Favorites
Design Vault Ep. 27 389 Weirfield with Tom Loftus
ABOUT THE ARCHITECT:
![]()
|
Tom’s first exposure to working in the architectural field came from working in wood-frame construction. His passion for the industry grew, and he soon realized that as an architect he would be afforded more creative license to design structures that would have a lasting impact on the community. Tom brings over 14 years of project management experience to the team at Aufgang. Prior to joining the firm, he spent several years at various other firms in the city and Westchester County, where he gained experience leading the development of projects ranging from single family residential units to multi-family mid-rise structures and interiors. As Studio Director at Aufgang, Tom is a leader in all aspects of project development – from designing the beginning concept, to overseeing the project through the construction process to completion. He has extensive knowledge and experience in project management, schematic design, project design development, construction drawings, design quality, and project construction. He is also a leader in building and maintaining client relationships, managing team’s workloads, and client and consultant coordination. Tom is a firm believer in the powerful role that technology plays in design, and avidly follows the latest technology trends as inspiration for efficient and innovative designs. |
---|
ABOUT THE PROJECT:
389 Weirfield Street is a 12-story, 50,100 GSF rental project consisting of 66 residential units with 66 parking spaces, with 46 market rate and 20 affordable rate units, and including a common roof deck, library, half court, exterior seating, huddle rooms, café, and amenity room. This building was constructed along with 378 Weirfield St., located across the street. The amenities of both buildings are available to both buildings’ residents.
![389 weirfield black brick architecture](/sites/default/files/inline-images/389%20Weirfield%20Brick%202.jpeg)
TRANSCRIPT
00;00;00;02 - 00;00;05;13
Doug Pat (DP)
Let's go inside the vault. The design vault.
00;00;05;16 - 00;00;27;11
Tom Loftus (TL)
So we really had to be mindful of availability of product and the budget. So this is what started driving us to start playing with different bonding patterns. If we stack the brick one way versus another way, if we do a running bond versus a stack bond versus a Flemish bond, how can we play around with our stacking patterns and try to make something unique?
00;00;27;13 - 00;02;46;23
DP
This is my guest, Tom Loftus. I'll share more about him shortly. In this episode from the Design Vault, we highlight Tom's 389 Weirfield Project in Brooklyn, New York. 389 Weirfield in Brooklyn is a 12 story 50,000 square foot rental project consisting of 66 residential units, a common roof deck, library and cafe. The building was constructed along with a second at 378 Weirfield just across the street.
The building features a very unique singular masonry facade we'll discuss today. The sole decorative facade is done in undulating rail like bricks, which is in a creative vertical design. The bricks are dark and called Ebonite Smooth. They protrude in patterns at equally spaced cadence as the facade climbs. The windows are set apart from the vertical masonry bands with frames of varying height, which capture the windows between the horizontal spans. The singular brick facade was a unique way of setting apart a building that might otherwise be much like any other.
Hi, I'm Doug Pat and this is Design Vault. Tom Loftus has a bachelor degree in architecture from New York Institute of Technology. He also has a certificate in business management from Cornell University and is a licensed architect in New York.
Tom's first exposure to working in the architectural field came from a job in wood frame construction. After a number of years working in Westchester County, he brings over 20 years of project management experience to outgoing architects. As studio director, he has extensive knowledge and experience in project management, schematic design, design, development, construction drawings, design quality and project construction.
He's also a leader in building and maintaining client relationships, managing teams’ workloads, plus client and consultant coordination. So welcome, Tom. It's nice to have you with us today. So tell us a little bit about Aufgang Architects in Suffern New York. So where are you guys located in Suffern? What's the size of the firm? How long has it been around and what kind of work do you guys do?
00;02;47;01 - 00;03;37;20
TL
Great, first and foremost. Thanks a lot, Doug, for having me on the podcast today. I'm really excited to be here. So we're located here in downtown Suffern, right down the street from the train station pretty close to central Manhattan. So our firm is about 50 people right now. We primarily do residential work. I'd say about 90% of our work is in the residential field.
We do everything from low rise to high rise buildings, primarily in the five boroughs. But we also have projects in the tri state area and a few scattered around the country as well. A lot of those projects are mixed use with commercial on the first, second or few floors and then residential apartments above. The residential work that we do ranges in everything from luxury condos all the way to homeless shelters and really a range of everything in between.
00;03;37;22 - 00;03;39;28
DP
So how long has Aufgang Architects been around?
00;03;40;05 - 00;04;19;22
TL
Outgoing has been around. I think we're going about 50 years now. Ari is the third owner of the company, and when I started, I worked together with Ari and our former principal, Hugo, and they partnered for a while and he had also taken over the firm from someone else. So probably in the early seventies, if I have my history of the firm correct.
We started in Rockland County doing small scale residential rehab work and grew in time and in size with our clients and our work type from one partner to the next, and really have kept our foot in our roots in residential and then grown laterally in the industry.
00;04;19;25 - 00;04;27;22
DP
Tom, tell us a little bit about yourself. How long have you been practicing architecture and your role as studio director?
00;04;27;25 - 00;05;16;29
TL
Sure. It feels like forever. Honestly, every once in a while I wonder, am I still really doing this? But I've been in the architecture field now just a little over 20 years, and I started working in Westchester County. Small scale wood frame, residential. It was a natural stepping stone for me. After I got out of high school, I thought I want to be a framer.
And after getting really tired of carrying three quarter inch plywood up a ladder, I said, Nope, time to go back to school and study architecture. And from there I worked at a variety of firms in Manhattan, in Westchester County, doing a variety of different work. And when I found this firm, the scale work that we were doing, the residential work, it tied into something I loved with my single family housing experience.
It kind of stuck and I ended up staying here for quite a while.
00;05;17;01 - 00;05;23;25
DP
It's a long time practicing as an architect. I kind of say the same thing about or to myself about how long it's been.
00;05;23;27 - 00;06;23;12
TL
Sure, I've really grown in the company here. It's been a fantastic partnership with Ari. When I started, I came in really as an assistant project manager. A lot of my experience was not relative to the scale of the projects we were doing, although in other firms I was working in a bit of a leadership role running point on smaller scale projects, so it took a little time to learn the ropes, if you will, in the different construction types.
And I've moved up into the role of studio director now, so I work very closely with our senior management and the rest of our senior staff looking at our workload, our resource management, project proposals, client relationships and really stay involved with the team from the very start of the project until close out to handle the day to day operations of the office as a whole.
Ari, myself and our controller meet frequently to talk about some of the more boring business side of things and then the more fun happens working with the architects on the day to day and the projects.
00;06;23;15 - 00;06;33;19
DP
So let's dig in here and talk about this very interesting facade of yours. How did your office get the project, or is this a project that the office created?
00;06;33;21 - 00;07;57;02
TL
Yeah, this was actually an interesting project that came at a time when everything started shutting down right at the start of the COVID pandemic. And we had a really good recommendation from a long time client that we had worked with, and we had met a new client remotely who was involved on the construction side of things, and we hit it off.
We started talking and it was the first time ever that I met someone virtually and had meetings like this on screens, and we were trying to build a new professional working relationship. So it was very unique in the way that the project started. And again, we do a lot of our work really based on recommendations. We really pride ourselves in building good relationships with our client base, and that's really how the project got started.
They had this unique property in Bushwick and if you know the area in Brooklyn at all, it's a lot of small scale row housing, if you will, maybe 3 to 4 storeys and there really aren't too many open lots. And in this particular project it was unique. There was a large portion of the lot that had an easement that couldn't be built on it, and it provided a good amount of air rights which allowed us to follow the zoning path to do a much taller building than you usually would see in this neighborhood.
Most of the buildings were very close together, and that's really how it started and how the project grew and how we ended up with a 12 storey building in the middle of Bushwick.
00;07;57;05 - 00;08;04;19
DP
So did you guys know right away that you were going to be able to make a tall building there, or did it take a little bit of examination first?
00;08;04;21 - 00;08;48;13
TL
It took a little bit of examination. Usually what we do as architects is we really try to help guide our clients to bring their projects to fruition. This is the property I have. What can you build? How much can you build? There are two different zoning parts you can follow, primarily three different zoning parts in New York City that will help you establish the bulk, the height, the size of the building.
So we'll study that first and foremost with our clients and present them the different options. And based on the geometry of this lot, when we saw the potential to get a little height on this building, be separated from the other surrounding residential buildings, it gave them a nice opportunity to have a building with some great potential for views in an otherwise low height area.
00;08;48;15 - 00;08;53;12
DP
So what was the scope and the programmatic requirements for the project once you got rolling?
00;08;53;14 - 00;09;32;03
TL
Typically and specifically to this project, our scope was everything from working with the development team to help them flush out the parameters of their funding program. So when you work with different agencies in New York City and in the state and you're following certain guidelines to provide certain square footages and distribution of units, we work right at the very beginning with them to help them find the right mix and size of units, right with the development team.
From there, we work through design and construction administration all the way until the close of the project. So we really gave soup to nuts services here. Full scope on the building.
00;09;32;05 - 00;09;48;24
DP
So let's talk a little bit about the building design stylistically. So you guys designed quite a unique facade, while the other three facades, from what I can tell from the photos, are relatively subdued. Tell us about the main idea behind this.
00;09;48;26 - 00;11;17;22
TL
First and foremost, we love Brick. Brick as an architect, for us, it's really a timeless material and it's a durable material and it fits in really well to so many different urban fabrics in so many different places. In my opinion, what made 389 unique was the timing that this project was happening. It was happening at a time where the future was uncertain.
We didn't know what was going to come of this pandemic. We had to be incredibly mindful of the budget. Many times we like to create building facades that are two different materials having a nice dialog or different color bricks. So we really had to be mindful of availability of product and the economics, the budget, and really try to come up with something that would be unique but be something that the client could achieve.
