of exacerbating the decline of the city’s already dwindling water supplies. As Fernando Córdova, a professor at the National Autonomous University of Mexico told Alto Nivel as later reported in translation in Citylab: “It’s just the worst terrain.” USD$5 billion has already been put into the airport, which was designed to handle the ever-increasing traffic through North America’s most populous city, which also serves as a travel hub for much of the rest of Mexico and Latin America. The mega-project, which would’ve been the third largest airport in the world and the most expansive in all of the Americas, was noteworthy for its six million square-foot main terminal designed in a sci-fi X-shape with a sweeping canopy. The no vote won by a large margin, with 70 percent voting in opposition of completing the project, though, as others have noted, voter turnout for the referendum was underwhelming, with only around 1 in 90 registered voters turning out to the polls. Those opposed argued that the project was being built and developed by contractors and other parties as a series of political favors to line each other’s pockets. Still, regardless of the fate of NAICM, Mexico City needs a new airport. The current main airport, Benito Juárez International, is operating 50 percent over capacity and the strain on it is only growing. López Obrador and others have supported a significantly cheaper project that uses existing infrastructure by converting part of the Santa Lucía air force base into a commercial terminal. As for the thwarted Foster + Projects design, it was reported in The Washington Post that López Obrador suggested turning the remains of the unfinished airport into “a big sports and ecological center for Mexico City.”
This week, Foster + Partners’ Bloomberg European headquarters in London picked up the 2018 RIBA Stirling Prize, an award ostensibly given to the best building in the U.K., marking the third time Norman Foster's firm has won the award. But was it actually the best piece of architecture on the shortlist of six projects? No. Let me start off by saying that the Bloomberg headquarters is by no means a bad building. The judging panel, chaired by Sir David Adjaye, was right to say the project “pushed the boundaries of research and innovation in architecture." They added in a statement: “Bloomberg has opened up new spaces to sit and breathe in the City,” and went on to laud “the visceral impact of the roof-top view across to St Paul’s from the concourse space,” the office’s helix ramp and its “dynamic new workspaces.” However, all of these listed items of praise are merely examples of pricey green gadgetry and fancy add-ons. While good in their own right, they have not come together well enough to form an exemplary piece of architecture worthy of winning the RIBA Stirling Prize. Inside, amid the myriad of seating, the scheme feels like a glitzy airport at times with stock markets being displayed on screens emulating departure boards. Views out are also hard to come by, besides one panorama of St Paul’s and a vista of the city reserved for Bloomberg's higher-ups as they dine. The Bloomberg HQ may have also carved a new thoroughfare through this part of London, but it’s hardly space to breathe. The public feels somewhat ushered through the massive slabs of sandstone by undulating bronze fins that dominate the facade, being employed further up to aid air circulation and shun views out in the process. The only spaces where you don’t have to be a paying patron at an establishment to sit are two benches at the site’s southern corner, both of which have seating dividers to prevent rough sleepers. Poor people it seems shouldn’t be allowed to rest when in the presence of a $1.7 billion building. And that’s the project’s biggest issue: money. “Some people say the reason it took almost a decade to build this is because we had a billionaire who wanted to be an architect working with an architect who wanted to be a billionaire,” said former New York Mayor Michael Bloomberg at his building’s unveiling. Norman Foster is the U.K.’s wealthiest architect. This year, partners at his firm shared $30.4 million between them, a 43 percent increase on last year despite a downturn in profits and turnover with the company having to lose staff in the process. As critic Oliver Wainwright noted in a tweet, Foster's 'non-resident in the UK for tax purposes' status prevented him from even picking up the award in person. What does all this say about architects and the profession? That to design a good building you must find a client with apparently limitless pockets? That as an architect it is more important to be obscenely wealthy over everything else? Bloomberg’s London HQ is a far cry from last year’s winner, dRMM’s Hastings Pier, which exemplified civic architecture at its best. That delightful scheme made extensive use of timber salvaged from a fire that burned down the previous pier. It was truly a community project. dRMM held close consultations with the public and the charity funding it, and the pier was built for the public of Hastings (and those visiting, of course). There were far better examples of architecture on this year’s Stirling Prize shortlist too. Take Waugh Thistleton Architects’ Bushey Cemetery for example. Using walls of rammed earth sourced from the site it rests on, the project demonstrates genuine material innovation and manages to convey a sense of weight and be delicate at the same time. Bloomberg, meanwhile, shipped in 600 tons of bronze from Japan and granite from India, and despite the similar earthy tones, feels dauntingly heavy. An example of working wonders when on a budget was also shortlisted: Storey's Field Centre and Eddington Nursery in Cambridge by