Issue1 by THE NYGC MAGAZINE

How the Empire State Building was completed ahead of schedule, in 1931

the Publisher’s Note

“THINK OF IT AS A TRADE SHOW IN PRINT - MINUS THE TIRED FEET AND ENDLESS WALKING!”

A s a seasoned general contractor, I recognized a void in the market for a dedicated monthly publication serving the construction industry. With the launch of The NYGC Magazine, I am thrilled to fill this gap and provide a valuable resource for professionals to stay informed and connected. Each edition will deliver insightful articles, news, and updates on industry developments, as well as fun facts and feedback from our readers. I invite you to join me on this exciting journey.

“Get ready to elevate your construction game! The NYGC Magazine is here, and it’s about to shake up the industry!

Each month, we’ll deliver cuttingedge insights, news, and updates that will leave you feeling informed and inspired. Think of it as a trade show in print - minus the tired feet and endless walking!

Join me on this thrilling journey as we build a community that’s informed, connected, and ready to take on the challenges of the construction industry, where all aspects of the industry can come together to share and learn. Let’s build a stronger, more informed community with The NYGC Magazine!”

Jacob Surkis Founder & Publisher

THE NYGC MAGAZINE

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HOW’S BUSINESS?

THE CONSTRUCTION INDUSTRY IN 2024

THE #1 RISK ISSUE IN CONSTRUCTION

Introduction

In the fast-paced and demanding construction industry of New York, contractors face multifaceted challenges that necessitate meticulous planning and strategic foresight. This article emphasizes the paramount importance of comprehending contractual liability within the context of the New York Labor Law, while also highlighting the critical role of integrating these aspects into a comprehensive insurance plan. Moreover. we will discuss the significance of collaborating with subcontractors who uphold stringent insurance standards and maintain meticulous records for coverage and audit purposes.

The Significance of Contractual Liability and NY Labor Law

Contractual liability is a cornerstone for contractors aiming to navigate the complexities of construction projects in New York successfully. Properly drafted contracts not only serve to protect contractors from unforeseen legal disputes and financial liabilities but also establish a framework for adherence to the stringent regulations laid out by the New York Labor Law. Understanding the nuances of contractual liability is crucial for defining the scope of work, allocating responsibilities among stakeholders, and ensuring compliance with legal obligations. In tandem with the NY Labor Law, particularly sections 200, 240. and 241. contractors can create a legal and operational framework that prioritizes worker safety and mitigates risks.

Run your business properly. Learn about construction insurance from scratch and get it right at the start.

NEW YORK LABOR LAW AND ACTION OVER EXCLUSIONS

If you are in the construction business. you will likely at some point bid on a job where having an Action Over Exclusion on your policy can be a deficiency. What is this exclusion & how does it apply? While each State’s laws are different, this is a general understanding of the mechanics.

Chaim Berkovic President: Skyscraper Insurance

Integration with Comprehensive Insurance

Beyond understanding and implementing contractual liability and labor laws, contractors must integrate these considerations into their insurance plans. Comprehensive insurance coverage acts as a safety net, offering protection against unforeseen circumstances, disputes, and potential financial losses. Contractors should ensure that their insurance policies align with the specific requirements of the projects they undertake. covering aspects such as liability, property damage, and workers’ compensation.

Furthermore, having contractual liability coverage in the insurance plan provides an additional layer of protection. offering financial security in case of contractual disputes or breaches. This integration not only safeguards the contractor’s interests but also fosters confidence among clients and project stakeholders.

Real Estate Insurance Overview

As an expert in real estate insurance, we consistently advise building owners to partner with contractors who have the proper insurance coverage. This ensures risk mitigation, legal compliance, financial security, and smooth project execution, and fosters confidence among stakeholders. Contractors with comprehensive coverage prioritize safety and well-being. contributing to project success and a positive reputation.

Enhanced Piece of Mind

Running a construction business in New York can be stressful. given the potential for accidents, lawsuits, and financial uncertainties. Having action over coverage provides contractors with a sense of security and peace of mind. It allows them to focus on their work and clients. knowing that they have proper

protection should an unforeseen incident occur. With the backing of action over coverage. contractors can navigate legal challenges more confidently, knowing that their insurance provider will assist them in managing potential liabilities.

Conclusion

While having the right insurance coverage is crucial for contractors in New York, it is equally important to understand the significance of action over coverage. This extension of one’s general liability insurance provides contractors with vital protection against legal claims and potential liabilities arising from accidents involving their employees. By having action over coverage. contractors can navigate complex liability relationships. and gain peace of mind knowing that their business is better shielded from the financial risks associated with injured employees and subcontractors.

In the intricate landscape of construction in New York, contractors must not only grasp the complexities of contractual liability and the NY Labor Law but also integrate these considerations seamlessly into their insurance plans. Collaborating with subcontractors who uphold stringent insurance standards and maintain meticulous records further fortifies a contractor’s position in the industry. By adopting a comprehensive approach that encompasses contractual liability, labor law compliance, and robust insurance coverage, contractors can forge a path toward success. This approach not only mitigates risks, ensures legal compliance, and prioritizes worker safety but also establishes a foundation for sustained growth and prosperity in the dynamic construction sector of New York.

