DOCSLIB.ORG

The Seagram Building, Designed by Mies Van Der Rohe, Continues To

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Seagram Building, Designed by Mies Van Der Rohe, Continues To The Seagram Building, designed by Mies van der Rohe, continues to receive acclaim as New York’s most prestigious office building and the finest example of modern American architecture. We are proud to own this great asset and are committed to ensuring that this Landmark building offers the utmost standards of excellence and service to all of our tenants. 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 20 21 22 23 24 25 26 27 30 31 32 33 375 Park Avenue is widely recognized as building was the first skyscraper in New one of the iconic structures of post-World York City to use floor-to-ceiling plate glass. War II International Style architecture, and is The glazing system in turn required special among the most significant works of Ludwig mechanical innovations such as a specially Mies van der Rohe and Philip Johnson, two designed peripheral air conditioning system of the most important architects of the 20th consisting of low modular units, which would century. From the time of its completion, the cool the building without obstructing views. building has been hailed as one of the most important works of American architecture. The New York Times called it “one of the most notable of Manhattan’s post-war buildings,” At the time of construction, the Seagram and said of the plaza that it had become Building set the gold standard for post- “an oasis for office workers and passersby.” war corporate architecture in America. The In addition to critical praise, the Seagram influence of the building on the course of Building and its architects received a American architecture can be seen up number of awards. Soon after completion, and down Park Avenue, in the immediate the New York Chapter of the American vicinity of the building and in suburban Institute of Architects awarded its medal corporate office parks throughout the of honor to Mies van der Rohe. The country. Its iconic plaza was the primary New York Board of Trade awarded its inspiration for the plaza bonus enacted as architecture prize to the Seagram Building, part of New York City’s landmark zoning noting its “elegant form and utilization of resolution in the early 1960s. materials” as well as the community benefit of the plaza. And the Municipal Arts Society 375 Park Avenue includes a number of called the Seagram Building a “modern structural and mechanical innovations. landmark,” and awarded the building and With a height of approximately 520 feet, its architects the Society’s bronze plaque. the steel-frame tower was the tallest constructed to date with high-strength bolts; Even before it was completed, the Seagram the tower also included an unusual vertical Building had a profound effect on the truss wind bracing. The exterior columns design of high-end corporate headquarters and all beams in the building are encased buildings in Manhattan and throughout in concrete, while the interior columns are the country. The elegant glass and metal encased with gypsum block for fireproofing. façade soon became the de facto cladding The poured concrete floors included ducts for corporate office towers in New York and for utilities, such as electric, telephone beyond, and came to typify the International and closed circuit television cables. The Style for the rest of the world. 34 35 Captions and Credits Cover Evening View of Plaza Photo by Jesse David Harris 2 Daytime View of Building Photo by Ezra Stoller © Esto 3 Evening View of Building Photo by Jesse David Harris 4 Urs Fischer sculpture installed in Plaza Photo by Jesse David Harris 6 Side Entrance Photo by Jesse David Harris 7 Alexander Calder sculpture installed in Plaza Photo by Jesse David Harris 8 Jeff Koons sculpture installed in Lobby Photo by Jesse David Harris 9 Building Lobby Photo by Jesse David Harris 10 The Pool Room at the Four Seasons Restaurant Photo by Pilar Freire 11 Alexander Calder sculpture installed in Plaza Photo by Jesse David Harris 12–13 Entrust Offices Interiors by Gensler Photo by Eric Laignel 14 Tenant Office Photo by David De Armas 16 Jeff Koons sculpture installed in Lobby Photo by Nico Curtis 17 Urs Fischer sculpture installed in Plaza Photo by Jesse David Harris 375 Park Avenue Landmark Plaque 18 Terrace, Executive Lounge Photo by David De Armas 20–21 Executive Lounge Photo by David De Armas 22 Terrace, Executive Lounge Photo by David De Armas 24 Roofscapes, 1958 Photo by Ezra Stoller © Esto 26 Plaza, View from Roof Photo by Jesse David Harris 28 Urs Fischer sculpture installed in Plaza Photo by Jesse David Harris 30 Evening View of Plaza Photo by Jesse David Harris 31 Alexander Calder sculpture installed in Plaza Photo by Jesse David Harris 32 Landmark Plaque Photo by Pilar Freire 33 Parking Garage with Chauffeur Waiting Lounge Photo by Jesse David Harris 35 North Facade, showing rear “bustle,” 1958 Photo by Ezra Stoller © Esto Matthew Astrachan 212 812 6438 [email protected] Jonathan Fanuzzi 212 812 6044 [email protected] Kip Orban 212 812 5726 [email protected] Dan Turkewitz 212 418 2689 [email protected] 38.
