An urban architectural installation rises and reflects in New York

Owen Davies, a photographer who moved from the U.K. to New York in early March 2020, found himself in a deserted city due to the pandemic. During his long walks, he was captivated by the large, monolithic concrete buildings, particularly those from the brutalist movement of the 1960s and ’70s. He noted the striking difference in how these structures appeared under New York's light compared to the often cloudy skies of the U.K., where they tended to look more oppressive. In New York, the light amplified their textures, making them seem like monuments from a "failed utopia." Davies embarked on a photography series titled “Light/Mass,” which primarily features brutalist buildings in and around New York City, including notable structures in Connecticut, Boston, and Albany. Among these are the Art Moderne bathhouse at Jacob Riis Park, The Egg at Empire State Plaza in Albany, and Marcel Breuer’s Armstrong Rubber Company building in New Haven. His photographs are distinguished by their pale, buff color palette, often rendering the buildings and their surrounding landscapes in an almost monochrome style, as exemplified by his shot of the Abe Stark ice-skating rink in Coney Island. The photographer intentionally captures these buildings in the morning light, avoiding the warmer tones of the golden hour, to highlight the intricate details of their bush-hammered concrete surfaces. Davies employs some color correction in post-production but avoids drastic changes, and he removes most people from his images to evoke the sense of an emptied-out city, reflecting the project's pandemic origins. The article discusses the divisive nature of brutalist architecture, noting that while many architects admire it, the general public often dislikes it. Some prominent brutalist experiments are even being demolished, despite their original design for near-indestructibility. Davies acknowledges that these buildings can be difficult to live with, but he expresses admiration for the boldness of governments that commissioned such outlandish designs, contrasting them with what he perceives as the safer, less imaginative architectural trends of today. He personally finds beauty in these often-maligned structures, citing examples like Lincoln Plaza Towers and Chatham Towers as places he would consider living. He believes that in a city like New York, the sheer diversity of architectural styles means that if one dislikes a particular building, another, more appealing one is always nearby. #Architecture #Cityscape #Photography #Brutalism #Concrete #OwenDavies #NewYorkCity

New York City lofts have a rich history, transitioning from industrial warehouses and manufacturing centers of the late 19th and early 20th centuries into desirable residential spaces. These structures were characterized by high ceilings, exposed brick, and large windows, originally designed to maximize natural light for industrial purposes. By the mid-20th century, as industries relocated from Manhattan, artists and creatives began to repurpose these buildings into versatile living and working environments. Today, lofts represent a fusion of historical character and contemporary design, offering a flexible foundation for innovative renovations. One such renovation project was undertaken by BOND, a design studio led by Noam Dvir and Daniel Rauchwerger. Their task was to revitalize a 1,000-square-foot Tribeca Loft situated within a landmarked New York City building. The goal was to preserve the loft's industrial heritage while integrating a modern, bright aesthetic. This particular loft had remained largely unaltered since the 1980s, necessitating a comprehensive update to accommodate contemporary living standards. BOND's approach emphasized careful preservation and enhancement rather than stripping away the original charm. The renovation involved significant structural and systems upgrades, including replacing old wiring, removing dropped ceiling panels, and installing a central air conditioning system. These improvements were crucial for modern comfort without compromising the loft's inherent character. A key design element was the introduction of a glass partition between the bedroom and living area. This strategic addition allows natural light to permeate the entire space, creating an open and airy atmosphere while still providing a subtle division between functional zones. This technique is commonly employed in contemporary loft conversions to enhance the sense of spaciousness. Reflecting the communal aspect of New York City loft living, BOND centered the design around the kitchen. A prominent 15-foot-long island, featuring waterfall edges and a distinctive cut-in detail, serves both as a practical workspace and a central gathering point. The island is complemented by walnut 'Tractor' stools from BassamFellows, fostering social interaction and connecting to the loft's historical role as a hub for creativity and community. The design philosophy embraced the loft's ability to evolve while retaining its original character. BOND achieved a balance between minimalism and warmth through carefully selected design elements. The bathrooms incorporate subtle yet vibrant pops of color, providing a playful contrast to the overall neutral palette. Gold and brown tones were chosen to complement the natural light streaming through the west-facing windows in the main living area. Sculptural furniture pieces, such as a metal coffee table, elevate the aesthetic while maintaining a sense of flow within the space. The loft also functions as a showcase for the owners' art collection, which includes geometric works by Mika Tajima and whimsical pieces by John Armleder. This integration of art into daily life harks back to the legacy of early artist-occupied lofts in the city, which often served as both residences and creative studios. The renovation successfully transforms a historic space into a modern, functional, and aesthetically pleasing home, honoring its past while catering to contemporary needs. #NewYorkCityLoft #LoftRenovation #BONDDesign #TribecaLoft #HistoricPreservation #InteriorDesign #ModernLiving #ArchitecturalRenovation #HomeDecor

