Aaron Seward reports for The Architect's Newspaper: UNVEILED> THE SCHOOL AT FILLMORE PLACE. Christoff : Finio proposes a contemporary preschool for Williamsburg, Brooklyn's only landmarked block.
New York City–based Christoff : Finio Architecture has released preliminary designs for a preschool set to rise on a tiny corner lot in Williamsburg, Brooklyn. Known as The School at Fillmore Place, the three-story, 6,200-general-square-foot building’s design is derived from the Reggio Emilia philosophy of early childhood education, which posits that environment is an extremely important factor in learning.
Due to the site’s small footprint, each floor of the building is large enough to house only a single classroom along with the vertical circulation to access it. As a result, every learning environment will have ample access to views of the surrounding neighborhood. A glass and timber-framed curtain wall with integrated wood panels and furniture—storage bins, display cases, tables—provides open sightlines, offering children many opportunities to see out into their world, and feel a part of it, while engaging in their classroom activities. The roof is occupied by an open play area and greenhouse.
The project is currently going through Landmarks and Board of Standards and Appeals applications and will be further refined before construction begins. Located as it is in a designated historic district, the architecture has been designed to respond to its neighbors in massing and rhythm while providing a warm, contemporary expression.
Evan Bindelglass reports for NY Curbed: Midtown Giant One Vanderbilt (Mostly) Wows at Landmarks.
Rendering of One Vanderbilt to the left and Grand Central to the right, looking north from 42nd Street up Vanderbilt Avenue.
As currently proposed, supertall tower One Vanderbilt will rise to 1,350 feet—1,450 at its peak—to become the city's second-tallest building. But its top wasn't the focus of today's Landmarks Preservation Commission hearing. It was its bottom. The LPC met today, not to rule on the proposed office building, whose size is allowable in part because of a partial Midtown East rezoning, but to issue an advisory report on the transfer of development rights (or air rights) from 110 East 42nd Street (better known as the Cipriani building) across the street to 317-325 Madison Avenue (the site of the proposed One Vanderbilt). (SL Green, the project's developer, already owns the air rights, anyway.)
The Commission was also tasked with deliberating on whether or not the Kohn Pedersen Fox-designed skycraper, which would sit on the full square block west of Grand Central between Vanderbilt Avenue, Madison Avenue, 41st and 43rd streets, would be a "harmonious" addition. Though the hearing didn't result in any vote or formal ruling, it offered the most detailed look yet at this divisive tower.
KPF architect James von Klemperer led the presentation, which included some new renderings. Here are some of the highlights: He pointed out how the building will be set back seven feet from the property line, allowing pedestrians a new view of Grand Central Terminal via One Vanderbilt's southeast corner at 42nd Street and Vanderbilt Avenue, which he said was themost frequent exit point from the terminal. He spoke of how the use of terra cotta in the building's design would counter the existing office buildings on Madison Avenue and make a connection—a "selective recall"—to Grand Central. The building is slated to have direct access to multiple levels of Grand Central.
At the building's northeast corner on 43rd and Vanderbilt Avenue will be a 4,000-square-foot space separate from the building's formal lobby. Von Klemperer said that would serve as an extension of Grand Central's waiting space, which he said will be needed when East Side Access—which will extend the Long Island Railroad to Grand Central—comes online. He said the space would "recall the spirit of Guastavino" with a concave tile ceiling.
Rendering of public space on One Vanderbilt's northeast corner, at 43rd and Vanderbilt.
There will also be a terrace area in One Vanderbilt, for use by either a corporation or a restaurant, about three stories up on 42nd Street. Finally, von Klemperer did address the building's height, which he called "skyline-piercing," saying the way it tapers will maximize the amount of light that gets through to the street. Bill Higgins of the preservation firm Higgins Quasebarth & Partners also presented.
He acknowledged that the proposal is "complex," but noted that Grand Central is, too. He described the station as a "wonderful machine for the circulation of people." He said that the complex design of the building's base, with its slopes and setbacks, "doesn't need to be quieted down."
Rendering of One Vanderbilt, looking northwest from the viaduct above 42nd Street, just south of Grand Central.
Though most of the Landmarks commissioners liked the project, two of the were somewhat less supportive than the rest. Commissioner Frederick Bland said the presentation was "wonderful," but noted that there was a "lot of stuff happening" and said it was "distracting from the station itself."
