As uncovered by Curbed, construction workers at Rafael Viñoly‘s 1,396 foot (426 meter) tall 432 Park Avenue were served with a full stop work order last week by the New York City Department of Buildings, after an 8 foot (2.4 meter) long section of steel pipework was dropped from a construction hoist on the building’s 81st floor.
For many architects, the chance to make an impression on the landscape of New York City is a sign of distinction, an indication that they have “made the big time.” But it’s not just architects who have this desire: for decades, the city’s big industrial players have also striven to leave their mark. However in this article, originally posted on New York YIMBY as “How New York City is Robbing Itself of the Tech Industry’s Built Legacy,” Stephen Smith examines where it’s all gone wrong for the city’s latest industry players.
Strolling through the streets of Manhattan’s business neighborhoods, you can pick out the strata of the city’s built commercial heritage, deposited over generations by industries long gone. From the Garment District’s heavy pyramidal avenue office towers and side street lofts, dropped by the garment industry in the 1920s, to the modernist towers like Lever House and the Seagram Building, erected on Park and Fifth Avenues during the post-war years by the country’s giant consumer goods companies, each epoch of industry left the city with a layer of commercial architecture, enduring long after the businesses were acquired and the booms turned to bust.
But 50 or 100 years into the future, when our grandchildren and great-grandchildren stroll through the neighborhoods of Midtown South that are today thick with technology and creative firms, they are not likely to find much left over from the likes of Facebook or Google. There will be no equivalent of Grand Central or Penn Station, Terminal City or the Hotel Pennsylvania, left over from the early 20th century railroad tycoons, or SoHo’s cast iron buildings, developed by speculators seeking to feed the growing textile and dry-goods trades of the late 19th century. Perhaps unique among New York’s large industries, the tech and creative tenants that have become the darlings of the current market cycle are leaving very little behind for future generations to admire.
This news article was originally published by 6sqft.
Robert A.M. Stern‘s 520 Park Avenue has already been called “the next 15 Central Park West,” and like its Stern predecessor, 520 is an ultra-luxury development with a stately façade wrapped in stone. Set to be completed in 2016, it will rise 51 stories high, but contain just 31 units, one of which is the $130 million penthouse, the city’s most expensive apartment. And though most of the attention has been on “the greatest apartment on the Upper East Side,” the fanfare has now shifted to the first batch of interior renderings for the building.
520 Park’s full website is now live, and not surprisingly, the residences have classic layouts, impressive Central Park views, and a host of high-end amenities.
In some projects, preservation isn’t just about retaining what’s there, but also about putting back an element that has been forgotten to history (not always, though). This was the case at the Stella Tower in Manhattan, where as part of the building’s recently completed condo conversion, JDS Development Group and Property Markets Group, along with architects CetraRuddy have reinstated the dramatic Art Deco crown of Ralph Walker’s 1927 design.
In recent years, it’s been difficult to miss the spate of supertall, super-thin towers on the rise in Manhattan. Everyone knows the individual projects: 432 Park Avenue, One57, the Nordstrom Tower, the MoMA Tower. But, when a real estate company released renders of the New York skyline in 2018, it forced New Yorkers to consider for the first time the combined effect of all this new real estate. In this opinion article, originally published by Metropolis Magazine as “On New York’s Skyscraper Boom and the Failure of Trickle-Down Urbanism,” Joshua K Leon argues that the case for a city of the one percent doesn’t stand up under scrutiny.
What would a city owned by the one-percent look like?
New renderings for CityRealty get us part way there, illustrating how Manhattan may appear in 2018. The defining feature will be a bumper crop of especially tall, slender skyscrapers piercing the skyline like postmodern boxes, odd stalagmites, and upside-down syringes. What they share in common is sheer unadulterated scale and a core clientele of uncompromising plutocrats.
If New Yorkers thought that construction during Michael Bloomberg’s tenure as Mayor was frantic, then what’s coming next might be quite a shock: courtesy of CityRealty, these images show the New York skyline in 2018, when many of the city’s current projects will be complete. Produced from building models by TJ Quan and Ondel Hylton as a marketing ploy for Jean Nouvel‘s 53 West 53rd street which recently (finally) began construction, the images include all of Nouvel’s illustrious future neighbors: the “Billionaire’s Row” including 111 West 57th Street, 220 Central Park South, 225 West 57th Street (Nordstrom Tower) and One57; new Midtown developments such as 432 Park Avenue, 520 Park Avenue, 425 Park Avenue, One Vanderbilt, 610 Lexington, 15 Penn Plaza, and the Hudson Yards towers; and even the latest financial district towers, 1WTC, 30 Park Place, 125 Greenwich, and 225 Cherry Street.
Fifteen Central Park West, what many know to be the “world’s most powerful address,” was designed by Stern with one intention: to fill in the wall of Central Park West with a single, well articulated “background building” rather than a “twisting and turning isolated” structure. As Stern describes in the video above, the building, known as the “Limestone Jesus,” is praised in the real estate world for it’s high-priced apartments.
“Almost every building that is new has a built-in history. We are architects that build on the shoulders of the past. I think is is much more exciting to enter into a dialogue with the past and also to take things from the past and restudy them, their theme and variation. Architecture is made up of many languages in my view and if we have a modern language that is evolved but it doesn’t mean that the other languages can’t also continue to be spoken.”
With the opening of the final section of New York’s High Line last month, the city can finally take stock on an urban transformation that took a decade and a half from idea to reality - and which in the five years since the first section opened has become one of the great phenomena of 21st century urban planning, inspiring copycat proposals in cities around the globe. In this article, originally published by Metropolis Magazine as “The High Line’s Last Section Plays Up Its Rugged Past,” Anthony Paletta reviews the new final piece to the puzzle, and examines what this landmark project has meant for Manhattan’s West Side.
