Excerpt: Gwathmey Siegel Kaufman 50+

GWAT HME Y RE SIDENCE AND S T UDIO 38

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GWAT HME Y RE SIDENCE AND S T UDIO 38

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GWAT HME Y RE SIDENCE AND S T UDIO

of the module generated the plan sizes of spaces.

The Section and Elevation where established using 1’-6” vertical reference points which established sill heights, door heights, countertops, tops of cabinetwork, low ceiling locations at 7’-6” the height a 6 foot tall person can reach, floor construction at 1’-6”.

This use of orthogonal horizontal and vertical grids, modified to a degree to reflect construction methods and planning requirements was used throughout the many years of the firm on projects varied in building type and size. The three-dimension gridded network renders departures from the grid to read with intensity as intended variation.

Vertical cedar siding, bleached to stabilized it grey tone was used on both the exterior and interior of the house which reinforced the sculptural and abstract qualities of the composition. The flooring is a composite dark grey seamless material which is easy to maintain in this ocean oriented environment. Careful consideration was given to the control of sunlight as well as the integration of natural light.

The addition of the Studio building a year after the house was completed extended and enriched the sculptural composition of objects floating within the rectangular boundaries of the site.

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GWAT HME Y RE SIDENCE AND S T UDIO

of the module generated the plan sizes of spaces.

The Section and Elevation where established using 1’-6” vertical reference points which established sill heights, door heights, countertops, tops of cabinetwork, low ceiling locations at 7’-6” the height a 6 foot tall person can reach, floor construction at 1’-6”.

This use of orthogonal horizontal and vertical grids, modified to a degree to reflect construction methods and planning requirements was used throughout the many years of the firm on projects varied in building type and size. The three-dimension gridded network renders departures from the grid to read with intensity as intended variation.

Vertical cedar siding, bleached to stabilized it grey tone was used on both the exterior and interior of the house which reinforced the sculptural and abstract qualities of the composition. The flooring is a composite dark grey seamless material which is easy to maintain in this ocean oriented environment. Careful consideration was given to the control of sunlight as well as the integration of natural light.

The addition of the Studio building a year after the house was completed extended and enriched the sculptural composition of objects floating within the rectangular boundaries of the site.

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DUN AWAY A PA R T ME N T

N E W YO R K , N E W YO R K 19 6 9 On the twentieth floor of a 1930s Central Park West building, this space combines two apartments, creating a horizontal volume that slices through the base of the tower, releasing to views on three sides—east to Central Park, south to the Manhattan skyline, and west to the New Jersey Palisades. These extensive views and low ceilings provoked the widening of all major window openings.

One enters a gallery, which opens to the living/dining space and views beyond. Off the gallery is the guest room, library, maid’s room, kitchen, and bar/hi-fi room, all of which are distributed linearly front-to-back. Off the living/dining space, articulated by the curved extension of the gallery wall, is the master-bedroom suite, which includes a dressing room, extensive bathroom, and terrace. This space, separated by a mirrored sliding door, is meant to be a literal as well as an illusory extension of the main space.

The edited palette—black slate floor, white walls and ceilings, and black and white lacquer cabinetwork—intensifies the abstract reading of the space.

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DUN AWAY A PA R T ME N T

N E W YO R K , N E W YO R K 19 6 9 On the twentieth floor of a 1930s Central Park West building, this space combines two apartments, creating a horizontal volume that slices through the base of the tower, releasing to views on three sides—east to Central Park, south to the Manhattan skyline, and west to the New Jersey Palisades. These extensive views and low ceilings provoked the widening of all major window openings.

One enters a gallery, which opens to the living/dining space and views beyond. Off the gallery is the guest room, library, maid’s room, kitchen, and bar/hi-fi room, all of which are distributed linearly front-to-back. Off the living/dining space, articulated by the curved extension of the gallery wall, is the master-bedroom suite, which includes a dressing room, extensive bathroom, and terrace. This space, separated by a mirrored sliding door, is meant to be a literal as well as an illusory extension of the main space.

The edited palette—black slate floor, white walls and ceilings, and black and white lacquer cabinetwork—intensifies the abstract reading of the space.

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DE MENIL RESIDENCE 70

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DE MENIL RESIDENCE 70

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GUGGENHEIM MUSEUM ADDITION 76

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GUGGENHEIM MUSEUM ADDITION 76

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S P IE L BE R G A PA R T ME N T

The spatial sequence is a continuous unfolding of interconnected public spaces from the entry gallery—bar/study, kitchen and living/dining. The private domain, consisting of two bedroom suites, is located off the entry gallery to the east and distinguished by the introduction of local symmetry.

