You’ve certainly heard of LEED and Passive House in architecture, but what about biophilia? For COOKFOX, adding nature to a building and all the elements that surround it is a no-brainer. They strongly believe that humans have a deep, innate connection and love of nature, and in an urbanscape, they only way we can live fulfilled lives is to meld it with the built environment. Ahead, CityRealty catches up with COOKFOX Partner Brandon Specketer, who delves the guiding principles of biophilic design and how his firm is using biophilia to increase satisfaction and health in everything from offices to hospitals to condo apartments.
Interview: COOKFOX Partner Brandon Specketer on Biophilia’s Role in Building Design
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In architecture, research and concept come long before building and design, but more often than not architects don’t have the chance to execute their ideas to the fullest extent when managing client expectations. But New York-based architect Steven Holl didn’t have that issue with his Ex of In House, a small guest house-turned-experimental site on the property of his personal Hudson Valley residence. The 918-square-foot structure is part of the firm’s Explorations of “IN” research project, which questions “current clichés of architectural language and commercial practice.” Here, they wanted to explore “a language of space, aimed at inner spatial energy strongly bound to the ecology of the place.”
Located on a 28-acre plot of rocky land in Rhinebeck, the house is positioned to build a conversation about architecture as a formal response to its surroundings, as well as its ability to inform and thrive within existing environmental systems.
With this conceptual foundation, the design for Ex of In House was executed to stand in opposition to the common practice of “modernist suburban houses that ‘sprawl in the landscape.’” Instead, the structure embodies “compression and inner voids,” as described by Holl’s “IN” team. It represents the inversion, as opposed to the depletion, of space and is realized through a series of design interventions that enable fresh interpretations of architectural functionality.
The dominating geometry in the home is made up of intersecting spherical spaces and tesseract trapezoids. The crossover between these these two volumes creates surprising pockets and unexpected connections, the most notable examples being the entryway and corner window. It’s situated around one main volume open to the second level with the kitchen at the center. There are no bedrooms, but it can easily sleep five adults.
The house uses geothermal heating methods instead of fossil fuel, and a thin film of SoloPower photovoltaic cells are connected to a Sonnen battery energy storage system, making the home completely energy independent. Additionally, all light fixtures are 3D printed in PLA cornstarch-based bioplastic, and the glass and wood are both locally sourced.
See more work from Steven Holl Architects here >>
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Photos via Paul Warchol for Steven HollIn architecture, research and concept come long before building and design, but more often than not architects don’t have the chance to ...
As New York City’s population continues to grow, so does its skyline. This change isn’t only going on in NYC, but also in other major cities across the country. Rentcafe.com wanted to show the shifting skylines of these urban centers in the last decade, selecting “the most striking skyline transformations to take place recently in America’s expanding cities.” To demonstrate the change, the site used time-lapse slides of “the best real estate developments built in the U.S. in the last decade or so.” These included five in New York City, in the boroughs of Manhattan, Queens, Brooklyn and the Bronx.As New York City’s population continues to grow, so does its skyline. This change isn’t only going on in NYC, but ...
When writers and artists–particularly ones who have a keen understanding of cities–venture into the world of maps, you can bet the results will be fascinating and illuminating. “Nonstop Metropolis,” a new atlas by Rebecca Solnit and Joshua Jelly-Schapiro (6sqft recently discovered the “City of Women” subway map from the book) offers 26 New York City maps that “cue us into understanding who is here” according to Solnit. As Wired puts it in their review, the result is “a diverse array of deeply particular maps” that combine imaginative and fanciful imagery with the colorful cultural history beneath the city’s diverse neighborhoods and landmarks and the people who live among them.