Commissioner Michael Goldblum commended the "very interesting and very thorough" presentation, then asked, "What's harmonious?" He said the building's setbacks and height invite a relationship to GCT, but bypass it at every turn.
Another rendering of One Vanderbilt's northeast corner, at 43rd and Vanderbilt. Grand Central is visible through the windows.
LPC chair Meenakshi Srinivasan, on the other hand, was "impressed" with the presentation and proposal. Commissioner Diana Chapin said it was"appropriate" at street level (appropriate means approval, in Landmarks speak.) Commissioner Margery Perlmutter referred to Grand Central as beingthe most important building on 42nd Street, with a long history of being surrounded by towering buildings of different styles. She said that a vastly different building doesn't necessarily endanger the existing buildings. She said a new building should be "dynamic" and that this one "works." Commissioner Michael Devonshire said the building had a "well thought-out design."
Invoking an analogy to music, Devonshire added that you often have two things happening simultaneously at different vibrations, and that one doesn't rob the other. He saw the building as a "wonderful contrapoint." "Don't mess with a thing," he said. Commissioner Roberta Washington also said the design was "harmonious and appropriate." As for the neighborhood's opinion, which had been vocally against rezoning the Midtown East area in its prior iteration, Srinivasan said Community Board 5 sent a letter stating its support for the project.
Today, public testimony was mixed. The Historic Districts Council said that the proposal "does not share a harmonious relationship with Grand Central Terminal. The Committee feels that the cut-away feature in the base of 1 Vanderbilt is a hollow gesture to the grandeur of the Terminal, and it almost threatens to consume the shorter Individual Landmark. A solid streetwall typical of this area of East Midtown would be a more appropriate fit." Christabel Gough of the Society for the Architecture of the City said there is no real visual harmony between the terminal and the new building.
Andrea Goldman of the Landmarks Conservancy said that the new building's "busy base distracts [from the landmark terminal]." Meanwhile, representatives of the American Institute of Architects were extremely supportive, saying it would be a major job generator, replace an outdated building, and enhance the business district. Jordan Isenstadt of the Association for a Better New York said he supports the new project and the transfer of rights, saying the project pays homage to Grand Central and that, "architecturally speaking, the two buildings talk to each other."
The proceedings of today's public hearing will be summarized into an advisory report. But even if that veers toward the positive, there are all sorts of other hurdles out there right now. Grand Central Terminal's lawyers recently threatened a $1 billion lawsuit over its unused air rights, for one, so it's likely the road to construction won't be smooth for One Vanderbilt, SL Green, and KPF, despite their small victory before the Commission today.
Henry Melcher reports for The Architect's Newspaper: BKSK-designed topper for the Meatpacking District gets Landmarks’ blessing.
BKSK's revised design for 9-19 9th Street.
And another glass and metal addition is set to rise atop a low-rise building in the Meatpacking District. The Landmarks Preservation Commission (LPC) has voted to approve the BKSK-designed topper to the two-story building at 9–19 9th Avenue, which is best known for housing Keith McNally’s famous French bistro, Pastis.
The revised design from the north.
An alternate proposal by the firm was shot down by the LPC in May, in what Curbed described as a heated, and very, very crowded, hearing. According to the blog, local residents called the addition “garish,” “a disoriented layer cake,” and “an obliteration of a historic district.” BKSK has a positive track record of working with Landmarks, however, and the firm came back with a revised plan, which has just won the LPC’s blessing. Harry Kendall, a principal at the firm, told AN that the while the structure has largely stayed the same, the “architectural language of the design” has changed. Essentially, BKSK is using less glass. “The metal frame has taken a more central role as an element of the facade and glass panels are clipped between the frames as a secondary element,” Kendall said.
Close-up of the addition.
He explained that at the hearing in May, the commission suggested BKSK work harder to do less. “We did that,” Kendall said. “We applied ourselves diligently to doing less.” But, according to Andrew Berman, the executive director of the Greenwich Village Society for Historic Preservation, less is not enough.
“We are extremely disappointed with this vote, the last to take place under outgoing LPC Chair Tierney,” Berman said in a statement. “Once more the Commission approved a design in direct contradiction to their own prior recommendations, in which they told the applicant to substantially change the design, and that it was too large (the size of the addition is relatively unchanged).”
The facade looking west.
The street level.
