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.
Posts tagged with "Manhattan":
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.
The Adjaye Associates-designed 130 William, the firm’s first skyscraper in New York, is on the rise. AN has spotted crews working above grade, and a red kangaroo crane has gone up at the Financial District site to help the building reach its expected completion in 2020. At 66 stories and 755 feet tall, the building will be a substantial addition to the downtown skyline. However, unlike most recent towers built in this current boom, 130 William will eschew a glass curtain wall for a custom-tinted precast concrete accented with bronze. The texturally rich surface will be punctuated by arches and loggias on the upper floors, which will blur the divide between interior and exterior spaces for their inhabitants. The cutouts in the upper half of the building's façade invert the traditional window shape commonly found among historic buildings in the neighborhood (as well as on the tower's lower half). The project’s narrow, L-shaped lot on the corner of Fulton Street and William Street was assembled in 2015 through piecemeal acquisitions and demolitions by developer Lightstone group. Construction began in late 2017, well before the official renderings were released. The building’s location near the Brooklyn Bridge will afford many of the residents unobstructed views of the East River from the 244 light-filled units, which includes interiors also designed by Adjaye Associates. Residents of the luxury tower will also have access to a number of amenities, such as a black-tiled swimming pool with grandiose windows, a fitness center, a pet spa, shared outdoor spaces, a rooftop observatory, and not least of all, reportedly an IMAX theatre. According to City Realty, city paperwork also suggests that there will be ground-level retail and a plaza park, embedding the tower within the urban landscape below. David Adjaye has been ramping up the firm's presence throughout Manhattan as of late, including the Studio Museum in Harlem and the recently completed SPYSCAPE museum in Midtown.
The Bjarke Ingels Group (BIG) has released the first batch of renderings for its latest Manhattan project, a 60-story office tower set to touch down in NoMad. As first reported by New York YIMBY, “29th & 5th” will rise from the site of the former historic Bancroft Bank Building, replacing an 800-foot-tall luxury condo tower designed by Moshe Safdie. As seen in the renderings, the building at 3 West 29th Street will consist of two slender, linked rectangular masses with a glass curtain wall. Differentiating each volume will be the width of the windows, with the curtain wall of the eastern half holding much wider windows than its western counterpart. One of the project’s more interesting features is the “spine” of cantilevering concrete terraces running up the tower’s eastern side, which will give each floor access to outdoor space. According to the project’s EB-5 materials–a program designed to lure foreign investment in the building in exchange for a potential green card–the tower is being designed with a heavy emphasis on wellness. “The building will incorporate a LEED-Certified design and highly amenitized offering package promoting employee connectivity, communal workspaces, and fitness options that will pioneer a new frontier of wellness and sustainability within the workplace. The building is designed with smaller 13,400-square-foot floor plates that will attract an underserved market while leaving ample lot area to design a vibrant park surrounding the building.” While permits filed with NYC’s Department of Buildings show that the project was submitted as a 34-story, 300,000-square-foot tower, YIMBY is reporting that the original application was used to begin foundation work ahead of a final plan reveal. This set of new renderings paints a picture of a tower that’s at least 60 stories tall, with a possible height of 800-to-850 feet and up to 600,000 square feet of floor space. The skyscraper’s massive heft has been made possible by developer HFZ Capital’s agglomeration of air rights from throughout the neighborhood. No completion date has been given for 29th & 5th at the time of writing.
Ahead of a presentation before the full Community Board 3 (Lower East Side) tonight, March 27, planners from the East Side Coastal Resiliency (ESCR) Project have released new details and renderings for an updated "resilient park" along the shores of the East River. The Mayor’s Office of Recovery & Resiliency is hoping to receive approval for the snaking project before the end of 2018, though the combination of seawalls, berms and levees hasn’t pleased everyone. The updated concept, a joint venture between AKRF, One Architecture and Urbanism, the Bjarke Ingels Group (BIG), Mathews Nielsen Landscape Architects (MNLA), and several city agencies, was unveiled at a CB3 Parks Department meeting on March 15. The proposed park would stretch from East 25th Street down to Montgomery Street, and would fortify the existing green space, but also include new parks, lawns and nature walks. Rather than installing hard infrastructure that would block off the waterfront from the public, MNLA attempted to expand out the usable parkland where possible. In the narrowest areas between FDR Drive and the East River, a flood wall gate would swing (or possibly slide) into action to cordon off stormwater. Several bridge upgrades have also been included, as well as new footbridges at Delancey Street and on 10th Street that would loop into the park. The approximately 2.5-mile-long stretch is just one part of what was once the BIG-U coastal resiliency plan (neé The Dryline), which has been broken up into the aforementioned ESCR and the Lower Manhattan Coastal Resiliency (LMCR) Project. The ESCR’s southern counterpart will stretch 3.5 miles, from the northern tip of Battery Park City to the Lower East Side’s Montgomery Street. Once completed, the entire system should be able to protect (though mitigate would be a more apt phrase) southern Manhattan from the likes of a 100-year storm. Time is quickly running out for the ESCR to reach approval and hit its accelerated 2019 groundbreaking target. The $335 million distributed by the U.S. Department of Housing & Urban Development (HUD) in the wake of Hurricane Sandy for the construction of the ESCR must be spent by September of 2022, and with the project a year-and-a-half behind schedule, the city is hoping to move through the Environmental Impact Statement (EIS) and ULURP process quickly. AN will follow up this post with more information about the outcome of tonight’s CB3 board meeting. The feedback gleaned from community boards 3 and 6 will help the city inform changes that they may need to make before presenting to the Public Design Commission in the coming months. The full March 15th presentation can be viewed here.
Only two days after AN reported that the owners of St. Patrick’s Cathedral in East Midtown, Manhattan, were planning on selling a portion of the venerable church’s air rights to an undisclosed buyer, Crain’s New York has reported that the transfer will go towards enlarging 405 Park Avenue. The 17-story, currently unassuming brick-and-glass office tower will grow another four stories and have its facade replaced with an all-glass curtainwall courtesy of global architecture firm Gensler. The office building was purchased by co-owners MRP Realty and Deutsche Bank Asset Management, an arm of the German bank, in early 2016, and will become the second building (after 270 Park Avenue) to expand under the East Midtown rezoning. MRP and Deutsche bank will be buying 30,000 square feet of the cathedral’s air rights–out of a total one million–which is expected to earn St Patrick’s around $7.2 million to use for maintaining the area around the church. As a result of the sale, 405 Park Ave. will undergo a gut renovation as well as the enlargement, bringing the total floor space up to 205,000 square feet. Crains also reports that the two owners will be charging a premium after the transformation, with prices north of $100 per square foot. The news comes on the heels of the highly contested announcement that the Union Carbide building down the street would be demolished, as owners JPMorgan Chase are seeking to replace the tower with an upgraded supertall. It seems unlikely that the same forces will mobilize to protest the changes at 405 Park Ave.; though the building was originallu designed by New York mainstays Cross & Cross as a neo-classical 12-story apartment building in 1915, a total renovation in 1957 left the location unrecognizable from its original incarnation. Now it seems that history will repeat itself as the office building builds even taller.