The new “Nonstop Metropolis” is one volume in Bay Area resident Solnit’s map trilogy that includes San Francisco-based “Infinite City” and the 2013 New Orleans atlas “Unfathomable City” (with co-author Rebecca Snedeker). Solnit compares those cities for their ability to attract the fabulous and fascinating: “These cities are generative of people who come out of the closet or become doctors or dancers, but they’re also generative of new ideas about how we live our lives.” In the trilogy, Solnit, Snedeker, and Jelly-Schapiro present 70 personal cartographies, making the point that there are so many more: “San Francisco has at least 800,000 ways of being mapped, New York has eight million,” according to Jelly-Schapiro.
Trash in the City: Dumping on Staten Island and Beyond; Cartography: Molly Roy; Artwork: Linnea Russell
Mother Tongues and Queens: The World’s Languages Capital; Cartography: Molly Roy; Photographs: Mirissa Neff
To cover NYC in all its quirky glory, the authors consulted local historians both informal and professional; it wasn’t hard, according to the authors, to find folks who are happy to talk about why their city is the greatest on Earth. Says Jelly-Schapiro, “Whatever odd ephemeral knowledge we’re interested in, there’s someone here who’s made a career out of it.”
The resulting atlas offers landscapes as diverse as the subcultures that inhabit them, such as “Mysterious Land of Shaolin: The Wu-Tang Clan’s Staten Island,” and “Oscillating City,” which simply tracks the city’s commuters like so many bees circling a hive. Essays and interviews provide context.
Black Star Lines: Harlem Secular and Sacred; Cartography: Molly Roy
Water and Power: The Reach of the City; Cartography: Molly Roy; artwork: Duke Riley
Mysterious Land of Shaolin: The Wu-Tang Clan’s Staten Island; Cartography: Molly Roy; Artwork: Peach Tao
A constellation of contributors includes Bronx hip-hop pioneers Grandmaster Caz and Melle Mel, author and book critic Luc Sante, graffiti artist Lady Pink, and urban planning professor Thomas Campanella, to name just a few.
City of Walkers. Cartography: Molly Roy
Map via Molly Roy, from “Nonstop Metropolis” by Rebecca Solnit and Joshua Jelly-Schapiro. Subway route symbols ® MTA.
Says Solnit about our fascination with maps, the more personal the better: “We have this desire for orientation—each promises that you might at least know where you are, in some metaphysical or practical way.”
Lead image: Burning Down and Rising Up: The Bronx in the 1970s. Cartography: Molly Roy; Artwork: Lady Pink
When writers and artists–particularly ones who have a keen understanding of cities–venture into the world of maps, you can bet ...
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- Using a 100,000-pound hydraulic excavator, crews started debris removal at the Gowanus Canal. So far they’ve uncovered two boats, a tree, and countless random objects like tires and bikes. [DNAinfo]
- What nine shoppers wore to the Williamsburg Whole Foods. [NYT]
- Remember that “Naked Trump” statue that appeared in Union Square and then near the Holland Tunnel? It just sold for $22,000 at auction. [Art Daily]
- Five sites of “dark tourism” in NYC. [Untapped]
- Columbia’s controversial Manhattanville campus in West Harlem, which will cost $6.3 billion, held a dedication yesterday at its Renzo Piano-designed science center. [Gothamist]
- Amid an attendance slump, the Yankees are renovating their seven-year-old stadium. [NY1]
Images: Gowanus Canal via 6sqft (L); Naked Trump via therealdnig/Instagram (R)
Gowanus Canal cleanup yields sunken boats and a tree; ‘Naked Trump’ statue sells for $22K at auctionUsing a 100,000-pound hydraulic excavator, crews started debris removal at the Gowanus Canal. So far they’ve uncovered two boats, a ...
For only $825,000 you can own a home fit for a princess, or at least for a governor’s daughter. The Emma Flower Taylor Mansion is the historic Watertown home of its namesake and her husband John Byron Taylor. The 14,000-square-foot residence was built in 1896 as a wedding present from Mrs. Taylor’s father, former New York Governor and financier Roswell Pettibone Flower. He recruited acclaimed architects Lamb and Rich to create the palace-like home perfect for his only daughter. Today, the 14 bedroom, nine bathroom mansion is divided into eight separate apartments; however, it has still retained the regal Victorian look that’s made this home a cherished piece of New York history.
