As restaurants try to drum up alternative revenue and traditional retail outlets continue to feel the squeeze from online shopping, Roman and Williams Buildings and Interiors has brought the best of both worlds at their new flagship store in SoHo. The 7,000-square-foot design store, café, and flower shop, neé Roman and Williams Guild, is a showcase of Roman and Williams’ work. Here, diners can lick the plate clean and then buy it. Roman and Williams is well known for their work at the Standard Highline and ACE Hotels as well as high-end residential projects. Expanding into a consumer-facing brick-and-mortar space in an expensive Manhattan neighborhood seemed like a natural progression. The 44-seat La Mercerie café within the Guild is built out with pieces from Roman and Williams' new Founding Collection, and everything is for sale. The café’s light interior palette of blonde wood and pastel blues, described by Roman and Williams as “watery-blue cast, pale-gray floors and an indigo enameled kitchen” matches the exterior of the landmarked building. But walk to the back of the restaurant and through the arched threshold, and those muted colors are replaced by deeper hues of blue and a more rustic tone in the back showroom. This is where interested customers can pick up pieces in a more traditional design setting, with a heavy emphasis on wood, leathers, and fabrics. The Guild also houses a flower shop helmed by local botanist Emily Thompson, and her arrangements can be found throughout the entirety of 53 Howard Street.
Posts tagged with "Manhattan":
Ahead of the sales launch for the Adjaye Associates-designed 130 William condo tower in lower Manhattan, Sir David Adjaye sat down with the New York Times to discuss the building’s design philosophy and to drop new renderings of the arch-wrapped tower. Construction on the tower, with its gothic-flair and inverted take (and massing) on the arches seen in classic New York masonry, is already well above grade. Unlike many of its glass-clad contemporaries, dark, angled concrete panels as being used for the building’s facade, which Adjaye described to the Times as acting to break up rainwater running down the face of the building. A new detail revealed in the interview is the deeply gauged and pocked texture of the concrete, reminiscent of fresh volcanic rock. The arches-all-over motif is repeated in the lobby according to the new renderings, with arched book nooks notched from concrete and arching transoms over the main entrance doors. Like the building’s facade and the black tiling in the pool room, Adjaye and Hill West Architects have gone with a heavy dark material palette for the lobby. This is in stark contrast to the all-white residential unit interiors and they’re brass-burnished finishes. Adjaye Associates and Weintraub Diaz Landscape Architecture will also be designing a planted plaza at ground level inspired by the city’s historic pocket parks, though from the construction photos the building appears to be tightly slotted into the site. Potential residents can purchase units starting from $650,000 for a studio all the way up to a $5.42 million 4-bedroom condo, with an expected move-in date of 2020.
Manhattan’s Garment District is next on the rezoning block, with some bright spots for manufacturers
Hot off of a contentious rezoning of East Harlem and in the middle of spinning up the Inwood rezoning, the de Blasio administration has once again turned its attention to the Garment District in Midtown. While a previous attempt to transition the neighborhood away from manufacturing failed last year, the Wall Street Journal is reporting that a revised plan will be presented any day now. New York City’s Economic Development Corporation (EDC) has reportedly worked out a plan, with input from advocates and manufacturers in the area, that would ease some of the area’s restrictive manufacturing requirements and open the neighborhood up to commercial development. A major sticking point of the prior plan, and part of the reason that neighborhood manufacturers opposed the initial rezoning, was that the city had floated the idea of relocating most of the manufacturers to Brooklyn's Sunset Park. From the details that have been made public so far, it looks like the city will lift certain zoning restrictions along the neighborhood’s side streets rather than the whole district, which is located between West 35th and West 40th streets and Broadway and West 9th Avenue. The city will spend up to $20 million to acquire a building that will solely house manufacturing, and developers will be given tax incentives for allocating at least 25,000 square feet for clothing manufacturing in any new buildings. It’s likely that the restrictions on building new hotels from the older plan will be included in the final revision. Under the 1987 zoning code that the new plan addresses, developers converting buildings in the district were required to maintain a 50-50 split between manufacturing space and offices. The new plan is likely a win for manufacturers looking to stay in Manhattan. Despite the district’s central location, many of the small clothing and cloth shops that lined the neighborhood’s streets have left due to unaffordable rent and overseas competition. The WSJ notes that of the 9 million square feet of space within the 1987 zoning regulation’s boundaries, only 700,000 to 900,000 square feet is being used for manufacturing today. Much of New York’s manufacturing base has already shifted to Brooklyn, with a sizable chunk moving to the Navy Yard because of the ability to vertically integrate their production; the latest rezoning plan is a direct effort to address this. In a press release, the EDC put forth a commitment to preserve at least 300,000 square feet of manufacturing space in the neighborhood, noting that 25 percent of all garment manufacturing in the city is still done in the area. "The Garment Center's unique ecosystem of skilled workers and specialty suppliers clustered in one place is the foundation that the wider New York fashion world is built on. What we've negotiated here is a real plan to preserve it for years to come," said Manhattan Borough President Gale A. Brewer in the release. "This is much more than just a tax benefit program, although the IDA benefits are central. It’s an IDA program combined with a real commitment of resources to purchase permanent space. This package will help keep the fashion industry anchored here in New York."