Employees are typically precluded from suing their employers for work related injuries. If an employee gets hurt on the job. the employers Workers· Compensation Policy gets triggered to cover damages to the employee. While the law restricts the employees ability to sue their employer once a Workers· Comp policy is engaged; they can sue other parties who had negligence in the loss.

For example, a building owner hires a contractor to do work on their premises. The contracting firms employee falls off a ladder. The employee can access their employers Workers’ Comp policy to cover their medical bills.

Suppose the employee feels the building owner was negligent in not letting them know that the floor was unstable. They can sue the building owner separately from their employer. Now typically, the building owners contract with the construction firm will have wording demanding the contractor hold them harmless and indemnify them. So if you have no Action Over Exclusion - NO PROBLEM. the contractors policy will get triggered and will defend the building owner. However, if there is an Action Over Exclusion, no coverage would be extended to the building ownereven if they have a certificate naming them as additional insured.

Article by:

Tales From The Trenches

Insurance Claims:

A Guide to Snapping Your Way to

Success

by Pinchus Morozow, Licensed Public Adjuster

In the thrilling world of insurance claims, where I've turned the tide of fortune for countless clients over nearly a decade, securing millions to mend their lives, the saga continues. This piece is the latest in a saga aimed at arming you with wisdom so powerful, it might just save the day. Let the journey to enlightenment (and perhaps a chuckle or two) begin!

The Picture-Perfect Strategy Pondering the vast ocean of topics I could dive into, the Eureka moment struck: the unsung hero of insurance claims – pictures! As a master of claims and a crusader for justice, I've seen time and again how the mighty camera can sway the battle in our favor.

Take, for instance, last week's adventure. A client, fresh from vacation, discovered his home transformed into a water park. Amidst the chaos, my sage advice was simple: "Capture this aquatic misadventure on camera!" Alas, overwhelmed by his newfound indoor pool, he missed the shot.

“Behold,” I’d proclaim, “the great waterfall descending the stairs, the kitchen under siege, and the living quarters soaked to the bone!”

Imagine the scene at the insurance showdown, armed with photographic evidence. "Behold," I'd proclaim, "the great waterfall descending the stairs, the kitchen under siege, and the living quarters soaked to the bone!" The insurance adjuster, awestruck, would have no choice but to concede.

Yet, in the absence of these visual aids, my team and I turned to our trusty moisture meter, embarking on a quest to map the watery invasion. Through this laborious trek, we crafted a moisture masterpiece, albeit the hard way. Pictures, dear readers, are the secret weapon in our arsenal.

The Plot Thickens

Experts in the realm might wonder about the role of the mitigation maestros, the knights tasked with tearing down walls to vanquish the damp menace. Fear not, for their valor is recognized. But first, we document – for every wall has a story, and

we are its scribe.

A tale from another day: a client, having jousted with the insurance dragon alone, found himself at a stalemate. The dragon's minions had overlooked the spoils of war. By the time I entered the fray, the evidence had vanished into legend. Without our pictorial allies, the battle was tough; we won, yet left treasures behind.

The Bonfire of the Vanities

Venturing to North Carolina in the aftermath of Hurricane Florence, I encountered a scene straight out of folklore. Here, the local knights had decided that if their treasures were to be claimed by the storm, they would at least dance in its fiery wake by building a bonfire with their damaged furniture. Without photographic proof, their tales of loss remained just that – tales.

Epilogue

The Moral of the Story

If there's but one nugget of wisdom to take from our tales, it's this: wield your camera like a knight's sword. Snap the devastation up close, then step back to capture its place in the kingdom. This simple act could mean the difference between a chest of gold and empty hands.

About Your Humble Narrator Pinchus “Pinny” Morozow, a seasoned Public Adjuster since 2015, brings a unique eye to the battlefield, honed through years in the construction realm. Serving the noble lands of the New York Tristate (and now and then with partners in FL) Pinny and his valiant crew stand ready to champion your cause.

Reach out to Pinny, your guide through the insurance wilderness, at347.668.8465 or via carrier pigeon (email) atPinny@balancepa.com

Public Adjuster License #1389471

on the Production Line

Porcelain tiles are made from very fine clay that is fired at temperatures as high as 2192 degrees Fahrenheit (!) to remove moisture and to form a hard, and dense tile. The characteristics of porcelain tiles are dense and durable with water absorption of less than 0.5%. Porcelain tiles are vitrified tiles, wherein producing them, elements such as quartz, silica, or feldspar are added into the clay mixture. This results in less porosity and lower water absorption, making the tiles harder and can hold more strength

THE PROCESS

DID YOU KNOW?

Porcelain tiles have been crafted across the globe for thousands of years, they are widely used on floors and walls due to their low water absorption, sleek appearance, and easy maintenance features that have made them highly versatile.

Today, manufacturers around the world have changed the outlook and quality of porcelain tiles dramatically by updating the design, production methods, and technologies in producing them. The high density of porcelain tile makes it ideal for medium to high-traffic areas in residential and commercial spaces.

Step 1

BATCHING

For most ceramic products, the body composition is determined by the amount and type of raw materials. The raw materials determine the color of the tile body, and hardness. Therefore, it is important to mix the right amounts to achieve the desired properties. Batch calculations are used to get the correct weight of each raw material to achieve the perfect combination of raw materials.