Elegance greets you even before you enter the doors of this nearly 120 year-old home with large glass doors that are cast in beautiful iron filigree. At first glance, the lobby seems somewhat minimal, but this expansive space, once used as a waiting room for visitors, features a coffered ceiling adorned with quirky pendant lights. The multicolored tiles around the fireplace give off a shimmering effect, while the coat of arms and family crest add a very personal historic touch.
The Great Room is undoubtedly the grandest of the house. Certainly, Mrs. Taylor used it often to entertain the many millionaires who resided in Watertown in the early 20th century, and with a raised dais near the rear of the room, she had an ideal platform to host small performances.
Seven stunning, original fireplaces are spread throughout the mansion, serving as functional works of art.
Also original to the mansion is the stained glass designed by Lamb Studios. It’s been stored in the attic for nearly 60 years and is in impeccable condition.
The large covered porch extends the length of the house, wrapping around the entire front.
The Taylor mansion has not changed much since its construction in 1896. Each delicate detail of the house remains true to its black and white photos. Watertown, however, is no longer the playground of the wealthy, though it remains the most bustling city near the Canadian border.
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Photos via Franklin Ruttan
For only $825,000 you can own a home fit for a princess, or at least for a governor’s daughter. The Emma ...
If the stoop of this Greek Revival brick rowhouse at 92 Wyckoff Street in Boerum Hill looks familiar, that’s because it belongs to Cat Greenleaf, host of NBC’s “Talk Stoop” talk show where she interviews celebrities on her front steps (h/t Curbed). She and husband Michael Rey bought the home in 2006 for $850,000, and have now listed it for just a hair under $3 million. This comes after a significant renovation that outfitted the charming house with wide-plank wood floors, barn doors, exposed brick walls, and a mix of the original ceiling beams paired with those reclaimed from a Catskills barn.
The home is configured as a three bedroom owner’s duplex with a one-bedroom rental apartment on the garden floor. The owners get to enjoy the open, lofty parlor floor, which is framed by the reclaimed beams. A more modern open kitchen sits to the back of the space, but still features country details like exposed brick and barn beams. It also has a door that leads to a patio and backyard.
There are three bedrooms upstairs on the third floor, as well as a full bathroom. The master comes with a big walk-in closet.
Here’s a look at the charming garden–perfect for an outdoor dinner party!–from the deck off the kitchen.
Greenleaf started filming on her stoop in 2009 for Taxi TV (which is now being phased out), and it debuted nationally on the USA Network in 2013. No word on if the show will relocate to a different stoop.
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Photos courtesy of Corcoran
‘Talk Stoop’ host Cat Greenleaf selling $3M Boerum Hill townhouse with reclaimed beams from a Catskills barnIf the stoop of this Greek Revival brick rowhouse at 92 Wyckoff Street in Boerum Hill looks familiar, that’s because it ...
These days if an architect were to ask a developer “What’s your sign?” they probably wouldn’t be taken very seriously. But in the early 1900s, it was an entirely different story.
A century ago, wealthy industrialists, bankers, businessmen and civic planners were erecting opulent buildings with the help of top architects and artists. And in addition to elaborate ornamentation, celestial ceilings with zodiac symbols were also requested in a number of iconic building designs. Ahead we point out six historic New York area buildings where you can still encounter these astral vestiges.
Long before the Dutch arrived in New Amsterdam and brought exciting things like brownstones with useful stoops, ancient civilizations were trying to devise rational ways to measure the irrational concepts of space and time. Since they had more time on their hands than today’s horologists, watching the sun, moon and stars was as good a place as any to start.
The origin of zodiac symbols is believed to have come from Babylonians. The Greeks later adopted them with some small changes, like dropping off the thirteenth sign. From there, the twelve remaining symbols made their way into other cultures around the world.
