What’s most surprising about Rockwell Group’s design for R17, the new speakeasy-inspired lounge atop Lower Manhattan’s Pier 17, is that it’s not flashy. In contrast to the stand-out building it’s housed in, the 1,830-square-foot restaurant and bar provides a chic setting for cocktail and wine lovers to casually get a drink after work without being inundated by the holiday crowd that’s currently shrouding the South Street Seaport district. While the majority of the structure’s rooftop will transform next week into a veritable winter wonderland complete with New York’s newest ice-skating rink, the bar itself is designed to maintain an aura of intimacy. At least, that’s how Rockwell Group envisions it. “We wanted to create a calming atmosphere that people could escape to,” said Senior Interior Designer Renee Burdick, “similar to how New Yorkers might escape to a cabin or chalet upstate during winter.” But that vision is completely seasonal. For The Howard Hughes Corporation, the group that owns the mixed-use development, the design team crafted a “pop-up” space that will transition in both style and setting from a winter pavilion into a summer pavilion. While R17 can only accommodate around 70 people now, when it’s floor-to-ceiling sliding doors are open in the warmer months and the dining area expands onto a tiered terrace, the space effectively quadruples in size, increasing capacity to 300. The current cabin vibes, created thanks to low-lighting, fur pillows, dark-hued furniture, and textured wool rugs, will be replaced with a lighter material palette and beachy upholstery. The large fireplaces will become settings for playful art installations. This “transformative” approach to interior architecture is very site-specific, said Rockwell Group. Not many hospitality projects have the bandwidth to literally flip the space throughout the year. “The programming shift here is enormous,” said Richard Chandler, associate principal and studio leader at Rockwell Group. “It will have a completely different look and feel in the summer. We'll add new pieces to the design every year so it’ll always be evolving.” Some things about the lounge will stay the same. Its anchoring design feature is a blue onyx-topped bar with a sand-colored wavy tile that serves as siding. Burdick says it’s designed to look like a mountain skyline. These two elements bring a feel of fluidity to the space, along with the large-format printed tiles on the floor, that contain brushstrokes of blue, silver, and gray. The motif of movement is continuously carried out on the ceiling and windows, which include metallic threads and gilded wood-and-metal screens respectively. These help tone down the bright sunlight that may stream into the space during the day and shield restaurant-goers from the lively scene going on outside, which Rockwell Group will outfit with a temporary bar and lounge that’s reminiscent of a ski lodge interior. These “warming huts” will be shaped to mimic the urban water towers found atop buildings across the city. Much like these locally-inspired building shapes, R17 boasts an array of city, state, and American-made materials that complement the mountain chalet and Long Island beach home concepts. The space serves as a new living room for the city—with arguably the best view of the Brooklyn Bridge in all of Manhattan. It doesn’t have a flamboyant entrance and isn’t suffocated by the bright, technicolor lights that glare out of Pier 17 at night. It’s an understated, flexible space that’s simple and luxurious. Although, in the summer, Rockwell Group plans that the expanded scale, along with the pier’s popular summer concert series, will bring a different kind of festive and potentially exclusive energy to new bar and restaurant. According to Chandler, we'll have to wait and see.
Posts tagged with "Pier 17":
As summer comes to an end and temperatures begin to drop, the New York City Landmarks Preservation Commission has approved plans to convert the newly revamped Pier 17 into a rooftop winter village during the colder months. The proposal by Rockwell Group will introduce a warming hut, winter marketplace, and ice rink nearly the size of Rockefeller Center's to the city’s waterfront, making the historic South Street Seaport district a year-round attraction. In recent years, the Seaport has transformed into a lively residential and commercial hub, where residents and visitors have been drawn to the area for its top retail, dining, and cultural attractions, as well as its spectacular views of the Brooklyn Bridge and New York City skyline. The winter wonderland idea originated from the urban ice skating rinks at Rockefeller Center and Bryant Park, which have historically been popular seasonal attractions. The design is further inspired by a set of five different materials that the firm wanted to celebrate in connection with the neighborhood’s rich past as a gateway for international shipping and maritime activities. Those materials include bronze, teak, commercial barrels, cargo units, and ice. While only temporary, the installment will cover over 50 percent of the rooftop of Pier 17, a massive 30,000 square feet. The renovation of Pier 17 and its subsequent winter addition are parts of a larger plan to bring new restaurants, shopping centers, and family-friendly public spaces to a neighborhood that is drenched in history. There is no doubt that Pier 17 will achieve this goal, as it has already helped revive the vibrant and effervescent neighborhood, contributing to Lower Manhattan’s recent evolution into a community that never sleeps. Pier 17’s rooftop is known for hosting several sold-out events ranging from comedy shows to concerts. Still awaiting completion are two restaurants by celebrity chefs David Chang and Andrew Carmellini, as well as a 19,000-square-foot ESPN studio.