So this is what started driving us to start playing with different bonding patterns if we stacked the brick one way versus another way, if we do a running bond versus a stack bond versus a Flemish bond, how can we play around with our stack in patterns and try to make something unique? So that was really what started pushing us in this direction of going with a single color brick and then really focusing on how to find a challenge enough for the mason that they don't hate us and say these are architects of the worst.
Have something be achievable for them. But that also will give a nice unique context to the neighborhood.
00;11;17;25 - 00;11;24;28
DP
Were there any aesthetic reviews of the building before you guys got rolling with the city?
00;11;24;28 - 00;11;49;21
TL
With the city for this particular project, there were no agencies on the city or state side that had any reason to opine on the design. We were not going for any variances. We didn't really have to go to the community board, although we did not need their aesthetic approvals. It is something that we're always mindful of working within the urban fabric and how it's going to lend itself to the context of the neighborhood is always an important consideration of ours.
00;11;49;23 - 00;12;01;09
DP
So let's back up just a little bit. So the building plan, are we talking rectangle, square, relatively straightforward. Then of course, there's parking on the site. You had said that there was a portion of the site that you could not build on.
00;12;01;11 - 00;13;07;01
TL
That's correct. So for this particular massing to make this building work, the footprint was rather small. It actually made a very efficient floor plate with a very tight core of stairs, elevator and corridor, and then apartments around all sides of that. So it really became a very compact, high efficiency floor plate with very little loss factor. And it was something that we were able to just work all the way up the building.
So there were quite a bit of revisions back and forth, variations that we had worked on to find the right mix and balance of that to fit within the envelope. The same thing then translated to the facade a bit earlier we were talking about what did the design iterations look like there, through the whole process of finding the right solution and the facade design that we felt was the right match for this building.
We did digital 3D models, plenty of sketches and even on site mockups working together with the Masons saying, We know you can do this, we believe in you, please don't kill us. And did plenty of mock ups there to really work it out.
00;13;07;03 - 00;13;11;25
DP
Was it a challenge finding a good mason, or did you guys have somebody lined up right off the bat?
00;13;11;27 - 00;14;04;09
TL
I think that's really one of the keys. You have to have really good subs. So whatever the type of work you're doing in this case, the Masons, you need to have a good working relationship with them. And often it's the architect working directly with the general contractor. But in these cases we invited the Masons into the architecture meetings, we invited them into the AOC meetings towards the end and said, Look, let's work through some of these details.
Let's talk through it. How is this going to work? It wasn't incredibly complex or challenging, but we wanted to make sure that the person who was directing their team to install the Brick really felt confident that they could achieve what we were looking for. We never wanted to come out on site and say, This is all wrong. That's not what we want to do.
And I really think engaging with those professionals early on is important to try to get the end result that you're looking for.
00;14;04;12 - 00;14;16;20
DP
Yeah, we try to bring in a contractor at schematic design. Once we wrap up schematic design, we have them price the project. This is in high and residential work that I do. So single family homes.
00;14;16;22 - 00;14;33;09
TL
Right? And in this case we didn't have a mason lined up. We didn't have a recommendation. The developer slash contractor, they were one and the same here. They had already had an existing relationship with this Mason and we started just working with them early on in the process.
00;14;33;11 - 00;14;54;17
DP
So could you do your best to describe the evolution of the design of that facade and then try to describe the facade? I'm going to encourage our listeners to go to the Glen-Gery site and take a look at some of these photographs because it's really striking. I've never seen anything like it. It's a great idea. The clients must have been thrilled when you presented the drawings.
00;14;54;19 - 00;17;33;18
TL
Thank you very much for that. We've seen a lot of example of brick facade that has quite a bit of movement in it, and these brick facades more often than not, are panelized prefab, and that's a way that you can achieve quite a bit of movement with brick using this idea of this undulation and this movement in the brick as an inspiration.
That's what triggered us to start thinking about how a brick pattern, the stacking pattern, really might help us achieve what we wanted to do here. So if our listeners are familiar with Brick parents, which I hope they are, we're in a brick podcast, we utilized a Flemish bond pattern and a running bond pattern. So the Flemish bond pattern has a standard brick with the long face.
The following brick is then rotated 90 degrees with the short face and the pattern is repeated. Taking this idea of combining a Flemish bond pattern with a running bond pattern, we now have these bricks that are half size, if you will, square proportion to create the movement and the undulation throughout the facade. We detailed a Flemish bond pattern with a large number of running bond, then a increasing increment of Flemish bond and a decreasing increment to running bond.
So we took the pattern and as you got closer to the center of the pattern we created, you had a higher frequency of Flemish bond. And as you moved away towards the end of the pattern that moved vertically up the building, it was stretched out with more running bond. So that's a lot of back and forth with different bond patterns.
Ultimately, by having that Flemish bond brick, we then protruded it out from the facade in the center of the pattern where the Flemish bond patterns are stacked very closely together. The bricks protruded the largest amount. And then as that pattern was separated and pulled apart from top to bottom, the brick became closer and closer to the facade.
So we basically created a formula that the mason can follow. For every increment, the brick would step out a half inch further, and this is what gave the facade that undulation, as you move up the bricks, steps out and back in by using this bonding pattern. It also created a really dynamic shadow which was something that we really loved.
When the sun hits the building the right way, you get a really fantastic shadow where you have that brick and it just really, in my opinion, created a beautiful cadence that worked through that pattern.
00;17;33;21 - 00;17;41;27
DP
So it really does remind one of Braille. So how far what's the furthest protrusion for one brick?
00;17;42;00 - 00;18;01;07
TL
I do like that description of Braille. You instantly have an image in your mind of these protruding points that they create the pattern. The furthest protrusion is about two and a half inches at the center of the pattern. And then as it works its way down in half inch increments, it goes back down to zero and the pattern becomes flush.
00;18;01;10 - 00;18;20;02
DP
So you guys said that you worked on this in 2D and in 3D. I would imagine if you did some sun studies, you got a better sense for how much shade and shadow was going to be produced by these protruding bricks? Did you do the project in BIM? Is it Revit? Because I saw 2D drawings of this?
00;18;20;04 - 00;18;42;25
TL
Yes. It isn't Revit. It is a BIM project. While we were in the design phase, we actually used a few different softwares SketchUp and Enscape and Revit along with AutoCAD, and we really did a series of 2D sketches, 2D drawings and 3D studies, partial facade studies. Just to get a sense of how this all might look.
00;18;42;28 - 00;18;49;26
DP
And how many iterations ultimately did you go through? I mean, big iterations, like is it two or three or ten or?
00;18;49;28 - 00;19;42;12
TL
Once we just came to the conclusion that we need to stick with a singular color brick here in the front, I'd say we probably had about ten different versions. It's a slim, tall building with very large windows, really trying to maintain a nice modulation of those windows in that spacing, but also then maintain a standardized brick dimension. So for a long time we were playing around with the inches of the bricks so that we were at a half size brick or full size brick.
Should we use a stack bond and emphasize the verticality of the building? How often should we introduce a horizontal element so that it's not looking like a stack of pancakes, for lack of a better expression? So really, we had a good amount of iterations here until we got to the point where we really like the running bond, Flemish bonds.
00;19;42;14 - 00;19;58;19
DP
I like the way you describe that. From what I remember looking at these photos, the windows are framed out differently. So you have a series of windows which have an individual frame, and then at one point in the building, that frame actually wraps a few stories of windows, right? So you break up the facade that way, too.
00;19;58;19 - 00;20;26;03
TL
Exactly. Playing with the verticality of the building, we did group a series of windows, two windows stacked vertically, three windows stacked vertically and created a frame around those windows. And this helped take that 12 story building and just give it a little bit of scale as it moved up the building. So these groups have two vertical windows that are now framed together.
Then also had the movement of the undulating brick happening between them.
00;20;26;05 - 00;20;28;28
DP
You guys really thought through it. It's a real beautiful facade.
00;20;29;04 - 00;20;29;29
TL
Thank you.
00;20;30;01 - 00;20;34;06
DP
So how big was the team that worked on the project? Just a few people?
00;20;34;08 - 00;21;17;08
TL
Every project is staffed with a dedicated associate director who are all registered architects, a project manager, and then the support staff. When we were in the design phase, we had the project manager working together with one of our designers. So we really had a team of to playing around with this and then bouncing the idea back off of the associate on the project.
Then once we really ramped it up into production, we would stack two or three people on the project. As you get closer to submission deadlines and trying to get into the Department of Buildings to get permits done, we would build the team up. Usually there was always at least two people on the project that were always there from day one.
They haven't left the project and they stayed on from beginning to end.
00;21;17;10 - 00;21;26;09
DP
So how long did it take to build the building? I would imagine it was pretty cool watching that facade go up. First couple stories. You must have been thinking, Wow, man, this is going to be something.
00;21;26;12 - 00;21;51;29
TL
You know, the construction team, they did a fantastic job. They had a really good crew out there. And around 24 months, the building went up and then all the fine details coming out of the pandemic. It was interesting. There were certain trades that just took longer because of materiality, distribution chain, supply chain, availability of product, which threw little curveballs here and there.
But all in all, the sequence and timing was fairly smooth.
00;21;52;01 - 00;22;01;13
DP
So it seems like I learned something new every project. Was there anything that you guys learned while you were out in the field or doing these drawings or dealing with the client?
00;22;01;16 - 00;22;48;06
TL
There certainly was. You know, I had spoken about the Mason earlier on, and that was certainly a good lesson. Building a good relationship with your Mason early in the project is really important and I joke about it. Sometimes they look at the architect's details and think, Are these guys crazy? We're not going to build this. There's going to be a better way to do it.
