Greenpoint lies at the northernmost tip of Brooklyn where Newtown Creek meets the East River. The neighborhood sometimes called “Little Poland” has historically consisted of low-rise townhouses with industry at its waterfront edges. The industrial border, which included shipbuilding, rope-making, and more toxic activities such as petroleum refinement, cut the neighborhood off from the East River.
Project Architects: Yusef Ali Dennis, Christine Yoon
Team: Remy Bertin, Jingyi Bi, Sam Biroscak, Titouan Chapouly, Ken Chongsuwat, Marie-Claude Fares, Yashar Ghasemkhani, Anders Grinde, Wesley LeForce, Chong Ying Pai, Nathan Petty, Andres Rabano, Laylee Salek, Alan Song, Wo Hong Wu, Soojung Yoo, Steven Young, Juan Pablo Zepeda
Executive Architect: Beyer Blinder Belle Architects & Planners LLP
76 11th Avenue ‘The Eleventh’ is located in West Chelsea between the High Line and the Hudson River. Spanning a full block from 17th Street to 18th Street and 10th Avenue to 11th Avenue, the 890,000 gross square foot, mixed-use project is composed of two towers: a West tower of 34 stories (402 ft) and an East tower of 25 stories (302 ft) which are both set on a 60 to 85 ft podium. The West Tower will be entirely dedicated to residences and residential amenities. The east tower will be a combination of hotel and residential units. The hotel will be located adjacent to the High Line within the lower half of the East Tower and the residences will occupy the upper floors.
Team: Adrian Mans, Agne Rapkeviciute, Alana Goldweit, Ali Chen, Amir Mikhaeil, Chris Farmer, Deborah Cambell, Douglass Alligood, Francesca Portesine, Francis Fontaine, Hector Romero, Hung Kai Liao, Jan Leenknegt, Juan David Ramirez, Justyna Mydlak, Lasse Kristensen, Marcus Kujala, Maureen Rahman, Pauline Lavie
Collaborators: Six Senses Hotel, Es Devlin, Gabellini Sheppard Associates (Interiors of I/West tower and of the Six Senses Hotel & Spa), Gilles & Boissier and Enzo Enea (Interiors), Woods Bagot (Architect of Record)
Partners in Charge: Bjarke Ingels, Thomas Christoffersen, Beat Schenk
With direct access to Great Peconic Bay, this prefab beach house is designed to be a weekend retreat for a young Brooklyn family of four, and seasonal residence for the client’s Florida-based parents. The prefabricated modules are set atop the site-built steel frame, allowing for views of the bay as one arrives via the long, tree-lined gravel drive. While the house is not technically within a FEMA-designated flood zone, the strategy of lifting the house is a direct response to the client’s concerns about potential flooding in the future. Simultaneously, this strategy provides outstanding views of the bay from the main level, while creating shaded and sheltered outdoor space below the house for parking, lounging, and woodworking—including the grandfather’s latest project: building a small sailboat.
Tucked between Spring and Canal in New York City’s recently rezoned Hudson Square, Renwick Street is a rare blip on the vast urban grid: a small, single-block residential enclave, whose self-generated hush recalls the era of a much more intimate Manhattan.
The Global Headquarters located in New York City. Located in the historical twin gothic towers that compose Trinity Centre located in the vibrant and ever changing Financial District. The new space will house 250 employees. Having mainly northern light to work with we selected a bright pallet including natural ash wood, the company’s pallet of black and white plus brushed brass accents in light fixtures and hardware elements to accomplish a strong interior space. We allocated resources to where they were most needed, including a welcoming lobby/lounge space that portrays the company’s graphic mastery into architectural elements using ash wood louvered panels and glass as the main characters.
Corporate tenants in 589 5th Avenue, a 17-story mid-century building in Midtown Manhattan, now have new elevator cabs to complement their redesigned corridors and existing lobby. The cabs are clad with Banker Wire mesh, offering a sophisticated look with unmatched durability.
A total of four elevators were redesigned and clad with Banker Wire’s DF-6 stainless steel woven metal mesh, in concert with frosted back-painted glass, LED lights and terrazzo tile.
The Queens Hospital EMS station was commissioned by the design excellence initiative process implemented by the New York City Department of Design and Construction, for the Fire Department of New York City.
Kathryn Dean, Principal for Dean/Wolf Architects explains the design by staying “I am interested in the capacity for architecture to convey identity and meaning through emotional resonance. I believe this happens through the impact of materials and form coming together in a particular place… In order to understand the building, it is important to understand two departure points: First, the building was commissioned shortly after 9/11. Second, when I work, I often build intuitive paper models to investigate ideas. When I received the commission, I started making these models. After several more rational schemes, the double horizontal bars emerged. It took me a bit of thought to realize why this felt right. They were my own deep emotional response to the fallen towers.”
Ted Moudis Associates (TMA), a leading architectural and interior design firm, has completed the design of NASCAR’s New York City office. The Daytona, Fla.-based racing organization has moved into a 14,700-square-foot office space on the 40th floor of 590 Madison Avenue. NASCAR enlisted TMA’s services to design a new space that reflected its brand and corporate culture.
Highline Stages, previously known as Ceco Studios, is a photo / film studio and events space in the Meatpacking district of New York City.
With 14,500 square feet and entrances on West 14th and West 15th Streets, the space previously housed large trucks and associated equipment related to film and production. The owner decided to rebrand the space as one that could be leased out for large events and filming. The unusually tall ceiling height and easy truck access from the street are a primary feature. EOA stripped the interior of all extraneous materials to expose its original character, providing a clean canvas for any variety of events and photo-shoots while still reflecting the inherent industrial fabric of the building. When the large steel doors that divide the space are open, a view through the entire block is revealed. The entries on both streets are designed to accommodate trucks while at the same time providing a layer of privacy and control to for private events. A new cafe bar is a place for cast and crews to relax and features reclaimed wood and blackened steel. Industrial lighting fixtures used on film sets have been re-purposed and integrated in a variety of ways throughout the space. Upstairs EOA created offices and work areas for the managers of Highline Stages with a continuation of the industrial aesthetic below. EOA also carved out smaller studio spaces to provide the client with additional opportunities to expand their offerings. The entire project is designed to provide the maximum flexibility to the clients of Highline Stages while also providing the perfect space for a variety of creative events to take place.
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