There’s an adage that the greenest building is the one that’s already built, but just because we see the potential in existing structures today doesn’t mean adaptive reuse was always treated with respect. When New York architect George Ranalli began retrofitting buildings in the 1970s, remodeling was considered the “dowdy cousin” of new, modern architecture, as design historians Sally Stone and Graeme Brooker phrased it in Rereadings, their 2004 tome on the topic. But that idea has changed, thanks to the visionary work of architects like Ranalli who have shown the opportunities that can come from giving a space a new lease on life. “The more beautiful and memorable [something] is, the more you associate your personal memories and experiences with that—that's what fuses together and becomes the lasting recollection and history of a place,” said Ranalli, who sees remodeling as more than just a sensible solution for sustainability and economics. For him, reuse is a way to tap into the human need to feel connected to the ebb and flow of history. “It's why we go and take pictures in front of buildings,” he explains. In the decades since his creation of the Ranalli Studio—a multifunctional, multilevel space within a 400-square-foot studio apartment—in 1976 and the groundbreaking Callender School conversion in 1979, Ranalli has created a new visual vocabulary for interior reinvention that has reshaped the very way we understand residential spaces. In many cases, like the recent renovation of two loft spaces in New York City’s Chelsea neighborhood into a single custom-tailored home, that means inserting new forms into a “host space,” always with a membrane of the original architecture around it. The result is a layering of public and private functions—all while preserving the qualities of light and openness that attracted people to these historic properties in the first place. For the Chelsea client, Ranalli introduced a “box” with a curved face that supports a lofted sleeping space while housing the bathroom, kitchen, and plenty of storage. That way, he explained, “there's an in-front-of, a behind, and an on-top-of.” The new structure leaves a light-filled double-height living and dining room, where the eye is brought back down to the human scale and “the finer grain of design” through the addition of plywood panels affixed to the wall with an ornamental pattern of stainless-steel screws. “The materials are a second and third layer of visual texture, so that space isn't bland; it's able to sustain a long period of inhabitation,” Ranalli said. To further heighten the visual interest and raise the simple material to the level of the items around it, Ranalli has the sheets of Russian birch plywood cut into interlocking panels, joined with a “counterpoint” of thin strips of walnut where they meet. “If it's too simple, it gets boring after a number of years,” Ranalli said of the reasoning behind his detailed approach. The firm arrives at such deeply personal results by starting with a research phase spearheaded by its social scientist, Dr. Anne Valentino, Ranalli’s creative partner and wife. Asking pointed questions about their clients’ earliest memories of home, the pair are able to create hyper-customized designs that reflect—and facilitate—clients’ lifestyles by linking back to the concept of “goodness of fit,” the idea that people are just naturally inclined to respond well to certain things. This collaboration has helped Ranalli understand what he described as “the psychological associations between everyday experience and memory, how the environment accumulates memory and ultimately its history over time.” The firm’s individualized approach for the Chelsea client led her to discover a new appreciation of art and design—from the colorful Gaetano Pesce vessels that complement the apartment’s pared-down palette to the Plug-in City print by Archigram designer Peter Cook. The urbanist concept seems to have presaged the design philosophy of the apartment, only on a citywide scale. “In a way, her whole apartment is sort of plugged into itself,” Valentino said. “Spaces within spaces."