Foster + Partners' 63-story residential skyscraper, 100 East 53rd Street, is nearing completion in Midtown Manhattan, New York. Situated at the intersection of Lexington and 53rd Street, the tower stands in close proximity to two significant 20th-century modernist structures: SOM’s 'Lever House' (1952) and Mies van der Rohe’s 'Seagram Building' (1958). The design of 100 East 53rd Street features a minimalist geometric form, intended to harmonize with its iconic neighbors. The project was developed by art collector and real estate developer Aby Rosen, co-founder of RFR Holding. Foster + Partners served as the architect, with William T. Georgis overseeing a significant portion of the interior design. The building’s lobby and amenity spaces have been completed, and residents have begun occupying the premises. Final touches are currently being applied to other areas, including two new model apartments located on the 36th floor. The lobby, designed by Georgis, incorporates a fluted Calacatta marble wall, a full-height bronze fireplace, and integrated cove lighting. A notable art piece by Rachel Feinstein, titled 'Panorama of New York,' is also featured in the lobby. The building's amenities are comprehensive, including a 60-foot sunlit swimming pool and a wellness center equipped with a pilates/ballet room, a yoga studio, and a sauna. Residents are also provided with access to a dedicated lifestyle manager, global travel arrangements, and personalized shopping services, among other benefits. Foster + Partners emphasized the tower's slender form, which contributes to a narrow floor plate. This design choice maximizes natural light penetration into the interior spaces and offers expansive views of the city from all sides. An innovative glazed skin encases the building, meticulously concealing structural elements beneath integrated shadow boxes. To maintain the facade's smooth aesthetic, opening vents within the glazing are designed to fold discreetly inwards. This approach results in a sheer envelope that presents a striking contrast to the dark bronze of the adjacent Seagram Building. #FosterAndPartners #SkyscraperArchitecture #NewYorkCity #ResidentialTower #LuxuryRealEstate #InteriorDesign #ModernArchitecture #MidtownManhattan

The article highlights ten iconic buildings and spaces across the United States that were designed by architects who are alumni of Columbia University. These structures showcase a range of architectural styles and purposes, reflecting the diverse contributions of Columbia graduates to the built environment. Beginning with Grand Central Terminal, a prominent example of Beaux-Arts architecture in New York City, the article details the involvement of Whitney Warren, who studied at Columbia's School of Architecture and School of Mines in the 1880s. Warren, in collaboration with Reed and Stem, was instrumental in designing the terminal's interiors, including the celestial mural on the main concourse ceiling, which was based on a star chart by Columbia astronomy professor Harold Jacoby. This section describes the initial creation of the mural by James Monroe Hewlett and Charles Basing and its subsequent restoration due to mold damage. The Empire State Building, an iconic Art Deco skyscraper, is also featured. Arthur Loomis Harmon, a 1901GSAPP alumnus and partner at Shreve, Lamb, and Harmon, was a key figure in its design. Completed in 1931 during the Great Depression, the building quickly became the world's tallest skyscraper, a title it held until 1970. In the realm of government architecture, Eric Gugler, a 1911GSAPP graduate, was responsible for reconfiguring the West Wing of the White House in 1933 for President Franklin D. Roosevelt. Gugler's modifications included excavating a basement for additional office space, creating a new Cabinet Room, and designing the Oval Office with Georgian details and a presidential seal medallion, enhancing privacy and accessibility for the president. The National Archives Building in Washington, D.C., designed by John Russell Pope (1894GSAPP), is presented as an example of the American Renaissance movement's reverence for classical aesthetics. Pope's Pantheon-inspired edifice, with its massive Corinthian columns and bronze doors, was intended to convey the gravitas of a repository for historical records. Pope also designed the National Gallery of Art's West Building, completed in 1941, making it the largest marble structure globally at the time, although he passed away before its completion. The Museum of Modern Art (MoMA) in New York City is another significant project. Philip L. Goodwin (1912GSAPP) and Edward Durell Stone designed the original 1939 building, which featured a modern, boxy structure and a glass façade that allowed natural light into the galleries while protecting artwork. Diller Scofidio + Renfro, an alumni-led firm including Elizabeth Diller (2018HON), Ricardo Scofidio (1960GSAPP), and Charles Renfro (1994GSAPP), later oversaw a major expansion of MoMA, adding gallery space and other facilities. Lincoln Center, a complex of performing arts venues, has seen extensive contributions from Columbia architects. Max Abramovitz (1931GSAPP) designed the original Philharmonic Hall (now David Geffen Hall) in the 1960s. More recently, Diller Scofidio + Renfro led a series of redevelopment projects to modernize Lincoln Center, redesigning Alice Tully Hall, renovating the Juilliard School, building a screening center, and enhancing public spaces. The article also highlights Norma Merrick Sklarek (1950GSAPP), the first Black woman member of the American Institute of Architects, who worked as a principal architect on the Mall of America in Minnesota. This massive shopping center, opened in 1992, remains the largest in the Western Hemisphere. Sklarek's extensive career also included designs for the United States Embassy in Tokyo and Los Angeles International Airport's Terminal One. Finally, the High Line in New York City and The Broad museum in Los Angeles are presented as projects by Diller Scofidio + Renfro. Ricardo Scofidio served as partner-in-charge for the High Line, a successful transformation of abandoned elevated railway tracks into a public park. The Broad, a contemporary art museum, features an innovative design by the firm that integrates stored collections within a partially transparent central vault, allowing for increased display of art and offering free public admission. #Architecture #ColumbiaAlumni #IconicBuildings #NewYorkCity #UrbanDesign #ArchitecturalHistory #ModernArchitecture #PublicSpaces

