Posts tagged with "Higgins Quasebarth & Partners":

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Marvel Architects converts a 200-year-old school into upscale condos

This Federalist-style four-story building across the street from the Basilica of St. Patrick’s Old Cathedral was the church’s former school and convent for nearly 200 years. Built in 1826 to replace an orphanage and parochial school founded in 1822, Old St. Patrick’s Cathedral School educated generations of locals and immigrants (including Martin Scorsese; according to a New York Times article he “struggled under the merciless ministrations of the Sisters of Mercy”) before closing in 2010. In 2014, the archdiocese sold it to Hamlin Ventures and Time Equities, who hired Marvel Architects to design the Residences at Prince, a seven-unit condo attached to a 6,100-square-foot space still retained by the church for its offices and community space. Because the structure is a landmark, the exterior elements—namely the windows—were restored. “Integrating glass into [the] historic facade, we supported the architect to update the aesthetic,” said Spencer Culhane, building envelope specialist at Schüco. Preservation consultant Higgins Quasebarth & Partners and Marvel completed the restoration using two styles of windows since the building was built in two different time periods. “The new wood window sashes are shop painted with a durable finish to provide a long-term protected finish,” said Nebil Gokcebay, associate at Marvel. In the interior courtyard, new expanses of glaze and thermally broken windows were installed. Having undergone numerous revisions, the south-facing 200-year old facade is patched up by bricks that fill up what were previously windows. This playful window arrangement (lower level windows occupied by the church are opaque) inspired the new north facade. A similar asymmetrical composition was made with Schüco’s AWS windows throughout. “Between the design starting point and in contrast to the historic double-hung windows in a pre-Civil War wall, we developed an all-glass vocabulary,” said Jonathan J. Marvel, principal at Marvel. Architect: Marvel Architects Location: New York City Codevelopers: Hamlin Ventures and Time Equities Contractor and Fabricator: TRU Architectural Historic Preservation Consultant: Higgins Quasebarth & Partners Facade Windows: Kolbe Windows & Doors Courtyard Glazing System: Guardian Glass Courtyard Glass and Window Systems: Schüco
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Revised designs revealed for the modernist plaza at SOM’s 140 Broadway

After hearing—loudly—from critics and community members, the team behind 140 Broadway's plaza revamp has revised its design for the outdoor spaces surrounding the former Marine Midland Building, SOM's landmarked 1968 corporate modernist masterpiece. Landscape architects at New York's NV5, in collaboration with preservation consultants at Higgins Quasebarth & Partners, have submitted a revised design for the modernist plaza at 140 Broadway to the Landmarks Preservation Commission (LPC) for a hearing next week. Most notably, the new design eliminates a 14-foot-wide planter at Broadway and Cedar Street that would have sat kitty-corner from the plaza's signature sculpture, Isamu Noguchi's Red Cube. Aside from the absence of the large corner planter, the plaza design is relatively unchanged from the one revealed in January. Like the previous scheme, the new plans call for six, 14-foot-wide circular planters that double as benches along Cedar Street. Meanwhile, the Helmsley Memorial, a blocky black-granite tribute to the late owner, will be re-dedicated as a marker flush with the pavement, and the design team will add metal bollards along Cedar. To further harmonize the space, the design team is replacing pinkish granite pavers installed in 1999 with a light golden-hued granite that resembles the original travertine plaza. When the plaza plans were revealed in January, critics panned the design, saying it would distract from the Noguchi sculpture, which was installed to complement the plaza and its 57-story tower. Originally, the LPC was scheduled to hear the plaza plans in early February, but public debate over the appropriateness of the renovation prompted the designers and owner to withdraw the item from the LPC's calendar. The Architect's Newspaper (AN) obtained an advance copy of the plans that were submitted to the LPC. All the renderings and drawings pictured here are from that document. Jackson Wandres, director of landscape architecture at NV5, and Erin Rulli, partner at Higgins Quasebarth, said that their overall goal is to add more seating and re-establish the east-west viewshed that extends from Zuccotti Park across the 140 Broadway plaza and over to SOM's 28 Liberty (formerly One Chase Manhattan Plaza), a modernist skyscraper of the same vintage. The 140 Broadway plaza "is the knuckle in a series of open spaces," Wandres said. "It makes the space feel much larger." A web of fine-toothed zoning designations divides these three seemingly unified areas and complicates the design intervention, however. The park and the two office tower plazas are POPS, spaces that are privately owned and maintained but free for the public to use. At 140 Broadway, the plaza continues out from the building to the edge of the roadway uninterrupted, even though the property line actually ends about 20 feet before the street; the food carts with LED marquees that sling chicken-over-rice and green juice to hungry passerbys sit on the public right-of-way. By obstructing the historical plaza-to-plaza vista, "the carts have caused a dramatic shift in how you experience the space," Rulli said. "It's not the intention to deprive anyone of their livelihoods, but rather, it's a design move for the benefit of the plaza," Wandres added. The pair clarified that any changes to the public area is under the Department of Transportation's (DOT) jurisdiction, not owner Union Investment's. Consequently, the proposed food cart–replacing benches and planters in the right-of-way are being reviewed by the DOT, not the LPC.
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David Chipperfield’s West Village condo totally misses the mark, says LPC

This week David Chipperfield went back to the New York City Landmarks Preservation Commission (LPC) for a second time, hoping to get approval for his heavily revised design for a West Village condo.