Step 2

MIXING AND GRINDING

Once all materials are ready, such as clay, feldspar, silica, sand, etc. is then charged into a giant mixer, called a ball mill. A known amount of water is added in during the mixing process. Ball stones or alumina pebbles are added into the ball mill to help the mixing process to grind the material into a finer particle. The result of this water-filled mixture is called slip.

Step 3

COLOR MIXING

Ceramic pigments are added to the slip to obtain the various colored bodies. Mixing is carried out in a high speed blunger tank. This process is omitted for a basic body with the natural body color.

Step 4

SPRAY DRYING

Excess water in the slip is removed via a spray dryer. The process involves pumping the slip into an atomizer consisting of nozzles. Moisture of the slip droplets are dried as they are heated by rising hot air. The liquid slip will then turn into powder form.

Step 5

FORMING THE TILE

The next process tiles are formed by dry pressing the dried slip powder in a forming die. The material is compressed with a steel plunger at an extreme pressure of over 7,500 tons, which creates a pressing pressure of more than 400kg/cm². The objective of this process is to obtain a compact and less porous ceramic mass which in return results in a stronger body with extremely low water absorption after firing. The form body is called green tile.

Step 6

DRYING

Prior to firing, the green tile goes through a drying process to further remove excess moisture at a slow rate and in a relatively high-humidity atmosphere to prevent shrinkage cracks.

Step 7

PRINTING AND GLAZING

After the green tiles are dried, the next step is to add printing and patterns with laser inkjet to cover the body color and to obtain the required effect, color and texture on the tiles. This step will also improve its resistance towards staining and to give the tile a distinctive design. A layer of glaze material is then applied on top to provide moisture resistance and decoration, as they can also be colored or used to produce a special texture.

Step 8

FIRING

The next step is the firing of the tile at an extremely high temperature of 1200°C in a roller kiln. The high temperature will help set the glaze and remove the remaining moisture, transforming the soft clay into hard, durable, and non-porous tile. Much like baking at home, different tile sizes will require different baking durations and heat.

Step 9

POLISHING AND SQUARING

Lastly, most finished tiles are then sent for polishing. This process is where tiles are ground and polished to give their surface a nice glossy finish. With the different degree of polishing and the application of different abrasive tools, tiles can be polished to a glossy mirror finish or a lapato finish. Finished tiles can have their edges rectified or non-rectified. Rectification is generally called “squaring”, this is the process where the tiles’ edges are cut or ground to a uniform work size with very minor variation for the ease of installation.

Step 10

SELECTION AND PACKING

This is the final process before the tiles are being sent out to you. All tiles are graded in accordance with the visual defects, flatness, and dimensions, shades, and size. They are then grouped and packed accordingly with proper labeling on the boxes.

AND VOILA... A NEW BATCH OF TILES READY TO SHIP!

MARKET INSIGHTS:

NAVIGATING SHIFTS:

Rockland County Real Estate from 2020 to 2024

The Supply and Demand Dynamics: A 2020 Case Study

TThe Supply and Demand Dynamics: A 2020 Case Study

The real estate market operates on the fundamental principles of supply and demand, a dynamic vividly demonstrated in 2020. As the COVID-19 pandemic unfolded, a unique set of circumstances created a market unlike any other.

he real estate market operates on the fundamental principles of supply and demand, a dynamic vividly demonstrated in 2020. As the COVID-19 pandemic unfolded, a unique set of circumstances created a market unlike any other.

Constrained Supply Meets Surging Demand: The onset of the pandemic saw a significant reduction in new listings, as homeowners hesitated to sell amid global uncertainty. Meanwhile, the demand for homes skyrocketed, fueled by government stimulus, historically low-interest rates, and a reevaluation of living needs in the wake of remote work trends. This mismatch led to a sharp increase in home prices, illustrating the potent effect of supply and demand imbalances on the market.

Constrained Supply Meets Surging Demand:

The onset of the pandemic saw a significant reduction in new listings, as homeowners hesitated to sell amid global uncertainty. Meanwhile, the demand for homes skyrocketed, fueled by government stimulus, historically low interest rates, and a reevaluation of living needs in the wake of remote work trends. This mismatch led to a sharp increase in home prices, illustrating the potent effect of supply and demand imbalances on the market.

“Meanwhile, the demand for homes skyrocketed, fueled by government stimulus, historically low interest rates...”

Transitioning Through 2023: A Market in Flux

Transitioning Through 2023: A Market Influx

As we moved from the extraordinary conditions of 2020 through to 2023, Rockland County’s real estate market continued to feel the reverberations of those earlier shifts. Despite a global landscape striving towards normalcy, the local market dynamics have maintained a pattern of robust strength and resilience.

“...local market dynamics have maintained a pattern of robust strength and resilience.”

2023 Market Overview:

• Median Sales Price: Grew to $665,000, a testament to the enduring demand and the premium placed on available homes.

2023 Market Overview:

• Inventory Challenges Persist: With a notable decrease in new listings and available homes, the market remained firmly in the seller’s favor.

• Median Sales Price: Grew to $665,000, a testament to the endur-ing demand and the premium placed on available homes.

• Sales Dynamics: The scarcity of inventory led to fewer closed sales, yet the demand ensured homes sold rapidly, often above listing price.

• Inventory Challenges Persist: With a notable decrease in new listings and available homes, the market re-mained firmly in the seller’s favor.

• Sales Dynamics: The scarcity of nventory led to fewer closed sales, yet the demand ensured homes sold rapidly, often above listing price.