Load more

Recommended publications
  • Elevator Interior Design
    C AMB RIDGE A select portfolio of architectural mesh projects for new or refurbished elevator cabs, lobbies and high-traffic spaces featuring Cambridge’s metal mesh. ARCHITECTURAL MESH Beautiful, light-weight and durable, architectural mesh has been prized by architects and designers since we first wove metal fabric for the elevator cabs in Mies van der Rohe’s Seagram Building in 1958. And it’s still there today. Learn more about our elite line of elegant panels in stainless steel, brass, copper and aluminum. Carnegie Hall, New York City Elegant burnished aluminum panels lift Carnegie Hall’s elevator interiors to another level. Installed by EDI/ECI in concert with Iu + Biblowicz Architects, Comcast Center, Philadelphia, PA Cambridge’s Sawgrass pattern adds When designing the a refined and resilient interior to world’s tallest green this refurbished masterpiece. building, Robert A.M. © Gbphoto27 | Dreamstime.com Stern Architects added style and sustainability with Empire State Building, Cambridge mesh. New York City Classically outfitted Beyer, Blinder & with the chic Ritz pattern, the flexible Belle Architects stainless steel fabric integrates the modernized the lobby and elevators with a smooth landmark and seamless design. skyscraper’s elevator cabs with Cambridge’s Stipple mesh. Installed by the National Elevator Cab & Door Co., the dappled brushed aluminum surface stands up to the traffic and traditions of this legendary building. Victory Plaza, Dallas, TX TFO Architecture’s YAHOO!, Sunnyvale, CA expansive mixed-use project in the center Gensler architects of downtown selected Cambridge’s incorporates one of Silk mesh to clad Cambridge’s most elevators at Yahoo’s popular rigid mesh Silicon Valley fabrics.
    [Show full text]
  • Seagram Building, First Floor Interior
    I.andmarks Preservation Commission october 3, 1989; Designation List 221 IP-1665 SEAGRAM BUIIDING, FIRST FLOOR INTERIOR consisting of the lobby and passenger elevator cabs and the fixtures and interior components of these spaces including but not limited to, interior piers, wall surfaces, ceiling surfaces, floor surfaces, doors, railings, elevator doors, elevator indicators, and signs; 375 Park Avenue, Manhattan. Designed by Ludwig Mies van der Rohe with Philip Johnson; Kahn & Jacobs, associate architects. Built 1956-58. Landmark Site: Borough of Manhattan Tax Map Block 1307, Lot 1. On May 17, 1988, the landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Seagram Building, first floor interior, consisting of the lobby and passenger elevator cabs and the fixtures and interior components of these spaces including but not limited to, interior piers, wall surfaces, ceiling surfaces, floor surfaces, doors, railings, elevator doors, elevator indicators, and signs; and the proposed designation of the related I.and.mark Site (Item No. 2). The hearing had been duly advertised in accordance with the provisions of law. Twenty witnesses, including a representative of the building's owner, spoke in favor of designation. No witnesses spoke in opposition to designation. The Commission has received many letters in favor of designation. DFSCRIPI'ION AND ANALYSIS Summary The Seagram Building, erected in 1956-58, is the only building in New York City designed by architectural master Iudwig Mies van der Rohe. Constructed on Park Avenue at a time when it was changing from an exclusive residential thoroughfare to a prestigious business address, the Seagram Building embodies the quest of a successful corporation to establish further its public image through architectural patronage.