As SHoP Architects and the Howard Hughes Corporation continue to put the finishing touches on Pier 17, AN took a behind-the-scenes look at the Manhattan seaport’s reinterpretation of the big-box mall and the massive rooftop gathering space above. The 300,000-square-foot mall and public space has been under construction since 2013 and has undergone several design tweaks since its original presentation before the Landmarks Preservation Commission (LPC). The proposed glass pergola on the roof has been cut, as has the lawn shown in earlier renderings. The roof is now covered in pavers and designed for flexibility; the planters are modular and can be moved to accommodate larger crowds, and a freight elevator allows food trucks onto the roof directly from the adjacent FDR parkway. According to Howard Hughes, the roof can accommodate up to 3,400 (standing) guests. SHoP took suggestions from the LPC and surrounding community into account when linking Pier 17 with the surrounding waterfront and in their decision to wrap the East River Esplanade around the building. The Esplanade extends into the interior of the first floor, as the building’s base is wrapped in double-height glass doors that can be fully raised if weather permits. The restaurant and retail sections have been reimagined as two-story 'buildings', separate from but still attached to the main structure and aligned on a grid that preserves views of the Brooklyn Bridge and surrounding skyline. SHoP has clad each building-within-a-building in materials that correspond to the area’s nautical heritage, including sustainably harvested tropical hardwood, corrugated zinc sheets, and overlapping zinc tiles. Howard Hughes has already locked down several big-name anchor tenants for Pier 17, including a two-floor restaurant from David Chang and upper-floor office space and a green room for ESPN. Outside, SHoP has collaborated with James Corner Field Operations for the landscaping and furniture, and global firm Woods Bagot has designed the Heineken pavilions. Visitors looking to soak in views of Brooklyn will also find a bar and lounge on the eastern side of the building in the shadows of artist Geronimo’s massive multicolored balloon sculpture. Her creative process is documented in the video below: The top half of Pier 17 has been clad in vertical panes of foggy green-gray channel glass, which rises and falls as it wraps around, in reference to the passing East River below. Some of the crazier renderings have shown the building’s upper floors lit up in technicolor at night, and internet-connected color-changing lights have been embedded in the facade. The public can experience Pier 17’s rooftop when it opens to the public on July 28, complete with an accompanying concert series.
German architect Achim Menges has designed a canopy for the SHoP Architects–designed Pier 17 at the Seaport District in Manhattan. With a form derived from beetle wings, the canopy will reside on the building's rooftop, replacing a glass pergola that had been nixed by the Landmarks Preservation Committee (LPC). SHoP's initial renderings depicted a lawned roof that people would leisurely enjoy. However, these newer renderings suggest a more intense usage of the space is possible, with large crowds of people gathered under the canopy for casual relaxation and large concerts alike. Indeed, the space has been designed to host up to 4,000 for outdoor movie screenings, tennis matches, art installations, and more. (As we also reported in 2015, when the LPC made the decision to veto the pergola, locals were wary of big crowds flocking to the area for such events.) Menges, who is a professor at Stuttgart University, has drawn inspiration from beetles in the past. The Elytra Filament Pavilion for London's Victoria & Albert Museum derived its shape from "the fibrous structures of the forewing shells of flying beetles known as elytra," and at Pier 17, his work is based around the wing casing of the potato beetle. “It had to be lightweight because it sits on top of a building,” Menges told the New York Times. “But it also had to be strong to stand up to gale force winds.” Like in London, the canopy will be robotically woven. The complex lightweight structure will be composed of glass and carbon fibers. Embedded within will be lights that illuminate the structure, making it clearly visible from the water's edge, and particularly the Brooklyn Bridge—a landmark that Menges also used to inform his design. In 2015, neighbors also voiced concerns that the pergola would block views of the Brooklyn Bridge. According to SHoP, the 250,000-square-foot, $200 million Pier 17 is to be finished in 2018. (However, SHoP is not directly involved with the design of Menges's canopy.)