Australian designer Greg Natale's firm undertook the makeover of a narrow 19th-century town house in New York, drawing inspiration from the art deco era as seen through 1970s European cinema. The project, located on Manhattan's Upper East Side, was commissioned by repeat clients Leticia Francini and Stephen Ninnes, who sought to infuse their new American pied-à-terre with the color, pattern, and layering reminiscent of maximalist European restaurants. The four-story, mixed-use property includes a ground-floor retail space, which was converted into a white-box studio for their Art With Love Foundation, offering free workshops in Renaissance painting techniques. Natale's design approach for the 3,330-square-foot residence involved painting rooms—walls and ceilings—in a rich palette of blush, plum, terra-cotta, and various greens. Colorful shades of veined marble, such as Calacatta Viola, Rosso Levanto, and Verde Alpi, are extensively used on floors, walls, countertops, a fireplace, and to frame portals and doors. The intricate stonework was facilitated by the clients' relationship with an Italian quarrier, who cut the marble in Italy and sent masons to New York for installation. An exterior intervention included reinstating a historically appropriate double street entrance, with two doors defined by fluted limestone pilasters, leading separately to the art foundation and the residence. Engineered oak flooring in a herringbone pattern, designed by Natale, is used throughout much of the home, creating a vivid and welcoming interior within the narrow 12½-foot-wide brick building. The town house, previously renovated in the 1970s, retained its general layout but was stripped to the studs. The living spaces, including a sitting room, kitchen, and dining room, are situated on the middle level, flanked by two two-bedroom floors to accommodate the clients' five adult children. Mirror paneling, especially an art deco-inflected arrangement of bronze- and smoke-hued rectangles in the dining area, enhances the sense of space. The dining area also features a starburst molding centered on an 1980s Murano-glass chandelier, a modern interpretation of Italy's Liberty style. Murals play a significant role in setting the European tone, with an embroidered linen-and-silk mural based on Henri Matisse’s Jazz cutouts in the second-floor hallway and a wallpaper blowup of Wassily Kandinsky’s 1935 painting Deux points verts in the living room. The furniture selection combines vintage and contemporary Italian pieces. The living room features a Gianfranco Frattini 1970s Sesann sofa and Arnold Madsen 1944 Clam armchairs, complemented by a concrete-framed Iris mirror by Shawna and Matt Heide and a custom Anna Bonino paper pendant fixture. The dining area includes Dirk van der Kooij’s recycled-plastic Meltingpot table and Juliana Lima Vasconcellos’s Giraffe chairs. The main bathroom showcases Italian rationalism with a complex inlaid-marble shower pattern, while the adjacent bedroom features Mehmet and Dimonah Iksel’s hand-painted White Blossom wallpaper and Vincent Darré’s Neofutur headboard. A notable feature is the dressing room, connected to the main bedroom by marble-encrusted portals, designed to resemble a high-end boutique with sculptural marble-slab dividers forming open closets. #GregNatale #NewYorkTownHouse #ArtDeco #EuropeanCinemaInfluence #MaximalistDesign #MarbleInteriors #VintageFurniture #CustomMurals #InteriorRenovation

The article details the collaborative effort between Brooklyn-based architecture firm Worrell Yeung and cooperative gallery and design studio Colony to renovate a 3,000-square-foot historic loft overlooking Union Square in New York City. The project aimed to transform the triangular-shaped space into a contemporary residence suitable for homeowners, including a concert violinist, and also function as a recital venue for entertaining guests. The loft, which occupies an entire floor, was revitalized by Worrell Yeung, focusing on its fundamental geometries and classic materials. Worrell Yeung initiated the renovation by exploring strategies that emphasized the loft's distinct characteristics and preserved original elements. A key aspect of the design involved creating unique volumes to define spaces within the open layout, such as a custom metal screen and bookcase near the front door and a circular bathroom. The renovation optimized the space to offer unobstructed views from the 14 northwest-facing windows, resulting in a light-filled open loft environment. The design team aimed to enhance the existing structure rather than completely redesigning it, focusing on subtle yet impactful changes. Following Worrell Yeung's architectural design, Colony, led by founder and creative director Jean Lin, took charge of elevating the interior through carefully selected textures, patterns, and colors. Lin emphasized creating an elegant home by layering textures, colors, and comfort, ensuring these elements complemented the loft's open nature while adding personalized touches. The collaboration aimed to bridge the gap between monumental architectural design and the intimate signatures of a home. The furnishing choices reflect both functionality and aesthetic appeal. The living area, designed to accommodate musical recitals, features substantial seating arrangements. These include a moss green Bristol Sofa by Poliform, a Gentry Sofa by Moroso, and a Seal Chair by Brdr Petersen, all strategically placed around a circular Lania Rug by Woven, near a Mason & Hamlin grand piano. These pieces were selected to provide comfort for guests and complement the expansive feel of the space. A multifunctional den was incorporated into the design, offering flexibility as a home office or a more private space. This den can be closed off using sliding metal and glass doors, which discreetly recede behind the entryway bookshelf when open. The den features a black desk paired with a Wishbone Chair by Carl Hansen, blending functionality with modern design. The private areas of the loft are accessed via a hallway, where a cylindrical powder room is a notable feature. The powder room's interior is adorned with sage Mutina Biscuit ceramic tiles and a single slab of forest green Cipollino Apuano on the floor, providing a striking visual and textural contrast. The main bedroom, situated at the narrow end of the triangular layout, is furnished with a green Dubois Bed by De La Espada, flanked by smoked glass Crux Pendant Lights by Allied Maker. Tonal Precipice – Alpamayo wallpaper by Flat Vernacular adds further texture to the walls, creating a serene and sophisticated atmosphere. The primary bathroom continues the theme of refined details, featuring a curved shower wall clad in white Mutina Biscuit ceramic tiles. The second bedroom, serving as both an office and a rehearsal space, includes a striped Arc Lounge Chair by Moving Mountains and Coven Wallpaper by Maison C, contributing to its dual-purpose functionality and artistic ambiance. This project marks the second collaboration between Worrell Yeung and Colony, highlighting their evolving design vernacular and their commitment to pushing the boundaries between architecture, interior design, and furniture, while prioritizing the client's needs and creating a truly bespoke home. #LoftTransformation #NewYorkCityLoft #WorrellYeung #ColonyDesign #InteriorDesign #HistoricRenovation #ContemporaryResidence #UnionSquare #ArchitecturalRenovation