And I think that was really the big lesson we took here, establishing that good relationship and also giving the tradesmen the respect that they deserve. They're installing the work. They know some of the nuances of how this gets installed and taking that into consideration, finding that common ground so that you don't bring your ego into the conversation and giving them that professional respect and you're going to get it back.
That was definitely a good lesson here.
00;22;48;08 - 00;23;16;16
DP
That seems like a lesson I've learned over and over again throughout my career. When you're young, you go out there and you think you know everything and you've got an answer for everything, or you're going to fake your way through it, or however you choose to deal with it. But as you get older, you realize that these people that you're working with, many of them have an awful lot of experience, and it would be a good idea to sit and listen to them and actually ask them questions rather than tell them what to do.
00;23;16;18 - 00;23;38;10
TL
That's right. And I always find that working with our up and coming project managers and our younger staff, it's always those lessons that you try to instill in them. It helps them understand how to build those relationships because this industry is built on relationships and if we can do that, we're going to navigate successfully through any project.
00;23;38;13 - 00;23;58;03
DP
Well, you guys have been around a long time, 50 years. Goodness gracious. That's incredible. Congratulations, Tom. You've been an architect for over two decades. Based on what you know today about being an architect, do you have any words of advice for your younger self or maybe some young architects working their way up the ranks?
00;23;58;05 - 00;24;13;16
TL
Yes, don't worry. It's going to work out, if you love it, stick with it. It's a long road. And just when you think maybe you should change your major, you might still be out of college 20 years and asking yourself, Should I change my major? If you love it, stick with it. It's rewarding.
00;24;13;19 - 00;24;28;05
DP
That's really funny. I feel like I've changed my major all the time.
My goodness. So, Tom, it's been great to have you here. Thanks for your time. Where can people go to learn more about Wolfgang Architects and yourself?
00;24;28;07 - 00;24;38;19
TL
They can go right to our web site at Aufgang.com and they can find all the information about us there. They can follow us on LinkedIn and Twitter and all the different platforms.
00;24;38;21 - 00;24;45;21
DP
Well, thank you very much, Tom. It's been great. And I encourage people to go to the site and take a look at this very interesting building. Thank you.
00;24;45;29 - 00;24;50;18
TL
Doug. I really appreciate it. It was great chatting with you here today. I had a great time.
00;24;50;21 - 00;25;18;12
DP
Awesome. Thank you.
You May Also Be Interested In
We Can Help With Your Next Project
Discover the latest + greatest in design trends, industry news & pro tips from pros.
For all of your project needs, you’ll find everything you need at a Supply Center.
Let Us Know How We Can Help!
Design Vault Ep. 26 1 Java with Jeremy Iannucci
ABOUT THE ARCHITECT:
![]()
|
Born and raised in New York City, architect Jeremy Iannucci brings a design perspective that is deeply influenced by the city's ever-changing landscape. His architectural philosophy, founded on the potential of every effort he contributes to, is intricately woven with each site's narrative and heritage.
In addition to working at Marvel, Jeremy serves as a respected design critic at The City College of New York and Pratt Institute. Here, he seeks to both nurture emerging talent and build a larger, more informed design community.
|
---|
ABOUT THE PROJECT:
Goals / Project / Sustainability:
1 Java is a mixed-use residential building located in Greenpoint, Brooklyn, Marvel serves as the project’s design architect and master planner. The project responds to NYC housing market and owners needs, addressing: sustainability, constructability, risk mitigation, tax incentives, and marketability. The development investment strategy requires net-zero ready design and maximization of floor area, the project also includes the largest geothermal array in New York State. The building will participate in the 421a Affordable New York and Inclusionary Housing program, providing up to 261 affordable housing units out 871 total units. This project replaces the former two-story Jerome Motel, which had been used for supportive services. The S:US team offered relocation to current residents, while more than tripling the former site's capacity, responding to the city's housing needs.
Background:
The full city-block site incorporates the only privately-owned pier in NYC. Given the size of the development and the uniqueness of the site on Greenpoint’s East River, Marvel assessed the project from an urban design perspective and a street-level/local point of view. Marvel sought a cohesive design that also broke down the massing into more relatable elements and a more active street front. Unlike most of Brooklyn’s brownstone neighborhoods, Greenpoint housing was created for those who worked there. This is a neighborhood of workers - people who built and sustained the industries that thrived on the docks and in its industrial areas. Marvel’s approach to design involves a research-based process based on information gathering, analysis, engagement and outreach, to arrive at the best design solutions. Our process ensures that design responds to current issues, client, stakeholder, and community priorities, follows best practices while promoting innovation. Our multi-disciplinary team enables open conversations among the team and stakeholders, ensuring collaboration and consensus on design solutions. The research and analysis phase informs the Project Goals and Objectives, which are used as guidelines throughout the design process.
Features / Qualities:
• Acoustical separation (from exterior and between interior spaces)
• Enterprise Green Communities (sustainable initiative)
• LEED Gold
• Fitwel certified
• Net-zero ready
• Geothermal (ground-sourced heat pump)
• Thermally broken façade systems including brick, metal and concrete panel, and glazing systems
• Amenity spaces include lounges, fitness areas, Planted outdoor terraces, recreation areas, rooftop pool
• Landscaped rooftops
• Landscaped, publicly accessible waterfront park (designed by JCFO with MARVEL collaboration)
• Landscaped streetscapes with integrated resiliency (site is within the flood plain)
• Mixed-use with retail, townhomes, food and beverage offerings at grade
Finished Project:
The building rises from Greenpoint into two distinct towers which vary in plan and elevation (355’ and 205’) to maximize light, views, and openness as they mitigate the impact of tower height on the surrounding streets. Terraces on the east and west faces of the tower modulate the Greenpoint-facing and East River-facing elevations while creating private terraces for units and amenity spaces. Retail, food & beverage, live-work spaces and other community facing spaces are consolidated along West and India Streets. The existing circulation and commuter route reinforced by the India Street ferry service make locating the primary pedestrian residential entrance on India St. a natural choice. The pier, already an attractor, can be programmed as an extension of India St. and Waterfront Plaza experiences and increase 1 Java’s ability to become a year- round destination. Townhomes share setback stoops and a small secondary convenience lobby for the low-rise along Java Street. Java St will be marked by a quieter more private character leading from West St. to the waterfront. Services and vehicular access are oriented towards Java Street and reinforce India Street’s pedestrian character.
![Design Vault Ep. 26 1 Java with Jeremy Iannucci](/sites/default/files/inline-images/1Java_Facade-India-2.jpg)
![Design Vault Ep. 26 1 Java with Jeremy Iannucci](/sites/default/files/inline-images/1Java_Facade-India-1.jpg)
TRANSCRIPT
00;00;00;02 - 00;00;05;14
Doug Pat (DP)
Let's go inside the vault. The design vault.
00;00;05;17 - 00;00;30;22
Jeremy Iannucci (JI)
We like to think that the entire project comes from the community around it. We looked at a series of precedents in the Greenpoint neighborhood, historically in Greenpoint, specifically on the waterfront, to inspire the way that we detail these facades. We have a collection of different brick styles that help to break up the massing of the building, different articulations, as well as material breaks with the two precast towers.
00;00;30;25 - 00;03;22;21
DP
This is my guest, Jeremy Iannucci. I'll share more about him shortly. In this episode from The Design Vault, we highlight Marvel’s Project 1 Java in Greenpoint, Brooklyn. 1 Java is a mixed use residential series of buildings located in Greenpoint, Brooklyn. The project responds to the New York City housing market and owners' needs addressing sustainability, constructability, risk mitigation, tax incentives and marketability.
The Development Investment Strategy required a net zero ready design and maximization of floor area. The project includes the largest geothermal array in New York State. The building will participate in the 421A affordable New York and inclusionary housing program, which provides up to 261 affordable housing units out of a total of 871. The new architecture consists of two towers, of prefabricated concrete sheet panels and three lower buildings varying from 6 to 10 storeys with brick masonry facades.
All five buildings rise from Greenpoint in a U-shape plan to maximize light views and open space. Terraces on the east and west. Facades of the towers modulate the elevation while creating private terraces for units and amenity spaces. Retail, food and beverage and live workspaces are consolidated along West and India streets. Townhomes share setback stoops, and a small secondary convenience lobby for the low rise along Java Street.
Hi, I'm Doug Pat and this is Design Vault. Jeremy Iannucci is a registered architect at Marvel in New York City. He has a Bachelor of Architecture from City College's Spitzer School of Architecture. His portfolio encompasses a number of challenging endeavors at Marvel, including a mixed use project located in Brooklyn's Waterfront, which we will discuss today. Jeremy enjoys taking part in international design competitions, one of which was recently shortlisted in a competition to design a children's hospice center, and another was awarded an honorary mention in which he designed a house relying exclusively on daylighting for organizing spaces and form making.
Jeremy also serves as a design critic at the City College of New York and Pratt Institute. So welcome, Jeremy. It's nice to have you with us today. So tell us a little bit about Marvel in New York City. So where in the city are you located? What's the size of the firm? How long has it been around and what type of work do you guys do?
00;03;22;23 - 00;03;52;02
JI
Thank you so much for having me on. We are a New York firm. We also have offices in Puerto Rico, Richmond, Virginia, more recently, Barcelona. We're currently located in New York, in Tribeca, and around 200 people at this point. As far as projects that we take on, we like to say design everywhere for everyone. We don't try to limit ourselves to typology.
We take whatever comes at us. We measure everything against the values of the firm and we really just enjoy design.
00;03;52;05 - 00;03;58;21
DP
So tell us a little bit about yourself. How long have you been working as an architect and what's your role in the office?
00;03;58;23 - 00;04;08;27
JI
So in the office I really work through all stages of the project, through design, working on developing proposals, project delivery and currently in construction to administration.
00;04;08;29 - 00;04;13;06
DP
So this is a really beautiful project and it's extraordinarily large.