N E W YO R K , N E W YO R K 19 8 3

This 2,500-square-foot apartment is located on the fifty-second floor of a prominent midtown tower with spectacular views of Central Park and the city. An autonomous pavilion was created within the existing low-ceilinged, horizontal space by establishing a new envelope detached and distinct from the existing perimeter. This spatial intervention is accomplished by the insertion of usable poché—built-in cabinets and furniture—and reinforced by layers of wood frames and curtains on the window walls, which create multiple planes of transparency, translucency, and opacity along the perimeter.

The materials in this apartment—oak and marble floors, ash paneling and cabinetwork, oak doors and trim, and plaster ceiling—are deployed in a system of layers, in both plan and section. This apartment explores the enriched palette, initiated in Geffen, as a further articulation of spatial coding.

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S P IE L BE R G A PA R T ME N T

The spatial sequence is a continuous unfolding of interconnected public spaces from the entry gallery—bar/study, kitchen and living/dining. The private domain, consisting of two bedroom suites, is located off the entry gallery to the east and distinguished by the introduction of local symmetry.

N E W YO R K , N E W YO R K 19 8 3

This 2,500-square-foot apartment is located on the fifty-second floor of a prominent midtown tower with spectacular views of Central Park and the city. An autonomous pavilion was created within the existing low-ceilinged, horizontal space by establishing a new envelope detached and distinct from the existing perimeter. This spatial intervention is accomplished by the insertion of usable poché—built-in cabinets and furniture—and reinforced by layers of wood frames and curtains on the window walls, which create multiple planes of transparency, translucency, and opacity along the perimeter.

The materials in this apartment—oak and marble floors, ash paneling and cabinetwork, oak doors and trim, and plaster ceiling—are deployed in a system of layers, in both plan and section. This apartment explores the enriched palette, initiated in Geffen, as a further articulation of spatial coding.

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OPEL RESIDENCE 104

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OPEL RESIDENCE 104

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OCEANFRONT RESIDENCE 140

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OCEANFRONT RESIDENCE 140

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SAN ONOFRE RESIDENCE 170

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SAN ONOFRE RESIDENCE 170

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HILLTOP RE SIDENCE 182

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HILLTOP RE SIDENCE 182

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11/20/18 12:09 PM

UNITED S TATES MIS SION TO THE UNITED NATIONS

In response to the blast criteria assumed to be delivered by a truck at street level the tower exterior wall portion of the building was designed to be a 2 feet thick at the lower levels reinforced concrete wall construction which was reduced progressively in thickness at higher levels. Cladding material was not a possibility due to concerns for shrapnel splintering off during a blast. As a consequence exposed reinforced concrete was the exterior material which required the formwork joints and bold holes to be carefully positioned and the outer face to be of architectural finished quality which is very difficult to achieve given the primarily structural application of poured concrete throughout the United States. Special specification requirements and submission were required which limited the availability of qualified bidders. The final result was an extraordinary well done façade.

Window openings in the tower were not permitted within the first 100 ft. above grade and after that had to be limited in size which could be enlarged progressively with their location above the ground. There was a large requirement for technological equipment which was able to be located in the windowless lower floors of the tower. The floor plates of the tower were relatively small and contained offices along the perimeter within which the reduced size of window opening appeared appropriate. The entertainment facilities were located at the top of the building where large window openings were not a problem.

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UNITED S TATES MIS SION TO THE UNITED NATIONS

In response to the blast criteria assumed to be delivered by a truck at street level the tower exterior wall portion of the building was designed to be a 2 feet thick at the lower levels reinforced concrete wall construction which was reduced progressively in thickness at higher levels. Cladding material was not a possibility due to concerns for shrapnel splintering off during a blast. As a consequence exposed reinforced concrete was the exterior material which required the formwork joints and bold holes to be carefully positioned and the outer face to be of architectural finished quality which is very difficult to achieve given the primarily structural application of poured concrete throughout the United States. Special specification requirements and submission were required which limited the availability of qualified bidders. The final result was an extraordinary well done façade.