Presented by Target Team, a beacon of expertise in Rockland County's real estate landscape since 2015, this article embarks on a journey through the pivotal changes from 2020 to 2023, setting the stage for what we might expect in 2024.

Looking Ahead to 2024: Anticipations and Strategies

As we peer into the future, understanding the forces that will shape the 2024 real estate market in Rockland County is crucial for both buyers and sellers. The legacy of 2020’s market upheaval provides a valuable framework for predicting future trends

The legacy of 2020’s market upheaval provides a valuable framework for predicting future trends.

Key Considerations for 2024:

Inventory Levels: Will the supply of homes rise to meet the persistent demand? This factor remains critical in determining the market’s direction.

Interest Rates: Potential stabilization or reduction could invigorate buyer activity further.

Economic Health: Broader economic indicators will influence buyer capacity and confidence, impacting the real estate market’s vibrancy.

Market Projections:

While a dramatic drop in prices seems unlikely, the interplay of supply, demand, and economic factors will dictate the market’s trajectory. The lessons of 2020 underscore the importance of being prepared for swift shifts in market conditions.

Months of Inventory 2014 - 2023

THE TARGET TEAM ADVANTAGE

ing market landscape. Whether you’re looking to make a move in real estate or seeking insights into future trends, we’re here to turn your real estate goals into reality.

Sincerely,

estate or seeking insights into future trends, we’re here to turn your real estate goals into reality.

As we look toward 2024, Target Team is committed to empowering our clients with the knowledge, strategies, and support necessary to navigate the evolv-

In navigating the complexities of Rockland County’s real estate market, the insights and experience of the Target Team prove invaluable. Drawing on our deep understanding of market dynamics, honed since 2015, we stand ready to guide our clients through the nuances of buying, selling, and investing in real estate. As we look toward 2024, Target Team is committed to empowering our clients with the knowledge, strategies, and support necessary to navigate the evolving market landscape. Whether you’re looking to make a move in real

SUPER SPEED

Although a marvel on it’s own, the backstory of how this iconic structure was built fascinates architects until today. The completion of the building spanned a mere year and a half! The fact that it was erected in such a short amount of time is a testament to human engineering, innovation and most of all the importance of proper planning. It was constructed during the Great Depression and, despite all the economic difficulties of the time, the Empire State Building managed to exceed all expectations, becoming a shining symbol of hope in a time of hardship.

The Beginning

The Empire State Building was the brainchild of two men, John Raskob and Al Smith. Raskob was a wealthy businessman who had started his career as Pierre DuPont’s secretary, eventually working his way up to being an executive for DuPont and General Motors. Smith was a 4-time governor of New York and a friend of Raskob. When Smith ran for president in 1928, Raskob resigned his position at GM to serve as his campaign manager. After losing the election to Hebert Hoover, the two men were looking for a new project.

At the same time, a real estate deal to tear down the Waldorf-Astoria hotel and construct a 50-story commercial office building had fallen through when the developer couldn’t secure secondary financing. Smith became aware of the deal through his position on the board of MetLife (which had supplied the initial financing), and saw it as a prime opportunity - not only could the property be obtained for cheap, but the Waldorf sat on an enormous lot, 425 feet long by 198 feet wide. New York’s zoning code at the time restricted building height by way of requiring step backs from the street, but allowed a tower of unlimited height on 25% of the lot. A lot the size of the Waldorf’s (which were rare, and difficult to assemble) would allow the construction of a truly enormous building.

and it’s arguable whether the site was suitable for a large commercial building on the one hand, it was near one of the busiest intersections in the world, the intersection of Broadway and 6th Avenue at 34th street, which was crossed by 6 different sets of train tracks. On the other hand, it wasn’t in an office district, or directly on any train lines. The tallest nearby building was the Internal Combustion Building, a mere 28 stories. Regardless, Raskob and Smith, along

Eken, was chosen. By October several design schemes had been floated, with the seventeenth version (Scheme K) chosen.

Building Design

“On August 29th, 1929, they announced they planned to build an 80-story, 1000-foot-high skyscraper on the site.”

with some of Raskob’s wealthy associates (including Pierre DuPont) formed the Empire State Building Corporation, and acquired the property. On August 29th, 1929, they announced they planned to build an 80-story, 1000-foot-high skyscraper on the site.

Like most “tallest building in the world” projects, the size of the Empire State Building was partly an exercise in building economics, and partly the result of a desire to build the tallest building. An expensive piece of real estate is a large fixed cost (it’s estimated that even at a discount, the property cost $16-17 million, or nearly $300 million in 2022 dollars), and the more rentable area you can spread that cost over, the better. But when building tall, each story is proportionally more costly to build - building taller means a heavier structure, more complicated mechanical systems, more elevators, etc. Adding more stories to a building increases the return on investment only up to a point, which is typically much less than the height it’s physically possible to build.

Neither Raskob nor Smith had any experience in real estate development,

By September 9th, the architect was brought on board - Shreve, Lamb and Harmon, the firm that had been engaged to design the previously planned 50 story building. Two weeks later, the general contractor, Starrett Brothers and

Economic analysis showed that the maximum rate of return for the Waldorf lot was achieved with a 63-story building, but the developers (largely Raskob) wanted to build even taller. Partly this was out of a belief that the publicity from building the tallest building in the world would be worth the lower returns, and partly it was due to a rivalry with Chrysler.

