Tag Archives: postmodern

New York Times Building

New York Times Building, called the ugliest building in New York City by the American Institute of Architects, is nonetheless impressive in many ways. The exposed frame, ceramic-rod screen, monumental logo and sheer height make it stand out even in a neighborhood filled with buildings that scream for attention.

(Some critics say it was crazy for the Times to spend nearly half a billion dollars for a new headquarters (58% ownership of the $850 million cost) while the paper’s fortunes are shrinking – but that’s neither an architectural nor an aesthetic argument.)

The New York Times Building’s innovative ceramic rod screen – which dramatically cuts energy costs by blocking solar heat – became an embarrassment: Four climbers (so far) have used the screen as a ladder to scale the 52-story facade. The first climber said he did it to protest global warming: Ironic, as his action discourages use of this technology to cut greenhouse gas emissions.

The high-tech lobby, meanwhile, revives and updates an old newspaper tradition: the news is on display for passers-by.

New York Times Building Vital Statistics
New York Times Building Recommended Reading

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Standard Hotel

Standard Hotel, as they are fond of saying, is not your standard hotel. Perched 30 feet above the High Line park, it’s shaped like an open book – a book that’s also open in the sense that the facades are transparent (not mirrored or tinted) glass.

All that glass makes rooms seem larger than they are, but sometimes guests forget(?) to close the drapes, leading the NY Post to dub the Standard Hotel the “eyeful tower.”

The building’s design and location presented some unique engineering challenges. Engineers had to cope with the soil conditions (landfill), flood resistance, a high water table, and strict limits on how close to the existing High Line structure they could build. The Council on Tall Buildings and Urban Habitat case study describes how Ennead Architects met those challenges.

For all of the Standard Hotel’s non-standard features, the property did try to blend in at street level: The Standard Grill restaurant was constructed with salvaged brick, in a style that closely mimics the meatpacking warehouses of the neighborhood. You’d never guess that it was new construction.

Standard Hotel Vital Statistics
Standard Hotel Recommended Reading

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One Jackson Square

One Jackson Square is pretty slick – on two levels. As architecture, the building’s 11 floors of undulating ribbon windows, composed of random-width panes, are an arresting composition. As blatant modernism blessed by the NY Landmarks Preservation Commission, the building is a coup; its architects argued essentially that the building’s very quirkiness is a perfect match for a neighborhood synonymous with idiosyncrasy. Besides, the glass facades reflect the historic surroundings.

The Landmarks Preservation Commission had to approve the plans because the site is within the boundaries of the Greenwich Village Historic District. The One Jackson Square site had been a parking lot at the time that the district was designated.

The condo project faced a few design and engineering challenges: The site is an odd shape, so the curved facade masks the unusual angle formed by Greenwich Avenue with Eighth Avenue. The site also spans two building code zones, so the Eighth Avenue section rises to 11 floors, while the Greenwich Avenue section is limited to seven. One Jackson Square is also on top of subway tunnels, so piles had to be driven around the tunnels to bedrock; additionally, isolation springs and pads protect the tunnels while protecting the apartments from vibrations of passing trains. Last but not least, the free-form ribbon windows had to be assembled in small sections off-site, then connected to each other and to the concrete floor slabs.

I’m not quite sure if I should apologize or take a bow: The “Suggested Reading” section is exceptionally long, because of the variety of technical, artistic and social issues involved. The “Forgotten New York” virtual tour is for the benefit of those not familiar with the Greenwich Village context. – K.G.

One Jackson Square Vital Statistics
One Jackson Square Recommended Reading

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Lipstick Building

The Lipstick Building – officially named “53rd at Third” – is New York’s most distinctive architecture; its shape and color are impossible to confuse with any other skyscraper.

The developer, Gerald D. Hines Interests, asked for a shape that would stand out – and make “every office a corner office.” Hines, incidentally, was also the developer of curvilicious One Jackson Square and flare-topped 425 Lexington Avenue.

Architect Philip Johnson likely didn’t need much encouragement – he designed the Sony Building (originally AT&T headquarters), nicknamed the “Chippendale Building” for its massive split pediment roofline.

The rationale for such a dramatic and expensive building (polished red granite doesn’t come cheap) was to attract high-rent tenants to the then (1986) less-desirable neighborhood. Apparently that strategy didn’t quite work: the building’s owners went bankrupt in 2010.