A massive light-filled loft on 5th Avenue is a prime canvas for interior architecture. Unless, of course, the client brief requests eight treatment rooms, a nutrition center, two cryotherapy care centers, a reception area, a retail area, and a few support spaces to go along with it. Then, things get considerably more complicated. These were the opportunity and the accompanying complications architect Brandon Haw faced when he was tapped to design the New York Dermatology Group (NYDG) Integral Health and Wellness flagship office by his friend Paolo Cassina, the Italian designer. “We grappled with the idea of how we could put this much activity in this wonderful, big space and yet somehow hang on to the light and volume,” Haw said. “With that in mind, I began to play around with the idea of these light, ethereal curtains around the treatment rooms. As the idea of the curtains started to gel, we asked, ‘What if we created a pod and put that in the middle, so that you come into the reception area along the very large windows overlooking 5th Avenue and then follow that line of windows around to your treatment room?’” Haw began sketching a wavy line suggestive of such a curtain and was considering a modular screen system when he and Cassina spoke with Fabio Rombaldoni of Sailing, who had worked on a number of residential projects as well as yacht interiors. The trio came up with the concept of using a yacht-hull maker to fabricate four different panel molds that joined together seamlessly to form an organic, wavy pod in the center of the space. “It was custom-made by hand in Italy, and it was quite amazing,” Haw explained. “The panels are imbued with color and the consistency by the process itself with no external spraying or painting.” The opalescent white fiberglass panels were mapped out in Italy at full scale like a giant puzzle and then exported to the United States where they were assembled. Haw and his team paired the subtle, shimmery white pod with bronze fittings and used the existing industrial dark-wood flooring. Then they lowered the ceiling plane by creating a bespoke wood baffle so that the eye would be drawn up to the edge of the 11-foot-tall pod and then to the sleek wood planks. To continue the airy aesthetic in the enclosed treatment rooms, Haw selected pulverized quartz flooring that is bright and a little sparkly but extremely durable and easy to clean. To outfit the rest of the office, Haw and Cassina delved into what they felt a wellness space should be: “sumptuous, luxurious, comfortable,” Haw said, where people feel “comforted, but at the same time get a sense of clinical efficiency.” To truly embody those descriptors from wall to wall, Haw and Cassina designed a line of contract sofas, seating, and side tables specifically for the NYDG office that will be commercially available later this year. The furniture is sleek, with unexpected cutouts and an emphasis on smaller love seats, which accommodate one or two persons, rather than long sofas. (You might have a friend with you, but when was the last time you cozied up with random fellow patients? Exactly.) “The way I come at architecture and design is all about the use of the space and lifting the spirits of the people functioning within the spaces—both the clients who are coming in and the employees who are there every day. Timeless elegance was at the forefront of this project, and there was a great attention to detail.” This attention to detail and creative process make the paradoxical space—open and private, light and dark, comfortable and clinical—look and feel just right.
The second annual TECH+ Expo, presented by The Architect’s Newspaper, has returned to Manhattan with a bevy of vendors, lectures, and talks about where architecture, engineering, and construction (AEC) are headed. After a round of breakfast and networking on the expo floor, president and founder of programming partner Microsol Resources Emilio Krausz and AN’s publisher Diana Darling took to the TechPerspectives main stage to welcome attendees and introduce the two keynote speakers. Dennis Shelden, director of the Digital Building Laboratory (DBL) at the Georgia Institute of Technology, took the opportunity to discuss the challenges (and opportunities) that technology brings to the interoperability between AEC industries. Virtual reality, and the integration of models with the ability to walk through and coordinate with the trades, could ultimately save money and time for everyone. And looking ahead even further in the future? Augmented reality, where VR is projected into the real world, could help visualize projects in real time and could ultimately lead to a “Minority Report”-style future. Architect, technologist, and newly appointed associate dean of the Yale School of Architecture Phil Bernstein followed up with an industry keynote on computational design and integration. The field has already moved from hand drafting to CAD, and then into BIM, so what comes next? Bernstein presented six points that he felt were the next logical stepping stones, from using big data, to improving computational design, to integrating machine learning into the design process. The availability of data and cloud computing power could eventually help architects design more optimized buildings and reduce the waste that comes when expectations don’t line up with how a building actually performs in the real world. lining up to present the latest advances in virtual reality, 3-D printing, and rendering technology (and visitors all had the chance to win their own HTC Vive by throwing down their business cards). Implementation was a major theme this year, whether it was through IrisVR’s use of virtual reality to bring architects, engineers, and construction workers together for meetings, or Morpholio’s easy-to-use sketching tools. As Bernstein contends, architects will make fewer mistakes and save more money as the gap between ideas and implementation closes.