MUMA. Like Hastings Pier, this was a celebration of civic architecture, with a community center and kindergarten surrounding a landscaped courtyard. “By building at a lower height than approved at planning…Bloomberg shows a high level of generosity towards the City,” the judges commented. In light of this, Jamie Fobert Architects’ Tate St Ives was arguably more adept at concealing space. Buried underground, yet still allowing bucket loads of light in, the museum has somehow doubled in size. It’s a remarkable piece of architectural contortion that keeps locals and the museum happy. Another shortlisted project, Níall McLaughlin Architects’ Sultan Nazrin Shah Centre for the University of Oxford, like the two aforementioned projects, articulated light in spectacular fashion. The project provided a lecture theater, a student learning space, seminar rooms, and a dance studio of immense quality and leads by example the quality of spaces students deserve. London studio Henley Halebrown’s Chadwick Hall student accommodation for the University of Roehampton, the final project on the list, did the same. A win for the project could have sent a message about what the standard of student housing in the U.K. should be. The majority of current student housing stock is dire. With space standards for student housing thrown out of the window due to it being temporary accommodation, the area has become a safe bet for investors looking to cram as many units in for a guaranteed profit. A message, in fact, was sent, coming in explicit form from RIBA President Ben Derbyshire. “This building is a profound expression of confidence in British architecture—and perfectly illustrates why the U.K. is the profession’s global capital,” he said in a statement. “This role and reputation must be maintained, despite the political uncertainty of Brexit.” This, however, feels like a lazy excuse to award a project the Stirling Prize. Defaulting to listing “Brexit” as a reason should not be in the criteria. Neither should sustainability, a high standard of which should be a baseline for all shortlisted projects. Let BREEAM (the U.K. equivalent of LEED) deal with recognizing that. The RIBA Stirling Prize doesn’t have to send any message, though. It just has to recognize the best building, and this it has not done.
A pedestrian was pronounced dead at the scene yesterday morning after a window unit fell from the 25th floor, reportedly the vacant penthouse unit, of Foster + Partners’ Corniche tower in central London. The Corniche, a 26-story, mixed-use luxury tower, was completed last summer and sits on Albert Embankment, a former brownfield on the southern bank of the River Thames that has recently seen a suite of luxury development. The man, reportedly a 53-year-old coach driver named Mick Ferris, was struck by the dislodged window unit—including the metal frame—at approximately 10:40 a.m. GST and was likely killed instantly. Images posted on social media from both inside and around the tower show the area cordoned off by the police and a missing window near the Corniche’s top floor. “Our sympathies and condolences are extended to the family following this tragic incident,” said a Foster + Partners spokesperson when the firm was reached for comment. “We await further information.” A spokesperson for St. James, both the developer and contractor for the project, expressed similar sympathies when reached for comment: “It is with great sadness that we learnt of an incident at our Corniche development on Albert Embankment on Tuesday, 2 October, 2018, in which a man suffered fatal injuries. We extend our deepest sympathies to his family at this incredibly difficult time. We are investigating this incident as a matter of urgency and working with the emergency services to establish what happened.” An investigation into the accident is ongoing. The Health and Safety Executive, the U.K.’s workforce health and safety enforcement body, is cooperating with local police to determine the cause of the incident. AN will update this article as more information becomes available.
The troubled tower originally designed by Foster + Partners in Manhattan's Sutton Place neighborhood has hit yet another speed bump. Crain's reported that local residents have filed a lawsuit to block the condo building from going up at 430 East 58th Street, claiming that it has run awry of recent zoning changes. Locals are unhappy with the tower's height. Its scale is closer to the skinny supertall towers of nearby 57th Street, which is also known somewhat pejoratively as Billionaire's Row and is the home of some of the city's most expensive apartments. Sutton Place is, however, an affluent mid-rise and low-rise area, home to historic townhouses and exclusive brick apartment buildings. The project has never been welcome in the area. In an attempt to block its rise, the local populace successfully lobbied the city government to change the area's zoning to exclude structures of the tower's proportions. The developers then scrambled to get the building grandfathered into compliance by finishing the building's foundation before the new restrictions took effect last December. The city gave the developers an extension to meet the deadline, which is what the neighborhood is objecting to and suing the project over. The suit is aimed at stopping construction and shrinking the tower, which is currently planned to be 68 stories. The original developer, Joe Beninati, was a relative newcomer to the New York City real estate scene, and after a series of bad financial decisions he lost control of the project, and it went into the hands of Gamma Real Estate. An earlier version of this article incorrectly stated that Foster + Partners is the current architect on the project.