The old design.
Tom Stoelker reports for The Architect's Newspaper: LPC approves Adjmi's concrete riff on cast iron.
With unanimous approval from the Landmarks Preservation Commission, Morris Adjmi‘s deceptively subtle take on the classic cast iron building is on its way to becoming reality. What at first glance appears to be a cast iron facade is actually a reverse bas relief cast in glass reinforced concrete—essentially a form in which you could mold a true cast iron facade. “This makes you think of how these buildings were built, from the initial casting to being assembled as components,” said Adjmi. “So this is really taking that and inverting it so it becomes a record of the process.”
The architect said that assembling the facade would be carried out in the same fashion as the nineteenth century buildings, as if ordered from the Bogardus cast iron catalogue — James Bogardus patented the cast iron building in 1850. Columns, lintels, and window arches will be cast separately and then individually secured to the facade. “It’ll sit right on the slab so you get the full effect of the inverted façade,” said Adjmi. If the effect on the street will command a double take then the interior will surely give pause.
There, the positive of the facade will push into the interior, with the traditional exterior facade facing in living space. Adjmi said that he was inspired by the work of artist Rachel Whiteread whose 1993 piece, House, cast the interior of a house in London’s East End in concrete. “I’ve always loved her work,” said Adjmi, “and it was a natural progression from using historical references to reinterpreting them with modern materials.” Apparently, the commissioners agreed. As the building is slightly higher than the zoning law allows, the next stop is City Planning, with the hope of beginning construction in six to eight months.
Branden Klayko reports for The Architect's Newspaper: CAST OF CHARACTERS. BKSK's warping tribute to Soho's cast-iron history.
The terra cotta façade of this new Soho building references both masonry and cast-iron precedents.
In the mid-19th century, a technological revolution was playing out in New York’s Soho neighborhood, as cast iron and the expanses of glass it allowed ushered in a new era of architectural expression. This transformation is clearly seen in two buildings, 99 and 111 Spring Street, the former an 1850's-style brick building with small punched openings, the latter an 1872 cast iron structure with enormous windows. BKSK Architects is celebrating this architectural evolution in a six-story development for Aurora Capital Associates, which is set to rise next door at 529 Broadway. The design features a dynamic, warping facade of terra cotta that gives way to modern expanses of glass.
“These two little buildings tell the story of a 20-year period when technology was evolving so quickly,” said Harry Kendall, principal at BKSK. “In that short period of time we saw technology changing so much and the emergence of modern architecture. We thought that story deserves to be writ large in our new building. We tried to tell a story that’s representative of the whole district based on these two smaller buildings.”
The building's facade warps across its facade, opening up to reveal a glass curtain wall.
Todd Poisson, partner in charge at BKSK, worked on the design with Eve Szentesi, David Ettinger, and Wil Rodriguez. He said the 34,000-square-foot structure begins with a “reunion of old and new” where it meets the existing buildings. Here, the new facade alludes to the patterning of the 1853 Prescott Hotel that once stood on the site. As the facade progresses east across a 150-foot frontage it warps to reveal a modern curtain wall building. At the east side, 529 Broadway references the rhythm and proportions of the Prescott using a frit pattern and thin aluminum fins. 529 Broadway is clad in a warm, cream-colored, open-joint terra cotta rain screen system over a glass and metal curtain wall.
English ceramics manufacturer Shaws of Darwen is casting each of the 700 unique shapes by hand. The design team used a variety of software, including Rhino with Grasshopper, to design the modulation of the facade. “Each floor warps at a slightly different rate to create a gradually unfolding rippling facade,” said Poisson. As the building deforms, intricately detailed spandrels turn into sun shelves that shade the glass. The spandrel pattern shifts to the underside of the horizontal fins facing Broadway. “We wanted our new decorative pattern to be a modern interpretation derived from a decorative pattern of the cast iron lintels of the old building,” said Poisson. “We digitally-enhanced old photographs of the building and used film-making software Blender to map it and digitally cast it to effectively create the molds for the terra cotta.”
The building would replace this two-story structure.