The Woodstock 446 W 14th St, New York Tel: 212-633-2000 Designer: Damaris Cozza Located on 14th street in Manhattan under the High Line, The Woodstock is a recently opened 1960s-themed restaurant and bar designed by set designer Damaris Cozza that features a vivid, retro design and specializes in cocktails and Neapolitan-style pizza. The 4,000-square-foot establishment is divided into two zones: a larger dining area and a smaller-scale lounge, both painted in bright colors. Communal tables fashioned out of repurposed bowling lanes and marble-topped tables occupy the larger hall, with seating comprised of a motley mix of mid-century furniture. The lounge, clad in wood paneling, has two coffee tables surrounded by plush leather and canvas couches. To cement the lounge’s homey personality, lava lamps, antique lamps, and even a stuffed rabbit are scattered across the space. Emphasizing the restaurant’s 1960s vibes are a series of period posters and paintings, ranging from President Kennedy’s campaign ads to psychedelic prints. Of particular note, The Woodstock boasts a rotating set of twenty-four Salvador Dali artworks from owners David Sitt and James Morrissey’s personal collections, as well as a fuchsia felt pool table.
One thousand opera singers will grace Manhattan's High Line from October 3 through 7, staging a massive public performance for five consecutive nights. The Mile-Long Opera: a biography of 7 o’clock, produced by Diller Scofidio + Renfro (DS+R), the High Line, and production company The OFFICE performing arts + film, will present a thousand sung stories about what 7:00 PM means to New York residents. The Mile-Long Opera has a star-studded production team: The show is a joint venture between DS+R and Pulitzer Prize-winning composer David Lang, who will be setting the stories to music. Poets Anne Carson and Claudia Rankine will be writing the stories, based on interviews, about the liminal period between day and night. DS+R partner Elizabeth Diller will be staging the show, with the help of co-director Lynsey Peisinger, along the entire length of the High Line. Nonprofit cultural partners from each borough will be supplying the show’s singers, who will be directed by Donald Nally, and each partner will recruit volunteers, hold workshops, and throw cultural events in the lead-up to the October performance. Diller’s involvement has been known for some time now, and the idea supposedly took inspiration from the intersection and confrontation between public space and performance art. “After working on the design of the High Line for over a decade and witnessing the rapid transformation of the surrounding area, I thought a lot about the life cycle of the city—its decay and rebirth—full of opportunities and contradictions,” said Diller in a statement. “This vantage presented an opportunity for creative reflection about the speed of change of the contemporary city and the stories of its inhabitants. “The park will be a 30-block-long urban stage for an immersive performance in which the audience will be mobile, the performers will be distributed, and the city will be both protagonist and backdrop for a collective experience celebrating our diversity.” The Mile-Long Opera will be free, in keeping with the mission to open up opera to the public. Visitors can freely wander the length of the High Line while intermingling between the groups of singers, and each artist will belt out their own solo story. Guests can choose to linger and listen through to individual stories or explore as many experiences as they want. The High Line will close early to the general public on the nights of the show, and only those who have booked an advance reservation online (here) will be able to attend. With anticipation building for the 2019 opening of The Shed on the park’s northern end, it looks like DS+R will keep the cultural momentum going through the fall.