For decades, architects and government officials have recognized the importance of energy-efficient buildings, especially since the 1970s energy crisis. Buildings, including their construction, materials, and associated infrastructure, contribute up to 40 percent of global carbon emissions, making energy efficiency a critical concern. This understanding is foundational in North American architecture schools and has been emphasized by European institutions for even longer. The "Passive House Design" approach, pioneered by German architects, considers a building's entire interconnected system, focusing on its integration with the site, climate, and social support. This philosophy extends beyond residential structures to all building types. A more recent evolution, the "Net Zero Design" approach, also led by German designers, takes this further by requiring buildings to be highly efficient, use minimal energy, and replace all the energy they consume, potentially even contributing excess energy back to the local power grid. Europe, with its advanced energy design and construction history, has developed numerous innovative building cladding systems that contribute to energy efficiency. These systems often incorporate specialty fabrics in intelligent ways, such as vertical shade systems, retractable awnings, and entire building wraps. Industry experts, including Steve Fredrickson from Serge Ferrari North America, note that Europe is significantly ahead of North America in this area due to a lack of air conditioning standardization in European homes and retail, creating a greater need for heat barrier solutions. Additionally, European building codes are more adaptable to new energy-reducing products and developments. In contrast, existing North American building codes and the time required for their amendment make widespread adoption of fabric shade systems more challenging. Architect Samuel Armijos observes that while European markets showcase many examples of vertical fabric systems, such projects are scarce in the U.S. This lack of visible examples hinders broader acceptance and design incorporation. Architect Nicholas Goldsmith, however, notes a growing recognition among North American designers that exterior shading, particularly in specific regional climates, offers advantages over other cladding systems, such as being lightweight, efficient, and cost-effective. Mike Squizzato of Stobag North America Corp. highlights that Europeans prioritize shade for cooling due to higher electricity costs, whereas North Americans typically rely on air conditioning. He believes that as electricity costs rise and climate concerns grow, North American markets will rapidly adopt shading solutions, with awnings and vertical shading providing natural air-conditioned environments and potentially saving over 50 percent on electricity bills. Paul Snustead, director of facades at Structurflex, acknowledges Europe's lead but points to Structurflex's efforts to advance fabric facade architecture in the U.S. Tensile facades, also known as textile, fabric, or flexible facades, offer an innovative, long-lasting, and cost-effective alternative to traditional metal mesh screens, often costing about 50 percent less. These systems act as a 'second skin' for buildings, providing screening and shading, which can contribute to reduced energy consumption and LEED certification. Despite the clear benefits, the adoption of fabric-based shading systems in North America faces challenges. Traditional cladding materials remain strong competitors. Armijos notes a decline in leads for shade jobs, with parking garages being the primary market, but even there, fabric competes with pre-fabricated concrete and metal mesh systems. He suggests a major global event might be needed to spur a push toward textile facades. Andrew Trowbridge of Ronstan International observes a shift away from stainless steel cables in fabric structures towards greening systems and perforated aluminum panels for shade and facade coverage. Conversely, Fredrickson sees growth in both static and retractable vertical shading options across North America. Snustead describes an exponential expansion in the fabric facade architecture market, particularly for tensile fabric meshes, membranes, and foils, initially driven by parking garage screening requirements. Structurflex has seen an 800 percent increase in facade projects annually, with fabric facades becoming a significant part of their operations. Squizzato predicts that as temperatures rise, North Americans will increasingly seek cost-effective cooling solutions beyond air conditioning, leading to buildings with more colorful awnings and widespread vertical shading, eventually mirroring European practices within 15 years. For companies looking to enter or expand in this market, experts emphasize the need for knowledge, education, and accessibility of information. The ideal company size varies by region and market, but success hinges on having the right products and expertise. Fredrickson warns against using cheap, unproven products, which can harm the market's reputation. Snustead highlights the versatility of tensile facades, which can span large distances with less structural support and use materials that are often 100% recyclable with long lifespans. Squizzato points out that many existing businesses, from awning companies to landscape architects, can leverage sun shade protection to expand their services, provided they have appropriate insurance, training, and competent staff. The overall outlook for vertical fabric shading remains positive, with continued growth anticipated, especially as architects and contractors become more familiar with the medium's innovation and economic advantages. #BuildingFacades #VerticalShading #EnergyEfficiency #FabricArchitecture #SustainableDesign #ArchitecturalTextiles #NetZeroDesign #ClimateControl #ConstructionInnovation

Artist and architect Inés Esnal has unveiled her Prism installation, transforming the lobby of a new residential building in New York City. The artwork utilizes colorful elastic ropes to create intricate triangular formations that serve to filter light, producing a dynamic interplay of vivid colors and optical illusions. This installation provides a stark and compelling contrast to the lobby's existing concrete walls, injecting an element of artistic vibrancy into the otherwise stark architectural setting. The Prism installation is characterized by its use of stretched elastic ropes, meticulously arranged to form geometric patterns. These ropes, varying in color, intersect and overlap, creating a complex web that interacts with the ambient light. As light passes through these colored strands, it is fractured and dispersed, casting a spectrum of hues across the lobby space. This optical phenomenon changes throughout the day, depending on the angle and intensity of natural light, offering a constantly evolving visual experience for residents and visitors. The design intention behind Prism is to introduce an element of surprise and visual engagement within a functional architectural space. By contrasting the inherent rigidity and monochromatic nature of concrete with the fluidity and vibrant palette of the elastic ropes, Esnal challenges conventional perceptions of lobby design. The installation effectively redefines the entrance area, transforming it from a transitional zone into an immersive artistic environment. Esnal's work often explores the relationship between art, architecture, and human perception. In Prism, she employs principles of geometry and optics to manipulate space and light, thereby creating an illusory depth and movement within a static structure. The triangular shapes formed by the ropes evoke the concept of prisms, which are known for their ability to refract light into its constituent colors. This not only imbues the space with aesthetic appeal but also invites viewers to contemplate the scientific and artistic principles at play. The installation aims to enhance the sensory experience of the building's occupants, offering a momentary escape from the urban environment. The selection of elastic ropes as the primary material allows for flexibility in form and an ethereal quality that belies the material's strength. This choice also contributes to the lightweight and seemingly gravity-defying appearance of the artwork, further emphasizing its illusory nature. The vibrant colors chosen are intended to evoke a sense of energy and warmth, counteracting the potentially cold aesthetic of modern concrete architecture. The overall effect is one of harmony between the artistic intervention and the architectural context, demonstrating how art can profoundly alter and enrich built environments. #ArchitecturalInstallation #PublicArt #LobbyDesign #InesEsnal #OpticalIllusions #ElasticRopeArt #NYCArchitecture #ColorTheory #GeometricArt

