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Hana R. Alberts reports for Curbed. jarmulowsky-facade-october-2013 The landmarked Jarmulosky Bank Building is getting converted to a hotel (potentially by Ace, though that's not confirmed), and work has finally begun on the site. Bowery Boogie notes that the façade is now shrouded in scaffolding. And, now that DOB permits have been approved, the vacant lot next door at 60 Canal Street/8 Allen Street will, in fact, be home to a six-story annex to the hotel, courtesy of the same architect, Ron Castellano. The 1912-built, 12-story Beaux Arts beauty has a ton of history, and the renovation will gussy up the limestone and terracotta façade created by architects Rouse & Goldstone.
Image via
Sadly, it's not getting its cupola back, but the extensive makeover (final product, right) will also add historically appropriate wood doors, balconies, and two stories to the roof. Plus, a stolen clock will be replaced.
Eliot Brown reports for The Wall Street Journal. Image courtesy Adrian Smith + Gordon Gill Architecture (via [Adrian Smith + Gordon Gill Architecture] For years, luxury builder Extell Development Co. has been planning a soaring tower on 57th Street and Broadway in Manhattan. Now we get to see what it looks like. Last month, the developer included renderings of the tower as part of a presentation to the city’s Landmarks Preservation Commission, showing a glassy skyscraper that reaches up to 1,423 feet. That would be about 40% taller than Extell’s One57, a super-luxury tower opening in coming months a block to the east. The new tower would be the tallest residential building in the country. A spokesman for Extell, George Arzt, said the renderings showed a “work in progress,” and the building is “not a finished product.” Still, the renderings give a sense of the general look of the Adrian Smith + Gordon Gill Architecture-designed tower, and show what could be next on the so-called “billionaires’ row” emerging on 57th Street. The street has seen a surge of plans for skinny towers aimed at the ultra-rich. In addition to One57, the 1,396-foot 432 Park Avenue tower is under way, where a buyer has agreed to pay $95 million for a penthouse, according to the developers. Another even-skinnier tower reaching about 1,350 feet is planned for the strip. The new Extell building—which hasn’t yet secured financing—is slated to have a Nordstrom’s department store at its base, topped by a hotel. The bulk of the height would be a slim tower just for apartments, according to the presentation to the commission. One unusual feature: the building would cantilever 28 feet to the east over a landmark property, the Art Students League of New York building. This is in part due to a deal recently struck with Vornado Realty Trust, which is seeking to build a condo tower of its own one block to the north, according to people familiar with the matter. For years, Extell had been holding up the Vornado tower, which would have obstructed views from Extell’s tower. But under a deal reached last month, Vornado is moving its tower to the west, and Extell moved its to the east, in part by creating the cantilever, so both can have views of the park, the people said.  
Hana R. Alberts reports for Curbed.  
Alan G. Brake reports for The Architect's Newspaper.
[James Ewing / Courtesy Park Avenue Armory.]
A dazzling new performance space has opened on the Upper East Side. The Board of Officers Room at the Park Avenue Armory, a riot of color, pattern, and intricately carved wood, has been meticulously restored for chamber-scaled concerts, installations, and events by Herzog & de Meuron and Platt Byard Dovell. Originally designed by the Herter Brothers—the leading interior designers of their day—the Board of Officers Room is an important example of the American Aesthetic Movement, paneled in fiery red Honduran mahogany with elaborate floral stenciling above.
01-park-avenue-armory-nyc-herzog-demeuron-architecture-archpaper02-park-avenue-armory-nyc-herzog-demeuron-architecture-archpaper03-park-avenue-armory-nyc-herzog-demeuron-architecture-archpaper Led by Herzog & de Meuron senior partner Ascan Mergenthaler, the process of restoring the room was one of “de-layering,” removing grime, earlier alternations, and repairing damage caused by time, neglect, and water (the rooms had been on the World Monuments Fund’s list of endangered cultural sites). Relying on the latest thinking in preservation practice, the design team meticulously restored existing finishes and inserted contemporary reinterpretations of the Herter designs where there were gaps. While this approach is sympathetic to the intentions of the original designers and draws a line between what is old and new, the results are so harmonious that the distinctions will likely be lost on visitors. Dazzling metal and glass chandeliers have been restored. Herzog & de Meuron’s most noticeable contemporary insertion is chainmail curtains, which moderate the light streaming through the massive windows.
[James Ewing / Courtesy Park Avenue Armory.]  