Delirious Matter, the 36th season of outdoor art at Madison Square Park, is now officially open, and park goers can discover ruined busts, dripping walls, and a mountainous, 14-foot-tall sculpture plunked in the northern fountain. AN recently had the opportunity to tour the park with Delirious Matter artist Diana Al-Hadid and discuss both the current installation and her upcoming exhibition at the Bronx Museum of the Arts. Citadel, the voluminous fountain sculpture, was inspired by Hans Memling’s Allegory of Chastity, a 15th-century painting of a woman emerging from a mountain. Painting plays an intrinsic part in Al-Hadid’s process; Citadel started as two life-sized paintings, and Al-Hadid cut and welded steel rods to follow her design, later reinforcing it for stability. The dripping “snow caps” of aluminum foil and gypsum lend some solidity to a structure that would otherwise be made of voids. Continuing the dichotomy between new materials and old techniques and void and solid form, three female Synonym busts have been scattered around the park. The headless figures, resembling hollowed-out classical antiquities, are elevated on plinths but still totally accessible to the public and were created by dripping a gypsum polymer mixture over Al-Hadid’s existing works, Antonym. At the park’s center is the anchor of the installation, a hedged-in “room” created by opposing walls of dripped gypsum and paint. Gravida, named for the Roman god Mars Gradivus, is 36 feet long and arched to create an entrance way and directly frames the opposing wall, a 22-foot-long rising peak that also references Allegory of Chastity. The forms were originally painted on the wall and reinforced from behind after they were peeled off. Delirious Matter is Al-Hadid’s first outdoor installation, which necessitated thinking about how the sculptures would interplay with the landscaping, the elements, and the demands of the public. For a more traditional example of Al-Hadid’s work, the Bronx Museum of the Arts will be running a sister Delirious Matter show from July 18 through October 14, with the massive Nolli’s Orders sculpture at its center. A collection of voids and twisting figures supported by iconic pieces of Roman architecture, Nolli’s Orders references the 1748 survey of Rome by Giambattista Nolli. While the 2012 sculpture doesn’t correlate directly to Nolli’s map, Al-Hadid drew on the poses and depictions of public and private spaces in the city when planning Nolli’s Orders. The Madison Square Park show will run through September 3, 2018.
The New York Times has dropped new renderings of the Rogers Stirk Harbour + Partners-designed One Beekman, Richard Rogers’ first residential building in the U.S. Although the 25-story mixed-use tower began rising in Tribeca in 2017, this is the first time that polished renderings have been released–including a glimpse at the spacious interiors. One Beekman is rising at the intersection of Park Row and Beekman Street diagonally across from City Hall Park. The entire building has been oriented for this view, with the circulation core shifted south, allowing each living room in the 31 condo units to look out on the park through oversized windows. This was also borne out of necessity; COOKFOX’s 54-story Park Row will be rising directly behind One Beekman. “We pulled the core right to the back, where there isn’t any view, and made the building very solid there,” Graham Stirk, the partner leading the project, the Times. The newly revealed aluminum facade extrudes from the tower’s bulk and divides to frame individual windows, aping SoHo’s cast-iron buildings and giving residents access to their own park-facing loggias. Perforated copper screens will infill the spaces between the building’s framing and the facade, the warm color of the metal referencing the brick and terracotta of the Beekman Hotel across the street. Retail space will go up on the first two floors, with office spaces on the third and fourth, amenities for condo owners on the fifth, and residential units proper starting on the sixth floor. Moving the residential section upwards has the beneficial side effect of preserving views of the park for the tower’s residents. Inside, Rogers has used a clean and light material palette for the residential areas. White oak flooring, “Tundra Grey” marble, and white-grey concrete lends the whole space an airy feel, and condo owners can expect a gym, yoga studio, common outdoor terrace, and an entertainment space on the fifth floor. Developer Urban Muse and real estate firm Compass are launching sales later this month, with prices ranging from $2 million all the way up to $14 million. Construction is moving swiftly, with One Beekman expected to top out this month and wrap construction in the middle of 2019. Rogers is no stranger to downtown Manhattan; the firm's 3 World Trade Center is nearly complete and slated to open on June 11th.
