Brought to you with support fromMorris Adjmi Architects has just completed its wedge-shaped 363 Lafayette mixed-use development in New York City. The project is located in the heart of the NoHo Historic District, a context known for its mid-rise store-and-loft buildings clad in detailed cast iron and stone.
zoning and site constraints, the massing of the west facade is set back, with eight floors of office space rising midway through the elevation. The development’s facade is defined by horizontal and vertical bands of white brick, produced by Belden/Tristate Brick, which frame a charcoal-colored terra-cotta curtain wall. For the color scheme and materiality of 363 Lafayette, Morris Adjmi reinterpreted the area’s historically narrow terracotta mullions, window surrounds, and brick piers, into a much wider layout. Designed by the firm and crafted by Buffalo’s Boston Valley Terra Cotta (BVTC), the geometric pattern of the terra-cotta reliefs was conceived by the design team as an abstraction of neighboring Classical and Richardsonian Romanesque detailing. The custom-made terra-cotta rainscreen was installed on BVTC’s TerraClad clip system that attaches to a perimeter concrete beam and a medium-gauge framing wall. A series of gaskets and isolators allow the system to adjust to thermal expansion while reducing wind-induced vibration. Elongated rectangular windows, fabricated by TriStar with Win-Vent frames and Vitro Glass, are placed between chamfered terra-cotta mullions. Why does the building twist? Lafayette Street used to proceed north from Great Jones Street until the end of the 19th century when the street was excavated from the IRT subway. The excavation of the street led to the creation of odd-shaped sites, such as 363 Lafayette. According to the design team, “the building’s twist serves to reflect the cut of the street and to architecturally engage the setback with the lower portion of the building.”363 Lafayette’s site is prominent, with three visible elevations to the north, south, and west. The ground floor of the building is dedicated to commercial space and extends from Great Jones to Bond Street. Due to
A ten-story office complex on 363 Lafayette Street in Manhattan's Noho neighborhood has been awarded approval by the New York City Landmarks Preservation Commission (LPC). Designed by local firm Morris Adjmi Architects, the scheme had previously been rejected. Another project, a multi-family residency just round the corner on 22 Bond Street by fellow New York practice BKSK Architects, was also given the go-ahead. Initially, Adjmi's design had employed double-height windows as part of a slightly angled and staggered facade that included a dash of greenery along its incremental edges. This design was rejected by the LPC in July earlier this year, but Adjmi's subsequent alterations did the trick this time around. The modifications included making sure the street corner doesn't feature the staggered angular fall-back—except for a major recession on the eighth floor)—which was a previous gripe of the LPC in July. These subtle angular increments now occur southwards down Lafayette Street and, unlike before, are in accordance with each level change. Furthermore, new glazing has been placed on the south-side of the building while additional window detailing features around every exposed facade. According to New York Yimby, in response to the latest iteration, Commissioner Michael Devonshire described the design as “beautiful.” Preservation consultant Elise Quasebarth from New York firm Higgins Quasebarth & Partners, who specialize in the preservation and rehabilitation of historic properties, commented that the architects had “strengthened [the] corner, using it as a pivot” to create “dynamic slicing” and “more graceful proportions." While commissioner Frederick Bland said it was a “terrible thing for a committee to nit pick [an architect’s work] to pieces,” he and the rest of the commissioners were happy with the design voting unanimously for its approval. Also vying for approval was New York studio BKSK for their multi-family dwelling lot on 22 Bond Street, a stone's throw away from Morris Adjmi's project. The design features minor changes to the front facade as well as a "braille sidewalk" that features cast-iron vault lights which illuminate the entrance area at night. A third project at 413-435 West 14th Street was also due for hearing but was laid over at the committee meeting. All three projects can be viewed in detail here, here and here (in order of appearance in this article).