00;04;13;12 - 00;04;14;13
JI
Yes, it is.
00;04;14;15 - 00;04;17;06
DP
So how did your office get the project?
00;04;17;08 - 00;04;33;02
JI
So we were invited to participate in the RFP back in fall of 2020. So there was a few other notable firms in the competition. We were lucky enough to be awarded the project, and we've been working hand in hand with Lendlease in bringing it to fruition ever since.
00;04;33;05 - 00;04;37;27
DP
Did you know the clients before you entered the competition?
00;04;37;29 - 00;04;47;23
JI
We had some previous relations with the clients as a contractor, but they've recently started opening a development wing in the United States. This is our first project, working with them in that capacity.
00;04;47;27 - 00;04;53;19
DP
So this site is really large. Could you give us a little history of the location?
00;04;53;21 - 00;05;23;07
JI
The site is 200 feet in the north south and then between West Street and the East River. Around 600 feet with 40 feet reserved for a waterfront esplanade. We actually pulled back even a little bit further from that. And it's located right on the waterfront in Greenpoint. There was recently a rezoning that allowed for a whole redesign of the waterfront, and our project is one of the earlier projects in that redevelopment.
00;05;23;09 - 00;05;29;05
DP
So could you give us an idea of what the scope of the project is and the programmatic requirements?
00;05;29;07 - 00;05;49;14
JI
So it's a residential project, around 834 units, encompassing a total of around 800,000 square feet. This also comes with a series of amenity spaces, a series of retail spaces, as well as that waterfront park, and also a collection of rooftop amenities and green space.
00;05;49;17 - 00;05;56;11
DP
So let's talk about the building design stylistically. Were you guys borrowing from anything locally?
00;05;56;14 - 00;06;21;16
JI
We like to think that the entire project comes from the community around it. We looked at a series of precedents in the Greenpoint neighborhood, historically in Greenpoint, specifically on the waterfront, to inspire the way that we detail these facades. We have a collection of different brick styles that help to break up the massing of the building, different articulations, as well as material breaks with the two precast towers.
00;06;21;18 - 00;06;26;20
DP
So what was on the site before you guys ended up building the new architecture?
00;06;26;23 - 00;06;51;02
JI
Previously, there was a two story warehouse on the site and it really was kind of a beautiful space in its own right before we got the chance to tour around, before it was demolished. And I think walking around really inspired us just with these qualities of light and materials and things that were really native to the waterfront before all of this redevelopment.
00;06;51;05 - 00;07;00;18
DP
And the project, as I said, very large. Could you tell me a little bit about the zoning requirements and any challenges you guys had in terms of planning?
00;07;00;21 - 00;08;03;15
JI
So the project is as of right, it follows the zoning guidelines, the lot itself is actually split up into two different zones. So towards the inland it's mostly low rise. We had a height cap of 65 feet with portions that were allowable to go up to 100. And then towards the waterfront, the zoning actually got a little more complicated where there were a few different conditions that you could meet.
It opened up these different paths for how the building could be formed. One path was a one tower scheme, which would bring you up to 360 feet. And then the other was actually a two tower scheme where if one tower made it to 200 feet, the other would be allowed up to 400 feet. We took advantage of that in order to move more of the mass to the waterfront.
It helped gradually declined the building back into the fabric of the community and it provided more waterfront views overall, just a better experience and connection of the building, both to the water and to the community.
00;08;03;17 - 00;08;06;02
DP
So were there any floodplain restrictions?
00;08;06;05 - 00;08;49;21
JI
Yes. The floodplain has actually set one foot above the highest point of the site, which is the most inland. And then the site gradually slopes down another 6 to 7 feet towards the water. So much of the initial design strategy of the project was finding ways to transition from the ground to above that floodplain elevation. And we accomplished this a number of ways.
We actually set the building back the distance from the lot line as we get closer to the water, and this allows us to use landscaping as a way to gradually transition back up to that flood elevation, as well as moving all of our program spaces above and then moving more utilitarian spaces such as bike rooms down below the flood elevation.
00;08;49;24 - 00;09;12;26
DP
So I'm thinking about our listeners, how to describe the site because we have a series of buildings here. Is there a simple way for you to explain the building plans on the site? So first we describe the shape of the site and plan, and then if you could give us an idea about how those buildings are organized on the site.
00;09;12;29 - 00;09;40;18
JI
So the site's essentially just a rectangle. It's the size of a full city block and on three sides, on the north, the east and the south, we have streets and then the west side is the waterfront. It's the East River. So the way that we've organized the buildings around the site is in this U-shape, where they start up in the northwest corner, move around down West Street and then below, creating a view that opens up towards the water.
00;09;40;20 - 00;09;43;19
DP
So it's really all about the views, which it should be.
00;09;43;21 - 00;09;58;19
JI
Yes, it's something that it needs to be on the waterfront as well as it is about the views back into the neighborhood. We try to open up the view corridors from the building and leave as much view towards the water and towards the horizon from the rest of Greenpoint as we can.
00;09;58;22 - 00;10;08;12
DP
So tell us a little bit about the material choices. You've got a series of different materials and colors there. What were the decisions behind that?
00;10;08;15 - 00;11;00;05
JI
The building massing itself is broken up into five unique buildings and out of those we have two towers that are precast, and those are the buildings on the waterfront and then inland. There are three different buildings that range from ten stories to six stories. And those three buildings are brick. And that we really wanted to draw back from a lot of our inspirations in the Greenpoint community.
There's no shortage of brick precedents there. There's beautiful buildings such as the Astral, which is this Queen Ann red brick Terracotta building. There's St Anthony's Church, which is red brick and limestone trim. It's really beautiful, striking building. We looked towards kind of the history of the waterfront, those manufacturing, industrial buildings, and used that precedent to define these brick colors, these three different brick buildings.
00;11;00;08 - 00;11;28;28
DP
So interestingly, the facades. So we've got the shorter, or we've got the less tall architecture, which are brick buildings, and the facades are a series of what I'll call punctures with spandrel, it looks like spandrel brick in between each one of these vertically in between each one of the window openings, correct? Yes. So how many studies did you guys end up doing to decide what these facades looked like?
00;11;29;00 - 00;12;07;13
JI
Everything kind of melded together at some point. It's hard to break it down into a number because it was just this completely iterative process where we'd look at something, we'd make a model, we draw it, we'd look at it again, we'd make another model, we draw it. And this evolved from the concept schematic designs all the way through to the construction document development.
This idea of the different brick details that actually came from wanting to streamline the project. So we used the same details on each of the brick buildings, but we remixed them in each one. We use them in a different order to create a different identity for each of these.
00;12;07;20 - 00;12;25;01
DP
I think what's really interesting about these facades too, so you separate the facade these into squares or rectangles, and then they have this very, well, it looks subtle in elevation from far away, but it's actually a very large construction joint in between each one of these square rectangular panels, correct?
00;12;25;03 - 00;12;40;03
JI
Yes. We use that construction joint and we overemphasize it. We use this double soldier coursing reveal as a way to further break up the massing and kind of imply this subdivisions within the buildings.
00;12;40;06 - 00;12;43;17
DP
And how deep is that? Is that one brick thickness?
00;12;43;22 - 00;12;44;20
JI
It's two inches.
00;12;44;20 - 00;12;55;11
DP
Two inches. It's nice because when you look at the facade, I mean, it looks quite homogenous. But if you look at it a little bit more deeply, it's separated in these squares and rectangles. Very pretty.
00;12;55;16 - 00;13;14;27
JI
Yeah, that's the effect that we really want to go for in terms of how this fits into the fabric of Greenpoint. We like the idea of there being this large scale massing that breaks down and continues to break down the closer you get and it relates to more your scale relative to the way that you're viewing it.
00;13;15;00 - 00;13;22;07
DP
It really does scale the architecture nicely. So how about the building review with the city? Was that time consuming?
00;13;22;09 - 00;13;34;17
JI
Not at all. As I said, we were as of right building. So working through the construction documents, we were also working through permitting at the same time. It was a very easy flow from one stage to the next.
00;13;34;19 - 00;13;37;18
DP
Now, did you guys work in 2D and in 3D?
00;13;37;26 - 00;13;46;28
JI
Yes. 2D, 3D, physical models, sketches. Things were being passed around the office for a year and a half related to this.
00;13;47;01 - 00;13;51;00
DP
Do you work in Revit or AutoCAD or ArchiCAD?
00;13;51;02 - 00;13;58;26
JI
We're primarily a Revit office. We use Revit for our project delivery. We also do a bit of work in AutoCAD and in Rhino.
00;13;59;02 - 00;14;03;24
DP
So when you did presentation with the clients, did you show them three dimensional images and models?
00;14;04;01 - 00;14;31;01
JI
Yes, there is a lot of modeling. We actually very early on in the project, we built this eight foot long model of the Greenpoint waterfront, and we were working through just several dozens of iterations of the massing, the two towers, a one tower option, and we were all just spread out around the table, around this model, flipping through the different massings and trying to figure out what worked best with what else we were seeing on the waterfront.
00;14;31;04 - 00;14;33;00
DP
I bet the client really enjoyed that.
00;14;33;00 - 00;14;36;26
JI
It was a blast. Every office meeting was always a mini party.
00;14;36;28 - 00;14;57;08
DP
Yeah, clients love models. I mean, they love 3D images. I'm sure when you showed them these three dimensional images, particularly the towers, which are really quite beautiful, the way the facades step back and move forward. And they're just, the architecture is very interesting. So I'm sure they really enjoyed it, especially when they saw the first renderings.
00;14;57;10 - 00;15;12;11
JI
Yeah, again, it was a lot of fun and all these models were tactile and interactive, so it gave us a chance to move some of these blocks and figure out the correct portion, the correct distance that we'd want things to overhang to shift and slide past each other.