This is a promotional post presented by TECH+. The landscape of the architecture, engineering, and construction industries is changing dramatically, and those at the forefront of the transformation know that technological innovation is among the driving forces behind it. That’s why for the second year, The Architect’s Newspaper presents TECH+, an annual trade conference and expo that explores innovative technologies used in design and construction, taking place May 22 on the heels of NYCxDESIGN. Located at Metropolitan West in Manhattan—the center of one of America’s fastest-growing tech markets—TECH+ will showcase the latest in smart building systems, advanced materials, and innovative products that are reshaping the built environment of today and tomorrow. From cutting-edge virtual reality–aided design tools to mobile apps, parametrics to rapid prototyping and fabrication, this inspiring and forward-thinking event will feature a lineup of visionary speakers, compelling panels, and live product demonstrations from industry-leading developers and start-ups alike. TECH+ will bring together architects, engineers, designers, builders, real estate professionals, investors, entrepreneurs, software developers, students, and makers to inspire new ideas, encourage cross-pollination, stimulate innovation, and establish vital connections. Far from a run-of-the-mill mega-conference, TECH+ consists of a highly curated group of architecture and technology leaders responsible for the strategic direction of their firms. “We are excited to bring back TECH+ to New York City for the second time,” said Diana Darling, publisher of The Architect’s Newspaper. “This year features two stages with industry leaders and innovative disrupters primed to change the way we do business.” This year’s keynote speaker is Dennis Shelden, director of Digital Building Laboratory at the Georgia Institute of Technology, who led the development of architect Frank Gehry’s digital practice as director of R&D and director of computing prior to cofounding Gehry Technologies in 2002. Presented by Microsol Resources, the keynote will take place at the TechPerspectives main stage, from which four additional panels will explore topics including BIM, collaboration, sustainability, and visualization. Also, new to TECH+ is a series of Lightning Talks throughout the day from leading exhibitors and cutting-edge start-ups located on the expo floor stage. Panel discussions include Jonatan Schumacher, director of CORE studio at Thornton Tomasetti, and Jan Leenknegt, architect and BIM manager at BIG, who will examine how to connect design and data through the project life cycle; Paul Kassabian, associate principal at Simpson Gumpertz & Heger, and Steve Jones, senior director at Dodge Data & Analytics, will address unifying project teams and technology; Ian Molloy, senior product manager at Autodesk, Alexandra Pollock, director of design technology at FXCollaborative, and Christopher Mackey, building scientist at Payette, will discuss designing for energy efficiency; and Iffat Mai, practice application development leader at Perkins+Will, Christopher Mayer, executive vice president and chief innovation officer at Suffolk Construction, and Christopher Connock, design computation director at KieranTimberlake, will explore enhanced realities and immersive experiences. “TECH+ is a new type of conference,” said Darling. “We’re focusing on completely new ideas and techniques, and gauging where the future of the AEC will be and how we get there.” Below are some of the exhibitors who will be at this year’s TECH+ conference: Founded in New York City in 1898 as National Blueprint Inc., BluEdge has evolved into an industry leader in print and technology services for the AEC industry and beyond. BluEdge is widely recognized for its unmatched customer service, and expertise in 3-D technologies, creative graphics, managed print services, and document management solutions. Today, its service footprint extends across the U.S., Canada, and Europe. Cove.tool is the first commercial software for optimizing cost and energy. The tool provides automated guidance to save up to 3 percent off the cost of construction while increasing performance of the building by up to 40 percent. The cloud-based tool helps architects, engineers, contractors, and building owners make better selections of building technologies by running thousands of parallel energy simulations. Developed by architects, building science experts, engineers, and sustainability consultants, the tool is integrated into the design process with plug-ins to Revit and Rhino for interoperability and parametric design. Adoption of cove.tool could dramatically reduce carbon emissions worldwide while helping owners reduce the cost of their buildings. FenestraPro Premium for Revit is an intuitive and easy-to-use add-in that enables architects to design energy-efficient building facades to comply with building regulations and required performance, without compromising the aesthetic of the facade. It integrates building design with performance, allows the architect to maintain control of the aesthetic of the building, and improves the design process by eliminating costly late-stage redesign fees. GRAPHISOFT® ignited the BIM revolution in 1984 with ARCHICAD®, the industry’s first BIM software for architects. GRAPHISOFT continues to lead the industry with innovative solutions such as its revolutionary BIMcloud®, the world’s first real-time BIM collaboration environment; EcoDesigner™, the