A deal where Raskob would go and work for Chrysler had previously fallen through, and Raskob wanted his building to eclipse Chrysler’s new building, which was under construction at the time. To exceed the announced 1000-foot height of the Empire State Building (as well as the height of the Bank of Manhattan building), Chrysler added a large steel spire, surreptitiously assembled within the building, and bringing it to 1048 feet. In response, Raskob told the designers to go back and design a building taller than Chrysler’s. The building would ultimately be 85 stories, with an added mooring mast that would bring its height to 1250 feet.

In addition to the height requirements, the shape of the building was largely a reflection of its various design constraints. Since better lit spaces could be rented for more than poorly lit ones, the architects opted for a maximum of 28 feet from window to corridor. For elevator service, in lieu of more complex designs, the architects opted for a large number of elevators on the ground floor, that would reduce (along with the size of the floor plate) as you went up, creating a

Window spandrel isometric, via Architectural Forum

“pyramid of rentable space surrounding a pyramid of non-rentable space.”

The other major design constraint on the building was the time to build it. At the time, New York had two days, May 1st and October 1st, where leases expired. A building completed after one of those dates would sit empty until the next lease expiration day. The developers thus set a date of May 1st, 1931, for completion, giving just 21 months to design and build it. This was an aggressive construction schedule (especially given the size of the building), but it wasn’t unheard of. The Chrysler Building would take just 20 months to build, and Starrett Brothers and Eken had been chosen partially because of their experience building quickly - at the time the Empire State Building was announced the Starrett Brothers were building the 70 story Bank of Manhattan, which they would complete in less than a year.

According to the architects, the design of the building was largely a reflection of these design requirements:

The program was short enough - a fixed budget, no space more than 28 feet

from window to corridor, as many stories of such space as possible, an exterior of limestone, and completion by May 1, 1931, which meant a year and six months from the beginning of sketches. The first three of these requirements produced the mass of the building and the latter two the characteristics of its design” - William Lamb in Architectural Forum

Lamb later stated that “the adaptation of the design to conditions of use, construction and speed of erection has been kept to the fore throughout the development of the drawings of Empire State. Whatever “style” it may be is the result of a logical and simple answer to the problems set by the economic and technical demands of this unprecedented program.”

Design and Construction Speed

The rapid construction schedule ended up shaping almost every aspect of the building. Primarily, this meant the design

“The exterior cladding of the building consisted of panels of limestone and aluminum with stainless steel accents, and steel windows.”

of the building needed to be as simple and repetitive as possible.

This simplicity manifested in a few ways. One was the use of well-vetted, well understood building systems wherever possible. The building was supported by a structural steel skeleton made from Carnegie sections. The floor is a cinderslab concrete floor, which consists of draped layers of steel mesh which are then covered in concrete. For fire protection, the steel frame was covered in concrete or clad in brick masonry. The exterior cladding of the building consisted of panels of limestone and aluminum with stainless steel accents, and steel windows.

These, and the other building systems used, were all standard practice of the day. In his analysis of the design of the building, Donald Friedman has noted that “no element was exceptional. The steel frame, the floor slab, and mechanical systems were all similar to other buildings”. John Tauranac similarly noted in his history of the building that “‘to the greatest extent possible, they [the architects] opted for the tried and true”.

support).

This desire for simplicity extended to many of the design details. For instance, the conventional method for supporting stone cladding was with shelf angles and brackets attached to the main structural frame. This added complexity to the steel framing (which would have slowed down fabrication) and slowed down the construction of the facade - fitting

Since better lit spaces could be rented for more than poorly lit ones, the architects opted for a maximum of 28 feet from window to corridor.

the stone cladding instead of the more conventional method of having them inset several inches. This allowed the stone to be much thinner, reducing the weight on the building, as well as the weight that had to be moved by the workers building it - the Empire State Building used perhaps 25% of the stone per cubic foot of building that a typical stone-clad building did. This window placement also meant that the sides of the stone weren’t visible in the final condition (they were covered by stainless steel trim), and thus didn’t need to be finished, which made the stone cheaper and easier to fabricate.

This sentiment is echoed by the designers themselves who variously described the systems chosen as “nothing unusual” (the building floor system), ““a standard type without special features of design” (the windows), and “no experiments and no non-standard manufacture” (the method of window

the stone to the angles often required significant adjustment and cutting of stone on-site. In lieu of this, the stone cladding and its brick backing was instead supported on an “extra” steel spandrel beam mounted outside the rest of the steel frame, which simplified both the steelwork and the erection process, as well as allowing fabrication to begin on the steel while the design of the cladding was still being finalized. Similarly, the windows were designed to sit flush with

Similarly, the stone cladding isn’t continuous, but consists of vertical “piers” between the windows, with the windows having aluminum panels above and below them. This greatly simplified the stonework (since it didn’t have to attach to any headers or sills), minimized the amount of stone cutting on-site required, and allowed the design to consist of many identical pieces of stone. The stonework panels were sized so that they could be easily moved on interior material hoists.