As it goes, each zodiac symbol coordinates with a constellation in the sky, the constellations themselves providing a celestial coordinate system (a stable point of reference) that travels through the sky at the same time every year. Essentially the zodiac is the circle of twelve 30-degree divisions of celestial longitude—the apparent path of the sun across the celestial sphere over the course of the year.
In terms of architecture, zodiac symbols were already being used in other parts of the world appearing in the ornate ceilings, floors and the stained glass of churches and cathedrals, like the Chartres Cathedral in France built in the 12th century. In the early 1900s they became more visible in New York, and they are still apparent if you know where to look for them.
1a. Morgan Library, built 1906. Ceiling detail, 2014. Photo: Baruch College, via Medieval.org
The Morgan Library
In 1906 Pierpont Morgan had a personal library built to accommodate his growing collection of books, historic manuscripts, medieval works of art, along with old master drawings and prints. Designed by Charles McKim from the architecture firm of the day, McKim, Mead & White, the library epitomized America’s Gilded Age.
The result was an Italian Renaissance-style palazzo with three stunning rooms of both size and elaborate interior design. The scheme by H. Siddons Mowbray’s for the lunettes incorporated two series of figures: representations of muses and their attributes (copied from the Church of Santa Maria del Popolo in Rome) and cultural luminaries of the past.
Starting on the right of the fireplace, cultural luminaries include Dante Alighieri (comedy) Sandro Botticelli (painting), Michelangelo (architecture), Antonio da Sangallo (poetry), Socrates (history), William Caxton (music), Herodotus (science), Galileo Galilei (astronomy) and Christopher Columbus (tragedy).
Adding to the intricate ceiling, zodiac signs accompanied by their ruling deities from the Roman calendar appear in the hexagonal spandrels above the men and their muses. The zodiac signs on the ceiling were arranged according to their influence on Morgan. The two isolated signs above the doorway are Aries and Gemini which correspond to his birthday and the date of his second marriage; For Morgan, the placement symbolized walking past his two lucky stars each time he entered the room. Opposite Aries is Libra, the sign Morgan assumed as a member of the “never secret, only private” Zodiac Club, and opposite Gemini is Aquarius, the sign his first wife passed away under.
Eleven years after Pierpont Morgan passed away, his son J.P. Morgan, Jr. decided it should be available to all. It was turned into a public library in 1924 and remains open to the public.
2a. Surrogate’s Courthouse entrance, mosaic ceiling detail. Photo by Larry Lederman, NYSID
The Surrogate’s Courthouse
The year after the Morgan Library was built, the Surrogate’s Courthouse was completed in 1907. Originally called the Hall of Records, it is still considered one of the finest examples of Beaux-Arts architecture in the city. The austere exterior seems to protect the lavish interior; a level of opulence not usually found in civic architecture. Designed by John R. Thomas, the atrium is highly decorated and covered with pink, beige and sienna marble carvings, capped by an arched bronze skylight. With the stoic appearance and warm lighting, the atrium has become a TV star in its own right with frequent appearances on Law and Order’s SVU series.
Often overlooked, the glittering ceiling of the main entrance is the opening act for the spectacular atrium. Glass tiled mosaics depicting stylized zodiac symbols and ancient deities were designed by William de Leftwich Dodge, who also worked on the Algonquin Hotel. You can check this area out by entering from Chambers Street, but if you want to go into the atrium, you’ll need to pass through a security check point with a reason for your visit.
3a. Grand Central Station, NYC. Ceiling w/zodiac symbols. Photo: WikiCommons
Grand Central Terminal
The belle of the celestial ball arrived in 1913 as Grand Central Terminal, a transportation and architectural masterpiece. One of the most iconic landmarks in New York, the elaborately decorated ceiling of the main concourse was the collaboration of artists, astronomers and painting assistants.
There has long been chatter of the constellations of being laid out incorrectly from an earthly view, but correctly from a heavenly view (the heavenly view was often used in medieval art). There is also confusion about its accuracy, as Taurus and Gemini are reversed in their relationship to Orion, meaning they were painted from a heavenly view and Orion was painted from the earthly view.
