Enrique Norten by Steve Cutler
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Architect Profi le The penthouse at One York Street Enrique Norten by Steve Cutler to work in New York: Jean Nouvel, Herzog & de Meuron, Foster’s residential work, the Gramercy Park project by Paw- son. It’s only just happened in the last few years.” Until recently, Norten has been recognized almost exclu- sively for the visionary urban masterworks he has designed in his native Mexico. But since it opened in 2001, the New York offi ce for his fi rm, TEN Arquitectos, has grown larger than its headquarters in Mexico City, which he opened in 1986. It employs 35 people and keeps Norten in New York more than he is in Mexico. And with at least eight important large-scale projects in the works, Norten is about to become a vital force in the architectural life of New York City. Norten’s New York debut will be the stunning One York Street, a condominium at the southern edge of TriBeCa com- posed of a new 14-story glass tower grafted to the center core ow that design has emerged as an amenity in resi- and fl oated over the top of a seven-story pre–Civil War manu- dential high-rises and developers are putting great facturing building, which completely occupies a small block. Narchitects along with cutting-edge international de- “It’s not historic,” says Norten. “It’s old. But the building signers to work on the New York City landscape, have we does have qualities that refer to the texture of the area. There fi nally become a showcase for world-class design? were moments when demolition was being considered, but I “I’m not sure if we’re there yet,” says architect Enrique pushed hard to keep it.” In the end, he says, “it’s always an Norten, “but there are six or seven residential projects in New economic reason. It was just more effi cient to keep the build- York that are going to become destinations for those of us who ing and build on top of it.” are interested in architecture. Really good people are starting The condominium has two separate components, offer- 12 NEW YORK LIVING ing sharply contrasting living styles. “We decided to cut into his work to uncover common themes. “After a time you end the building from various sides, so we can not only place an up developing a vocabulary of form, textures, colors, materials object on top but really intersect the old building all the way — that’s where you can distinguish my voice from somebody down to the ground, so it is not necessary to go through the else’s voice. Not that it’s better. Certain architects at a certain old building to come into this very sharp, new, light, transpar- point start decanting their own vocabulary.” ent building.” Norten’s vocabulary refl ects his fondness for engineer- The top seven fl oors will contain 15 glass-walled pent- ing. “I’m very interested in how the pieces work,” he says. His houses with wraparound terraces or balconies. One resi- work revels in creating mechanically complex structures that dence on the seventh fl oor has a private outdoor lap pool. strive for simplicity and appear transparent, accessible, and TEN Arquitectos is designing everything down to the inviting, even while grand in scale and purpose. cabinets in the bathroom. “It will be a light and clean back- “Architecture is a complex process of synthesis,” says ground which will allow people to occupy the space in dif- Norten. “It’s very diffi cult to fi nd that one line that drives a ferent manners,” says Norten. project. It’s the place, the desires or vision of the client, the “People are more willing to live in open, less formal, con- weather, economics, the politics, the conditions of labor, tech- ditions,” he notes. “The premodern idea of room after room nicalities — an overlay of many layers of information eventu- is breaking down into a more continuous space, which allows ally designs a project. It’s not about inspiration. It’s not an art. people to be more fl exible and more dynamic within their liv- You don’t sit in front of a white paper waiting for some mi- ing space.” raculous condition to appear. The challenge in design- One York Street It’s a long, arduous process of ing One York was common to analysis and synthesis.” all projects in New York City, Researching his design Norten says. “All developers for Harlem Park, a massive ask you for the same thing. In mixed-use project that will the end they ask you to get in redefi ne the scale and aesthet- as many salable square feet as ic of architecture in Upper you can, and that’s dictated by Manhattan, Norten recalls, many issues in New York. You “I had to get acquainted with have complex zoning regula- Harlem. I found a different tions that defi ne the amount of culture within the city that I built space on a site. It’s always have not found anywhere else. us and the lawyers