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Architecture

Woolworth Tower Residences: A Masterpiece

Woolworth Tower Residences unveils their 40th-floor masterpiece in the building where beauty and commerce meet.

In the pantheon of iconic buildings, the Woolworth Tower Residences stand tall. As Stan Ponte, Global Real Estate Advisor of Sotheby’s International says, “We are standing at the highest point the world could reach in 1913. It’s impressive, and it reminds New Yorkers how great man and architecture can be when they work together.” He continues, “You experience New York in a very different way, through the lens of history.” The 33 apartments that make up the Woolworth Tower Residences occupy floors 29 through 58. On the 40th floor, in what was formerly Frank Woolworth’s office, a spectacular, full-floor luxury home awaits.

Framing the best views of New York City are three-storey arched windows dressed in the tower’s distinctive, hand-carved, polychromatic, and fully restored terra cotta tiles, making the 40th floor apartment the ultimate New York City home. Alchemy Properties, the building’s developer, has taken great care to preserve the landmark’s irreplaceable historic features, while updating it for a modern client.

Interior architect Thierry Despont, whose designs pay homage to the building’s original architect, Cass Gilbert, created the residences and public spaces, and the firm has added contemporary luxuries such as app-connected lighting and blinds. Cheryl Eisen, the founder of Interior Marketing Group, walked the line between honoring the building’s past while looking to the floor’s future as a luxury escape. “All of our spaces are high drama,” Eisen says, “because we want visitors to have a jawdropping moment. The interior architecture is high drama and we accentuated Despont’s vision with floor to ceiling drapes. Enormous area rugs, light fixtures, a wall of mirrors and the floor to ceiling curtains all create drama.”

Eisen used the color and details of the restored windows as her main inspiration for decorating the space. Spanning the entire floor, the apartment measures 6,095 square feet with four bedrooms, four bathrooms, and two powder rooms. Eisen decorated each room with a different mood in mind while simultaneously preserving Frank Woolworth’s and Cass Gilbert’s original vision. As Eisen describes the space, “The delicate interior is not the star of the show—it’s the view.”

The dashing great room features custom artworks by the visionaries at IMG, the room’s hues complement the apartment’s terra cotta windows, and the furnishing are low profile to accentuate the 14-foot ceilings. A sculptural chandelier completes the room. “Gray and gray-ishare IMG’s signature colors. It’s such a subtle difference between a cool grey, a warm grey and a cool neutral, it makes everything beautiful and lush,” Eisen says. “You can do any piece of art with grayish and it works.”

The furniture featured in the great room emphasizes the classic traits of the building’s aesthetic. Eisen paid close attention to scale in the vast space. The blue palette exhibited throughout the apartment, hiding in small details such as pillows and the deep border on the floor length window treatments, was inspired by the building’s exterior. “The blues are interesting because they bring out the blues in the terra cotta.” She continues. “It’s one of the original artifacts from the building and we wanted to speak to that.”

In the dining room, IMG’s signature grass-cloth wallpaper adds texture and shine. Eisen juxtaposes low furnishings with the dining room’s high ceilings to maintain the grandeur found in the great room. The custom glass dining table complements the large host chairs which were originally made to serve as sofas. “Regular dining chairs would have been too small,” she says.

Eisen used the city views as decor in the dining room, but added a stunning custom mirror at the rear of the room to reflect the window and the cityscape throughout the space.

In the guestroom on the southwest corner of the floor, Eisen chose a masculine style to honor the room’s original use as Frank Woolworth’s office, and which, at the time, showcased a panoramic view of the Statue of Liberty. Says Stan Ponte, “At the time this building was built, there was no real view looking north. There was nothing beyond the Village except low buildings. So he chose the Southwest corner where he could view the only thing to see at the time, the Statue of Liberty.”

Eisen continued with the masculine atmosphere in her decoration of the master bedroom. Much like all the other rooms, the furniture for the master bedroom maintains a low profile, contrasted with decorative pieces incorporated to emphasize the high ceilings. For this room, IMG created a custom headboard that plays with the space between the floor and the ceiling. Eisen further created a leisurely sitting area in the corner of the master bedroom.

Eisen meticulously and expertly selected pieces to reflect the delicate detailing that is already incorporated into the architecture of the building. The design is a representation of the timeless style and elegance of Downtown New York, and serves as a pedestal for the story that Frank Woolworth told with his “Cathedral of Commerce.”