Located in the Soho Cast Iron Historic District, 529 Broadway was under the watchful eye of the Landmarks Preservation Commission. The new structure replaces a two-story remnant of the Prescott Hotel that was re-clad in the 1980s, destroying any semblance of the original. “A big hurdle was to convince the commissioners that the existing two-story building was not contributing as much as our new building would,” said Poisson. The project was approved with glowing reviews in September 2013. “We’re gaining confidence with each approval that building in a historic district is a wonderful opportunity to tell a story.” BKSK is currently finishing up construction documents for the project, but a start date has not yet been set. The developer is sensitive to the needs of the existing tenants on the property. Once demolition gets underway, the new 529 Broadway is expected to be complete within 18 months.
On the east side of the façade, window apertures relate to the style of mid-19th century structures that predated the cast-iron district.
Evan Bindelglass reports for Curbed: Landmarks Approves Extell's Restoration of 734 Broadway
Second time's the charm?
That was the case Tuesday morning for Extell's plans to restore 734 Broadway, which dates to 1872. The Landmarks Preservation Commission approved the plans, which were created by preservation experts Beyer Blinder and Belle. What they want to do, in short, is install a two-story penthouse on the roof of the five-story building, remove the fire escape from the front of the building, repaint the back of the building, and demolish a shed behind the building. Late last year, the plans were presented to Community Board 2, which voted to approve the proposal with some modification. Then Extell went before the Landmarks Preservation Commission a few weeks later and the commission said no.
That leads us to Tuesday morning, when Extell returned to the LPC with an updated proposal.
Perhaps the most notable change is that the top floor of the penthouse addition is now pushed farther back from the front of the building. The LPC agreed that removal of the fire escape is fine since it was not original to the building and that because the shed was changed so much over the years, there was no need to keep it.
With the penthouse being pretty hard to see from anywhere that doesn't look down at the building, the LPC approved the proposal unanimously. Also approved unanimously was the application for the LPC to recommend the City Planning Commission approve use of the building for retail on the ground floor and residential units on the floors above.
Aaron Seward reports for The Architect's Newspaper: In Detail> 19 East Houston Street
The new building mimics the scale of its neighbor and its Houston Street face is meant to appear as though it has been sliced away, revealing the section.
Up through the 1920s, Houston Street was a narrow little passageway through the lower Manhattan trenches, no bigger than Spring Street is today. It was not until the 1930s, as part of Robert Moses’ overhaul and modernization of New York City, that it took on its current form as a multi-lane thoroughfare. The transformation from urban lane to city highway involved the demolition of quite a few buildings, and resulted in a number of odd-shaped and sliver-like lots that would only appeal to a developer in the city’s current real estate reality.
One such oddity is a triangular plot on the south curb of Houston bordered by Broadway and Crosby Street—a prominent location that for years has been home to a fruit stand, a subway entrance, and an MTA parking lot. The brick wall of the building bordering the lot has been used as a billboard for much of this time, home for an age to an iconic DKNY advertisement, and now branded with the logo of the Southern Californian clothing company Hollister and an artificially distressed rendition of the California state flag.
The façade system’s depth and variation are inspired by Soho’s historic cast iron façades.
This awkward patch of land is now being developed by New York City–based real estate investment and operating company Madison Capital. It will soon be home to a building comprising four floors of retail (one subterranean) and three floors of office space. With a 36-foot exposure on Crosby Street, a little over 200 feet on Houston, and nothing but a razor’s edge on Broadway, the building will offer about 5,000 square feet of leasable space per floor, considering vertical circulation needs and an MTA easement for the subway entrance. This relatively limited amount of space was not seen as an impediment to finding likely tenants. In the words of Perkins Eastman principal Navid Maqami, “The value of the property is not so much in the floor plans and square footage—it’s the location more than anything else. It’s about visibility and who would want to be there.”
The building's glass façade will glow at night along Houston Street.
Since the site sits at the edge of the Soho Cast Iron Historic District, the design of the building had to pass muster with the Landmarks Preservation Commission. Perkins Eastman took a contextual/contemporary approach to this challenge. The structure’s massing and floor-to-floor heights match that of its immediate neighbor, keeping it on-scale with the area. The treatment of the Crosby façade is the most contextual. It is clad with a Danish grey brick that closely matches the material facing other buildings on that street (Denmark was apparently the closest place to source a natural brick of that particular color) and also features punched windows and even a cornice.
The Houston façade, on the other hand, is a contemporary interpretation of the 19th-century cast iron facades that predominate in Soho. Here, the architectural notion is that a pre-existing building has been sliced by the widening of the street, leaving a sectional view of the structure. In addition to communicating this idea, Maqami and his design team played on the strong horizontal character of the historic district’s facades, their layering and depth, and their variation and elaboration from floor to floor.