world’s first fully BIM-integrated green design solution; and BIMx®, the world’s leading mobile app for BIM visualization. GRAPHISOFT is part of the Nemetschek Group. InsiteVR is a platform for AEC companies to create and manage virtual reality presentations across their offices. InsiteVR’s tools allow users to remotely control VR presentations, collect feedback from clients, and easily share to mobile headsets like the GearVR. IrisVR tackles the biggest problem in the architecture, construction, and engineering industries: What will a space actually look and feel like when it’s built? Iris created intuitive, user-friendly software that empowers virtual reality to experience depth and scale. JUJU IMSV employs the most advanced VR technology to create convincing, elegant, and easy-to-use marketing tools for off-plan sales across the globe. Our all-in-one marketing tools tell the story of the future property and not only help to efficiently raise money for the project, but also streamline the sales cycle. LERA IMMERSE is a virtual reality and augmented reality consulting service offering solutions to architects, owners, developers and construction managers. The custom-designed systems and tools enable users to navigate, interact with, and collaborate in the VR space, all while collecting valuable data that can be retrieved, analyzed, and fed back into the design process. Microsol Resources has been delivering integrated solutions to the architecture, engineering, and construction industries for over 30 years. The company is a recognized leader in BIM and CAD-based solutions, as well as an Autodesk Platinum Partner. Besides CAD & BIM software, Microsol also provides training, consulting, staffing, 3-D printing, and data management services to help customers gain a competitive advantage and improve their overall productivity. Morpholio makes apps that put designers first, fusing the fluidity and speed of hand drawing with the intelligence and precision of mobile and CAD technology. Its Trace app for architects is the unique software created to take design through every phase of the process, from concept to reality. PlanGrid is construction software made for the field that allows plans and markups to be instantaneously shared with everyone on a construction project—no matter where they are. It lets contractors, architects, and building owners collaborate from their desktop or mobile devices across all of their project plans, specs, photos, RFIs, and punch lists. Solibri is the leader in BIM quality assurance and quality control, providing out-of-the-box tools for BIM validation, compliance control, design process coordination, design review, analysis, and code checking. Solibri develops and markets quality assurance solutions that improve BIM-based design and make the entire design and construction process more productive and cost-effective.
The twisting, torquing towers of the Bjarke Ingels Group (BIG)-designed The Eleventh (The XI) have begun sprouting along the High Line, and developer HFZ Capital has released a new batch of renderings. Located between 10th and 11th Avenue and bounded by 17th and 18th Streets in Manhattan, The Eleventh takes up a full block directly south of the Frank Gehry-designed IAC building. As HFZ told the New York Times, the mixed-use project was designed less as a standalone complex and more as a “micro-neighborhood.” The sprawling development stretches underneath the High Line to the east, where James Corner Field Operations and Diller Scofidio + Renfro are designing a street-level extension of the park above. Moving west from the new park, the BIG-designed pavilions will rise under the High Line. The two travertine-clad towers will rise on the western half of the development next to the Hudson River. At the westernmost edge of the site will be the taller of the two towers, at 400 feet tall and 36 floors, with 149 condos units designed by New York’s Gabellini Sheppard. For the interiors, the team has chosen a lighter material palette that emphasizes natural materials, such as oak flooring and white quartzite countertops. The smaller tower to the east, connected at its base with its neighbor via a glass skybridge, will only be about 300 feet tall and 26 stories. Everything after floor 11 is slated for condos, while the lower floors will hold a Six Senses hotel; the Paris-based interiors firm Gilles & Boissier are designing the interiors for both the residential and hotel sections, and will reportedly use a similar palette and style for both. Both towers noticeably twist in opposite directions as they rise, and the turns are intended to preserve views for occupants inside both buildings. To further improve the views, the western tower will expand as it rises and the eastern tower will taper as it nears the top. To cap it off, both of the condo buildings share matching glass crowns. A shorter building is also planned for the site’s southwestern corner, with plans to turn it into an art space and Six Senses spa and club. Swiss landscape architect Enzo Enea will be designing a covered through-way for vehicles and a courtyard at the center between the two tower’s hemispheres. The amenities are consistent with the other luxury residential buildings going up along the High Line; future homeowners can expect access to a 75-foot-long pool, 4,000-square-foot fitness center, access to Six Senses, and a lounge and game room in the skybridge. Once completed at the end of 2019, the complex will be among the tallest in West Chelsea.