00;15;12;14 - 00;15;17;06
DP
So how many people worked on the project? How many people were involved in the office on the team?
00;15;17;11 - 00;15;44;07
JI
It fluctuated throughout phase. I think at the height of it we had around 12 people total, and that's assembling the full construction package, Through concept the team was a bit smaller, we maybe 4 to 6 and this is also spread out between a few of the different locations of our offices. So we had a team in our San Juan, Puerto Rico office and a team at our New York office, both working hand in hand on this.
00;15;44;09 - 00;16;06;15
DP
You know, as an aside, what's really pretty, the red brick that you guys use there, there are a lot of lighter bricks in that facade. And so it makes it look almost pink in color. But you get up close to it and you can see a lot of variations in these colors, in the red colored brick, a lot of like I'll call it value, but it's light and dark red brick.
00;16;06;18 - 00;17;10;16
JI
For that facade we're using a blended brick and we wanted that to echo some of the red brick buildings that you already see on West Street on the waterfront. That was kind of our launching point for coming up with this brick palette. We knew that there was going to be a red brick building. We knew that it was going to be relative to those warehouses and then the other two bricks were kind of an offshoot, based on how we wanted to frame this story of the building as you move around the site.
So to the north, there's a lighter brick. It's something that we see as a little more modern. We try to keep the tones of the brick and mortar and the sills and other materials a little more homogenous and then on the flip side of that, on the southern street of the building Java Street, we wanted to use something with a bit more variation.
We wanted a higher contrast between the grout and the brick, a higher variability within the bricks. And that's something that we saw as a little more nostalgic to some of those worker housings and the smaller buildings that you begin to see as you move more inland.
00;17;10;18 - 00;17;16;27
DP
Now the colors work very nicely together. So where are you guys in the construction phase on this? Forgive me for not knowing.
00;17;16;29 - 00;17;33;05
JI
Where currently pouring the concrete structure. We're up to the sixth floor now, I believe. We have gotten all of the brick pallets finalized. We've gotten all the precast facades cast. It's really kind of a game of assembly at this point.
00;17;33;07 - 00;17;41;28
DP
So, Jeremy, you're a young architect. I'm sure you're learning a lot. As you go along here, anything memorable so far?
00;17;42;01 - 00;18;01;06
JI
It's so hard to pick one thing. This entire project has just been an incredible learning experience. Admittedly, early in my career, there's so many different conditions, so much to consider with a project of this size that I really feel like I got a good breadth of exposure to so many facets of the industry now.
00;18;01;06 - 00;18;03;18
DP
Do you get to be out in the field a lot?
00;18;03;21 - 00;18;27;22
JI
Yes. Every week we have our owner and constructor meetings. We have bank walks on the side and really get to see the progress and it's moving so quickly, month by month. And also I live not too far from the site, so every week I try to make it out there and just see what's going on, see what's changed, and it's kind of humbling just seeing something come to life.
00;18;27;25 - 00;18;46;27
DP
I would imagine something this large, I've never worked on a project that's larger than a residential home. I mean, I've worked on schools early on, but working on a job that's this big has got to be humbling and profound and extraordinarily interesting all at the same time.
00;18;46;29 - 00;19;07;27
JI
Yeah, it's been challenging, but I think throughout all of it I've been extremely lucky just having in the support of a firm like Marvel as well as just an incredibly talented team of consultants, of engineers and clients who have really just been supportive and on board and actively participating in every step of the design.
00;19;08;00 - 00;19;12;29
DP
So I'd like to ask most of our guests, did you guys have any challenges finding a mason?
00;19;13;02 - 00;19;27;21
JI
No, actually, the mason that we've gone with bundling, we've worked on a few of our projects with them before, and the second that they came on board with the project, our confidence kind of skyrocketed. Just because we've had such a good experience with them previously.
00;19;27;23 - 00;19;37;24
DP
For all those young architects out there looking for work at a firm that they admire, how might you recommend young people find the right job?
00;19;37;26 - 00;20;22;06
JI
Well, the right job is kind of a hard thing to qualify. I think the best advice I could give on that is to just put your name out there wherever you can. Don't be shy in asking people for connections and asking people to kind of put you in a position that you think would be beneficial to you. With Marvel, actually, I had a friend from school who knew someone, and through them I was able to get my resume and I actually don't think Marvel was actively hiring. But I got the interview and it went very well. I loved everyone on the team and they loved me and I think I really landed in my right place. But I encourage everyone to really put yourself out to as many places as you can so you can see what fits for you and what works for you.
00;20;22;08 - 00;20;41;12
DP
I always kind of wonder is an older guy working in this field now to social media have a benefit in terms of finding work today? That is, is it easier to reach out to people that you simply don't know with your resume and thoughts about, hey, I'd love to work with your firm?
00;20;41;15 - 00;21;14;24
JI
Yeah, I think it plays a big part. It's playing an increasing part to Instagram as a way that I see a lot of firms work, a lot of firms putting out calls for applications for either positions or internships. It really increases the amount of exposure and it puts everything in one place where people might just passively see it.
And then there's also LinkedIn, where I get so many people messaging me about my experience at Marvel and kind of things that they're looking for, things that they would want to know about if they were to apply for a position or an internship.
00;21;14;27 - 00;22;17;12
DP
It's interesting, just as an aside, I never really thought about this, but when you said it puts things in one place, the web really does help them. It sounds really dumb, but to a guy like me who's 55 years old when I was young, you either have to see an architect work in a magazine, you visit their office and you get to see all the photos of all of their work.
But the web really does an amazing job of putting absolutely everything in one location, right? So you go, especially an app like Instagram, where you simply open it up, go to a page and you can see all 400 projects or 30 projects or whatever it is, and contact people at the firm in 2 minutes. It really has changed the paradigm for employment or simply for marketing and all these other things.
I know it all sounds very obvious, but as I sit here with a young architect, it makes me think that your world is simply very different than what mine used to be.
00;22;17;19 - 00;22;30;19
JI
I also think it's democratized in a way. It's given smaller firms a greater opportunity and platform to put their work out that it could be on the same level with the kind of content that you see from much larger firms.
00;22;30;22 - 00;22;40;06
DP
I love that. That makes a lot of sense. So, Jeremy, it's been great to have you here. Thank you so much for your time. Where can people go to learn more about Marvel and yourself?
00;22;40;06 - 00;22;50;03
JI
Yeah, thank you, Doug. You can visit our website, MarvelDesign.com or also please follow us on Instagram at @Marvel_is_design.
00;22;50;05 - 00;22;55;28
DP
All right well, Jeremy, thank you very much again for being here. It's been great to have you as a guest.
00;22;55;29 - 00;22;59;28
JI
Yeah. Thank you so much, Doug.
You May Also Be Interested In
We Can Help With Your Next Project
Discover the latest + greatest in design trends, industry news & pro tips from pros.
For all of your project needs, you’ll find everything you need at a Supply Center.
Let Us Know How We Can Help!
Design Vault Ep. 2 Vanderbilt University with Steve Knight
ABOUT THE ARCHITECT:
![]()
|
Steve Knight, AIA is a Principal with David M. Schwarz Architects, Inc. he studied at North Carolina State University where he received his Master of Architecture, that same year he joined David M. Schwarz Architects. Steve primarily focuses on his firm’s performing arts venue projects. He served as Project Architect for the design of Schermerhorn Symphony Center, The Palladium at the Center for the Performing Arts, the Gaillard Center, and most recently an 8,000-seat amphitheater in Huntsville, Alabama. He is currently leading the office’s team on the design of a neighborhood center for Chevy Chase Lake in Maryland and the multi-phase Residential College project at Vanderbilt University. Steve is active in preservation advocacy, serving as President of the Art Deco Society of Washington and on the board of the International Coalition of Art Deco Societies. |
---|
![vanderbilt university](/sites/default/files/inline-images/20907-Vanderbilt_Residential-006-X2.jpg)
Vanderbilt University
Nicholas S. Zeppos College, Bronson Ingram Building
See MoreTRANSCRIPT
00;00;05;27 - 00;00;29;07
SN
It's a very faithful rendition of what's known as Collegiate Gothic. It is very much in step with this long-established tradition of higher education that goes back to the church in Europe and then institutions like Oxford and Cambridge. And then it comes over to the states with institutions like Harvard and Yale, who are doing very much the same thing. They were trying to identify with this established tradition.
00;00;29;14 - 00;02;24;07
DP
This is my guest, Steve Knight. I'll share more about him shortly. In this episode from the Design Vault we’ll highlight Steve's project, the Nicholas S. Zeppos College Building at Vanderbilt University.
The Nicholas S. Zeppos College Building is several thousand square feet, five stories with a large tower at one end. The building is red brick and limestone, designed in the collegiate Gothic style. The building has a slate roof, slate dormers, large brick chimney masses, limestone window frames and quoins, multi-story window bays, gable forms across the facade, and limestone gothic arches, a tall square picturesque tower with chamfered corners, polychromatic brickwork and limestone cap rounds out the building at one end.
Hi, I'm Doug Pat and this is Design Vault. Today we're talking to Steve Knight, who led the team designing the Nicholas S. Zeppos College at Vanderbilt University in Nashville, Tennessee. Steve is a member of the American Institute of Architects and he's a principal with David M. Schwarz Architects. He studied at North Carolina State University, where he received his Master of Architecture. That same year, he joined David M. Schwarz Architects. Steve primarily focuses on his firm's performing arts venue projects. He served as project architect for the design of the Schermerhorn Symphony Center, the Palladium at the Center for Performing Arts, the Gilliard center, and most recently, an 8000-seat amphitheater in Huntsville, Alabama.