    [Show full text]
  • ANTHONY JAMES / FABULISM FORT GANSEVOORT 5 Ninth Avenue, New York, NY, 10014 on View: Thursday May 18 – Saturday, July
    ANTHONY JAMES / FABULISM FORT GANSEVOORT 5 Ninth Avenue, New York, NY, 10014 On View: Thursday May 18 – Saturday, July 8 Opening Reception: Thursday, May 18, 6-9pm New York – May 11, 2017: Fort Gansevoort is pleased to present Fabulism, the first New York solo project in over a decade of British-born, Los Angeles-based artist Anthony James. The exhibition will stage a selection of older works mounted in dialogue with a new body of sculpture in an effort to reflect upon the dynamics of continuity and change within the artist’s practice. The exhibition title speaks to the artist’s interest in elevating ordinary materials through experimentation and transformation. Fabulism, the literary theory of magical realism— which renders the mundane fantastical—is a preoccupation of the artist. The exhibition is curated by Lauri Firstenberg in collaboration with there-there, a new Los Angeles based production company and exhibition space. James debuts his new series of Shields, rendered in steel and bronze, which are highly worked surfaces through a laborious process of painting and additive gestures of refined and subtle metal work. James’s work operates elusively, staggering between the iconic and the arbitrary, the concrete and the alchemic, the mythical and experiential. The artist reveals, "the works evoke pictorial depictions of the cosmos, alluding to notions of mysticism, ethereality, and science fiction, all the while anchored through the use of weighty, industrial materials such as metal and neon." The objects read as relics or artifacts from some liminal moment. As such, James attempts to locate beauty in the wake of insanity.
    [Show full text]
  • True to the City's Teeming Nature, a New Breed of Multi-Family High Rises
    BY MEI ANNE FOO MAY 14, 2016 True to the city’s teeming nature, a new breed of multi-family high rises is fast cropping up around New York – changing the face of this famous urban jungle forever. New York will always be known as the land of many towers. From early iconic Art Deco splendours such as the Empire State Building and the Chrysler Building, to the newest symbol of resilience found in the One World Trade Center, there is no other city that can top the Big Apple’s supreme skyline. Except itself. Tall projects have been proposed and built in sizeable numbers over recent years. The unprecedented boom has been mostly marked by a rise in tall luxury residential constructions, where prior to the completion of One57 in 2014, there were less than a handful of super-tall skyscrapers in New York. Now, there are four being developed along the same street as One57 alone. Billionaire.com picks the city’s most outstanding multi-family high rises on the concrete horizon. 111 Murray Street This luxury residential tower developed by Fisher Brothers and Witkoff will soon soar some 800ft above Manhattan’s Tribeca neighborhood. Renderings of the condominium showcase a curved rectangular silhouette that looks almost round, slightly unfolding at the highest floors like a flared glass. The modern design is from Kohn Pedersen Fox. An A-team of visionaries has also been roped in for the project, including David Mann for it residence interiors; David Rockwell for amenities and public spaces and Edmund Hollander for landscape architecture.
    [Show full text]
  • Download Article
    March 26, 2015 By Anthony Paletta Rafael Viñoly’s 432 Park Ave., one of the tallest residential towers in the world and the third-tallest building in the U.S. PHOTO: STEVE REMICH FOR THE WALL STREET JOURNAL Manhattan’s skyline is making yet another historical surge upward, though this time with a new crop of super-tall, strikingly narrow apartment buildings that in some cases seem to defy gravity. To see for yourself, walk by SHoP Architects’ 111 W. 57 St., Christian de Portzamparc ’s One57, Jean Nouvel ’s 53 W. 53rd St. or Rafael Viñoly ’s 432 Park Ave. http://www.wsj.com/articles/manhattans-stalagmite-architecture-1427330737 What’s arresting about these structures is their eccentric dimensions. SHoP’s 111 W. 57th St., for example, will boast a width-to-height ratio of 1-to-23. (A standard No. 2 pencil has about a 1-to-30 ratio, and the original World Trade Center towers were a gouty 1-to-7.) Some of these new structures, especially on the upper reaches, are only one unit per floor. It’s partly technology that explains these stalagmite structures. Architects and engineers have tailored improvements in steel and reinforced concrete that facilitate developers’ perennial search for height on an island notoriously short of real estate. What we are witnessing, says SHoP Architects founding partner Gregg Pasquarelli, is a “wonderful golden age of the tall, slender building.” These innovations mark just the latest chapter in the evolving history of the skyscraper. Over the past century, technological breakthroughs have enabled builders to steadily reduce the proportion of structural elements—mainly steel and concrete—in the area where we live, work and play, savings usually given over to glass.