Whether or not the astronomical charts were intentionally misinterpreted is still unclear. But with no interest in rewriting history, the ceiling has never been changed by officials to correct the constellations. And with plaster repairs made in 1930 and a 12-year restoration effort undertaken in the 1980s, Grand Central remains a sublime example of a celestial ceiling used as a canvas for representing the concept of time and space.
The Salmon Tower
The Salmon Tower was designed by York & Sawyer, another one of New York’s early top architectural firms, and completed in 1927. The formal name was dropped and now it is referred to simply by its address 11 West 42nd Street.
The H-shaped building sits in the middle of the block so 43rd street is accessible by continuing north through the lobby, which is also noteworthy because of its blue Guastavino ceiling tiles. The façade on both sides of the building include bas-reliefs representing each month and their corresponding zodiac signs.
You can enter the lobby freely from 42nd or 43rd, but will need to pass a security checkpoint to get on the elevators. The building doors are also recessed from the facade, making this is a cool place to wait for someone or ride out the rain.
5a. Williamsburgh Savings Bank Tower, detail of blue ceiling mosaic. Photo: Larry Lederman and NYSID
The Williamsburgh Savings Bank Tower (a.k.a. One Hanson Place)
The Williamsburgh Savings Bank Tower in Brooklyn was built 1929 and continued the celestial trend of the time. Representing the heavens, a blue groin-vaulted mosaic ceiling arches over the lobby. Punctuated by gold mosaic stars, the area is a visual introduction to the colossal 63-foot-high banking hall.
The soaring ceiling was painted by Angelo Magnanti and is a muted rendition of zodiac constellations with their mythological figures in gold. In the vaults, on either side of the arched painted ceiling, mosaics of zodiac signs can be seen, although not easily. The metallic ceiling feels light and airy which can cause one’s perception of the immense vertical space to warp.
At one end of the hall, a wall mosaic depicts early settlements in Kings County including Breuckelen (Brooklyn), Boswijck (Bushwick) and Midwout (Flatbush).
Most recently recognized as the location for the Brooklyn Flea market, the space is now dedicated to events and the upper floors have been turned into 178 market-rate residential units branded as One Hanson Place.
6b. Pennsylvania Station, Newark, NJ. Photo by Jerome Gouvernel, 2016
Pennsylvania Station in Newark, New Jersey
The other Pennsylvania Station in Newark, New Jersey has a spectacular art deco waiting room worth an in-person visit because clear photos of the zodiac wrapped globes are hard to come by. When it was completed in 1935, the station boasted 232 trains between Newark and NYC running on a daily basis. Typical of art deco design, the evolution of transportation found its way into the ornamentation, and includes things like a canoe, covered wagon, electric locomotive and airplane.
The ceiling is covered with blue Guastavino tiles in a herringbone pattern dissected by undulating brass lines embedded into the tile. The twist away from the modern architectural style can be found in the zodiac symbols that encircle each of the four globe chandeliers. Made from opal glass, each chandelier weighs 800 pounds, but the streamlined design makes them look weightless.
This celestial ceiling is more abstract, mostly because of its simplicity, which is not seen in the other buildings, but the elements are still there. The blue ceiling represents the sky, four globe chandeliers could be interpreted as the sun or moon and/or the four seasons, and the zodiac symbols connect earth and the cosmos. As with Grand Central, using zodiac symbolism to quantify time and space seems to work well in the transportation hub.
The connection to the cosmos, ideas of time and space, and an awareness of ancient zodiac symbols were important design elements in the past. They may have slipped to the side, as with so many other historic symbols (cornucopia, lions, owls, Roman gods, gargoyles), but at least you can still spot some of these remnants in New York and New Jersey.
These days if an architect were to ask a developer “What’s your sign?” they probably wouldn’t be taken very seriously. But in the ...