The architects first went before the LPC in July with a white precast concrete residence at 11 Jane Street. This time they were hoping to get the commission’s blessings—but no such luck.

The new design swaps concrete for red brick, and knocks ten feet off the total height to better align with the block's townhouses. The residence, presented in collaboration with Higgins Quasebarth & Partners, would replace a one-story parking garage.

In an email to supporters last week, preservation advocacy group the Greenwich Village Society for Historic Preservation (GVSHP) said the design is not appropriate for the street or in keeping with the overall ethos of the Greenwich Village Historic District.

"[Unfortunately] the new design is not much better than the old one (and may even be worse in some respects)," the email said. "While the new design is slightly shorter and uses a more appropriate brick material, instead of looking like a corporate office building it now looks like a corporate chain motel."

The commission mostly agreed. Though it said the current design "plays better with the neighbors,” commissioners took issue with the sliding windows and door, especially the narrower vertical glass doors to a row of second-floor terraces. To many that spoke, the entrances that flank the sides of the building, closed off from the sidewalk by a low metal gate, lacked the egress signifier that a stoop, for example, would provide.

“I just don’t think this very capable architect has reached the mark," said Commissioner Michael Devonshire. “Articulation in the district is extremely rich and this building lacks it."

Chair Meenakshi Srinivasan echoed Devonshire and added that the LPC must “work within the concept and not send it in another direction."

The LPC took no action and will review a revised design at a later date. Third time’s the charm, right?

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See the top-to-bottom restoration of this nineteenth century Soho loft building

Post–World War II deindustrialization may have cleared out Soho's manufacturing tenants, but despite a thoroughly-documented influx of artists, many buildings still fell into disrepair. This past summer, a trio of New York firms took on the monumental task of top-to-bottom renovating one structure on a prime corner top-to-bottom. The seven-story, Renaissance Revival–style Knickerbocker Telephone Co., designed and built in 1894 by architect John T. Williams, is within the bounds of the SoHo Cast Iron Historic District Extension, a surviving slice of a once-bustling commercial district that hosted textile producers and dry goods warehouses. On the outside, New York–based Scott Henson Architect recast the cast-iron decorative elements on the facade, installed historically accurate wood window frames, and added new steps to the entryway, while also New York–based Stephen B. Jacobs Group Architects recreated the storefront bays in their original arrangement. Deterioration prompted the architects to streamline the ornate structure slightly: To match the rusticated facade, brownstone sills and lintels were cut back and replaced. The top floor of the north side of the Lafayette Street facade was completely reconstructed with an arched brick, original window replica. The architects collaborated with preservation consultants Higgins Quasebarth & Partners on the detailing, and the firm's paint analysis prompted the designers to coat the windows, cast iron detailing, and sheet metal cornice in a historically accurate dark yellow color. While preservation law dictates that the exterior be done in a historic style, the design team, led by Stephen B. Jacobs Group, gave the 105,000-square-foot interior a contemporary upgrade. Clothing retailer J.C. Penney shares "loft-like" space with Pirch, the appliance distributor. Cast-iron columns and timber beams frame "loft-like" spaces with glassed-in offices with polished concrete floors, while a first-floor skylight floods the ground-floor appliance showroom with light. Eight Inc. collaborated on the interior design.
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Studio Gang’s AMNH expansion gets the green light from Landmarks Preservation Commission