Among other projects, he's currently leading the offices team on the design of the multiphase residential college project at Vanderbilt University. The Nicholas S. Zeppos College Building is one of four residential buildings for DMS at Vanderbilt University. So let's get into the details. Welcome, Steve.
00;02;24;14 - 00;02;25;28
SN
Greetings, Doug. Good to be here.
00;02;26;08 - 00;02;30;09
DP
So, tell us a little bit about your firm, David M. Schwarz Architects.
00;02;30;20 - 00;03;04;27
SN
Sure. We're a mid-sized design architect and planning firm. We're based in Washington, D.C. We have about 35 design architects on staff. We were started in the mid-seventies by our founder, David M. Schwarz.
It was a really interesting time to start an architecture firm in Washington and in the U.S., really. And there are two pivotal things that happened in the late seventies. The first was the district passed one of the most stringent historic preservation ordinances in the country. And on the heels of that, the federal government enacted tax credits for historic preservation.
00;03;04;27 - 00;03;06;22
DP
Really? How fortuitous.
00;03;07;00 - 00;03;43;12
SN
So, we found ourselves, the firm at the time - this is before my time there, obviously - but we found ourselves working in newly established historic districts on landmark designated buildings, and it really informed how we think about architecture that architecture is - it's very important that it responds very carefully to the context around it. Each building is part of a larger ecosystem that creates meaningful places, beautiful places to walk, live, places that are memorable. That really is a kind of a train of thought that I think we've carried through all of our work to this day.
00;03;43;20 - 00;03;54;16
DP
So, the greater majority of the work that you guys do is traditional. Has that been challenging in any era over the course of the last 50 years when people were doing more modern architecture and...
00;03;54;26 - 00;04;42;08
SN
Well, it certainly is today. We never sought out to be traditional architects in that sense. One project begets another, and like many architects, we sort of get known for our buildings and what we do. And I think in terms of that stylistic leaning, if you will, it's a bit controversial these days, I think, particularly within the architecture design community, where I think there is a tendency amongst the majority to want to look forward in sort of the past is the past, let's look to the present and let's look to the future.
I think for us, architecture is primarily about communication. And what we mean by that is that buildings in their edifices say something to people and it's really important that they engage with the communities that they serve.
00;04;42;20 - 00;04;58;02
DP
Yeah, it's interesting talking about classicism, traditional architecture, having a kind of language and speaking to the community in a certain way. Right. It's kind of understandable language for many people. You see, especially in Washington.
00;04;58;10 - 00;05;02;25
SN
It is, it's a very legible language of building and design. Absolutely.
00;05;03;03 - 00;05;05;14
DP
So, tell us about your role in the office.
00;05;05;27 - 00;05;33;12
SN
I'm a principal in the firm. I've been with the firm since I finished graduate school back in the late nineties. I started out as an intern and then, as you could imagine, sort of worked my way up through architect staff and project architect and then project manager. I spend most of my time communicating and working with teams of people in the office. Design, for us, is a very collaborative sport. The office is a very collaborative environment.
00;05;33;12 - 00;05;33;28
DP
That's great.
00;05;34;05 - 00;05;59;17
SN
I think one of the most interesting things to me is the founder, David Schwarz. I have rarely ever seen David pick up a pencil and draw something, but he commands a great deal of influence and quality oversight of the firm's body of work, largely through talking to people, getting to know each of us. And I in turn try to do the same.
00;05;59;25 - 00;06;02;08
DP
Well, you've been there a long time. It sounds like you've got a great boss.
00;06;02;14 - 00;06;07;06
SN
He is a great boss. We got a great group of people around me. I consider myself very lucky.
00;06;07;12 - 00;06;20;27
DP
Oh, that's really cool, because, I mean, architecture is challenging enough, right? It's a challenging profession. Very difficult business. We're all architects, right? So, we're all a little self-absorbed. To find somebody you enjoy working with and for is wonderful.
00;06;21;02 - 00;06;22;01
SN
Yeah, it's very important.
00;06;22;04 - 00;06;34;02
DP
Yeah, that's great. So, let's dig in here. Let's talk about the residential college project at Vanderbilt and specifically the Nicholas S. Zeppos College building. How did your office get this project?
00;06;34;15 - 00;07;25;15
SN
Well, it goes back to a master plan study that we did. Oh, at least 15 years ago, we conducted a study. The university was interested in reorganizing student life on campus, and they struck on the idea of the residential college model, which grows out of a very well-established tradition that starts on the other side of the pond by places like Oxford and Cambridge.
And then it comes to the States in the early 20th century with the Ivy League institutions like Yale and Harvard and Princeton. And what they really liked about it was this notion of breaking down the larger student community into smaller communities of a few hundred people. So, we developed this master plan that sort of provided strategic opportunity areas on where these colleges could be located.
00;07;25;21 - 00;07;28;28
DP
So, they came to you with this idea. There would be four colleges.
00;07;29;06 - 00;07;38;02
SN
They came to us with a very broad idea of, “we want to rethink student life on campus,” and through conversation, the residential college model came out of that.
00;07;38;02 - 00;07;38;21
DP
Wonderful.
00;07;38;23 - 00;08;00;27
SN
And then opportunity areas across campus. We identified sites. They then constructed what they called the freshman campus, the freshman college, if you will. That's where all first-year students go to live and there was a bit of a lull. And then we sort of came back with this more defined project of the four colleges, of which Nicholas S. Zeppos is number two.
00;08;01;08 - 00;08;07;11
DP
So, had you been hired at that point or were you working against other architects to try to get the project?
00;08;07;16 - 00;08;17;01
SN
No, we had been hired at that point. We had done other work in Nashville, most notably the Schermerhorn Symphony Center, the Nashville Symphony's concert hall.
00;08;17;01 - 00;08;18;02
DP
So, they knew of you.
00;08;18;03 - 00;08;22;19
SN
So, they knew of us. And we just developed good, strong relationships in the community.
00;08;22;20 - 00;08;31;27
DP
That's great. It's a great way to get jobs. So, can you tell me a little bit about the history of the place, the town, the neighborhood, the buildings around the site?
00;08;32;04 - 00;08;52;00
SN
Sure. In Nashville, it's a fascinating city with great heritage and history. One of its monikers is the Athens of the South. They have a full-scale replica of the Parthenon on Centennial Park campus, which is actually just across the West End Boulevard from Vanderbilt.
00;08;52;02 - 00;08;55;07
DP
I'm sure I've seen photos of this and have forgotten. That's incredible.
00;08;55;17 - 00;08;59;15
SN
It. It really is. Every detail is fully, faithfully executed.
00;08;59;16 - 00;09;02;07
DP
I'd love to talk about that some time but go ahead.
00;09;02;17 - 00;10;17;15
SN
But that's not why it's called the Athens of the South. It's called the Athens of the south because of the number of institutions of higher learning that one finds there. So, you have Fisk, you have Vanderbilt, many institutions. And it just at a sort of a per capita level. It developed this sort of bookish, erudite culture. Another thing that helped reinforced it was there's a great deal of publishing that happens there, mostly religious, and musical publications.
So anyway, so it's the Athens of the South, so that's really neat. The Vanderbilt history is really interesting because it's basically it's founded as an outgrowth of the Civil War. The institution, it was basically viewed by its namesake who endowed the starting of the university as a kind of a healing moment between the North and the South.
Cornelius Vanderbilt. And he has a statue, obviously, in the heart of campus. The campus itself is - it's a really beautiful green garden-like setting. It does have the classification of being an arboretum because of the number of unique specimens of trees one finds there. The architecture is quite eclectic. Like most campuses, there's a kind of a historic heart of Victorian era buildings and some collegiate gothic buildings as well. And then it sort of evolves over time.
00;10;17;24 - 00;10;31;07
DP
So, you touched a little bit on what these college buildings are composed of. Could you give me a little bit more information about the programmatic requirements of each of the four buildings - or let's just stick to the Zeppos College building?
00;10;31;12 - 00;12;03;17
SN
Yes. So Zeppos houses 340 students. We typically say beds. It has 340 beds. So that's the lingo in that business, if you will. And it's viewed as a really holistic living environment for students. Not only are there places to sleep, but there are also places to study, places to gather. There are places to eat. There are even accommodations for some resident faculty. Each of the colleges, or at Zeppos, has a family - faculty member and their family has an apartment within the facility. And they help provide leadership and mentorship to the student community.
So, and all of those things are fully realized programmatically with dining facilities. There's a really great dining hall in Zeppos. There's a great room, as we call it, a large living room with wood paneling, courtyards. So there's nice quality, secure, defensible outdoor space for the students to use.
On each of the floors, it was a really interesting challenge because we're dealing with a lot, even within that reduced footprint of only 300 odd beds, it's still a lot of program, a lot of footprint to have to manage. So, to create a sense of place that's navigable and somewhat homelike and approachable and familiar, we did some interesting things within the student floors. There's a lot of articulation in the building massing, and we offset the double loaded corridors to create nodes and they tend to coincide with elevators and stairs so that we create places for students to naturally bump into each other.
00;12;04;00 - 00;12;16;08
DP
Well, I'm going to actually ask you about that in just a minute. So first, let's back up and talk a little bit about the site and the topographic features, if there are any. Or are they just completely flat?
00;12;16;19 - 00;13;04;06
SN
No, there is a bit of grade change from - I have to get my compass directions right - from east to west. I think what's most interesting about the site is it has kind of a two-sided nature to it. So, on one side is West End Avenue, which is a major east west thoroughfare that connects with downtown Nashville. It's sort of the public face of Vanderbilt. So, the colleges were a real opportunity to sort of enhance the university's image to the outward community.
And then on the other side, the opposite side is a very opposite kind of condition. It's a series of very low scale residential structures that house the Greek community. So, several houses, each one is a fraternity or a sorority. So, we had to respond to two very different contexts on each side of the building.