and the You go to Harlem and you see zoning experts trying to fi gure people really using the streets, out how much more sellable not just walking the streets, space you can put in a site.” but really living like the public While Norten began de- space is an extension of their signing here only recently, he own spaces. Plus, because of says, “I’ve had a love relationship with New York for many the backgrounds of the people, there are different colors and years,” beginning with graduate school studies in the late ’70s languages and sounds. You hear not only the language but the at Cornell, which at the time was an important center for ar- music. Harlem is a lot about music. The black and Latino cul- chitectural study, with such philosophers of urban design as ture have created a real mixture, a new hybrid.” Colin Rowe on staff. Since then, he says, “I always looked for How does this translate to blueprint? “It’s hard to say academic positions in New York, or consultants in New York how it translates into a form,” says Norten, “but I would say — anything to keep me related to New York.” I do not see the complexity of this project in any of our other Norten nods to the modern masters as infl uences in his projects, even within Manhattan. It has everything — a hotel, work — Mies van der Rohe, Le Corbusier, Oscar Niemeyer. conference center, retail, housing. It refl ects the complexity, But, he says, “my friends and colleagues, I look at their work the necessities, of Harlem.” and listen to their commentaries. That’s where I pull the most The tallest building in Harlem, the 34-story layered glass information from.” And from his students as well. “I teach and masonry tower at 125th Street and Park Avenue will because I learn a lot from my students — their research and contain 55,000 square feet of retail on the ground and second curiosity informs my work.” fl oors, fi ve fl oors of offi ce space, a 222-room Marriot Court- Of his design style, Norten says, “I don’t believe in style. Style yard Hotel, 110,000 square feet of luxury condominium lofts is a premodern condition, where creation, especially the creation on the top fl oors, and a “public events” level with restaurants, of architecture, was about following certain paradigms that refer spa, conference centers, and terrace with swimming pool. to a certain way of doing things. I strongly believe modern and The ground-breaking of the $236 million Harlem Park in contemporary architecture are not about that.” February 2005 was a huge media event, with the project to open While constitutionally adverse to adherence to the dic- at the end of 2006. But fi nancial problems stalled construction. tates of style, Norten hints that one might be able look back on “It will be a big story again,” insists Norten. “The original de- NEW YORK LIVING 13 Brooklyn Public Library for the Visual and Performing Arts Enrique Norton Bio: veloper is teaming up with a new team of developers who are Master of Architecture, Cornell University, 1980 bringing new energy and fi nancial power to the project.” Began practice as partner in Albin y Norten Arquitectos in Mexico City, 1981 Founded TEN Arquitectos in Mexico City, 1986 Another TEN Arquitectos design for another high-pro- Opened New York City offi ce of TEN Arquitectos, 2001 fi le project about to commence construction is the Brooklyn Public Library for the Visual and Performing Arts. The cen- Awards: First Mies van der Rohe award recipient for Latin America, 1998 terpiece of the new BAM cultural district, the library will Honorary Fellowship from the American Institute of Architects (AIA), 1999 stand directly across from the Frank Gehry-designed Brook- Named advisor to the President of the National Culture and Arts Council in lyn Nets Arena in Downtown Brooklyn. “The library wanted Mexico, 2001 Gold Medal from the Society of American Registered Architects, 2003 to have a very transparent, permeable, friendly building that Certifi cate of Merit from the Municipal Art Society of New York, 2004 would relate to the dynamics of that area,” recalls Norten. Leonardo Da Vinci World Award from World Cultural Council, 2005 “We have created an artifi cial topography where the street Teaching Positions: or public space folds into itself and brings people in and up Currently holds Miller Chair at the University of Pennsylvania through the building in a continuous manner.” Held O’Neal Ford Chair in Architecture at the University of Texas The triangular, wedge-shaped building has a glass façade Held Lorch Professor of Architecture Chair at University of Michigan Elliot Noyes Visiting Design Critic at Harvard University that displays the bright colors on the walls inside while draw- Professor of Architecture, Universidad Iberoamericana, Mexico City (1980-1990) ing in the neighborhood from outside.