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Architecture

130 William Reimagines the Downtown Skyline

Renowned architect Sir David Adjaye reimagines the Downtown skyline with his first luxury highrise at 130 William.

New York has always been a Siren’s call for innovation—a place where big thinkers thrive. And so Lightstone, the real estate development giant responsible for 130 William’s production, gave international architect, Sir David Adjaye a ring.

“We did not want a plug and play tower,” says Scott Avram, SVP of development at Lightstone. “That was not our vision. When we met David, it was clear we wanted the same things.”

The exterior of 130 William will recall the neighborhood’s former, far grittier, stone masonry aesthetic. Standing tall in Lower Manhattan, the building will simultaneously balance a massive, black hand-cast concrete facade with airy, curvaceous windows and balconies jutting out over the city. The entire exterior will be swathed in a light texture for added visual interest. “It’s going to stand out in the skyline because we’re using a really heavy textured concrete,” explains Avram. “And you don’t really see it in black either.”

Adjaye’s use of unusual shapes and materials to fabricate a visually arresting, but tranquil space will attract designphiles and luxury hounds alike. Upon completion, the building will feature 244 residences, each outfitted with oversized, arched windows, harkening back to the era when lofts ruled Lower Manhattan, and custom designed bronze fixtures and hardware by Adjaye.

“David hand-selected the marble blocks in Italy for the kitchen and bathrooms,” says Avram. “The level of craft is all David’s brilliance; the entire building is incredibly layered with detail.”

130 William will enliven the Lower Manhattan skyline, but it will also bring more luxury shopping to the area with the addition of retail on the building’s ground floor.

“We’re really seeing a renaissance of Downtown,” says Avram. “It lagged a little behind the rest of the city, but now you can see all these great things happening, and the expanding vibrancy of this neighborhood is so exciting to watch.”

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Architecture Design

Interior designer Purvi Padia is giving back

Interior designer Purvi Padia is giving back with Project Lion, a humanitarian effort that marries her professional life and personal passions.

INTERIOR DESIGNER PURVI PADIA has a lot to celebrate. This year marks her eponymous firm’s 10-year anniversary, and she has recently taken a successful leap into humanitarian work with Project Lion.

As a first generation Indian-American, Padia recognized that she had access to opportunities unavailable to many, especially in her parents’ country of origin. “Everything that I’ve done in life has been informed by this first generation hard-working mentality, never forgetting what my roots are and where I come from,” says Padia.

Growing up, she made frequent trips to India with her family, where she quickly became aware of her privileges. She recalls seeing children on the street who had not eaten for days. “I could not reconcile why those children who looked exactly like me had such different lives.” As an adult she knew she wanted to help, so she contacted government-run orphanages, intending to provide donations and assistance. Instead, she was met with a lack of transparency.

After years of feeling powerless, Padia had her light bulb moment. She was inspired by the movie Lion based on Saroo Brierley’s memoir, A Long Way Home, a true story about a young boy’s journey from Australia to India to find his lost family. She began speaking with humanitarian aid organizations. She connected with UNICEF and founded Project Lion to address the issue of displaced orphans in India. “Together with UNICEF, we came up with a three year plan to serve the first 200,000 of these 1.5 million orphans,” she said.

Today, Padia and UNICEF are actively working together in order to not only ensure that these children are given access to sanitation, healthcare, education, and nutrition, but also that they are guaranteed human rights. UNICEF is working closely with the Indian government in order to train social workers, as well as to institute practices and regulations that ensure care for future generations of at-risk children.

Project Lion launched this May at the Highline Hotel, hosted by Sienna Miller and Jenna Bush Hager, and raised over $850,000 for the initiative. Padia, in collaboration with Aguirre Design, created the Sinha (Lioness) Bowl, a limited-edition, hand-forged brass, footed bowl that embodies Indian design. The bowl is available on her website and 30 percent of the proceeds will go directly to Project Lion.

As Padia gears up for her first field visit to India this fall, her kids are begging to tag along. “It’s very important for children to understand that as humans we have this obligation to help the rest of humanity whenever we can, and to show empathy and compassion,” said Padia.

