Norman Foster has broken ground on a skinny residential tower in Midtown Manhattan. Situated adjacent to the 1958 Seagram Building on the site of a former YWCA, Foster + Partners' 61-story white luxury tower at 610 Lexington Avenue will dwarf Mies van der Rohe's 38-story bronze-clad landmark. "It’s not simply about our new building, but about the composition it creates together with one of the 20th century’s greatest," said Foster + Partners' Chris Connell in a statement. "In contrast to Seagram’s dark bronze, our tower will have a pure white, undulating skin. Its proportions are almost impossibly slim and the views will be just incredible."
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An exhibition of architectural photographer Ezra Stoller’s work will open at the Yossi Milo Gallery tonight in New York and runs through February 12. A few of the photos are instantly recognizable, such as a photo of the Guggenheim lobby featuring women in pillbox hats standing in the foreground. But the gems of the show are those taken off the beaten path, like the roof of the Seagram’s Building or a parking garage in Miami. “We see it as a mini-retrospective,” said Milo. “We wanted to show more than the slam-dunk photos, to give it more depth.” The images show not only Stoller’s precise technical ability, but also reveal the self-effacing nature of architectural photography: that of an artist recording work of another artist. But the depth of Stoller’s appreciation for art and design makes it easy to forget that one is looking at a stand alone work of art. Not only is the genius of Mies, Wright and Saarinen observed, but the works of Picasso, Kandinsky, and Miro peer out from building interiors as well. The artworks act as a magnet, pulling the viewer further in. In a single shot of a Seagram interior one of Rothko’s “Red” paintings hangs next to the next to an Eames sofa which sits across from a Franz Kline. “These were such new ideas. Now people sit with an iPhone and think that’s modern,” Milo said gesturing to the photograph. The gallery owner noted that some photos that didn’t make it into the show revealed the photographer’s intense interest in the building process. “There are photos from the beginning of when the U.N. was being built. He kept going back and going back,” he said. The images show buildings shot at all times of day and in all kinds of weather, taken at night, in the rain, after the rain, or, as in one photo of Saarinen’s TWA terminal, as a lightning storm approaches. That particular silver print holds varying tones of white within the building interior, while simultaneously retaining all the grays and blacks of the approaching storm.
HAPPY B-DAY, MR. ARCHITECT On October 12, Richard Meier turned 75. His birthday bash for 150 was held that night at the Four Seasons, or rather under a white tent on Park Avenue alongside the Seagram Building fountains. Eavesdrop didn’t find anyone on the B-List who was invited, but all the A’s were there including Peter Eisenman, Michael Graves, David Rockwell, Robert A.M. Stern, City Planning Commission chair Amanda Burden with TV talker Charlie Rose, and President of the American Academy in Rome Adele Chatfield-Taylor with playwright John Guare. A Meier follower tells us that his 50th was held at his duplex on East 72nd Street, where he raised eyebrows by exiling his mother to a far corner of the room, while putting Burden on his right. Interior designer Rose Tarlow hosted his 60th birthday on the tennis court of the house he designed for Norman and Lisette Ackerberg in Malibu. This time, he was sent into his fourth quarter of a century by daughter Ana, who arranged everything in no-surprise white. No roasts among the toasts made by family and friends, with Meier himself going only slightly off-color in his effusive compliments to his lovely offspring. The cake was a layered white slab. ET TU, GUY? Buried but not deep enough for our eagle eyes is this passage in the October issue of literary journal The Believer, from an engaging interview with Guy Nordenson: “Frank Gehry’s relationship to engineering and construction says: the cruder the better. You visit the Disney Concert Hall and, in the office of the musical director, there’s this gigantic gusset plate that’s part of one of the trusses in the system. It’s exposed and fire-protected. One of the architects who worked on the project described it to me as a train crash in a room. It’s monumentally messy.” TURNING THE PAIGE It’s that time of the month again when bets are placed in showrooms across the nation. What is the future of Paige Rense and, for that matter, Architectural Digest? Authoritative rumor has it that AD’s eons-long editrix has been told she’s out at the end of the year. One shelter magazine editor-in-chief reports having been interviewed and insists that Condé Nast is going through the usual suspects one by one. We’re guessing that’s Deborah Needleman, editor-in-chief of defunct Domino; Stephen Drucker of House Beautiful; and Margaret Russell, the editor-in-chief of Elle Décor. But La Rense is not likely to shuffle off quietly. According to a prominent designer, she recently arranged a skit to impress bosses Si Newhouse and Chuck Townsend. Honorees on her coveted AD 100 list gave testimony to a group of advertisers that AD is still the number one shelter magazine in the world and that, hard times notwithstanding, they should continue to buy pages. Take away? Paige is essential to Si’s ongoing health and wealth. Another source says that Si only makes major personnel changes twice a year—right after Labor Day and right after New Year’s. Look for the other Louboutin to drop around January 2, 2010. Send engineering tips and ad pages email@example.com. A version of this article appeared in AN 17_10.21.2009.