A Fifth Avenue apartment designed by Paul Rudolph in 1970 has been sold to a private owner for $26 million according to the the New York Observer. Commissioned by Claire & Maurits Edersheim for whom Rudolph also renovated a Larchmont New York house and a Smith Barney office, the apartment, according to the Paul Rudolph Foundation, “features many of the characteristic elements of Rudolph’s interior architecture from the mid-Sixties through the Seventies: extensive use of mirrors and reflective surfaces, plastics and other synthetic materials, curvilinear geometry, painterly use of color, and experimental lighting.”
While it is not known if the new owners will retain any of the classic Rudolph interior, the Observer noted that the owners plan to combine the unit with another to create a larger duplex, which could mean Rudolph’s details will be lost. The interior currently has a series of Rudolph’s typical small, highly-designed spaces which look perfect for a dry martini!
Registration for AN‘s Facades+PERFORMANCE conference is now open with a limited-time Early Bird pricing offer that expires on March 1. The conference is taking place in New York City on April 11 and 12 and will feature presentations and workshops from leaders in the industry who will analyze, discuss, and dispute the development, implementation, and maintenance of high-performance building enclosures. Noted architect Christoph Ingenhoven will be delivering the keynote address. Make sure to reserve your spot today before Facades+PERFORMANCE sells out!
While Hurricane Sandy hasn’t slowed development in some parts of Brooklyn, it has delayed the groundbreaking of the Roger Marvel Architects-designed hotel and residential complex at Pier 1 in Brooklyn Bridge Park called the Pierhouse. The New York Post reported that the project was originally slated to begin construction this month, but Toll Brothers, the developer, said they will hold off until the redesign of the 159-apartment and 200-room hotel complex is updated with measures meant to protect against future storm surges. Changes include elevating the building three feet, adding steps and ramps to the lobby, and placing the mechanical systems on the roof. This development is paying for a considerable portion—about $3.3 million—of the park’s $16 million annual maintenance budget. Nearby, plans for a velodrome proposed for the park were scrapped in part due to potential flooding of the site.
Go Down, Moses, indeed. Highway-removal advocates were awarded a small victory this week as New York State announced it will be tearing out a two-mile expanse of the aptly-named Robert Moses State Parkway (aka the Niagara Falls expressway). The section to be removed runs along the main part of the river gorge and has long been a barrier to pedestrians seeking access to recreation areas.
The Buffalo News reported that some sections of the roadway will be kept, but the long-term plan is to build a multi-use nature trail for sports such as hiking, biking, and cross country skiing. This will be the first time in half a century that residents and visitors will have access to nature trails without the inconvenience of crossing the parkway. There will be car access to the gorge by way of Whirlpool Street, which will be turned into a two-lane parkway. New York State Parks officials anticipate the entire process will take around three years and cost up to $50 million. According to the Buffalo News, “It would also constitute the largest expansion of Niagara parkland since the Niagara Reservation was created in the 1880s.”
Hudson Yards broke ground late last year, but the Kohn Pedersen Fox-designed tower that will one day be the headquarters of fashion-label Coach isn’t the only construction activity causing a buzz on the 26-acre site on Manhattan’s West Side. Wrapping around the south and west sides of the Hudson Yards site, construction crews are busy building out the final segment of the High Line, including sandblasting and refurbishing the steel viaduct, repainting the steel structure’s beams, girders, and columns with the High Line’s signature “Greenblack” color, and removing and storing existing railroad tracks. Landscape construction is expected to begin later this spring.
The Friends of the High Line recently stopped by the construction site with photographer Timothy Schenck to take these photos of work in progress. Be sure to take a look at James Corner Field Operations’ design for the final segment here.
Even though Brooklyn has morphed into a hub of cultural activity, there has been a notable shortage of hotels to serve the spike in visitors, especially in south Brooklyn. But this will soon change. The New York Post reported that a new 200-room hotel, designed by Thomas Leeser, is in the works for the Brooklyn Downtown Cultural District, which recently saw plans for new towers by TEN Arquitectos.
The hotel, with asymmetrical splits in the facade, will replace a five-story building at 95 Rockwell Place, and include a basement performance space, a rooftop bar, a banquet hall, and a restaurant that looks onto an outdoor arts plaza. It will be in a prime location—right next to The Theater for a New Audience and close to a 32-story mixed-use complex from Two Trees and a 50,000-square-feet cultural space that will be occupied by BAM, 651 ARTS, and the Brooklyn Public Library.
Developer Second Development Services (SDS) predicts they will break ground next fall and complete construction within two years.
Decon Artists: Wigley, Tschumi, Eisenman Reflect on MoMA’s Landmark “Deconstructivist Architecture” Exhibit
On January 22, Mark Wigley, Bernard Tschumi, and Peter Eisenman took the stage in MoMA’s theater to reflect upon Deconstructivist Architecture, the landmark 1988 exhibit curated by Wigley and Philip Johnson. The press release at the time described the featured architects—including Coop Himmelblau, Frank Gehry, Zaha Hadid, Rem Koolhaas, and Daniel Libeskind, along with Tschumi and Eisenman—as “obsessed with diagonals, arcs, and warped plans.”
In a where-are-they-now moment, Wigley said, “It occurred to me that only Daniel Libeskind thought the show was about the future, and he still seems to be designing for the show, and that seems to be not a good idea.” And the sniping didn’t stop there. Eisenman, despite refusing to hold the microphone to his mouth, could be overheard saying what kind of exhibit he would—or rather, wouldn’t—do, if given the chance: “Well, it wouldn’t be like the biennale of last fall, which was sort of a discount supermarket of everything that was going.” “Including you,” zinged Wigley.