After years of delays, BKSK is set to revive this half-built luxury tower in New York’s artsy Noho district
With some financial maneuvering, the long-delayed construction site at 22 Bond Street in NoHo will finally see some action. For years, a 14-story super structure has been lurking at the coveted corner as a blatant reminder of a hotel project that went south. Now, with some refinancing, BKSK Architects will adapt the existing skeleton into an 11-story, block-through condo building. The Commercial Observer reported "developers Second Development Services and Richport Group have refinanced their $28 million acquisition and construction loan on 22 Bond Street from Starwood Capital Group with new debt from Glacier Global Partners." So this means that the $52 million project is now moving forward—but there is still no completion date just yet. "Taking advantage of the site’s expansive exposure on Lafayette Street, the building will become a literal canvas for art with a giant, site-specific mural," BKSK wrote on its website. "Additionally, the deep site is bracketed by two facades of weathered steel on the north and south ends, framing an 'art garden' within, visible to passersby through a large vitrine near the entrance on Bond Street. This building-as-art concept continues the neighborhood’s legacy as an incubator for art, where beginning in the 1970s, some the city’s most prominent contemporary artists emerged." This will be BKSK's second major project on the architecturally potent Bond Street. The backside of 22 Bond faces the firm's 25 Bond, a stately condo building clad in stone, bronze, and glass. And right across Lafayette Avenue from 22 Bond are two nearly-completed buildings from other big name design firms: Selldorf Architects and Morris Adjmi. The Selldorf-designed 10 Bond Street is clad in sculpted terracotta panels, while Adjmi's 372 Lafayette has an aluminum skin. Check out the photos and renderings of 22 Broad street below to see the building's sorry state today, and where it's headed soon. [h/t YIMBY]
DDG Partner's latest project uses a material often found under foot and gives it a hard-earned respect long deserved. New York State bluestone clads the entirety of 41 Bond's facade, a condo with four full floor units, a ground floor townhouse, a duplex, and a penthouse duplex. Over the past few months usual Bond Street soundscape of tires rumbling over cobblestone has been interrupted by the clangs of the quarry, as masons fit the stone into place. All of the stone carving was done on site. DDG's CEO Joseph McMillan, Jr. and chief creative officer Peter Guthrie give AN a tour...
Morris Adjmi seems to be on something of an inversion kick as of late. His design proposal for a building on Walker Street, which was approved by the Landmarks Preservation Commission (LPC) in June, used an inverted bas relief effect that made the concrete facade seem as though a cast iron building was pressed into a large piece of clay. The new proposal for the southwest corner of Lafayette and Great Jones Street uses a similar technique, but in aluminum sections. But at a public hearing on Tuesday LPC put the breaks on the Lafayette proposal, saying the architect needed more depth and detail. "In general, they asked for the addition of more variety, depth and articulation of the facade, particularly the long facade," Landmarks spokesperson Elisabeth de Bourbon wrote in an email. Walker Street's concrete facade riffed on classic cast iron components ordered from 19th century catalogues. The architect employed the same effect here, with the inverted half columns working their way up the face of building, but this time in aluminum cladding. "It’s a theme you see in both projects," said Adjmi. "Walker is more of a cast impression, whereas this is fabricated in components." The new building will replace a one story garage built in 1933. As it sits in the NoHo historic district it could have taken cues from a variety of styles, not just catalogue cast iron. Adjmi said he also drew inspiration from a another source: the loggia of Colonnade Row. Still, most of the composition remains a takeoff on classic cast iron and the Colonnade Row quotations are saved for the top floor. There a series of columns span the width, as below, but the street wall sets back from the columns creating a loggia crown. Adjmi said that for further inspiration he also looked at the Donald Judd Foundation, which is currently undergoing restoration at 101 Spring Street. The Judd building also occupies a 20 foot by 100 foot plot. "This was similar and I looked at that as a way of how to organize a façade," said Adjmi. "Though its abstract and modern. Here we rarify it down to the essential elements." But the approach might have been too rarified for the commissioners. "I think they like the articulation of the base the middle and the top," said Adjmi, adding the stripped down version might have been too "relentless" for LPC. "It's difficult because in one regard we want to realte to the historic fabric that makes up the district, but for me the idea was to strip that back, like a modern composer who takes cuse from classical works but presents them in a minimal way."
When Smith-Miller + Hawkinson was brought in to design a new, Landmarks-worthy facade for 25 Great Jones Street, a 13-story sliver of concrete and steel in Noho, some people complained that the architect's proposal remained too modern, even despite such genre-bending neighbors as 40 Bond Street. Regardless of such complaints, the LPC approved the new facade a few weeks ago, and as if to prove the doubters wrong, the designers have installed a mock-up on site. "In the context of the neighborhood I think it works perfectly—and curiously familiar in scale and coloring to the cornice ornament of the building adjacent to the East," Henry Smith-Miller said, adding with a chuckle: "It's dark, brooding, and tangley. The jungle is coming. Watch out for King Kong." To see what he's talking about, check out the mock-ups after the jump.