Although the so-called Lipstick Building is best known for its 34-story elliptical telescoping shaft, there’s a nine-story box behind the shaft that is also part of the site. The box for the lipstick?

Of historical note: This is where Bernie Madoff made off with $65 billion. His companies leased the 17th through 19th floors.

Lipstick Building Vital Statistics
Lipstick Building Recommended Reading

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Geometrics

Geometrics is a gallery of New York architecture photos that I like for their strong lines and colors. Photos that are eye candy, more than documentary.

Click the Fullscreen link above the photos, and then the Play icon at the bottom, for a full screen slideshow. Press Esc to return to normal.

From time to time I’ll be adding to or changing this gallery, so if you’re a fan of geometry in architecture, please come back to visit.

In case you’re curious, the list below are the names and locations of buildings used in this gallery. Most are buildings that have their own individual galleries – click the links to explore.

Geometrics Buildings

Mondrian

Le Mondrian – now Anglicized to The Mondrian – wears a colorful grid that lives up to its name despite the rounded corner. The tower is certainly among New York’s most colorful pieces of architecture.

The name came years after the glass-enclosed condo was finished, however. The 1992 structure was originally Le Palais – an unluckily timed condo that sat vacant for two years. New owners held a naming contest, and Le Mondrian was the winner. “Music Box” might be an equally appropriate name, for the way that balconies intersect the tower’s curved northeast corner.

But by any other name, this eye candy would look as sweet in a neighborhood known for its polished geometric icons: Lipstick Building, CitiGroup Center, and 599 Lexington Avenue are just down the block.

Mondrian Vital Statistics
Mondrian Recommended Reading

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Socony-Mobil Building

Socony-Mobil Building, aka 150 E 42nd Street, is another piece of New York City “love-it or hate-it” architecture. Landmarked in 2003 as an “impressive skyscraper” with “dramatic stainless steel arches,” it is also on some critics’ “ugliest buildings” list.

The original design, by John B. Peterkin, was a 30-story brick tower rising from a garden atop a three-story granite base. The developer, Galbreath Corporation, was unable to attract prime tenants, so in 1952 new architectural muscle was called in: Harrison & Abramovitz. Principals at that firm had worked with Galbreath on other projects and, incidentally, with the Rockefeller family during construction of New York icons Rockefeller Center and the United Nations.

The Harrison & Abramovitz-revised plan was for a 42-story tower with 13-story wings, clad in stainless steel. The firm was a pioneer in metal-clad architecture, earlier completing the Alcoa Building in Pittsburgh. Aluminum was considerably cheaper than stainless steel, but the steel industry agreed to match aluminum’s price for the opportunity to promote their product.

Why metal at all? Partly marketing – to give the building a modern identity. Partly structural – like glass, metal is lighter and thinner (leaves more rentable floor space) than masonry. Partly speed – metal panels go up faster than brick.

The 7,000 steel panels were embossed with four patterns (selected from more than 100): a rosette-like motif for above and below the windows; a large and small rosette to flank the windows, and two variants displaying a design of interlocking pyramids. These last panels are less wide and appear at the eighth floor where the ceiling is higher, or at the corners of the side elevations.

These controversial patterns were explained as necessary to stiffen the panels, diminish reflections, and create a self-cleaning surface (via wind and rain). The New Yorker‘s architecture critic, Lewis Mumford, called the design a “disaster” and said that the elevations looked as if they were “coming down with measles.”

The “self-cleaning” aspect wasn’t entirely accurate – the building was scrubbed with detergent in 1995.

The building’s four-story blue glass base, not nearly as controversial, is no less striking. The E 42nd Street and Lexington Avenue facades feature massive shallow eyebrow arches of stainless steel, resting on granite piers.

One wonders: Did the architects realize how well the Socony-Mobil Building frames the stainless steel spire of the Chrysler Building across the street? It’s a spectacular photo op!

Trivia: According to the building’s website, elevators to the top floors operate at 1,200 feet per minute, while elevators in the lowest floors operate at only 500 feet per minute.

Socony-Mobil Building Vital Statistics
Socony-Mobil Building Recommended Reading

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Citigroup Center

Citigroup Center is remarkable New York architecture, with an engineering story even more dramatic than its photographs. The distinctive floating tower (renamed 601 Lexington Avenue in 2009) became a scary 59-story lesson for architects, engineers, public officials, lawyers and journalists worldwide.

Two elements make Citigroup (originally Citicorp) Center so distinctive: The southwest-facing 45-degree roof and the nine-story stilt base.