00;13;04;17 - 00;13;08;22
DP
So, tell us a little bit more about the building plan. You started getting into that.
00;13;08;29 - 00;13;29;25
SN
Sure. So Zeppos is a figure eight with two courtyards. What makes the figure eight is what we call a double loaded bar, if you will, on the upper student room floors. You have rooms on both sides of a corridor. And again, there's interesting offsets in those corridors and bars to help break down the massing.
00;13;30;04 - 00;13;32;25
DP
Does that create these large gables?
00;13;33;00 - 00;13;48;03
SN
Yes. And then and then some of the bars, we actually punch through to create Gables to help break down and articulate the massing of the building. It's basically a city block. So, all of those moves are really important to help make the building very approachable and friendly.
00;13;48;11 - 00;13;51;14
DP
Are all four college buildings a city block.
00;13;51;26 - 00;14;14;09
SN
About. They each layout a little differently from one another. The one immediately to the east of this one, Rothschild College. That one has three courtyards. Due to the particulars of that particular site and obviously what makes the Zeppos college most special amongst the four of them is this 300-foot tower at one end of it.
00;14;14;17 - 00;14;20;03
DP
So that's a great segway. Tell us about the style of this building because it's stunning.
00;14;20;12 - 00;15;02;06
SN
It's a very faithful rendition of what's known as Collegiate Gothic. It was really very much a communication and really a marketing decision by the university in terms of we looked at lots of different vernaculars. What should these things look like? And the entire team ultimately arrived at Collegiate Gothic is the appropriate response. It is very much in step with this long-established tradition of higher education that goes back to the church in Europe and then institutions like Oxford and Cambridge, and then it comes over to the States with institutions like Harvard and Yale who are doing very much the same thing. They were trying to identify with this established tradition.
00;15;02;13 - 00;15;04;13
DP
Really? I mean, it makes perfect sense.
00;15;04;14 - 00;15;05;02
SN
Absolutely.
00;15;05;13 - 00;15;14;25
DP
So, were there any specific buildings that you can recall that you guys were looking at? The tower looks like it could have been pulled from the facade from a church in Europe. Right? I mean.
00;15;15;02 - 00;16;04;01
SN
Sure, we're very eclectic in our approach. We spend a lot of time looking at examples in books. We try to visit places in person, and that was a really important tool at the outset of this project is we actually took members of the client team on a little whirlwind tour of residential college examples around the country. Some examples that we looked to for the tower would be the Harkness Tower at Yale.
A slightly more atypical one that we did look at. It would be the Nebraska state Capitol and I think one feature that we quoted from that one is towards the top of the tower. As it starts to step in, you'll see what we call a little lantern, a little limestone lantern on each of the four corners. That's a common type feature in this style of architecture. When you're creating a tapered tall form like this, we thought it worked very well.
00;16;04;09 - 00;16;11;29
DP
And you chose brick for the majority of the material for these exterior facades? Tell me a little bit about that.
00;16;12;07 - 00;16;45;17
SN
Well, we always want our buildings to have a really rich palette of materials. And that's true of the interior and, of course, the exterior. So here the palette is a combination of brick, carved Indiana limestone, and then an accent stone, which is called Crab Orchard. It's actually a stone that's native to Tennessee. And we thought that was very appropriate to sort of weave in a local material that one finds in and around Nashville. The brick in particular is really interesting because we knew we didn't want a stark read of just one color.
00;16;45;19 - 00;16;48;08
DP
Right. Like if the building was all limestone.
00;16;48;08 - 00;17;09;26
SN
Like it was all limestone. And even within the brick itself, it's not just one brick, it's actually a blend of three bricks. And we did lots of mockup panels with the help of a very patient Mason, and a very patient local brick distributor who gave us about an acre of their brickyard to do all these different experiments.
00;17;09;27 - 00;17;10;16
DP
That's so cool.
00;17;10;16 - 00;17;46;22
SN
We tried different blends and we ultimately settled on a blend of three bricks for the college, and then we further augmented that with what we call decorative bond detailing. So, if you look closely at some of the details, you'll see brick that's fashioned into basket weave patterns, sawtooth patterns, what's known in England as diapering, which is creating a sort of a diamond checkerboard pattern. And we use different bricks for that as well. They tended to be iron spot bricks that are really beautiful because they catch and reflect light in different ways depending on how the sun is hitting them.
00;17;47;06 - 00;18;26;25
DP
Yeah, so it's interesting. We've got this polychrome going on, so you guys have the red brick and then I see these diamonds which are made from a different color brick, and then you're taking that one step further. You're backing off the changes in color perhaps, and you're changing the direction of these bricks and the patterns on the interiors.
I mean, it just takes so much time and thought to do everything you guys are doing on these facades. How much time did it take? Just doing like the design work? And who was doing that design work in the office? How were you doing these drawings and how are they being reviewed? I mean, there's a lot going on here.
00;18;27;02 - 00;19;17;26
SN
There's a lot there. I mean, the process is really key and it's a very layered process. You don't start out drawing detail. You start out with a parti and then you look at the plan and then you study the massing and then you get to a point and that's schematic design and that was probably about five months. And then we launch into design development.
We are refining the details and that was probably another six months of design development. And within both of those design phases, it's hand sketching, physical study models - we still love doing old fashioned models, just cutting out of cardboard and matte board - as well as two-dimensional drafting. And then, of course, actually three-dimensional modeling and digital modeling in the computer. That was a really key tool.
00;19;18;06 - 00;19;22;26
DP
With all these bricks and all those patterns. Must have been an unbelievable process.
00;19;22;26 - 00;19;45;28
SN
Yeah. And then it all has to be documented. It's a beautiful project. The standards were very high at the same time we did have a budget and doing cost take-offs at each of the milestone levels of completion - at schematic design and design development - were very important and they caused us to have to do some recalibrating and some adjusting to keep the thing on budget and on track.
00;19;46;09 - 00;19;52;23
DP
Yeah, I mean, you sit down with the clients and show them some of this stuff and I'm sure the first words out of their mouths is how much is this going to cost, right?
00;19;52;25 - 00;20;12;01
SN
Sure. It's interesting. In the earliest design packages, schematic design, you just can't draw all the detail. So, we actually put photos of collegiate gothic buildings in the drawings to help the contractors really get their head around, okay, this is really complex here. This is not your typical...
00;20;12;14 - 00;20;19;14
DP
And there had to have been a lot of handholding in the field too. I mean, a lot of the detail, like the variegated quoins, the quoining on the corners.
00;20;19;14 - 00;20;23;19
SN
Yeah. Every one of those stones is actually laid out in the design.
00;20;23;27 - 00;20;30;16
DP
All the dimensions, the materiality, the color. Like everything. Wow. So, there's a lot of details.
00;20;30;27 - 00;20;39;27
SN
Yes. I mean, it's a phone book level – for anybody who remembers what a phone book is – a phone book thickness level of drawing and documentation.
00;20;40;04 - 00;20;51;19
DP
Tell me a little bit about the limestone work, because, again, the level, the detail and the wonderful intricate detailing, I mean, you've got to draw and then you got to find somebody to make that.
00;20;51;28 - 00;21;24;16
SN
It's southern Indiana is limestone country. Indiana limestone. It's where the stone is quarried and it's where it is still fabricated. To this day, it is grand tradition. It goes back to the mid-1800s. It had its heyday in the early 20th century with, one just imagines, the proliferation of limestone buildings one finds in any great city in the U.S. and then it gradually tapered off from there after the war in particular. But there are still a few very dedicated fabricator firms that do the what they call the cutting.
00;21;24;23 - 00;21;30;24
DP
It had to have been hard to find somebody with so few people doing this kind of - this level of detail work.
00;21;31;07 - 00;21;44;12
SN
Well, there's one firm we've worked with on almost all of our projects. And they’re still - this is what they do. They are perfectly set up to do it, Bybee Limestone. We know them very well. We love them and they know us. And they love us too.
00;21;44;12 - 00;22;05;24
DP
Yeah, it's stunning. So back to Brick for a second. Did Brick solve any particular design challenges for the architecture for the client? I mean, you touched a little bit on the color, on the exterior and the feel of the architecture, right? We talked about the fact that you make this building all limestone. You got a problem. I mean, it's just a monolith.
00;22;06;06 - 00;22;38;17
SN
Yeah, well, it's a very warming material. It's very appropriate, in particular, the way it's used here for what is essentially a residential place. It's a very approachable, it's a very durable material, obviously. And sustainability is very important. We think one of the most important aspects of sustainability is building very consciously, using resources very consciously and very wisely. And in building something that will hopefully be around for a very long time. This building will be around for a very long time.
00;22;39;05 - 00;22;45;02
DP
That's for sure. Were there any unique construction details that you guys developed as you were working on this?
00;22;45;12 - 00;23;50;11
SN
Yeah, as I mentioned earlier, architecture is a very collaborative sport, and we didn't do this all ourselves. We had a very dedicated architect of record Hastings Architects out of Nashville. They were very faithful in working with us to realize all of the technical detailing, achieve what we're trying to achieve aesthetically, and then a really good contractor late in construction. They were very on top of things the whole way.
I'd say a couple of specifics: one of the things, the details that makes the colleges really fun and interesting are these ornamental chimneys that you find on the roof. And the contractor hit on a really interesting idea because in particular after the previous college where they did not do this, they elected to construct the chimneys on the ground, and then hoist them into place with the tower crane. That allowed them to advance construction on the roof without tying up a huge amount of roof area with scaffolding and preventing them from drying in the building. It was just a much easier erection process down on the ground.
00;23;50;21 - 00;23;53;09
DP
You just have boiler flues going through these things. I mean.
00;23;53;16 - 00;23;58;06
SN
They're vents, They're flues. Yeah. So, they do they do serve a functional purpose as well.