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An estimate by the New York Building Congress has construction spending in 2016 at more than $43.1 billion, beating the $41.6 billion high of 2007 and reflecting a 26 percent increase from last year’s $34.4 billion, the Wall Street Journal reports. The surge in construction, led by mega-project Hudson Yards on Manhattan’s West Side and public projects like the Second Avenue Subway, has led to rising construction costs and an attendant surge in the demand for skilled labor, bringing workers to the city from all over the U.S.
According to the industry group’s report, construction spending in the city will hit $127.5 billion in the next three years. Office construction is in the spotlight with over 20 million square feet of new space predicted over the next five years, again much of it in Hudson Yards.
Non-residential construction shows a 27 percent projected spending increase from last year to $17 billion. Until this year, private projects–like apartment buildings and office towers–led construction spending; but a rebound in government construction spending in 2016 has had more of an impact recently though government spending still lagged 39 percent below a 2007 peak. The Metropolitan Transportation Authority and the Port Authority of New York and New Jersey also contributed to the spending uptick.
Residential construction is up to record levels again for the third year in a row, set to hit $13.4 billion in 2016, up from $12.7 billion in 2015. Building congress president Richard T. Anderson said the building industry “is clicking on all cylinders,” but questions whether the pace can be sustained, particularly “without a renewal of the 421a tax reduction program or better progress on the de Blasio’s administration’s efforts to rezone areas of the City to accommodate greater density and more affordable units.”
An estimate by the New York Building Congress has construction spending in 2016 at more than $43.1 billion, beating the $41.6 ...
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Each decade in the New York metropolitan area about 500,000 people are buried in cemetery plots, taking up a dwindling amount of land and outputting cremation smog into the air. With this growing issue in mind, a trans-disciplinary research and design group at Columbia University known as DeathLab has been working for the past five years to reconceive “how we live with death in the metropolis.” One of their proposals is Constellation Park, a system of hundreds of burial pods suspended under the Manhattan Bridge that together create a twinkling public park. Atlas Obscura shared the design, which, if built, could reportedly accommodate around 10 percent of city deaths a year.
The idea for Constellation Park came from environmental engineer Kartik Chandran, “who has been working on an anaerobic microbial digestion for corpses in which microorganisms consume bodies without the need for oxygen, reducing them to light.” Not only is this responsible for the shiny nature of the pods, but it’s a way to keep the body’s energy alive even after death.
An article in Columbia Magazine explains how the team feels the idea encompasses all their goals: it’s accessible (you can even see a loved one from miles away); it has no additional footprint, as it’s integrated into existing infrastructure; and it’s renewable. Since the bodies will naturally decompose “through microbial digestion,” loved ones will be able to take a small amount of their remains, and the pod will then be ready for a new body (if you’re wondering about traditional cremation, DeathLab says that is actually quite un-evironmentally friendly since the process uses a great deal of energy and non-renewable fuels and releases sometimes-toxic gases).
The park is made up of a tensile steel and recycled plastic matrix that supports the pods. Throughout is a series of plazas and staircases for people to pay their respects.
[Via Atlas Obscura]
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Images courtesy of DeathLabEach decade in the New York metropolitan area about 500,000 people are buried in cemetery plots, taking up a dwindling ...
There’s nothing that makes a New Yorker jealous like a sprawling, decked-out backyard. And this one at 11 Charlton Street in Soho is sure to induce plenty of envy. It’s a 1,000-square-foot “garden oasis” (as the listing dubs it) outfitted with a koi pond, Magnolia trees, two outdoor sheds and a BBQ. With two big windows between the garden and this one bedroom, now asking $1.56 million, the apartment pulls a little of the outdoors inside.
Here’s another shot of that garden, off the ground floor of the co-op building. Talk about a major perk of moving into a ground floor apartment!
Inside, there’s about 750 square feet. The combined living and dining area exits out into the garden and looks out onto the koi pond.
The open kitchen, which has a breakfast bar for some extra seating, is situated right behind the living room.
The bedroom also comes with garden views. It’s a tight space now outfitted with a murphy bed. But there’s an adjacent walk-in closet that’s large enough to be converted to an office space, the listing says.