OSSO Architecture undertook a significant renovation of an apartment situated in a former paper factory in Brooklyn, New York. The building, originally converted into artist studios in the 1980s, required extensive modernization to align with contemporary living standards. The Boerum Hill Loft project by OSSO Architecture aimed to transform the outdated space into an open and modern residence while preserving its inherent character through the integration of original architectural details. The renovation involved strategic modifications to the structural layout, notably the removal of a load-bearing brick wall. This alteration effectively doubled the living room space, creating a more expansive and adaptable central area within the loft. The design incorporates mid-century furnishings, contributing to a blend of historical context and modern aesthetic within this enlarged living space. The material palette selected for the renovation emphasizes natural tones and textures. This includes the use of natural oak, maple, American walnut, reclaimed brick, and blackened steel, all chosen to complement the industrial heritage of the building while introducing warmth and contemporary appeal. Vertical circulation within the loft is managed by two distinct staircases. An original spiral staircase provides access to the second floor, which houses the main bedroom, a bathroom, and an outdoor terrace. This original feature serves as a nod to the building's past, maintained and integrated into the new design. In addition to the main bedroom suite, a separate ladder-like staircase in the kitchen area leads to a loft bedroom, specifically designed to accommodate overnight guests. This maximizes the utility of the vertical space and offers a flexible sleeping arrangement. The overall design concept for the Boerum Hill Loft focuses on creating a harmonious balance between the building's industrial origins and the requirements of a modern residential dwelling. The careful selection of architectural finishes and the thoughtful layout demonstrate an approach that respects the history of the structure while injecting it with contemporary functionality and style. The project successfully re-imagines an industrial space into a comfortable and stylish home, highlighting the potential for adaptive reuse in urban environments. #BrooklynLoft #OSSOArchitecture #IndustrialConversion #ApartmentRenovation #BoerumHill #ModernDesign #InteriorArchitecture #AdaptiveReuse #ArchitecturalRenovation

Garrow Kedigian, an interior designer, undertook the renovation of a 3,200-square-foot, four-bedroom prewar apartment on the Upper East Side for a young family with two children. The primary goal of the renovation was to preserve the historical charm of the home while integrating modern living conveniences. The apartment's untouched state for years necessitated significant upgrades to align with contemporary design and functionality. A standout feature of the apartment is its 50-foot-long entryway, which Kedigian dramatically enhanced. He incorporated grid wall paneling and a unique barrel ceiling. The ceiling is a detailed replica of the astrological map found on the vaulted ceiling of Grand Central Terminal, a familiar sight to many New York City commuters. To further elevate this design element, Kedigian installed tiny LED bulb lights to illuminate specific stars, creating a celestial ambiance. Kedigian also addressed the common issue of dropped ceilings in prewar apartments, which often hide the original architectural height. He meticulously restored the original ceiling heights throughout the home. This not only made the rooms feel more spacious but also allowed for the installation of more elegant pendant lighting, replacing previous recessed fixtures. Strategic color choices were integral to the design, ensuring the space felt inviting and cohesive. The kitchen, for example, features cabinets painted in Soft Chinchilla by Benjamin Moore, chosen to create a welcoming atmosphere. Kedigian emphasizes that kitchens should feel like rooms rather than purely utilitarian spaces, advocating for vibrant color choices. In many areas, the trim was painted in a contrasting color to the walls, adding depth and character to each room. Technology was cleverly integrated to maintain the home's aesthetic. All televisions in the apartment are designed to double as art when not in use. In the primary bedroom, the TV screen displays the same wallpaper pattern as the walls when turned off, ensuring a seamless visual flow. The furnishings and art throughout the apartment are a curated mix, combining finds from the Paris flea market—selected in collaboration with the clients—with mid-century modern pieces, reflecting the clients' eclectic taste. The living room exemplifies this eclectic approach, with an antique carpet from a Doyle auction setting the foundation. Lighting fixtures, including sconces and floor lamps, were sourced from the Paris flea market, with custom lampshades from Broome Lampshades and Oriental Lampshade. The walls are painted in Benjamin Moore’s Caribbean Teal with Wenge trim. An antique sofa was re-covered in a blush chevron velvet from Schumacher, complemented by custom pillows from Fabricut fabric. The art collection includes pieces from the Paris flea market, auction acquisitions, and existing client-owned works. For the dining room, Kedigian transformed the large space into a combined den and dining area. The dining table was repositioned near the windows to create space for sofa seating opposite the fireplace, enhancing its functionality and coziness. The color palette of blues and grays, accented with yellows and oranges, contributes to an inviting atmosphere. Key elements include wall paint in Lakeside Cabin by Benjamin Moore, a Hickory Pearson dining table, Circa Lighting sconces, and custom curtains. The furniture and decorative items, such as chairs and lamps, were also sourced from the Paris flea market, with vintage wall art and a small table, and the client's own mirror and candle holders. The primary bedroom features delicate Harlequin wallpaper adorned with butterflies and birds on willow-like branches. The linen and blush tones of the wallpaper are complemented by Benjamin Moore Rose Blush trim and neutral accents. Custom elements include the headboard, pillows, and bedding. In the children's bedroom, Kedigian aimed for a whimsical yet sophisticated design, incorporating vertical blue and yellow stripes reminiscent of a circus tent. The walls are painted in Alfresco and Hawthorne Yellow by Benjamin Moore, with Kingsport Grey trim. Custom pillows and bedspreads made from Cowtan & Tout and Colefax & Fowler fabrics, along with vintage bed frames, nightstands, and a ceiling light, complete the playful yet elegant design. These thoughtful design choices and upgrades ensure the apartment is set to age gracefully, providing a beautiful and functional home for the family. #UpperEastSide #ApartmentRenovation #InteriorDesign #GarrowKedigian #GrandCentralTerminalCeiling #NewYorkCityHome #LuxuryHome #EclecticDecor #PrewarApartment