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Brooklyn Bridge Park Update

Jessica Dailey reports for Curbed. [A rendering of the renovated Empire Stores and the theater at the historic Tobacco Warehouse at Brooklyn Bridge Park.] Thursday October 31st marked the start of construction to turn the empty Tobacco Warehouse in Brooklyn Bridge Park into a new home for the theater group St. Ann's Warehouse. The development includes an 18,000-square-foot building by Marvel Architects that will hold a flexible performance space and a 1,000-square-foot multi-use community space. The building's lobby will face the water, with the preserved arches framing the park. A 7,600-square-foot triangle space will turned into an open-air, walled birch tree grove by Michael Van Valkenburgh Associates. Park officials also said that construction will soon start on the parkland expansions at Main Street and John Street. Next year, the John Street site will also see work begin on a 47-unit apartment building with cultural and retail space on the ground floor. [A rendering of the new Empire Stores Rooftop at Brooklyn Bridge Park.] [A rendering of the new Tobacco Warehouse theater, managed by St. Ann's Warehouse, at Brooklyn Bridge Park.] [ A map showing all elements of Brooklyn Bridge Park.]  

Jonathan Allen Reuters reports for Chicago Tribune.


[Credit: Beyond My Ken/Wikimedia Commons] The former home of Tammany Hall, which became a byword for patronage and corruption as the headquarters of New York City's powerful Democratic political machine, has been declared a historic landmark. A vote to protect the four-story neo-Georgian building in Union Square was held on Tuesday by the city Landmarks Preservation Commission. The building was completed in 1929, only a couple of years before Tammany began losing its grip on city politics and its power to control elections. It served as the final headquarters of the political machine that dominated 19th-century and early 20th-century New York City politics. "The architecture is interesting, evocative and referential, but the history of Tammany makes it stand out," commission chairman Robert Tierney said in a statement. The Tammany Society was founded in the late 1780s as a social club but quickly morphed into a powerful vote-delivering machine. It courted the city's exploding immigrant populations, particularly those from Ireland, with jobs, hand-outs and legal services that sometimes amounted to bribing the authorities, in exchange for votes for Tammany candidates. In 1925 Tammany helped elect Mayor Jimmy Walker, a popular figure whose tenure was known for its proliferation of speak-easies, which illegally served alcohol during Prohibition, until the 1929 stock-market crash. Walker was forced to resign in 1932 amid a corruption scandal. Franklin D. Roosevelt, who for decades opposed Tammany as a New York politician and governor, was elected U.S. president the same year and swiftly ended Tammany's federal patronage. Before the year was out, Fiorello LaGuardia, a non-Tammany candidate, was elected New York City mayor. Tammany Hall never recovered its footing. The colonnaded building now houses a film school, a theater and shops.  
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Woolworth Building can get minor makeover

Joe Anuta reports for Crain's New York Business. Woolworth-Building The Landmarks Preservation Commission gave Alchemy Properties the go-ahead to make over a portion of the Woolworth Building. Photo by Buck Ennis. Alchemy Properties, which is transforming the upper floors of the landmark tower into luxury condos, received a key city approval to move forward with its conversion plans. The developer transforming a portion of the Woolworth Building into luxury units announced Thursday it received a key approval from the city to modify the landmarked structure. The city Landmarks Preservation Commission gave Alchemy Properties the go-ahead to construct two pavilions on the 29th floor and alter portions of the exterior of the property, located at 233 Broadway between Barclay Street and Park Place, as part of its ongoing effort to renovate the top 30 floors of the building, transforming the space into ultra-luxury residential condominiums. "We have proposed subtle changes for the Woolworth Building, which will help to preserve and restore it to its true New York City landmark form," said Kenneth Horn, president of Alchemy Properties, in a press statement. Mr. Horn hopes to begin selling units at the property, dubbed The Woolworth Tower Residences, in mid-2014. The crown jewel of the project will be a five-story penthouse at the top of the century-old skyscraper. Alchemy will also make additions to the rooftop and replace some windows. It plans to install a new canopy that will hang over a new entrance on Park Place dedicated to residents. The developer purchased the top portion of the skyscraper for $68 million in August 2012.  