The promise of any urban railroad, however dark or congested its start, is the eventual release onto the open frontier, the prospect that those buried tracks could, in time, take you anywhere. For those of us whose only timetable is our walking pace, this is the experience of the newly opened, final phase of the High Line. The park, after snaking in its two initial stages through some 20 dense blocks of Manhattan, widens into a broad promenade that terminates in an epic vista of the Hudson. It’s a grand coda and a satisfying finish to one of the most ambitious park designs in recent memory.
Jean Nouvel‘s long-awaited 53 West 53rd Street, also known as the Tower Verre or the MoMA Tower, may finally be ready to move ahead with construction after the project’s developer Hines purchased $85.3 million worth of air rights from its neighbors MoMA and the St Thomas Episcopal Church and arranged the $860 million construction loan required for the project.
Originally proposed in 2007, the design has been plagued by problems, including significant delays due to the financial crisis and a difficult approval process which resulted in the building’s height being slashed from 1,250 feet to its current planned height of 1,050 feet. However, according to a statement from Hines groundbreaking on the project is now “imminent.”
New York real estate executive Daniel Levy of CityRealty has unveiled a proposal to connect Brooklyn’s waterfront to Manhattan with a $75 million “East River Skyway.” According to Levy, the high-speed gondola could shorten commutes to just four minutes and move more than 5,000 people per hour, while relieving congestion on ferries, subways and bridges. “[The Skyway] would be a relatively inexpensive and quickly deployable solution,” said Levy. “It is essential to adapt New York City’s transportation system to serve residents in these booming areas.” Levy will present the project in an effort to harness support at the Brooklyn real estate summit on Tuesday.
In 2011, the Tribeca-based design duo of James Ramsey and Dan Barasch proposed a radical project to transform an abandoned subterranean trolley terminal in Manhattan‘s Lower East Side into an underground park filled with natural light and vegetation, eventually proving their design with a full size mock-up of their design for light-capturing fiber-optic tubes. Since then, they haven’t had nearly the same level of publicity – but that doesn’t mean they aren’t still working. This article by The Architects’ Newspaper catches up with Ramsey and Barasch as they attempt to make their $50 million project a reality by 2018. Read the full article here.
Foster + Partners has released new images of 425 Park Avenue in New York, the project which turned heads in 2012 when videos of the four competing architects presenting their proposals were released to Youtube. The new images show a slightly altered design for the glazed entrance, where a mezzanine on either side replaces what was originally a double height space in the entire lobby. The new images also give a glimpse into the building’s interiors, where curtain glass walls make the most of spectacular views across Manhattan and Central Park. Read on after the break for all the images.
Tadao Ando has unveiled designs of his latest project, a 7 story luxury residential project in Manhattan. The building at 152 Elizabeth Street is Ando’s first in New York, and includes his signature design features of simple cubic forms, polished in-situ concrete and curtain glass.
More on 152 Elizabeth Street after the break
This summer, the drawings, theories and works of architect Lebbeus Woods are headed to the city that Lebbeus considered home. After a five-month stay at SFMOMA, the exhibit “Lebbeus Woods – Architect” will be at the Drawing Center in SoHo, Manhattan until mid-June. The following story and overview of the exhibition, by Samuel Medina, originally appeared at Metropolis Magazine as “Coming Home”.
It’s all too biblical an irony that Lebbeus Woods—architect of war, catastrophe, and apocalyptic doom—died as strong winds, rain, and waves barreled down on Manhattan, his home for some 40-odd years. Woods passed the morning after Hurricane Sandy flooded Lower Manhattan, almost as if the prophet had succumbed to one of his turbulent visions. But this apocryphal reading is just one way to view Woods’s work, which, as often as it was concerned with annihilation, always dared to build in the bleakest of circumstances.
With an emphasis on collaborative environments, relaxing atmospheres, and quirky branding, it’s always interesting to take a peek into the offices of tech companies, often found in the sprawling, multi-colored campuses of Silicon Valley. But how does this particular brand of interior design transfer to the more cramped spaces of a Manhattan office block? This video by Internet Week NY takes us behind the scenes at Tumblr, About.com and Fueled Collective to find out.
You’ve never seen Manhattan quite like this: Metropolis Magazine‘s Komal Sharma takes a look at “Little Manhattan“, a sculpture by Yutaka Sone which renders the famous island in 2.5 tons of solid marble. The power of the artwork lies in the play with scale: the initial impression of a huge marble block contrasts with the tiny, intricately detailed skyline forming a mere skin on top; the subsequent realization that this skin corresponds to the familiar vertical city brings you to a more complete understanding of Manhattan’s scale. You can read the full article here.
When it comes to global cities, New York City may be one of the most prominent – but it is also relatively young. Just 400 years ago, Manhattan island was mostly covered in forests and marshes. In his talk at TEDx Long Island City, Eric Sanderson discusses the city’s radical changes in land use over the past four centuries, and begins to contemplate what the next four might look like. How can we take a city like New York and make it as efficient as the forest it replaced? In a bid to uncover the ideas that might make this possible, he introduces Manhatta 2409 – an online tool which maps/compares the historic and current land use of Manhattan and allows users to propose new uses. Learn more in the video above.
FXFOWLE and CO Architects (CO|FXFOWLE) have teamed up to design a seven-story School of Nursing building for the Columbia University Medical Center campus in upper Manhattan. The result of an invited design competition, the design will provide 65% more space than the school’s current location and will be designed to achieve LEED Silver certification.