Boston City Hall, a prominent example of Brutalist architecture, is often perceived as an 'eyesore' due to its stark concrete design. However, a group of experimental artists from the Boston-based collective Mobius is transforming this perception through an elaborate art installation. Marilyn Arsem, a Mobius member, expresses awe at the building's vast, open lobby and its unique architectural features, including windows soaring nine stories high. She notes the striking contrast between the building's imposing exterior and the intriguing details within. The Mobius collective is preparing for a May 25 installation that will involve 13 artists working in various mediums, aiming to breathe new life into the solemn gray interior. Jane Wang, another Mobius member, details some of the planned performances. One piece by Joanne Rice and Tom Plsek will feature a trombone and tap shoes, with Plsek starting on the fifth floor, creating an acoustic interplay throughout the building. Performance artist Sandrine Schaefer will manipulate the speed of the escalators to alter visitors' sense of time. Wang herself will be knitting an abstract wire sculpture over four hours and will project a video, a collaborative effort of 95 artists and 21 composers, onto a lobby wall. Wang admits that while she still finds the building aesthetically challenging, her involvement has fostered a sense of fondness for it, recognizing its unique personality and pockets of beauty. She describes it as an "ugly, beautiful thing," highlighting the complex emotional response it evokes. Patty McMahon, the city registrar who has worked in Boston City Hall for nearly 30 years, is well aware of the building's polarizing reputation, often hearing it described with terms like "wet cement" and "hideous." She acknowledges the impracticalities of the Brutalist design, such as the difficulty of hanging decorations on concrete walls, exposed wiring, and the lack of windows on her floor. McMahon notes that different administrations have approached the building's challenges differently, with the current Walsh administration focusing on making it more comfortable, pretty, and light. This effort is part of the 'Rethink City Hall' initiative, a city planning project aimed at reimagining the building's use and public perception. Chris Grimley, a historical consultant from the design firm over,under, is involved in the 'Rethink City Hall' project. He explains that the building's original design was intended to promote openness and accessibility, allowing people to move freely through its various spaces, including an elevated courtyard with skylights. This design reflected high-minded democratic ideals, part of a larger urban renewal effort to revitalize downtown Boston and restore public trust in government. However, neglect and modern security concerns, particularly post-9/11, have led to restricted access, reducing the building to a single entry point. Grimley believes the civic spirit of the building can still be revived, which is where the Mobius artists play a crucial role. Artist Jesse Kaminsky describes his contribution: a "tentacular, low-level inflatable sculpture" made of colorful Tyvek. This piece, inspired by early science fiction, will undulate with a fan and seep over a ledge, introducing a sense of comical unease into the building's severe environment. Kaminsky aims for his soft, floppy, and forgiving sculpture to contrast with the building's inherent order and severity. He views the project as an opportunity to introduce something uncertain and acknowledges the possibility of failure, which he considers vital for the creative and even municipal process. For the Mobius artists, Boston City Hall, despite its perceived flaws, has become a rich source of inspiration, demonstrating that even a controversial structure can be reinterpreted and found worthy of appreciation. #BostonCityHall #BrutalistArchitecture #ArtInstallation #MobiusCollective #UrbanRenewal #ArchitecturalRedesign #PublicArt #CityPlanning #CreativeProcess

The New York City subway system is celebrated not only for its transportation utility but also for its distinctive artistic elements, particularly the intricate tile work and mosaic installations found throughout its stations. This article highlights 20 subway stops that showcase impressive public art, reflecting both historical craftsmanship and modern artistic expression. These pieces often result from collaborations between artists, fabricators, and the MTA, with some stations preserving the influence of the subway system's earliest architects. The South Ferry station, despite the loss of a major tile piece during Hurricane Sandy, still features ceramic ships by subway architects George Heins and Christopher LaFarge in its old section. The inaccessible Old City Hall station, closed since 1945, was renowned for its beautiful tile work by Rafael Guastavino, whose undulating ceiling can still be glimpsed near the Manhattan Municipal Building entrance. Bleecker Street (6) and Astor Place (6) stations, part of the original IRT line, display Beaux Arts-inspired tile work and beaver tiles by Heins and LaFarge, with Astor Place also featuring a modern mosaic by Milton Glaser that draws inspiration from the station's existing architecture. Squire Vickers, who worked on over 300 NYC subway stations for nearly 40 years, introduced a more simplified yet intricately patterned and color-coordinated tile design, exemplified at the 28th Street (1) station. At 34th Street-Herald Square, Michele Oka Doner's 1991 installation, 'Radiant Site,' uses over 10,000 gilded tiles to offer commuters a moment of reflection. The newer 34th Street-Hudson Yards (7) station features Xenobia Bailey’s 'Funktional Vibrations,' two vibrant glass tile mosaics initially rendered in crochet. Elizabeth Murray's 'Blooming' at Lexington Avenue-59th Street (4/5/6/N/R/W) uses glass mosaic murals that cascade through tunnels, incorporating poetry and symbolizing passage. The 81st Street-Museum of Natural History (B/C) station is adorned with animal-inspired art, 'For Want of a Nail,' utilizing various materials to depict flora and fauna. The 86th Street (Q) station on the Second Avenue subway features Chuck Close’s 'Subway Portraits,' a series of 12 intricate mosaics. Sarah Sze’s 'Blueprint for a Landscape' at 96th Street (Q) is a massive 14,000-square-foot installation of porcelain tiles depicting elements of city life. The 161st Street-Yankee Stadium (4/B/D) station, designed by Vito Acconci, features tile work that creates an illusion of a sliding wall and even serves as seating. Further examples include Wopo Holup’s subtle ceramic bird shapes at Dyckman Street (1), Andrea Dezsö’s vibrant 'Community Garden' mosaic at Bedford Park Blvd-Lehman College (4), and Soonae Tark’s uplifting 'Have a Happy Day' geometric glass tile piece at Buhre Avenue (6). Ik-Joong Kang’s installation at Flushing-Main Street (7) consists of 2,000 ceramic tiles, each depicting a unique aspect of the Flushing community. The Eastern Parkway-Brooklyn Museum (2/3) station displays pieces from demolished buildings, framed by rich blue and gold mosaics. Susan Tunick’s ceramic flora installation at Prospect Park (B/Q/S) draws inspiration from the nearby park and the Arts and Crafts movement. Finally, Rita MacDonald’s optical illusion tile work at Avenue M (Q) and DeBorah Goletz’s 'Postcards From Sheepshead Bay' at Sheepshead Bay (B/Q) capture historical recreational moments, completing this diverse collection of subway art. #NewYorkSubway #PublicArt #TileArt #MosaicMurals #SubwayStations #NYCArchitecture #MTAArtsAndDesign #UrbanArt