Carl Yost writing for Architizer. “I defend these buildings against people who take moral offense because ‘only wealthy people live in them,’” says Carol Willis, the director of Skyscraper Museum. She isn’t talking about Justin Davidson’s epic takedown of the luxury residential tower One57 in New York Magazine a few weeks earlier, but she might as well be. “All they are doing is playing by the rules of the 1960s. To me, it’s fair play.” Rendering of One57 as seen from Central Park. Image: Extell Development Company It’s a refreshing perspective. Preposterously tall, anorexically slender residential buildings are popping up all across Manhattan, like it or not. Maybe I’m out of touch with the zeitgeist of post-Bloomberg backlash, but I think they’re exciting additions to the skyline, and I’m meeting Willis in her museum’s current exhibition, “Sky High & the Logic of Luxury,” to understand why. "Sky High & the Logic of Luxury" features these new additions to the NYC skyline. Image: The Skyscraper Museum “It’s about slender, not tall,” she says as we walk to the front of the gallery. “Slenderness is a strategy for luxury.” In an engineering context, “slenderness” has a precise definition: a height-to-width-ratio of at least 10:1 or 12:1. Think of a ruler standing on its end, or the proportions of the 617-foot-high, 50-foot-wide One Madison. One Madison with Madison Square Park. Image: Cetra Ruddy Willis points to a collage of eight renderings of super-skinny residential buildings that will soon pierce the sky. It’s about exclusivity, she explains: the fewer apartments per floor, the more exclusive the building, and the more each unit is worth. She contrasts a residential building like the world’s current tallest, the Princess Tower in Dubai, which has more than 700 apartments, with One57, which has only 135—many of them full-floor. “People don’t realize how new this is, but it comes step-by-step out of the 1980s,” she says as we approach a model of the Darth Vader-like, black-glass wedge of SOM’s 1987 Metropolitan Tower at 146 West 57th Street. Until that time, “New York was really organized as a co-op town.” By the '80s, however, buildings like the Trump and Olympic Towers on Fifth Avenue revealed a market of wealthy buyers, many from abroad, who wanted private pieds-à-terre. High-rise condos sprang up all over the city, but they weren’t particularly slender. Then financier Sanford I. Weill sold his penthouse at 15 Central Park West in February 2012 for a then-record $88 million. At $13,000 per square foot, the financial calculus had changed. “It’s the value of the per-square-foot that makes super-slender possible,” she says. “You can spend a lot of money if you think there’s a market that will support five thousand, six thousand dollars per square foot.” The ability to engineer super-slenderness had been around for decades, but the financial rationale was missing. “Everyone thought it was economically preposterous, until people started paying 45, 88 million for an apartment. It’s perfectly logical, but the logic hadn’t been demonstrated until the last round.” Southeast view of 432 Park Avenue from Central Park. Image: CIM Group and Macklowe Properties Willis walks me over to a model of Rafael Viñoly’s 432 Park Avenue, soon to be the tallest residential building in the western hemisphere at 1396 feet, and the star of the exhibition. On a touchscreen she scrolls across the panoramic views from a penthouse that hasn’t even been constructed yet, the photos taken by remote-controlled drone. She explains how reducing the footprint of the core generates maximum revenue. Compared with an office tower, a residential building—especially one with only one or two units per floor—requires far fewer elevators: 432 Park Avenue has only two, plus one service elevator. Viñoly’s office also designed an intertwined scissor stair that reduced the stair area 10% and generated “luxurious” floor-to-floor heights of 15' 6". The stair, together with the developable air rights that developer Harry Macklowe pieced together from adjacent buildings, accounts for the tower’s breathtaking height. Willis clearly admires the building: “Everything about it is guided by a logic that has a mathematical purity,” she says. She points to its expressive structure, in the exposed concrete grid; to the nearly 10-foot-square windows, at the bleeding edge of glass engineering; and to the recessed wind baffles, which break up the building mass every 12 stories. View of 111 West 57th Street and Central Park. Image: DBOX But the 15:1 slenderness of 432 Park Avenue has nothing on SHoP’s 111 West 57th Street, which zips upward from the courtyard of the historic Steinway Building at a ratio of 23:1. With feathered setbacks at its peak to conform to the zoning envelope, Willis likens it to a feather quill set in an inkwell. The model included in the exhibition towers above my head, almost high enough to brush its reflection reaching downward in the ceiling. A south view of Steinway Hall at 99 Church Street. Image: DBOX, courtesy of Silverstein Properties, Inc. I ask Willis whether she expects to see many more of these super-slender buildings, but she says not many. They result from very specific, very limited site conditions. So many cluster around 57th Street because the zoning allows tall buildings there, and the Central Park views appeal to luxury buyers, encouraging developers to aim for loftier heights. 