Charlton Street is only three blocks long, running through west Soho. This co-op building is right on the corner of Varick Street, two blocks south of Houston. It’s not particularly impressive from the outside– apparently its charms are most evident out in the back.
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Photos courtesy of Douglas EllimanThere’s nothing that makes a New Yorker jealous like a sprawling, decked-out backyard. And this one at 11 Charlton Street in ...
In 2010, fashion designer Alexander Wang bought his Tribeca loft at 39 Worth Street for $2 million from former New York Times Style writer Holly Brubach. He then undertook a gut renovation with decorator Ryan Korban that resulted in an “industrial chic” space that embodies his love of black and his line’s signature minimalist, urban vibes, as seen through details like a furry furniture, zebra rugs, leather pillows, and mirrored wall panels. Wang listed the 2,550-square-foot home for $3.75 million in May, and the Observer now reports that it’s gone into contract for $3.5 million.
The home retains historic loft details like oversized mullioned windows, 12-foot ceilings, and restored tin ceilings, but also features more contemporary takes on the warehouse style such as ebony-stained wood floors and whitewashed brick walls. The 30′ x 85′ main space is divided into three functional zones–a large living room, dining room, and a den. There’s also an open kitchen, which has stainless steel cabinetry, white marble counters, and a large island.
Though the home is currently configured as a one-bedroom (with, fittingly, a giant walk-in dressing room), there is plenty of space to create more bedrooms. There’s also two white marble bathrooms and a large laundry and utility room with a washer-dryer.
As the Observer explains, Wang stepped down as the creative director of Balenciaga in 2015, and recently announced that he’d be taking over as CEO of his namesake line. His former position required him to split his time between New York and Paris, so perhaps now he’s looking for larger digs in NYC.
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Images courtesy of the Corcoran GroupIn 2010, fashion designer Alexander Wang bought his Tribeca loft at 39 Worth Street for $2 million from former New York ...
Ashley Olsen went into contract on a luxe two-bedroom spread at 37 East 12th Street in May. The Greenwich Village apartment had been listed for $7.1 million, but the Observer confirms that the single twin has now closed on the home for $6.75 million. The 19th century cast-iron building was converted to six full-floor boutique condos, and this privacy is what reportedly enticed Olsen. The prime Village location probably didn’t hurt either considering she and sis Mary Kate named their clothing line The Row after the famous stretch of rowhouses along Washington Square Park.
The listing described the 3,000-square-foot home as having “a gracious, Old World sensibility, reimagined for contemporary living.” Though it’s been outfitted with modern updates like chevron-patterned walnut flooring and a sleek living room fireplace, the condo retains original details including barrel-vaulted ceilings, large picture windows, and exposed cast iron columns.
The steel and restoration glass doors that separate the kitchen and dining room are definitely the centerpiece of the space. The kitchen boasts custom rift white oak cabinetry, hones marble counters, and Spanish crackle-glazed subway tiles on the backsplash and arched ceilings.
The though bedrooms are fairly understated, the bathrooms really go all out. The master has honed Calcutta marble walls, custom mosaic floors, a freestanding polished-metal soaking tub, separate toilet, and rain shower. The powder room has cast Moroccan tile floors and a custom vanity with reclaimed Museum of Modern Art marble.
As 6sqft previously explained, “This is not the 29-year-old Olsen’s first foray into downtown real estate. In 2004, she and twin sister Mary Kate bought a $7.3 million penthouse at 1 Morton Square to serve as their NYU ‘dorm,'”selling it in 2010 for $7.7 million.” Ashley won’t be too far from her twin; Mary Kate and husband Olivier Sarkozy bought painter David Deutsch’s magnificent Turtle Bay townhouse in 2014 for $13.5 million.
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Images courtesy of Douglas EllimanAshley Olsen went into contract on a luxe two-bedroom spread at 37 East 12th Street in May. The Greenwich Village apartment had ...
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