Dalit Lilienthal's installation, 'static movement,' located in a 1920s building in Tel Aviv, Israel, addresses the contrast between the building's inherent immobility and the constant flow of students at the 6B studio design school. The project aimed to introduce a dynamic visual experience within the entrance leading to the secretariat and study halls, an area with high student traffic. The central concept involves creating an illusion of motion on a wall, enhancing the perception of the space for those entering and exiting the building. The renovation respected existing architectural elements, with specific stipulations that windows and railings could not be altered in size or material. In response, a fresh dark grey paint was applied to the decorative railing, and the handrail was restored to its original wooden state through sanding. These modifications subtly updated the historical features while maintaining their integrity. The core of the 'static movement' installation lies in its use of aluminum strips. These strips were precisely cut using a laser machine and arranged in two layers on the staircase wall. Each layer consists of 50 strips. A moiré effect is achieved by superimposing one layer over the other and intentionally offsetting their angles by a few degrees. This arrangement creates a visual phenomenon where the static strips appear to ripple and flow, producing a sense of dynamic movement as viewers pass by. Further extending the design, another set of aluminum bands is incorporated into the corridor. Within these bands, wooden boxes are integrated, serving as a functional information stand where students can access brochures and publications. This thoughtful inclusion combines aesthetic appeal with practical utility, transforming a transitional space into an interactive area. LED lighting is strategically placed between the two layers of aluminum strips, enhancing the visual depth and motion of the moiré effect. The process involved individually numbering and painting each of the 150 cut strips before they were mounted. Detailed plans illustrate the precise positioning of each numbered strip in the front layer, and how the back layer is tilted by a few degrees to achieve the desired moiré effect when superimposed. This meticulous approach underscores the precision required to bring the 'static movement' concept to life, making a static architectural element appear fluid and alive, thereby engaging the occupants in a unique visual experience. #ArchitecturalInstallation #MoiréEffect #InteriorDesign #TelAviv #DesignSchool #AluminumArt #StaticMovement #PublicSpaceDesign

This blog post showcases a luxurious 2,291-square-foot residence located at 200 East 59th Street, a property developed by Harry Macklowe. The unit, featuring two bedrooms and two and a half bathrooms, has been meticulously staged with surrealist art pieces to introduce a sense of glamorous whimsy, setting it apart from conventional home presentations. A standout feature of this corner half-floor residence is its expansive 94-linear-foot wraparound terrace, offering diverse views including Central Park to the North, the Midtown Skyline to the West, and southern vistas. This outdoor space is designed to seamlessly integrate with the interior living areas, particularly the great room. The interior design emphasizes modern luxury and functionality. The open kitchen is equipped with Italian white glass and aluminum trim cabinetry by Aran Cuchine. It boasts book-matched honed Calacatta marble slab countertops and full-height backsplashes, complemented by a natural white oak island. High-end integrated Brilliant White glass appliances from Miele, including a wine refrigerator, are incorporated into the kitchen design, highlighting a commitment to both aesthetics and culinary convenience. The master bedroom, facing west, is generously sized and includes three ample closets, leading into a luxurious en-suite master bath. The master bath is adorned with Siberian white polished marble on the walls and honed marble floors that feature radiant heating for added comfort. A floating vanity crafted from Siberian mink polished marble, fitted with Watermarks contemporary Loft 24 Collection fixtures in a polished chrome finish, enhances the bathroom's sophisticated appeal. The bathing experience is elevated by a spa-like, floor-to-ceiling glass-enclosed rain shower with thermostatic controls, alongside a freestanding deep-soaking bathtub. The overall design of the home was conceptualized by Cyril Vergniol, known for his work on the Hotel de Crillon in Paris. Vergniol's vision for this Midtown East residence was to create a light-filled space that pays homage to the artistic styles of Salvador Dali and Joan Miro, suggesting an eclectic yet elegant atmosphere. The property is currently listed for $5.4 million, with Barbara Russo, Natalie Rakowski, and Tom Postilio of Douglas Elliman managing the sale. This offering represents a unique blend of high-end real estate, sophisticated interior design, and artistic inspiration in a prime New York City location. #Art #DailyDreamHome #Luxury #Manhattan #NewYorkCity #Skyscraper #LuxuryRealEstate #InteriorDesign #ArchitecturalGem