Window openings in the tower were not permitted within the first 100 ft. above grade and after that had to be limited in size which could be enlarged progressively with their location above the ground. There was a large requirement for technological equipment which was able to be located in the windowless lower floors of the tower. The floor plates of the tower were relatively small and contained offices along the perimeter within which the reduced size of window opening appeared appropriate. The entertainment facilities were located at the top of the building where large window openings were not a problem.

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THE RONALD K . AND K ATI C. MACHTLE Y INTERFAITH CENTER 246

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THE RONALD K . AND K ATI C. MACHTLE Y INTERFAITH CENTER 246

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A S T OR P L ACE C ONDOMINIUM S

2002-2006

The building’s two-story base, which maintains the historic street facades of Layfayette Street, Astor Place, and Cooper Place, contains 13,000 square feet of retail and gallery space and provides the lobby for the 19-story luxury condominium tower that rises above. Conforming to zoning requirements, the base offers a pedestrian street wall on three sides, creating a definition to the large, open, triangular space it fronts. The tower introduces a sculptural object, in counterpoint to the surrounding masonry context.

NEW YORK, NEW YORK

Built on what was until recently one of the most prominent undeveloped sites in Manhattan, Astor Place is a 21-story luxury residential condominium building. Created for The Related Companies, one of the country’s leading developers, it occupies the long-vacant parking lot site at Astor Place and marks a major, historic gateway to Lower Manhattan, Greenwich Village, and the East Village.

The 140,000-square-foot building, at the intersection of Cooper Square, Lafayette Street, and Astor Place is a striking 21st century form among the several 19th century landmark buildings that are its immediate neighbors. Rather than have the tower abut the buildings behind, a landscaped plaza was introduced between the buildings, which reinforces the object quality of the tower and provides a visual link between Lafayette Street and Cooper Square.

The tower is a vertical sequence of serpentine and rectilinear forms. The curved form of the tower expresses the energy of the confluence of streets. A glass curtain wall forms the skin of the curvilinear portions, whereas the rectilinear portion is clad with a grid of zinc and glass, and the base composed of limestone and glass.

Astor Place contains 39 loft apartments, ranging in size from one to three bedrooms. The curved window wall offers panoramic, floor-to-ceiling views of Manhattan.

The 4,500-square-foot plaza, open to the public from Cooper Square, accommodates public seating alongside a raised, tree-planted, landscaped buffer, which provides visual separation from the residential tower entry on Lafayette Street. It also provides a visual terminus to the Seventh Street view corridor and a spatial extension to Cooper Park.

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The building’s two-story base, which maintains the historic street facades of Layfayette Street, Astor Place, and Cooper Place, contains 13,000 square feet of retail and gallery space and provides the lobby for the 19-story luxury condominium tower that rises above. Conforming to zoning requirements, the base offers a pedestrian street wall on three sides, creating a definition to the large, open, triangular space it fronts. The tower introduces a sculptural object, in counterpoint to the surrounding masonry context.

A S T OR P L ACE C ONDOMINIUM S

2002-2006 NEW YORK, NEW YORK

Built on what was until recently one of the most prominent undeveloped sites in Manhattan, Astor Place is a 21-story luxury residential condominium building. Created for The Related Companies, one of the country’s leading developers, it occupies the long-vacant parking lot site at Astor Place and marks a major, historic gateway to Lower Manhattan, Greenwich Village, and the East Village.

The 140,000-square-foot building, at the intersection of Cooper Square, Lafayette Street, and Astor Place is a striking 21st century form among the several 19th century landmark buildings that are its immediate neighbors. Rather than have the tower abut the buildings behind, a landscaped plaza was introduced between the buildings, which reinforces the object quality of the tower and provides a visual link between Lafayette Street and Cooper Square.

The tower is a vertical sequence of serpentine and rectilinear forms. The curved form of the tower expresses the energy of the confluence of streets. A glass curtain wall forms the skin of the curvilinear portions, whereas the rectilinear portion is clad with a grid of zinc and glass, and the base composed of limestone and glass.

Astor Place contains 39 loft apartments, ranging in size from one to three bedrooms. The curved window wall offers panoramic, floor-to-ceiling views of Manhattan.

The 4,500-square-foot plaza, open to the public from Cooper Square, accommodates public seating alongside a raised, tree-planted, landscaped buffer, which provides visual separation from the residential tower entry on Lafayette Street. It also provides a visual terminus to the Seventh Street view corridor and a spatial extension to Cooper Park.

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ASTOR PLACE CONDOMINIUMS 286

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ASTOR PLACE CONDOMINIUMS 286

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