Today the Landmarks Preservation Commission (LPC) unanimously approved plans for a major expansion to the American Museum of Natural History (AMNH) in New York. In almost 90 pages of presentation materials, representatives from Studio Gang, preservation consultants Higgins Quasebarth & Partners, and landscape architects Reed Hilderbrand demonstrated to the commission and the public how they would demolish three museum buildings constructed between 1874 and 1935 to make way for the Richard Gilder Center for Science, Education, and Innovation. In a radical but elegant departure from AMNH's mélange of Victorian gothic, Beaux Arts, Richardson Romanesque, and contemporary buildings, the 195,000-square-foot Gilder Center, inside and out, takes formal cues from geological strata, glacier-gouged caves, curving canyons, and blocks of glacial ice. "Sleekness was never a goal—we wanted a richness of texture," explained Studio Gang design principal Wes Walker, in a pre-meeting model walkthrough with The Architect's Newspaper (AN). The pink Milford granite the designers intend to use for the facade is the same stone used for Theodore Roosevelt Memorial Hall, the museum's main entrance on Central Park West. The Gilder Center granite will be sliced into two- and three-inch-thick bricks and arranged in diagonal bands on the facade to create the attractive variation that's produced by ornament on the neighboring 19th-century buildings. Bill Higgins (of Higgins Quasebarth) and Jeanne Gang detailed how the unconventional form will fit in with—and enhance—those buildings: The original, aggressively rectilinear master plan calls for architectural focal points on each of the museum's main facades. The angular forms are complemented by a playful, curvilinear landscape—plans show undulating paths that flank the imposing buildings. The rectangle/curve relationship remains at the Teddy Roosevelt entrance, and the Gilder Center, directly across the complex, extends and amplifies historic precedent—"[it's] an insertion into the historic fabric," said Gang. For AMNH, the new building is both an addition and connective tissue that bridges disparate programs. Museum president Ellen Futter explained that her institution needs to expand to accommodate five million annual visitors: Though its classroom and exhibition space will augment the museum's offerings, the Gilder Center is also a switchboard, connecting ten buildings at 30 different points. Inside and out, transparency and accessibility define the design. Vertical glazing on the facade lets visitors see deep into the structure, like looking into a fjord. Where the museums of past centuries defined their monumentality with great granite steps, the Gilder Center's no-step entrance allows for seamless access for people with mobility impairments or strollers. The addition will also open up sightlines to Building One, AMNH's first structure, via a passageway and additional gallery space. Manhattan borough president Gale Brewer, councilperson Helen Rosenthal's office, AIA New York, the Van Alen Institute, and the Columbus Avenue BID spoke in support of the addition, but preservation and neighborhood parks groups were not as bullish on the project. The Historic Districts Council (HDC), while offering that the Gilder Center "defers sensitively" to existing buildings, questioned the facade detailing and expressed concern about the building's exposed interior. The structural concrete columns that define the main space, HDC claims, are not clad in the same quality material as the facade. The group suggested Studio Gang refine the design further. Residents and members of park preservation groups spoke out against the Gilder Center because it encroaches on Theodore Roosevelt Park, and its construction requires the removal of seven mature trees. In response, Reed Hildebrand divided the layout into slow and fast programs—slow, or passive recreational activity will be directed away from the Gilder Center entrance, a meandering paved walkway shaded by (new) trees and curving flower beds. 80 percent of the addition will occupy the museum's existing footprint, and less than two percent of the 10-acre park will be sacrificed to AMNH. Noting the designers' willingness to adjust their designs in response to community concerns, the commissioners offered additional suggestions. Chair Meenakshi Srinivasan said that the cultural aspect of the museum was often absent from the conversation around the design, while other members suggested that the architects reconsider the stucco planned for a northern exterior wall. Commissioner Frederick Bland, an architect, noted that the essence of AMNH is its "excellent" architecture that has accrued on the site over time. He praised the design team's vision and level of detailing, adding that at this stage it can be dangerous to intrude on the details of another architects' design vocabulary. "Very seldom do you see a design this soaring and open," said commissioner Wellington Chen. "It's a stunning piece of architecture—the commission can be proud in approving the project," said Srinivasan. After hours of tension, a palpable wave of relief emanated from the assembled architects. After the LPC's vote, a smiling Jeanne Gang told AN that her team had to move the modeling and detailing much farther along than usual for this round of approvals. "We had to make the parametric model way ahead to figure out the coursing and interfaces with the masonry," she said. Next, the Gilder Center moves onto design development and through the Environmental Impact Statement (EIS) process towards an expected groundbreaking next year.
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LPC blasts David Chipperfield’s fancy West Village condo, sends it back to the drawing board