The signature angled roof, unmistakably visible for miles, was designed as a solar collector. A power gauge in the lobby once showed how much electricity was being generated by the sun. Apparently the solar panels were no threat to Con Ed – they’ve since been unplugged.

The stilt base was designed to turn a profit, not heads. It was almost a disaster.

The nucleus of the building’s site was owned by St. Peter’s Lutheran Church, which wanted to sell the land and use the profits to build a new church in a less valuable location. As Citicorp assembled the other pieces of the site, St. Peter’s discovered that they couldn’t locate a suitable new church site. Oops. Citicorp’s solution was to build a new church on the corner, and erect the office tower above the church. (See “Holdouts!: The Buildings That Got in the Way” by Andrew Alpern and Seymour Durst for the full story.)

With the church located on the corner, the tower supports had to be placed at the center of each wall, instead of at the corners. This, in turn, required special bracing to transfer the weight of the building to the piers.

There was a miscalculation. In determining the maximum loads, LeMessurier had considered the effect of winds perpendicular to the facades – but not “quartering” winds that would push against two sides simultaneously. Making matters worse, the steel contractor had substituted bolted joints for the much stronger (but $250,000 more expensive) welded joints that were specified. LeMessurier discovered the error and the bolt substitution a year after the building was completed. The engineer ordered wind tunnel tests and discovered to his horror that the building was vulnerable to winds over 70 m.p.h.

After urgent meetings with Citicorp, LeMessurier ordered two-inch-thick plates to be welded in place over the bolted joints. Welders worked every night for three months in a race against hurricane season. They almost lost: Hurricane Ella was headed for New York on Sept. 1, 1978 but fortunately it turned out to sea, averting a massive evacuation of the neighborhood. (The Red Cross had estimated 200,000 deaths if the building toppled.)

The massive repair project went virtually unreported for 17 years – a newspaper strike hit New York just as the repairs began; The New Yorker broke the story in 1995. Diane Hartley, a Princeton engineering student, was the hero in this drama. In the course of writing her thesis, she had questioned LeMessurier’s calculations – triggering his reevaluation of the design. LeMessurier’s unflinching disclosure of the problem is today used as a case study in professional ethics.

In 2002 the building was reinforced again – this time one of the massive base columns was encased in steel and copper to protect against a terrorist bomb blast.

The engineering crisis overshadowed Citicorp Center’s other impressive features: Double-decker elevators used interior space more efficiently; a tiered, sunken plaza beneath the building’s southwest corner provides space for sidewalk cafes and entry to the subway system; a 410-ton “tuned damper” system in the crown minimizes the building’s wind-induced swaying.

Drama notwithstanding, Citigroup Center is an impressive and attractive addition to New York’s architectural treasure chest, whether viewed from afar, up close or inside.

Citigroup Center Vital Statistics
Citigroup Center Recommended Reading

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4545 Center Boulevard

4545 Center Boulevard is a new (still leasing at this writing) apartment tower in Long Island City designed by Miami-based Arquitectonica. The balcony-studded, rippled glass facades rise 40 floors over the East River, part of the Queens West development behind the giant Pepsi sign and Gantry Plaza State Park.

An attached six-story parking garage/amenities center is topped by a 50,000-square-foot “amenity deck” indoor/outdoor recreation area, replete with deck chairs.

This was the last of five towers along three blocks developed by TF Cornerstone. (TF stands for Tom and Fred Elghanayan.)

4545 Center Boulevard Vital Statistics
4545 Center Boulevard Recommended Reading

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Memorial Sloan-Kettering Mortimer B. Zuckerman Research Center

Memorial Sloan-Kettering Mortimer B. Zuckerman Research Center is a major expansion of previous lab facilities. The distinctive red-sliced slab tower accommodates a neighboring church, which provided the needed land and air rights.

The red terra cotta wall slices through the slab tower, separating laboratories in the western section from supporting offices in the eastern section. Each major facade has its own passive sun shade solution. Fritted glass panels shade the labs; aluminum-pipe louvers shade the offices.

The project had to be completed without disturbing ongoing research at the existing laboratories.

The base of the tower includes a rectory for St. Catherine of Siena Church.

See the architect’s project portfolio and design narrative for a detailed analysis.

Memorial Sloan-Kettering Mortimer B. Zuckerman Research Center Vital Statistics
Memorial Sloan-Kettering Mortimer B. Zuckerman Research Center Recommended Reading

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