    [Show full text]
  • UC Riverside UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title Saving Carnegie Hall: A Case Study of Historic Preservation in Postwar New York City Permalink https://escholarship.org/uc/item/3x19f20h Author Schmitz, Sandra Elizabeth Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Saving Carnegie Hall: A Case Study of Historic Preservation in Postwar New York A Thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art History by Sandra Elizabeth Schmitz June 2015 Thesis Committee: Dr. Patricia Morton, Chairperson Dr. Jason Weems Dr. Catherine Gudis Copyright by Sandra Elizabeth Schmitz 2015 The Thesis of Sandra Elizabeth Schmitz is approved: Committee Chairperson University of California, Riverside Acknowledgements I would like to thank my thesis advisor, Dr. Patricia Morton, for helping me to arrive at this topic and for providing encouragement and support along the way. I’m incredibly grateful for the time she took to share her knowledgeable insight and provide thorough feedback. Committee members Dr. Jason Weems and Dr. Catherine Gudis also brought valuable depth to my project through their knowledge of American architecture, urbanism, and preservation. The department of Art History at the University of California, Riverside (UCR) made this project possible by providing me with a travel grant to conduct research in New York City. Carnegie Hall’s archivists graciously guided my research at the beginning of this project and provided more information than I could fit in this thesis. I could not have accomplished this project without the support of Stacie, Hannah, Leah, and all the friends who helped me stay grounded through the last two years of writing, editing, and talking about architecture.
    [Show full text]
  • Property Flyer
    FEIL OFFICE PORTFOLIO 570 LEXINGTON AVENUE With its distinctive tower overlooking the prestigious Park Avenue corporate corridor, 570 Lexington Avenue is a true architectural masterpiece and one of New York City’s most famous skyscrapers – the perfect balance between Art Deco high style and classic, cool New York style. Originally known as the ‘RCA Victor Building’ when designed by Cross and Cross in 1931, the most striking feature of this historic 50-story Art Deco jewel is its flamboyant crown of Gothic spires that may well be the most original and beautiful skyscraper top in the world. It’s an elegant mixture of Gothic spires in limestone and brickwork with filigree decoration and lightning bolt motifs – depicting the eletricity of RCA’s radio transmission waves. At night this fabulous crown is illminated from within, making the top look like a giant torch. The lobby is sublimely elegant with its gleaming pink marble walls, aquamarine- E 59th St colored glass lamp fixtures, and silver leaf vaulted ceiling with sunburst and ziggurat motifs and Rosewood-paneled E 57th ST elevator cabs. As Architect John Cross declared “…it strikes out into the future as far as the imagination can penetrate.” E 55th ST Majestically situated adjacent to Saint Bartholomew’s Episcopal Church on the E 5 southwest corner of Lexington Avenue and 3r d ST 51st Street, this Midtown centerpiece is a ROCKEFELLER short walk from Grand Central Terminal ST CENTER CA.PAT THEDRARICK’S and surrounded by a world-class selection E 51st ST L of corporate landmarks, restaurants, hotels, « and cultural destinations, including the VE A h Waldorf-Astoria, Seagram Building, MetLife t E 5 4 E 9th Building, Hotel InterContinental, Citicorp AV S 570 T LEXINGTON AVENUE Center, Saint Patrick’s Cathedral, Grand E DISON AV Hyatt, Rockefeller Center, and many more.