There were many other examples of this sort of simplification. Though there were 5704 aluminum spandrels on the exterior, there were only 18 different variations. The floor beams were set low so that electrical cables could run over the top of them without needing to be bent (saving the labor for bending them and

making it easier to pull the wire through). The interior marble finishes chosen were ones that could be obtained quickly in the necessary quantities - the originally specified marble was in fact switched out when the quarry said they couldn’t meet the construction schedule. Ultimately an entire quarry in Germany was purchased, which supplied a Rose Formosa marble.

There were some notable deviations from standard practice. In addition to the novel outboard spandrel beam, the building used a stronger structural steel than the code had previously allowed (18,000 vs 16,000 psi). The developers lobbied the mayor directly for the change (which was already common in most other American cities), who signed it

into law in May of 1930, just as steel erection commenced. Similarly, the building was designed for elevators with a speed faster than allowed by code (1200 feet per minute vs 700 feet per minute). After completion, the building spent six weeks with the elevators set at 700 feet per minute until another code change (partially the result of advocacy by the builders) allowed them to operate at their full speed.

different ways. By eliminating as much of the contact between trades as was possible, the builders reduced the risk of cascading delays.” To the extent possible, hand-fitting on-site was eliminated.

This design for maximum speed of assembly wasn’t achieved by the designers working in isolation. Shreve describes the process of design and construction as one of collaboration, where a “board of directors” consisting of the owners, the architects, the general contractor, the engineers, and any other participants deemed necessary collectively worked through the design and construction issues:

The building was designed to also avoid, to the extent possible, interdependency between the different building systems. Shreve noted that “special study was given to eliminate as far as possible material interdependence, to provide in every way for entire independence of manufacture and erection, and, where the elements were necessarily interrelated, to arrange so that the placing of any one group, once started, might proceed freely without being held up by another.” Friedman notes that “trades move at different speeds, have special requirements, and may view the same detail in entirely

The group engaged in such an important operation should constitute a Board of Directors upon which should sit the owner supported by his bankers and real estate agents, the architect in company with his structural and mechanical engineers, and the builder whose subcontracting and material supply associates from time to time assist in the discussion of special problems. It is under such direction that the Empire State Building is being designed and constructed.

It was only by way of this close coordination that the speed of construction was achievable:

“In November, 1929…demolition of buildings on the site was proceeding, and a program had to be prepared for placing foundations in February and setting steel in March, four months being allowed for the completion of architects’ information, the preparation of steel designs by the engineers, the bidding and award of contract for the steel, and the fabrication, delivery, and placing of the first structural shapes. Only the most careful planning and thorough cooperation made this result possible.

Fred Brutchy, the plumbing engineer,

Zoning compliance isometric drawing

similarly noted that the successful cooperation of the “board” was a major factor in the successful design of the building. And Paul Starrett likewise noted in his memoirs that “general simplicity in the design of the whole was underlaid by innumerable simplicities and economies in detail, which the architects worked out in collaboration with us.” (Diligent readers will note that this is exactly the method used by some homebuilders to build cheaply and efficiently.)

For instance, Shreve describes the process of figuring out the design details for the steel trim on the exterior cladding:

It is intended to use on the exterior of the building a large quantity of chrome-nickel steel. Consideration of this construction feature involved the determination of the length and width of sheets which could be rolled and fabricated; the possibility of forming the sheet on the brake; the method of jointing and of bracing; the relation of the metal form to the exterior wall surfaces, the window heads, sills and jambs, and the spandrel; the means for attaching the metal form to the frame of the structure, as well as the finish and durability of the bright surface.

Neither architects, builders nor subcontractors felt competent to deal with this complicated technical problem of construction without full consultation. Accordingly, after full preliminary discussion, an all-inclusive meeting was called which was attended by representatives of the owner, the architects and builders, the subcontractors rolling the material, the metal workers who were to fabricate and those who were to erect it, and the inspectors who were to test all sheets at the several stages of preparation.

Shreve further notes that “hardly a detail was issued without having been thoroughly analyzed by the builders and their experts and adjusted and changed to meet every foreseen delay.”

Construction methods

The speed of construction had a similarly large impact on the construction methods used.

Workman, perched on the end of a beam, bolting together the framework of the Empire State Building, New York City, 1930. Photograph by Lewis Hine

One example is the use of what now would be called “fast track” construction - the sequencing of construction steps so they begin before the design is completed. The demolition of the WaldorfAstoria began just two days after the general contractor was brought on board, before even the preliminary designs had been completed. Construction on the foundations would similarly start before demolition was completed. When steel erection commenced in April of 1930, the upper floors were still being designed - over the course of the project, each level of structural steel was designed just a month ahead of when the order was due at the mill.

On-site, a variety of methods were employed to maximize speed of erection (and to minimize cost). Four elevators from the Waldorf-Astoria were saved and repurposed as construction elevators in the initial stages of construction (these were later replaced with more conventional construction elevators). For moving material, holes were left in the floors to allow material to be raised up through the building with the use of six electric material hoists. Concrete batch plants were built in the basement to avoid having to truck in concrete, and special brick hoppers were built that allowed bricks to be dumped from

the truck and raised to the proper floor without a human hand ever needing to touch them.

To minimize the time workers spent traveling to get food, cafeterias (set up by a local restaurant) were set up on the third, ninth, twenty-fourth, fortyseventh, and sixty-fourth floors.

But the most notable was the narrow-gauge rail track (called the “industrial railroad”) that was installed on each floor, which allowed material to easily

“if a truck missed its place in line, it had to come back the next day.”

be moved to the appropriate location by way of mine carts. Only the enormous size of the building made such a system cost effective.