To emulate these features in a contemporary idiom, the team employed two layers of floor-to-ceiling glass—one set 18 inches inboard from the other—aluminum pilasters, and a frame of the Danish grey brick that carries over from the Crosby Street face. The outboard panels of glass are all 15 feet wide, while the inboard panels vary in width from 1 foot 6 inches to 7 feet 2 inches. The architects change up where these varying-width panels fall, thus modulating the expression up the elevation and creating a sense of movement along high-speed Houston Street.
The building’s first three floors, which are all dedicated to retail, are faced with transparent glass panels. This changes in the top three office floors, on which the inboard glass panels are treated with an increasingly opaque ceramic frit pattern. On the fourth floor the inboard panels feature 33 percent frit, on the fifth floor they feature 66 percent frit, and on the sixth and top floor they feature 100 percent frit, thus providing a higher and higher degree of privacy as you go up the elevation.
For those of you wondering what will be done with the thin-edge-of-the-wedge space at the corner of Broadway, it will be left empty, a soaring atrium from the second floor up, giving whatever retail tenant that takes the space a highly visible branding opportunity. Whatever piece of advertising fills this space, it will show through the glass façade to the bustling throng entering Soho from the Village—a preservation of the building-as-billboard condition that has ruled this site for the past few generations.
Jeremiah Budin reports for Curbed: Landmarks Loves BKSK's Redesigned 130 Seventh Ave. South.
It's been a rocky road to Landmarks approval for mixed-use condo development 130 Seventh Avenue South, but after two redesigns the Commission finally signed off on the building yesterday, and did so with unanimous enthusiasm. "I cannot imagine a better building for this site," said Commissioner Michael Devonshire. "As a New Yorker, I thank you for this building." The Commission had ripped apart the original proposal for the site from architect Peter Samton, comparing it to "an industrial loft that has been added to in the '80s." Samton was subsequently replaced by BKSK Architects, whose new design was not quite as loathed by the LPC, but still deemed to be too tall and too glassy.
However, BKSK's revised design, which they presented yesterday, won over the Commission completely. Lowered by one floor, with a façade of brick and brownstone masonry interwoven with glass and intermittent metal fins and increased detail on the side walls (which are very visible due to the odd shape of the lot), the new building was declared "thrilling" by Commissioner Fred Bland and approved unanimously. The project is being developed by Erez Itzhaki and Continental Ventures.
Joe Anuta reports for Crain's: Manhattan boro prez seeks more landmarks.
Manhattan Borough President Gale Brewer plans to introduce legislation that would require the city Landmarks Preservation Commission to consider any building older than 50 years for review, whenever a developer files permits to demolish it, she announced Friday.
The proposed legislation would require the commission to take 30 days for public review before deciding whether or not to consider a building for landmark status. Separately, it would also codify a provision that prohibits owners of buildings under consideration for such protected status from gaining demolition permits. Ms. Brewer announced the legislation at a news conference along West 57 Street, where developers are currently building some of the city’s tallest towers, including Extell Development’s One57 and JDS Development’s super-thin tower nearby. In the past, many leading landlords have opposed the unbridled expansion of the number of designated landmarks in the city as stifling needed new development in favor of preserving old buildings they claim are of questionable aesthetic or historical value.
In addition to announcing her proposed legislation, Ms. Brewer also called on the commission to study buildings along West 57th Street after the five-story Rizzoli building, built in the 1920s, and passed over twice by the commission for landmark status. According to the beep's office, that property is now slated for alterations. "We are here today to ask that the LPC immediately study those remaining buildings on West 57th Street to identify and landmark those that represent the best of their eras," Ms. Brewer said. But it is unclear how the commission will act under the de Blasio administration, which has yet to name a new chair for the commission, though as Crain’s previously reported, the mayor is coming narrowing his focus.
The body, which has the power to freeze development by putting a property on its calendar, has long been a contentious topic in the city between developers and preservationists. But that age-old rivalry took on extra urgency after the Real Estate Board of New York released a study in September showing virtually no new affordable units had been built in landmarked districts, which cover 30% of Manhattan, over the past decade. Preservations contend that those same districts have preserved rent-regulated units.