Herzog & de Meuron‘s 56 Leonard is taking shape in New York. Due to top out this summer, the 60-story condominium has become known as the “Jenga tower” for its cantilevered glass facade. Upon its completion in 2016, the 821 foot-tall (250 meter) Tribeca building will be comprised of 145 residences and will feature a Anish Kapoor sculpture at its base. Check out the Rob Cleary time-lapse above to view the building’s progress over the last year.
According to the New York Post, Renzo Piano has been commissioned by Michael Shvo and Bizzi & Partners to design his first US residential tower. Planned to rise in the southern Manhattan district of Soho at 100 Varick Street, the Piano-designed tower will include up to 280,000 square-feet of housing and reach nearly 300 feet. Featured amenities include a “gated private driveway” and “automated parking.” Stay tuned for more details.
Bjarke Ingels has built a reputation for formulating new urban hybrids. From merging power plants with ski slopes to reintroducing nature to the workspace, Ingels’ well-respected practice BIG is missioned to realize the fictitious world we all dream to inhabit by redefining conventional building typologies. An example of this is the Danish practice’s New York “courtscraper” – W57, a clever union of the courtyard building and skyscraper that guarantees sunlight to all its inhabitants. Watch the video above to learn more.
When the One World Trade Center opens its observatory elevators in May, visitors will embark on an unusual journey back in time with animated timelapse that recreates the evolution of Manhattan‘s skyline starting from the 1500s. In just 47 seconds, visitors will relive the city’s architectural history, including the devastation of 9/11, while being lifted up 102 floors. Watch the video above, courtesy of The New York Times!
One of the six winners of the Rebuild by Design competition, Bjarke Ingels Group’s (BIG) “Dry Line” project aims to protect Manhattan from future storms like Hurricane Sandy by creating a protective barrier around lower Manhattan. The barrier will be formed by transforming underused waterfront areas into public parks and amenities. Now, you can learn more about the vision behind the project and how it was developed in a webinar led by Jeremy Alain Siegel, the director of the BIG Rebuild by Design team and head of the subsequent East Side Coastal Resiliency Project. The webinar will take place on Friday, June 12. Learn more and sign-up on Perform.Network.
Uncovered by New York YIMBY, five new images have been revealed showing SHoP Architects‘ supertall and super-slender tower at 111 West 57th Street in Manhattan, just south of Central Park on what has become known as “Billionaire’s Row” (on account of the slew of new residential skyscrapers with some unit prices approaching $100 million).
Manhattan based real-estate company HFZ Capital Group has announced “The Bryant,” David Chipperfield Architects‘ first residential condominium project in New York City, located at 16 West 40th Street. The proposal for the 32-story building features a hotel on the lower levels, with 57 apartments ranging from one- to four-bedrooms, including two duplex penthouses, on floors 15 through 32 – offering residents “the rare opportunity to live in a new construction, residential development on the fully-restored Bryant Park,” according to the developers.
Ever since its unprecedented skyward growth in the late 19th and early 20th centuries, Manhattan has been an icon of construction all over the world, with recent estimates concluding that the island contains some 47,000 buildings. However, as with all construction, completed projects are just the tip of the architectural iceberg; Manhattan is also the home of many thousands of unloved, incomplete, and downright impossible proposals that never made it big in the Big Apple.
Of course, the challenges of New York are indiscriminate, and even world-renowned architects often have difficulties building in the city. After the break, we take a look at just three of these proposals, by Antoni Gaudí, Frank Lloyd Wright and Frank Gehry, courtesy of 6sqft.
Conceptual plans of Perkins+Will’s East 37th Street Residential Tower in New York City have been unveiled. Debuted in Cannes, France, during MIPIM, where the high-rise received a “Future Projects Award,” the 700-foot-tall Manhattan tower boasts a “shimmering, angled curtain wall” organized by five clusters of shared amenities and open-air gardens.
More about the 65-story, 150,000-square-foot condominium tower, after the break.
Ask any person involved in the construction of Santiago Calatrava‘s World Trade Center Transportation Hub, and they will probably admit that the world’s most expensive train station has not been a PR success. In fact things have gotten so bad that a recent article by Andrew Rice for New York Magazine describes the gradual opening of the building later this year as coming “at long last and great cost, to both the government and his reputation,” adding that “a decade ago, Calatrava would have made any short list of the world’s most esteemed architects. Today, many within the profession are aghast at what they see as his irresponsibility.”
But, unlike much of the press coverage that has greeted Calatrava in recent years, the New York Magazine article is much more forgiving, taking the time to investigate the twists and turns of the project’s controversial 12-year history and offering the architect the opportunity to give his side of the story. Read on after the break for a breakdown of six takeaways from the article.
Despite his status, Le Corbusier never had the opportunity to build in New York – in fact he only had one chance to build in the United States at all, completing Harvard’s Carpenter Center for the Visual Arts in Cambridge in 1963. But this doesn’t mean his influence isn’t visible all over the Big Apple. Originally published on 6sqft as “Towers in the Park: Le Corbusier’s Influence in NYC,” this article takes a look at three examples where Le Corbusier’s “Radiant City” ideals were transplanted to New York.
Even before taking his first trip to New York in 1935, Le Corbusier described the city as “utterly devoid of harmony.” After seeing it in person, his feelings didn’t soften. He wasn’t impressed by the tall towers, rather stating that they were the product of an inferiority complex, and he thought the city’s leaders were too timid to hire him. He wrote an opinion piece in the New York Times saying that “American skyscrapers have not attained the rank of architecture; rather, they are merely small objects such as statuettes or knick-knacks, magnified to titanic proportions.” He thought the city would benefit from buildings that “don’t try to outdo each other but are all identical.”
A vision to protect post-Sandy Manhattan against future superstorms, Bjarke Ingels Group’s (BIG) “Dry Line” seeks to form a continuous storm barrier around lower Manhattan by transforming underutilized waterfront spaces into a “protective ribbon” of public parks and amenities. Though ambitious, the project is not impossible; it was one of six winners in the US’ Rebuild by Design competition that is envisioning ways New York can protect its edge.
Watch the film above, by Squint/Opera, to see what Manhattan could potentially look like in the future, and read more about the project here. The Dry Line is also on view at the National Building Museum in Washington D.C as part of BIG’s exhibition HOT TO COLD: an odyssey of architectural adaptation.
Steven Holl and Vito Acconci’s Storefront for Art and Architecture has hosted its share of installations, but its newest intervention envisioned by SO-IL as part of the Blueprint exhibition is a whole new concept: covering the entire facade with shrink-wrap. The seamless outcome is deceptively simple, however, as the installation involved some careful calculations, a massive frame, and a dedicated team with an acute attention to detail. Read more about the project, see the finished product, and watch the process, here.
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.