Beyond these innovations, construction of the building was a case of carefully orchestrating the huge amount of men and material - at its peak, nearly 500 trucks were arriving each day (about one truck a minute), and nearly 3500 men were working on the building at once. Each truck was sequenced - if a truck missed

its place in line, it had to come back the next day. Nine cranes were used to lift the steel into place. The builders describe the process as like an assembly line of standard parts, the “purchase, preparation, transport to site, and placing of the same materials over and over again”. But repetitiveness shouldn’t be confused with ease of operation - keeping the project on schedule was monumentally difficult. In his memoirs, Paul Starrett states that “the strain of erecting the Empire State Building in 11 months was too much for me, and I suffered a rather severe nervous breakdown”.

The building was erected at roughly a rate of a floor per day for the upper floors (the larger, lower floors were slower). The structural steel was completed by September, just seven months after installation began. The concrete floors were completed two weeks later, and the exterior stone and aluminum a month after that. Despite the emphasis on speed, work largely took place during the normal workday (only rarely extending into night), and during a normal 5 day week. Nevertheless, every trade completed their work faster than required by the schedule.

The Empire State Building was completed in April of 1931, several weeks before the deadline of May 1, and for approximately $2,000,000 less than the budget!

credit: Brian Potter - construction-physics.c

Design Architecture +

When the two

Don’tMix

common issues

This can lead to design inconsistencies and mistakes, as well as delays in the construction process. Architecture

Collaboration between designers and architects is a critical factor in the success of any construction project. However, achieving a seamless partnership between these two groups is often difficult.

Designers and architects have unique skill sets and perspectives essential for creating functional, aesthetically pleasing, and costeffective structures.

The designer’s role is to create the overall look and feel of the building, including the selection of materials, furniture, and lighting.

Architects, on the other hand, are responsible for the technical aspects of the project, including the design of the building structure, the placement of utilities, and the safety considerations.

Despite or maybe because of their complementary roles, designers and architects often end up working separately, with little communication.

Technical difficulties:

Poor communication between architects and designers can lead to technical issues that arise during construction, such as problems with structural integrity or building code compliance.

Design Misinterpretations:

Architects and designers may have different perspectives and interpretations of the same design concept, which can lead to misunderstandings and errors in the final product.

Budget constraints:

Miscommunication between architects and designers can result in designs that exceed the project’s budget, causing delays and potential cost overruns.

Aesthetics vs functionality:

Architects and designers may have different priorities in terms of aesthetics versus functionality, which can lead to designs that sacrifice one for the other.

Time delays: Miscommunication can cause delays in the design process, which can lead to longer overall project timelines and missed deadlines.

arevolutionaryapproach Silverlock Design Group

“Necessity is the mother of invention.”

This line aptly describes how SDG was born- it was born to fill a gaping hole.

When Rivky Neuschloss, founder and CEO of SDG was working as a designer, she realized that something had to change. All of the back and forth between the architect, designer, and client was bleeding time and money. With every design project, she took careful note of the issues and pain points throughout the process. She realized that there had to be a better way to ensure efficiency in this long and drawn-out process.

After working as a designer for over a year, she experienced an Aha moment. “It was a lightbulb juncture,” she explains.

“There were just too many holes in the construction system. The simple yet brilliant solution? Gather all professionals under one roof! Cut the process and waiting time in half.

Before implementing this strategy, I would get a plan from an eager homeowner or developer and they would wait for me to start the design

process. But every little change and nuance had my clients racing back to the architect and waiting for the change.”

This would extend the process- and the heartache.

Then there was the budget aspect. It’s a universal truth that time bleeds money. The ten long months it takes to finalize the plans will likely cause the construction loan to dwindle.

Everybody always wants the nicest for the cheapest and fastest. SDG set out to do just that.

And where are they today?

The agency that does it all: from when a client thinks of the building until the last chair is delivered to the project. The architect and designer’s plans match from day one. It’s all about seamless coordination.

Silverlock Design Group expanded to include a team of site planners, architects, and designers who meet and

discuss plans together, working hand in hand throughout. Brilliant- and win-win for both client and the team.

When the SDG undertakes a project, all the client needs is Silverlock Design Group. It’s like throwing a heavy burden off the their shoulders and placing it in the trusted hands of the professionals.

The Art of Fusion:

Balancing Aesthetics & Functionality

It’s all in the details; that’s the name of the game. Because “details are not just details, they make up the design.”

Walking into a well-designed office motivates you to work productively. Stepping into a beautifully designed spa envelops you in an oasis of relaxation. Entering a building and being greeted by an elegant staircase creates a professional atmosphere before you even take a single step. Dining in an upscale restaurant exudes luxury and indulgence, creating a memorable experience.

That’s what SDG is all about the ambiance. “It’s the little nuances that can impact the way that you feel, and it doesn’t even have to be expensive,” says Rivky. “The key is to use a little money with a ton of creativity.”

Transforming Lives, A Project at a Time SDG has a profound impact on the lives of its clients. Rivky likes to say,

“Success is not measured in the amount of dollars that you make, but in the amount of lives that you impact.”

And that’s what they do they transform a drabby gray school building into a litup, beautifully designed institution. The air is charged with enthusiasm and joy of learning because the walls are designed to radiate motivation and pride.