    [Show full text]
  • Inspired by the NYC for Inspired by the NYC
    Inspired by the NYC for Inspired by the NYC New York is the only city, whose atmosphere I knew before even going there. Nothing surprising, since I grew up on a myriad of films made about this city and music works dedicated to it! In the architecture of New York there is something magical. For example, if we consider buildings separately, most of them are rather ugly. But all together they evoke architectural delight! Park Avenue is home to the richest people in America, but I love this avenue for one building — Mies van der Rohe’s skyscraper — the Seagram Building. A masterpiece of architecture! Tribeca is one of my favorite areas of New York, with its lofts, facades which are decorated with fine cast-iron details, unusual interior shops and the area of ​​Chinatown in the neighborhood, where food is always delicious. Most of all I love New York in the middle of autumn. Such colors, as in Central Park, I did not see anywhere else. New York is the city that I always want to return to. Dima Loginoff PARK Park Avenue 09 AVENUE Park Avenue 09 PARK AVENUE “The true New Yorker secretly believes that people living anywhere else have to be, in some sense, kidding”. John Updike Park Avenue 01 Park Avenue 01 “But there’s something in the New York Park Avenue 0103 air that makes sleep useless”. Simona De Beauvoir “The city seen from the Queensbor Park Avenue 02 Bridge is always the city seen for the firsttime, in its first wild promise of all the mystery and the beauty in the world”.
    [Show full text]
  • Bfm:978-1-56898-652-4/1.Pdf
    Manhattan Skyscrapers Manhattan Skyscrapers REVISED AND EXPANDED EDITION Eric P. Nash PHOTOGRAPHS BY Norman McGrath INTRODUCTION BY Carol Willis PRINCETON ARCHITECTURAL PRESS NEW YORK PUBLISHED BY Princeton Architectural Press 37 East 7th Street New York, NY 10003 For a free catalog of books, call 1.800.722.6657 Visit our website at www.papress.com © 2005 Princeton Architectural Press All rights reserved Printed and bound in China 08 07 06 05 4 3 2 1 No part of this book may be used or reproduced in any manner without written permission from the publisher, except in the context of reviews. The publisher gratefully acknowledges all of the individuals and organizations that provided photographs for this publi- cation. Every effort has been made to contact the owners of copyright for the photographs herein. Any omissions will be corrected in subsequent printings. FIRST EDITION DESIGNER: Sara E. Stemen PROJECT EDITOR: Beth Harrison PHOTO RESEARCHERS: Eugenia Bell and Beth Harrison REVISED AND UPDATED EDITION PROJECT EDITOR: Clare Jacobson ASSISTANTS: John McGill, Lauren Nelson, and Dorothy Ball SPECIAL THANKS TO: Nettie Aljian, Nicola Bednarek, Janet Behning, Penny (Yuen Pik) Chu, Russell Fernandez, Jan Haux, Clare Jacobson, John King, Mark Lamster, Nancy Eklund Later, Linda Lee, Katharine Myers, Jane Sheinman, Scott Tennent, Jennifer Thompson, Paul G. Wagner, Joe Weston, and Deb Wood of Princeton Architectural Press —Kevin Lippert, Publisher LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Nash, Eric Peter. Manhattan skyscrapers / Eric P. Nash ; photographs by Norman McGrath ; introduction by Carol Willis.—Rev. and expanded ed. p. cm. Includes bibliographical references. ISBN 1-56898-545-2 (alk.
    [Show full text]
  • Chapter 5: Shadows
    Chapter 5: Shadows A. INTRODUCTION This chapter presents the detailed shadow study that was conducted to determine whether the proposed One Vanderbilt development would cast any new shadows on sunlight-sensitive resources. Sunlight-sensitive resources can include parks, playgrounds, residential or office plazas, and other publicly accessible open spaces; sunlight-dependent features of historic resources; and important natural features such as water bodies. Since the preparation of the shadow analysis in the Draft Environmental Impact Statement (DEIS), the height of the proposed One Vanderbilt development was increased. The shadow analysis in this Final Environmental Impact Statement (FEIS) has been revised to reflect this change including Figures 5-1 to 5-22 and 5-27. PRINCIPAL CONCLUSIONS This analysis compared shadows that would be cast by the proposed One Vanderbilt development, which would be built to a floor area ratio (FAR) of 30, with those that would be cast by the 15 FAR building that would be developed absent the proposed actions (the 15 FAR No-Action building). As described below, the analysis concluded that the proposed 30 FAR One Vanderbilt development would cast new shadows on Bryant Park, the west windows of Grand Central Terminal’s main concourse and several other sunlight-sensitive resources. However, the new shadows would be limited in extent, duration and effects and would not result in any significant adverse shadow impacts, as demonstrated in detail below. B. DEFINITIONS AND METHODOLOGY This analysis has been prepared in accordance with CEQR procedures and follows the guidelines of the 2014 City Environmental Quality Review (CEQR) Technical Manual. DEFINITIONS Incremental shadow is the additional, or new, shadow that a structure resulting from a project would cast on a sunlight-sensitive resource.