On October 20, the Landmarks Preservation Commission (LPC) approved the Howard Hughes Corporation and SHoP Architects' re-visioning of the South Street Seaport's Pier 17—with one crucial change. The developers will comply with the LPC's request to remove a glass pergola shading the rooftop lawn. The 250,000-square-foot, $200 million Pier 17 retail mall and public space is the anchor of the Seaport makeover. Though the LPC approved the design in 2013 (and construction has begun), the LPC review last week was precipitated by the addition of the pergola and the demolition of the adjacent Link Building, two unapproved aspects of the initial development plan. When the pier plan was introduced in August, the LPC raised concerns about the pergola. Neighbors' fears were classic NIMBY: residents worried that covering the lawn would draw bigger crowds to the Seaport's popular concerts and events. Though the LPC can't regulate city vistas, neighbors also voiced concerns that the pergola would block views of the Brooklyn Bridge. Now, residents will enjoy unobstructed—or at least less obstructed—views of the bridge, as well the last coup from the LPC meeting: modified paving on the site's access road. The road is an extension of Fulton Street that will encircle the front of the pier. Instead of asphalt, visitors will tread on precast concrete pavers. Though the Pier 17 deal seems like a relatively utopian public-private compromise, controversy over the overall development looms. Neighbors and preservationists have greeted SHoP's planned, 42 story, 500 tower with vociferous opposition. While the tower is not in a historic district, and thus outside the LPC's purview, the community continues to debate the project. Another major (and potentially contentious) project in the area is the S. Russell Groves–designed, 60 story skyscraper at 151 Maiden Lane, announced in September. The typology of the South Street Seaport reflects its status as one of New York's oldest districts. Like all historic neighborhoods, it must contend with the priorities of a densifying city. It remains to be seen how SHoP's plan, and other nearby redevelopments, impact the district's function and character.
After seven years in business, the New Amsterdam Market near New York City’s South Street Seaport is closing up shop. “We held a total 88 markets and numerous innovative celebrations of our region's bounty; supported nearly 500 food entrepreneurs; and contributed to the creation of more than 350 jobs,” Robert LaValva, the market's founder, said in a statement. “However, I was never able to raise the funding or attract the influential backers needed for our organization to thrive.” The news of the market’s closing comes in the midst of an ongoing debate over the Seaport's future, which could include a 50-story residential tower. The fate of that project is not certain, but the developer behind it, the Howard Hughes Corporation, is already demolishing an old shopping mall on the Seaport’s Pier 17 to make way for a glassy, 300,000-square-foot replacement designed by ShoP Architects. According to LaValva, this type of development is to blame for the popular market's demise. He went so far as to call Councilmember Margaret Chin’s support for Howard Hughes' plans a “mortal blow” to the New Amsterdam Market. In a statement issued shortly after LaValva's, the councilmember said she was saddened by the market's closing, but that she was not to blame for it. “I proudly helped secure funding from the City Council and the Lower Manhattan Development Corporation in order to support the New Amsterdam Market. I made sure to provide Mr. LaValva and the New Amsterdam Market with opportunities to formalize his relationship with the City,” she said. “Now, Mr. LaValva is trying to publicly blame me for a situation he could have prevented by working more collaboratively with my office and the City. It might make for an attention-grabbing email blast, but it’s not the truth.” The New Amsterdam’s last market was held on June 21st.
The South Street Seaport's Pier 17 won't be around much longer in its current form as it awaits a $200 million overhaul by SHoP Architects, but this summer, the neighborhood surrounding it has some exciting plans in store that bring the hottest trends in temporary urbanism to the waterfront site. Starting on Memorial Day Weekend, the See/Change program will bring film screenings, a SmorgasBar, and pop-up shipping container boutiques in hopes of enticing New Yorkers back to this once-trendy Lower Manhattan neighborhood. The centerpiece will be a stage at Fulton and Water streets. A blanket of grass will cover the cobblestone street and wood-and-canvas beach chairs will be positioned to create an improvised theater for weekly concerts and film series called Front Row Cinema. South of the stage, restored shipping containers will be configured as an asymmetrical, two-story structure for small retail shops. The second level will host SmorgasBar, a subsidiary of the well-known SmorgasBurg, which will turn east on Front Street to Beekman Street where Brooklyn-based food vendors will lure visitors with maple bacon sticks and oysters, among other treats. Plans are also in the works for Cannon’s Walk at 207A Front Street. The calm courtyard, which has been a place to relax and evade tourist hustle and bustle, has been handed over to Brightest Young Things, an experiential marketing agency. The New York Times reports Svetlana Legetic of the company says the space will be converted into a “surprise jewel box space where anything could happen.” Moreover, plans have changed for Pier 17. Previously scheduled to close for renovations, the mall will remain open to assist merchants who lost the holiday season to Hurricane Sandy damage. The seaport has long represented a hub of chain stores, but most ground floor shops remain shuttered to conceal overhauls still taking place. See/Change is an opportunity to bring new life and commerce to the neighborhood.