99 Church Street, a Four Seasons condo-hotel designed by Robert A. M. Stern, the architect of 15 Central Park West, and the condo tower 50 West Street, by Helmut Jahn, both fall within one of Lower Manhattan’s high-rise zoning districts. Diller Scofidio + Renfro’s Tower D will be located in the Hudson Yards insta-neighborhood. A rendering of the "Corset Tower" in the Hudson Yards. Image: Diller Scofidio + Renfro And Herzog & de Meuron’s 56 Leonard Street, an anomaly in predominantly low-rise Tribeca, used up the air rights from New York Law School next door. With a shiny, derivative  bean wedged next to the entrance, the targeted buyer is clearly the art collector who has no taste—and it’s working. As I write this, all but five units are under contract. A view of 56 Leonard with The Woolworth Building in the background. Image: Corcoran Sunshine Marketing “All these things work together,” Willis says, meaning land price, zoning, air rights, celebrity architects' fees, engineering and construction costs, views, art, and the number of apartments per floor. “The logic is exclusivity, but it’s supported by a simple math.” In a way, she's simply extending the analysis of her excellent 1995 book Form Follows Finance: given certain conditions of market demand, zoning, and engineering, the basic shape of a skyscraper is almost a fait accompli. Don't like it? You might as well rage against the tide. And bemoaning the height of these buildings as anti-urban blight misses an important fact about the transfer of developable air rights: “These buildings use up the low space—they use it up forever.” That is, relocating the stratospherically wealthy into the stratosphere, paradoxically, brings more light and air down to the rest of us. “I think these really add enormously to the city,” she says. “All these buildings end up being one more chapter, one more card in the deck of the extraordinary type that this city spawns.”  
Hana R. Alberts reports for Curbed.

It was 50 years ago today that demolition began on the New York icon that evokes intense nostalgia and mourning even today: the old Pennsylvania Station. To honor the day, Atlantic Cities rounded up some beautiful photos of the transit hub in its prime, but Curbed has opted to immerse us all in sad images of the de-construction process, as plans for Madison Square Garden loomed ahead. After all, it was the painful ripping apart of the soaring archways, domed ceilings, handsome columns, and more that lit a fire under the arse of the coalition that eventually made New York's landmarks law a reality. The extensive demolition porn of yore comes to you courtesy of the Museum of the City of New York's wonderfully extensive photo archives. Below, you'll also find a handful of photos of Penn when it was still gloriously intact, which kinda intensifies the grief a little. While the site's future remains uncertain—could we feasibly see a bonkers starchitect-designed railway station in our lifetimes?—the past is, sadly, a done deal.   
Here now, what the pretty station looked like before the wrecking ball descended.



Nicole Anderson reports for The Architect's Newspaper. [Images Courtesy SHoP.]
Manhattan’s 57th Street continues its ascent as New York City’s new gold coast with a skinny skyscraper unveiled by SHoP Architects and JDS Development. SHoP most recently celebrated the groundbreaking of another skyscraper for JDS along the East River, but has now been tapped to build a lean, luxury high-rise on West 57th Street that could climb to a whopping 1,350 feet tall.
If built, the condo tower would stand 100 feet taller than the Empire State Building. The Wall Street Journal reported that while developers JDS Development and Property Markets Group will not comment on whether financing has been secured, they have already presented plans to the Landmarks Preservation Commission. Stepping back from the street as it rises, the quarter-mile-high skyscraper will emulate steps and be clad in bronze-and-white terra-cotta stripes. SHoP partner Vishaan Chakrabarti told the Journal that the materials would create an effect that “sparkles during the day and has a soft glow at night.” The developers were able to add height to the building by purchasing air rights from other properties in the vicinity.
Elsewhere on 57th Street, BIG is building a pyramidal “court-scraper,” Raphael Viñoly has designed the 1,380-foot-tall 432 Park Tower, Christian de Portzamparc’s One57 tower is nearing completion, Cetra Ruddy has designed an ultra-skinny 51 story tower, and SOM’s Roger Duffy is planning a prismatic, 57-story tower. Chicago’s skyscraper experts, Adrian Smith + Gordon Gill, have also been tapped to design a skyscraper near 57th and Broadway, but no design has been released. The Landmarks Preservation Commission just gave JDS the green light to build its sinewy tower. The building will be set back to respect its landmarked neighbor, the Steinway Building. JDS will also take over a portion of the adjacent lot belonging to the historic structure. Another proposed development on 57th Street, the Smith + Gorden Gill-designed tower, has been met with resistance from local residents. The Commission decided to approve the controversial project, much to the chagrin of the local community board and several historic preservation groups. Opponents of the building have expressed their concern that the cantilever tower will over shadow the French Renaissance style Art Student League. JDS said it hopes to break ground by 2014.