“We create spaces for Yiddishe families to live safely, harmoniously, and smartly. We design the projects from scratch, and we leave our fingerprints on them forever,”

There’s so much - often overlookedthought that goes into each project. For example, when SDG site plans developments at the very early stages, they cleverly arrange the homes with driveways and ensure adequate parking, including designated areas for shuls, parks and community centers. These details may seem trivial in the beginning but are hard or impossible to incorporate if only remembered when the need arises.

Hundreds of Jewish families are impacted by the work of SDG daily. We planned this with wisdom, we hashed out the details with care, and turned land into an optimized functional community. There’s nothing like the satisfaction of knowing that you made an eternal difference. That is the passion and driving force behind SDG the everlasting impact of their work.

Saving Time. Saving Money

There are myriads of professionals who go about their day, doing what they do best.

Accountants, Bookkeepers, and Store-Owners, the clientele is vastly varied. When these people undertake a construction project, it’s something they know nothing about. SDG takes that project and owns it completely, essentially becoming the owner’s rep. The clients can go back to doing what they do best making money in their prospective fields, confident that their project is in good hands.

“DESIGN IS NOT JUST ABOUT CREATING STRUCTURES; IT’S ABOUT CRAFTING EXPERIENCES.”

Budgeted not Compromised

SDG weaves the design into the architectural plans, cutting many months off the process, and saving a ton of money and interest on the construction loans. And when the land is shovel-ready the team has architectural building plans, an exterior and interior design spec book, plus the full budget.

The thing about SDG is that they care. They truly want to create something beautiful but they also care about your money. SDG was recently able to save a developer over 100K (!) because they cared enough to go the extra mile.

The team spent many hours sourcing multitudes of different products that were way cheaper, but yet kept to the original design and quality, because SDG is designed to exceed your expectations, but not your budget.

It’s a Seamless Experience.

Aside from fostering better

communication in different aspects of the project when collaborating as one team, this integrated approach ensures that the site layout aligns seamlessly with the architectural design. .

Additionally, SDG, with its site planning expertise assesses environmental factors, zoning regulations, and topographical considerations, leading to more informed decisions in the early stages of the project.

This proactive approach prevents potential issues and delays down the line, ultimately saving further time and resources.

Architectural planning, when integrated with site planning, also allows for a holistic approach to design. The two components complement each other, creating a cohesive vision that takes into account not only the physical space but also the surrounding environment. This synergy results in more sustainable and efficient designs, as the architecture is tailored to harmonize with the natural and built surroundings.

Furthermore, working with a comprehensive design company often means access to a diverse team of professionals with specialized skills. This multidisciplinary approach brings together architects, urban planners, and other experts, forming a creative and innovative environment.

The customers feel taken care of; they feel like they are the only customer. The core value of the team is speed. But it is speed laced with careful planning, experienced decision making and empathetic, personalized care, and making sure that the client gets the most for their money.

The Results

Gazing at the results of a job completed by SDG, you will be mesmerized by the intricate detail, powerful atmosphere, and eye-popping design. It’s eye candy, and you can just stare at it for hours. Most importantly, it is a reflection of the client. What they like, the mood they want to bring out, and of course, the functionality of the area.

Everything just makes so much sense. A client who with a special affinity for wine wanted a wine cellar attached to his study. The architect and designer planned for this together, making the client’s dream come true.

After another job well done, the owner of a brand new multi-million dollar home reported, “I love how the ideas that I chose and liked became real in 3-D. The whole house is a reflection of who I am. I am in my element!”

That’s the magical touch of SDG- a space that screams your name. Design is not just about creating structures. It’s about crafting experiences, shaping perceptions, and envisioning possibilities.

Site Planning, Architecture, and Design, one big happy family

Picture an empty expanse of land. Rough. Unfinished. All you see is desolation. Now picture it through the lens of SDG- a blank canvas. They see it through an artistic lens they will pick up the paint brush and brush it with strokes of color and vibrancy.

The expert site planning team will cut through the red tape and begin the process for you. The architect and designer will work hand in hand to create a space that is both functional

and aesthetically pleasing. It’s all about setting the wheels in motion. And all it takes is one phone call.

A couple of months later and the vacant space is now a masterpiece that exceeds any expectations. That’s SDG, a stroke of ingenuity.

As the sun sets over the everevolving skyline, one truth remains steadfast: great design transcends the tangible. It’s a symphony of vision, passion, and expertise by those who dare to reimagine the world.

SDG, with its synthesized approach to site-planning, architecture, and design, stands as a beacon of innovation and possibility. As we embrace the dawn of a new era in design, SDG continues to dream, to innovate, and to build- shaping the world, one breathtaking creation at a time.

Make that one call today845.688.8044

Takeaway

“A magazine without its readers is like a blueprint without a building team.”

It’s just a vague outline of what could be. That’s why we’re thrilled to welcome you to our construction site, where ideas, inspiration, and innovation come together. We’re starting with a solid foundation, showcasing cutting-edge concepts and industry leaders, but our true ambition is to create a vibrant gathering place for everyone in the construction community. We want to hear your stories, share your expertise, and learn from your experiences. As we grow and adapt, we invite you to help us shape the magazine into a dynamic tool that serves your needs and sparks new possibilities. Join us on this exciting journey and let’s build something remarkable together!