    [Show full text]
  • “The 1961 New York City Zoning Resolution, Privately Owned Public
    “The 1961 New York City Zoning Resolution, Privately Owned Public Space and the Question of Spatial Quality - The Pedestrian Through-Block Connections Forming the Sixth-and-a-Half Avenue as Examples of the Concept” University of Helsinki Faculty of Arts Department of Philosophy, History, Culture and Art Studies Art History Master’s thesis Essi Rautiola April 2016 Tiedekunta/Osasto Fakultet/Sektion – Faculty Laitos/Institution– Department Humanistinen tiedekunta Filosofian, historian, kulttuurin ja taiteiden tutkimuksen laitos Tekijä/Författare – Author Essi Rautiola Työn nimi / Arbetets titel – Title The 1961 New York City Zoning Resolution, Privately Owned Public Space and the Question of Spatial Quality - The Pedestrian Through-Block Connections Forming the Sixth-and-a-Half Avenue as Examples of the Concept Oppiaine /Läroämne – Subject Taidehistoria Työn laji/Arbetets art – Level Aika/Datum – Month and year Sivumäärä/ Sidoantal – Number of pages Pro gradu Huhtikuu 2016 104 + 9 Tiivistelmä/Referat – Abstract Tutkielma käsittelee New Yorkin kaupungin kaavoituslainsäädännön kerrosneliöbonusjärjestelmää sekä sen synnyttämiä yksityisomisteisia julkisia tiloja ja niiden tilallista laatua nykyisten ihanteiden valossa. Esimerkkitiloina käytetään Manhattanin keskikaupungille kuuden korttelin alueelle sijoittuvaa kymmenen sisä- ja ulkotilan sarjaa. Kerrosneliöbonusjärjestelmä on ollut osa kaupungin kaavoituslainsäädäntöä vuodesta 1961 alkaen ja liittyy olennaisesti New Yorkin kaupungin korkean rakentamisen perinteisiin. Se on mahdollistanut ylimääräisten
    [Show full text]
  • 100E53 Brochure.Pdf
    Prologue The prospective homeowner of One Hundred East Fifty Third Street resists easy categorization. I have personally fielded inquiries from businesspeople who touch down across the planet to long- established couples who are writing the next chapter of their lives in the city. Yet what they all have in common is an eye for detail, an appreciation for cultural experience, and overall sophistication. RFR shares that perspective, which our development projects have proven time and again. The company is held to increasingly rigorous standards as a result of these past achievements, and to that end One Hundred East Fifty Third Street will be the highest- quality residential building we have ever sponsored. Site, as much as our reputation, demands such an effort. One Hundred East Fifty Third Street’s location next to the Seagram Building is in fact an obligation to produce a tower of similar Cover: A detail of One Hundred creative perfection. In the hands of architect Norman Foster, we East Fifty Third’s east elevation are realizing a structure that both honors its important setting and shows the harmony between the faceted curtain wall and custom propels it forward. pleated curtains, which are installed throughout the interiors. One Hundred East Fifty Third Street’s progressive spirit will be Right: The tower ascends to 711 feet. most apparent to future homeowners. The design of individual residences stands out in the crowded New York marketplace. Much more space is allocated to entertaining and art display than comparable properties offer, in particular, and each unit’s systems and finishes are keenly tuned to contemporary living.
    [Show full text]