Joel Fitzpatrick, a lighting designer with a diverse background spanning theater, fashion, interior design, and dance, discusses his latest project, 'Aurora,' a dynamic, multicolored light show for Rafael Viñoly’s 277 Fifth Avenue. Fitzpatrick explains that his career has come full circle with this project, which was inspired by his unforgettable experience witnessing the aurora borealis in Alaska during his art school years at Bennington, Vermont. He recounts how the sheer awe of the natural phenomenon compelled him to wake his entire campus to share the experience, emphasizing the mystical and volumetric qualities of the Northern Lights. The 'Aurora' installation at 277 Fifth Avenue presented a unique opportunity, as the building's unfinished state allowed for creative flexibility. Fitzpatrick highlights the architectural advantage of the tower's double-height loggias, which he describes as creating a sensation of 'flying in the city' and celebrating altitude. He explains that extensive lighting tests were conducted, drawing inspiration from these outdoor spaces. The initial 'Aurora' piece was installed at the top of the building before windows were in place, with future plans for a 3D light sculpture art piece within all the loggias. Fitzpatrick expresses profound inspiration from this project, viewing it as a convergence of his diverse experiences. He notes that New York City is currently experiencing a shift towards celebrating light as an architectural feature, akin to Paris's long-standing tradition. He observes that the Manhattan skyline is becoming more colorful, with architects increasingly integrating light into their designs to create compelling visual experiences for the public. The conversation also touches upon a pivotal moment in Fitzpatrick's career: his involvement with Hush Puppies, which was referenced by Malcolm Gladwell in 'The Tipping Point.' Fitzpatrick attributes his success in various fields to his passion, foresight, and willingness to embrace new challenges, describing it as a 'gut feeling' rather than just a 'tipping point.' He recalls how the advent of the blue LED enabled full-color spectrum lighting, revolutionizing his work in fashion, particularly with his Nolita store, Aether, which was an early adopter of fully color-lit commercial spaces. He considers the ability to be both technical and creative as crucial to his multifaceted career. Fitzpatrick further elaborates on his initial foray into lighting, explaining that his desire for collaboration, rather than the solitary nature of sculpture, led him to modern dance and theater. He values the collaborative process for its intellectual and creative stimulation, and its capacity to push boundaries and foster communication, while still allowing for solitary artistic creation. His ultimate aspiration, following the 'Aurora' project, is to create a permanent, artful outdoor light installation on the Manhattan skyline that would captivate viewers and offer a meditative experience. He admires natural light phenomena like 'Manhattanhenge' and sunsets, particularly those he's witnessed in Shelter Island and Lamu, Kenya, referring to the sun as 'the ultimate lighting designer.' He concludes by expressing his intention to plan a trip to Iceland and Greenland to re-experience the Northern Lights, viewing it as a prelude to a significant outdoor light sculpture project in New York. #LightingDesign #JoelFitzpatrick #ManhattanSkyline #ArchitecturalLighting #AuroraLightShow #NewYorkCity #277FifthAvenue #UrbanArt #PublicInstallation

The Denver Art Museum's North Building, a distinct architectural landmark, was completed in 1971 through a collaborative effort between Italian architect Gio Ponti and Denver-based architects James Sudler and Joal Cronenwett. This building marks Ponti’s sole architectural endeavor in North America, embodying a unique blend of protective aesthetics and functional design. Ponti, a multidisciplinary creative, engaged in a diverse career encompassing architecture, design, poetry, painting, and editing, creating everything from silverware to automobiles. His architectural methodology was characterized by a meticulous six-step problem-solving process, starting with problem definition, followed by extensive research for ideas, intuitive ideation, prolific sketching, and a rigorous selection process to identify the optimal design solution. The inspiration for the North Building draws from Ponti's vision of a museum as a 'castle' safeguarding artistic treasures, a concept that resonates with its fortress-like appearance. A key design principle was the building’s interaction with light; Ponti explicitly sought the cooperation of 'the sun and the light and the sky.' This led to the selection of over one million gray glass tiles, in varying shades, to clad the exterior. This neutral color palette was chosen for its superior ability to capture and reflect the sky's light, transforming the building into an 'invitation to the sun.' Otto Bach, the museum's director at the time, also influenced the design, advocating for a modern, user-friendly museum with easily navigable collections arranged across seven floors. Ponti integrated this verticality into the design through overlapping wall segments, vertically arranged exterior tiles, and narrow, vertical windows. The interior galleries were designed with movable walls, offering curators flexibility in displaying diverse collections. Several distinctive details contribute to the North Building's character. The million-plus flat and pyramidal gray glass tiles, specially manufactured to withstand Colorado's extreme temperatures, were painstakingly installed by hand over two years. The varied shapes of these tiles create dynamic patterns on the exterior walls, shifting with changes in weather, time, and season due to their differing light-reflection properties. The building features an array of window shapes and sizes, including squares, rectangles, diamonds, and Ponti’s signature elongated hexagon. These windows, strategically placed to protect art from direct sunlight, frame views of Denver and the mountains from within and create captivating light patterns from the exterior at night. The roofline incorporates rectangular cutouts and swooping curves, termed 'sky windows' by Cronenwett, opening the building's 'crown' to the Denver sky. An original oval-shaped metal entryway, resembling a short tunnel, also exists, though a different entrance now serves as the primary access point. #GioPonti #DenverArtMuseum #ArchitecturalDesign #ModernArchitecture #MuseumDesign #BuildingMaterials #ArchitecturalHistory #NorthBuilding #Denver