As for the future of this project, Padia has big plans, including design events coinciding with Indian holidays to raise awareness. While this humanitarian effort is an international one, Padia’s passion has found a home downtown.

For more information, visit unicefusa.org or purvipadia.com

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Architecture Art Culture Living News NYC Outdoor Uncategorized

Sky Light

Twenty years later, Tribute in Light helps New York City heal. Photo by Joe Woolhead.

IN NEW YORK, art isn’t limited to the galleries and theaters; it overflows into the streets, draping itself across the city’s skyline. Architects, artists, social organizations, and New York’s many public agencies each play a hand in building the immersive installations that speak towards some of today’s most pressing topics. New York-born architect and artist Gustavo Bonevardi is recognized for his many public projects exploring the impact local and global crises have on our population, and in New York today he is perhaps best known, along with creative partner John Bennett and lighting designer Paul Marantz, as among the artists behind Tribute in Light, an annual light projection commemorating the anniversary of 9/11. Today managed by the 9/11 Memorial & Museum, Tribute in Light was conceived with the support of the Municipal Art Society as two beacons echoing the Twin Towers as they defined New York City’s skyline. Though the two light beams don’t represent the actual size of the towers, which were each an acre in size, the gap between the beams and the net acreage the installation occupies is approximate to the size of the towers. “What we’ve settled on is to create not the buildings themselves, but the void between those,” Bonevardi notes, emphasizing “this tension between these two vibrating pillars.” With the beacons of light reminiscing what the Twin Towers represented, Bonevardi adds that, “to my mind, it always seemed like the World Trade Center towers were sort of like a gateway, like a door to the city,” symbolizing open arms to the millions passing through each year. In the 20 years that Tribute in Light has taken place, it has acquired a steadfast following that looks to those lights each year, recalling that same message the towers once represented.

Tribute in LIght
Tribute in Light. Photo by Joe Woolhead.

Yet, Bonevardi hopes that the installation looks less at what was, and more at what could be. The Freedom Tower now erected serves as a new vision for the city’s reception of travelers and immigrants alike. Lower Manhattan on its broader spectrum has transformed from a once “beautiful and haunting” evening ghost town, as Bonevardi describes it, to a thriving neighborhood accommodating both residential and commercial tenants collaborating together to build a culture of arts, activism, shopping, and dining.

Gustavo Bonevardi
Gustavo Bonevardi. Photo by Ann Foker.

“I think that’s what New York is, it’s always fresh and new and vibrant,” Bonevardi notes, adding that when it comes to downtown’s future, “I expect it to be something unexpected. I expect to be surprised somehow. I mean, the city is constantly reinventing itself.” His most recent proposal, Missing, explores what traces the COVID-19 pandemic left on cities through footsteps echoing the many who passed away these nearly two years. Whether through such unexpected displays of resilience or delicate works of art, Bonevardi and the many other artists across New York show that this city champions perseverance and adaptability above all, underscoring what it takes to be a New Yorker.

Learn more and view a selection of Bonevardi’s works at gustavobonevardi.com.

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Architecture Design Featured Real Estate

The Bay is Framed by this Modern A-frame

IN A TOP-TO-BOTTOM RENOVATION of a bay-side A-frame home on Fire Island, Bromley Caldari turned a seasoned beach rental into a sleek, modern hide-out. Rethinking the iconic 1960s A-frame form, architects R. Scott Bromley and Jerry Caldari broke through the envelope of the building to weave a sculptural staircase through the airy three-story structure. Working with local builder Walter Boss, the team made preserving the surrounding natural habitat and pristine views a priority.

 

photos by Mikiko Kikuyama

 

The A-Frame home had a spiral staircase that split the center of the home; four cramped, dark bedrooms; a leaky roof; and a cracked pile foundation. It was not the beautifully designed vacation home that is so often associated with Fire Island Pines. However, the architects, builders, and clients saw the potential, and the poolside sunsets over the Great South Bay were spectacular.

Blocking that great view and occupying the heart of the house was the old, six-foot-diameter steel spiral staircase. The clients were willing to sacrifice a bedroom or two to remove that remnant.

 

 

photos by Mikiko Kikuyama

 

With the lot coverage at its limit, Bromley and Caldari took advantage of a local law that permits bay windows to project a maximum of two feet from the building envelope. The new stair would tuck into two large bay windows staggered at different elevations on each side of the house, with a cat-walk balcony off the master bedroom to connect the two sides. Views of the bay are framed at each elevation.