Last Wednesday, the New York City Council unanimously approved plans to tear down the current Pier 17 in the South Street Seaport and build a new $200 million SHoP Architects-designed mall in its place, marking the end of the long and sometimes contentious ULURP approval process. Crain's reported that Dallas-based developer Howard Hughes made some concessions to the council including pushing back construction on the project to allow Hurricane Sandy-battered tenants to have an additional summer season, with construction now anticipated to begin on October 1st. SHoP's design calls for a mix of boutique and large retail spaces inside the 250,000-square-foot facility connected by open air pedestrian corridors. Large glass garage doors can be lowered during inclement weather to protect these open spaces. The new building will be capped with an occupiable green roof. As part of the City Council approval, the developers will also build two new food markets adjacent to the new structure in the old Link and Tin Buildings. The project is expected to be complete by 2015. Besides Pier 17, SHoP is also designing another waterfront mall in Staten Island called the Harbor Commons.
While combing the web for info on the early days of the South Street Seaport's Pier 17, AN came across a Youtube video of Ben & Jane Thompson discussing plans for redeveloping the upland and the piers near Fulton Fish Market. The short video, circa 1981, certainly puts the current debate on SHoP's new design into historical focus, particularly when Ben Thompson speaks of retaining the now long gone market.
The PoMo aficionados were out in force at yesterday’s Landmarks Preservation hearing for the new proposal for South Street Seaport’s Pier 17. It would seem that just as debate on the value of 1970s Brutalism shifts into high gear, the 1980s PoMo crowd is revving its engines. As preservationists and developers whacked it out, some larger questions about context and neighborhood integration arose. The SHoP-designed tectonic glass response to Ben Thompson’s wood-clad gables of the exiting 1985 Pier 17 building is a clear break from the past, both literally and figuratively. SHoP’s Gregg Pasquarelli didn’t mince words when he told the New York Times “We’re taking away the po-mo and making it a real waterfront market building.” But Thompson, who died in 2002, had plenty of defenders on hand yesterday, including a statement from his wife Jane Thompson, who warned that real estate in the new plan “will inevitably rise to premium rates; privatization will intensify, which forces a turn to luxury retail.” Elise Quasebarth, of the preservation consultancy group Higgins Quasebarth, testified on behalf of Howard Hughes Corporation, the developer, that many of the upland elements planned in conjunction with the 1980s "festival marketplace" are still fundamentally robust. The SHoP worked with James Corner Field Operations to further integrate the street grid through a north-south connection to the East River Waterfront Esplanade and east-west connections to Beekman and Fulton streets. But the deal between NYC Economic Development Corporation and Howard Hughes has a distinct cutoff point at the so-called Tin Building. The empty 1907 structure, which formerly housed a market, sits at the river’s edge where the pier juts into the river. Though the plan has the support of Community Board 1, the board did encourage a master plan that carries through the entire South Street Seaport Historic District. Further complicating matters, the district actually cuts through half of Pier 17. The board resolved the districting by extending the boundary to incorporate the north section of the pier as well. The concern was driven home by local wine merchant Marco Pasanella who testified that the uplands should be considered as part and parcel pier plan and that only a “holistic” approach would work, particularly while the pier is under construction. Pasanella said the big picture should ensure that the plan attract similar tenants and “the right sort of visitors." Speaking on behalf of the Howard Hugh’s Corporation, senior executive vice president Chris Curry said the taking the nearby elements into account, particularly the Tin Building, would require a separate ULURP. He added that the company wants to make an immediate investment, though that wouldn't preclude additional investments down the line. For the time being however, the cutoff point leaves a few of Thompson’s gables left at the back of the pier. Pasquarelli said they would be painted a uniform color to visually drop away. The gables would still function as a mask for mechanical equipment. If all goes as planned, a little slice of PoMo might survive after all.