Today the New York City Landmarks Preservation Commission (LPC) blasted David Chipperfield's proposed residential building in the West Village and sent the design back to the drawing board for serious modifications. Developer Edward Minskoff plans to demolish a two-story garage to build a condominium designed by Chipperfield with New York–based Higgins Quasebarth & Partners as local partners. Chipperfield's glass and precast concrete condo would rise five stories with an additional penthouse level set back from the lower floors. In June YIMBY calculated that the 30,676-square-foot building would have seven apartments measuring in at over 4,382 square feet. 327 square feet of commercial space for an underground parking garage would round out the program. Today he defended the (pretty much unchanged) design, noting its "quality" and harmony with neighboring buildings. The LPC wasn't buying it, however. Chair Meenakshi Srinivasan called out the building's height, while other commissioners were just not kosher with demolishing the garage, which dates from 1922. In the presentation materials submitted for today's meeting, diagrams from Chipperfield show the structure's elevation compared to buildings on adjacent blocks. The diagrams show buildings of various height, including many that surpass the three- and four-story height that the Greenwich Village Society for Historic Preservation (GVSHP) pegs for the neighborhood's midblocks. The site lies within the Greenwich Village Historic District, so both the demolition and new construction requires approval. The commission last heard the proposal in June, when a decision was tabled in response to 40 pieces of public testimony, all in opposition to the design. Residents called it a "travesty" that would block sun and air. Andrew Berman, the GVSHP's executive director unleashed a torrent of objections, arguing that the height was out-of-scale with three- and four-story midblock buildings, and that the facade more closely resembled cast-iron faces of Noho and Soho buildings, not Greenwich Village. Perhaps most damning was Berman's assessment of the structure's place in the urban fabric:
"[We] must note the devastating cumulative effect which the loss of buildings like 11 Jane Street has on the scale and quality of the Greenwich Village Historic District. Such buildings have simple but handsome early 20th century detail and contribute to the sense of place and variegated scale of the Village. Their modest one and two story stature defers to the historic residential and commercial structures around them, allowing them to remain in the foreground. They are part of the quirk, charm, and surprise that one encounters on Village streets; each a little different from the next, but sharing common overall qualities.”
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Inch by inch, the Times Square Palace Theater will be raised 29 feet to accommodate added retail

In any other circumstance, razing a beloved historic building elicits outrage from preservationists. This time, the Landmarks Preservation Commission (LPC) worked the homonym, approving plans to raise the Palace Theater, at the corner of Seventh Avenue and West 47th Street, by 29 feet. New York's PBDW Architects and historic preservation consultants Higgins Quasebarth & Partners will lead the theater-raising and subsequent renovation. The lift will allow for 10,000 square feet of retail space on four levels, a new entrance on 47th Street with a 75-foot marquee, back-of-the-house space, a lobby 25-times the size of the current one, plus new bathrooms, the Wall Street Journal reports. Indianapolis-based Maefield Development is financing the move and renovation. When complete, theatergoers will enter through an escalator on West 47th Street to access the mezzanine lobby. Completed in 1913, the 1,700-seat Beaux-Arts Palace was one of the largest vaudeville theaters in the city. Originally, the theater was ensconced in an office building on four sides, though that building was demolished in 1988. Currently, the 45-story DoubleTree hotel tower surrounds the structure. The LPC gave landmark status to the theater's interior in 1987. Though raising a theater in the middle of a crowded urban area poses some logistical challenges, the project management team is not worried. The existing truss will be reinforced. One part will be removed, and a full box will be built around the theater. Beams for the new platform will be installed before telescopic jacks are put into place. The jacks they are using have twice the capacity needed for the weight of the structure, just in case. The existing structure will be raised one inch at a time. Though approved, the plan faced opposition from some preservation groups concerned about the message—commerce > art—that the project sends. The nonprofit Historic District Council noted that:
It is not appropriate to move or obstruct access to an interior landmark to make way for private development, a request that seems to be on the rise as we saw last year with the clocktower at 346 Broadway. Approval of this application will be a clear communication of conscience, and indicative that our culture and art is merely secondary to a Times Square corporate chain store.
Proponents argue that the move allows both ground floor retail and expanded space for theater. Moreover, the Palace's interface with the street will be enhanced by the move, as the sidewalk on Seventh Avenue is too busy for theatergoers to linger around pre- and post-show. There's no word yet on dates for the move.
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This graffiti-covered Bowery landmark is about to turn luxury, but developers plan to preserve years of spray paint on its walls

In December, AN wrote that prolific developer Aby Rosen had picked up 190 Bowery—a six-story, graffiti-covered Renaissance Revival building that had been the private home and studio of photographer Jay Maisel since 1956. Maisel purchased the building for $102,000 and repeatedly turned down offers to sell it despite its skyrocketing value. Rosen's RFR Realty ultimately purchased the landmarked property for $55 million. So, you can understand that when 190 Bowery sold we predicted that its graffiti would be "power-sprayed into oblivion." Well, turns out we were wrong about that: The graffiti-covered building will continued to be a graffiti-covered building even as it transitions into an commercial property with ground floor retail. NY YIMBY reported that Higgins Quasebarth & Partners and MdeAS Architects recently presented their conversion plan to the Landmarks Preservation Commission which includes the "restoration of metal gates, wooden doors, stained glass, and other elements, but not removing the graffiti or cleaning the facade." The project's light touch pleased just about everyone. Landmarks commissioners loved it, the Bowery Alliance of Neighbors was pretty happy with it, the Historic Districts Council was smitten, and Community Board 2 approved it, as did the Landmarks Preservation Commission.