 

photos by Mikiko Kikuyama

 

On the main level, of this A – Fram is a double-height living and dining room stretches the length of the window-clad North façade. The open kitchen and house utilities run along the south side. The master bedroom suite has full-height glass sliding doors to take advantage of the view. When privacy is required, the sliding glass doors fog up at the flick of a switch.

 

photos by Mikiko Kikuyama

 

Under the peak on the third level is a quiet second bedroom and den, which doubles as a third bedroom when needed. The two rooms are connected by a walkthrough bathroom with a glass shower enclosure on one side and a glass-enclosed powder room on the other. Pocket doors at each end allow for privacy

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ART AND CRAFT

Eschew the production line and choose a one-of-a-kind piece to tie your room together.

KYOTO TABLE

Poltrona Frau revisits the iconic Kyoto table designed by Gianfranco Frattini in 1974. The elegance of Japanese design blends with the rich and tactile qualities of solid wood. The table is crafted with precision dovetail joints, making the craft part of the decorative appeal. 

poltronafrau.com


RONDEL PENDANT LIGHT

A simple, yet elegant glass rondel hovers beneath an LED light and copper hardware. This pendant light is also available as a flush mount light or sconce. 

tracygloverstudio.com


HYALINE I RUG

Bec Brittain’s Taxonomy collaboration with Edward Fields continues with designs based on the structures and functions of the natural world. Hyaline I mimics the patterns of insect wings writ large. Brittain continues to re-contextualize the science of taxonomy, not as limiting or separating force, but as a means of revelation. 

edwardfields.com


CLUB CHAIR

Taylor Forrest designs and produces his furniture in New York. The Club Chair is crafted with vegetable-tanned saddle leather. The sling is fixed to a solid metal frame with an oversized saddle stitch. Hammered brass rivets on the armrests add contrast while keeping the leather in place. 

taylorforrest.com


JEFFERSON LAMP

Lodes introduces a crystal suspension lamp designed by Venetian designer Luca Nichetto in honor of the brand’s 70th anniversary. Jefferson uses a reinterpretation of the vortex pattern of Bohemian glass, which casts a swirling play of light. 

blightingcollection.com


EASY PEASY

Adds quirky portable style to any room. The rechargeable table lamps from Lodes have a metal base that houses an LED light, and a methacrylate diffuser wrapped by a glass bell. A solid knob functions as a dimmer, and also allows users to control the intensity and warmth of the light.

jblightingcollection.com


TOSS CUSHIONS

From Marimor Objects are ultra-soft and feature contrasting colors and textures, adding a punch of personality and playfulness. Toss is available in five color combinations and two shapes, lending itself to a range of aesthetics and color schemes.

marrimor.com


FACTORY FLOOR photography by Antoine Bootz

RALPH PUCCI INTERNATIONAL introduced a new concept in their Chelsea flagship location, last year. The (factory) collection includes work by Patrick Naggar, Paul Mathieu, Vladimir Kagan, John Koga, and Olivier Gagnere, as well as new exhibits. Many of the works are produced entirely in Pucci’s 18th Street workshop, using techniques and materials born out of the company’s history and experience producing mannequins.

Currently, the floor also houses the large-scale, sculptural wood designs of Stefan Bishop (Orka side table, above) and light sculptures created by Ana Meier and Hervé Descottes for Richard Meier Light (below).

Bishop creates organic forms inspired by the iconic redwoods of his home in Oregon. He works in wood, bronze, and steel, and his pieces beg you to touch them and appreciate the tactile textures that evoke tree bark smoothed and shaped by the elements.

Currently, the floor also houses the large-scale, sculptural wood designs of Stefan Bishop (Orka side table, above) and light sculptures created by Ana Meier and Hervé Descottes for Richard Meier Light (below).

Bishop creates organic forms inspired by the iconic redwoods of his home in Oregon. He works in wood, bronze, and steel, and his pieces beg you to touch them and appreciate the tactile textures that evoke tree bark smoothed and shaped by the elements.

In a limited-edition collection that explores light, color, shape, and shadow, the light sculptures of Meier and Descottes are inspired by the architectural shape of a construction I-beam. ralphpucci.com