00;23;58;07 - 00;24;05;00
DP
I think that's a wonderful touch. You wouldn't expect to see these chimney masses on a building like that. They really kind of set it apart.
00;24;05;07 - 00;24;46;07
SN
One other quick detail is it sort of goes back to the documentation. After we get even through CDs and in construction, there's then what's known as the submittal process where shop drawings are submitted and the contractor hired one firm, an engineering firm that was sort of the central documentation point for all of the masonry. Typically, you would have separate drawings for brick and limestone, and in this case, the Crab Orchard. So, we had one firm that was weaving all of that together. It really helped the coordination and adjustments that had to be made to some of the technical details because it was all in one place. You know, it's also this is modern cavity wall construction.
00;24;47;13 - 00;24;49;03
DP
That’s a good point. Okay. So how does that work?
00;24;49;11 - 00;25;23;18
SN
So, there's a concrete superstructure between the slabs. We span metal studs. And then much like any building, we pack insulation between the studs. There's exterior rated gyp. board and then a barrier coating that goes over that and then some additional installation in some cases to get the proper R-values. And then the brick is hung off the building. It's built the way modern brick buildings are built today. Cause it really had to be, because that's just how we build - that's how people know how to build. Yet, we're trying to achieve something quite different in the aesthetics.
00;25;23;25 - 00;25;26;07
DP
Did you guys use any brick on the interior?
00;25;26;18 - 00;26;01;09
SN
So far, no. But there's one last college that's under construction and we were using brick in the dining hall of that one. It'll be a thin brick that's applied to the inside wall surface, but it's been a fun opportunity and a challenge at the same time across four colleges, because we want them all to fit within this collegiate gothic vernacular.
But yet, we want each one to be slightly different, so it's identifiable and to the community that lives there in a larger community as well. So, finding subtle, fun, different things we could do from one to the next was always one of the most interesting and challenging parts of this.
00;26;01;21 - 00;26;10;17
DP
I was thinking about while we were talking about the general contractor that you worked with. Was it a bid job or did you guys go immediately to the GC?
00;26;10;27 - 00;26;31;26
SN
They were a construction manager. So, they were brought on board early in the process during design. We like working that way because we like getting the technical expertise and input during design. We can constantly be moving forward as opposed to taking three steps back if a contractor comes on much later and says, “I wouldn't have done it that way.”
00;26;32;01 - 00;26;37;09
DP
What I was getting at was whether or not you had any challenges finding a really good mason.
00;26;37;19 - 00;26;48;06
SN
You know, it's interesting. It's lots of masons. There was a mason subcontractor, but they in turn subcontracted. It would be interesting to ask them. I know it was a challenge.
00;26;48;08 - 00;26;50;21
DP
Finding the right people to do the work.
00;26;50;21 - 00;26;51;17
SN
The right skill set.
00;26;51;23 - 00;26;57;11
DP
It's always a challenge for every architect. So, Steve, what was your favorite part of the project?
00;26;57;22 - 00;27;36;01
SN
I really enjoy the design development phase. We're really getting in and figuring out details. It's a level of problem solving that I find really interesting because in the earlier design phase, we sort of setting up the game board and making the major moves, but then to go in and make each one actually work and really figure stuff out and all the tools that we used to do that and it's a really interesting variety of tools, whether it's a half inch scale model of a corbel that's sitting on my desk or a sketch or the digital model, I just find problem solving at that level to be really, really fully engaging and satisfying.
00;27;36;10 - 00;28;02;24
DP
It's great. It takes a long time for most people to find what they really love about the profession, right? I mean, some people end up doing everything they've small offices, some people end up doing one thing one or two things inside of an office. It's a challenging business. It's a challenging profession. I think it's really nice that you're as happy as you are doing what you're doing and as good as you are at it. That's wonderful.
00;28;03;02 - 00;28;24;05
SN
I think one of the other interesting things, I use the word ownership a lot with the teams in the office and in design development. It's a really great opportunity to give individual young designers pieces of the building to figure out and design. When it's all done, they can come with me to the site and they can look at that point and yeah, I did that. That's really cool.
00;28;24;05 - 00;28;30;16
DP
Oh, that's great. So, Steve Knight, it was great to have you here. Where do people go to find you and your firm?
00;28;30;20 - 00;28;41;29
SN
Go to our web site www.dmsas.com. And if you're in Washington DC, come by and pay us a visit. 1707 L Street
00;28;43;00 - 00;28;47;09
DP
You get to meet some of our listeners. That's wonderful. Well, thank you very much, Steve Knight.
00;28;48;00 - 00;28;49;12
SN
Thank you, Doug. It's been a pleasure.
You May Also Be Interested In
We Can Help With Your Next Project
Discover the latest + greatest in design trends, industry news & pro tips from pros.
For all of your project needs, you’ll find everything you need at a Supply Center.
Let Us Know How We Can Help!
Design Vault Ep. 1 H-House with Mateusz Nowacki
ABOUT THE ARCHITECT:
![]()
|
Mateusz Nowacki is an architect and founder of Everyday Studio. Masteusz received his Bachelor of Architecture from Carleton University and the University of Toronto where he received his Master of Architecture. Everyday Studio is a collaborative design space dedicated to the research of domestic living prototypes and housing design. Predicated on the belief that architecture of all scales holds the potential to turn the everyday mundane into something wonderful and unpredictable, the studio devotes its efforts to creating spaces that are thoughtful, engaging, and timeless. Its work has been recognized in various architectural media including Dezeen, Dwell, Ottawa Magazine, and GOHBA Housing Design. Mateusz also has professional experience from several prominent Canadian offices, with current work ranging from multi-unit housing, multi-use recreational facilities, and post-secondary institutional buildings. |
---|
ABOUT THE PROJECT:
Located within a forested community known for its maple tree forest, tranquil properties, and traditional homes, the residence was designed to reference the neighbourhood typology of a ‘house with two wings’ into a form that established more intimately scaled spaces. Simultaneously, the design sought to reinterpret traditional building materials and architectural language through minimal detailing and interior spaces more directly linked to the landscape. The resulting design is organized into two volumes, with a third elevated volume stacked perpendicularly to form a central, double-height nucleus connected to exterior courtyard spaces on either side. Grounding the design within a familiar architectural language, these minimal volumes use traditional gabled forms clad in natural, tactile materials that provide a timeless character and evoke the surrounding landscape. Wood siding and brick are commonplace for the neighbourhood, yet here the textured clay brick grounds the house to the site and references the vivid maple tree foliage in the fall, while dark walnut wood battens recall traditional window shutters. The h-shape configuration allows the home to fit comfortably within the neighbouring context while offering each wing a unique relationship to the site via a sheltered lanai at grade and an upper-level cantilevered terrace facing south.
![H-House](/sites/default/files/inline-images/H_House-8.jpg)
TRANSCRIPT
00;00;02;24 - 00;00;32;01
MN
We looked at references of Eastern European architecture that felt familiar to them in terms of their context. Right? So, they grew up in small villages in southern Poland, where a lot of the typical houses there are just built out of clay brick, and the clay brick is exposed. All the mortar is exposed. So, it's all load bearing. One could look at that and say, well, that's really utilitarian and reflective of the structure of the house and, you know, where's the cladding? But to me I find that really interesting. I'm like, Oh, that is the cladding. And how do we kind of represent that in a new way?
00;00;33;00 - 00;01;01;25
DP
This is my guest, Mateusz Nowacki. I'll share more about him shortly. In this episode from the Design Vault, we’ll highlight his project, The H-House. The H-House is a residential home. The name is derived from the shape of the home, in plan, with the two story central spine and flanking single story legs clad in brick. The building uses standing seam metal, a variegated red brick and large modern black windows.
00;01;02;17 - 00;01;51;10
DP
Hi, I'm Doug Pat and this is Design Vault. Today we're talking to Mateusz Nowacki, architect of the H-House in Manotick, Ontario. Mateusz is the founder of Everyday Studio. He received his Bachelor of Architecture from Carlton University and is Master of Architecture from the University of Toronto. He's been practicing architecture in Toronto for over eight years and is a licensed OAA member.
Everyday Studio’s work has been recognized in various architectural media, including Dezeen, Dwell, Ottawa Magazine and GOHB Housing Design. So, Mateusz, tell us a little bit about your firm, Everyday Studio. Where are you located? What's the size? What kind of work do you do?
00;01;51;17 - 00;03;02;00
MN
Yeah, so I founded Everyday Studio in 2019 after doing a few years of freelance work, small projects here and there. I got a kind of first larger residential project of around 3500 square feet. It felt like a good time to kind of describe the notion of a studio that looks at the practice of researching and thinking about different housing prototypes and using that first project as a case study for that.
And it was sort of a kind of deviation of the thesis that I worked on in 2015 that looked at housing prototypes as well. And so, the purpose of the studio was really to be a kind of collaborative space to work with clients or contractors or trades or researchers to kind of understand the possibilities that housing can take in alternative forms than the typical vernacular.
And those studies can be polemical or literal. So, in some cases they might just be research based or text based. In some cases, they might be full houses. So, the kind of idea being that this collaborative space is meant to bridge that gap between what's on paper and what's actually built. So, we're located in Toronto, my studio right now. So, it's usually just me, but sometimes I take on some seasonal stuff and we can kind of range from a 1 to 3-person office.
00;03;02;08 - 00;03;08;21
DP
Okay. So, tell me a little bit about how you got this current project. The H-House, and how you get work in general.
00;03;08;29 - 00;03;55;29
MN
Yeah. So as any startup office does, work comes from just networking and passing on of a name. So, one project turns into another project and into another project. So, this one came from a client that was interested in the property in Manotick, and started off as a conversation with that client. And I think he had seen some of the past projects that I had done in that area as well.
Interestingly enough, like in that rural area of Manotick outside of Ottawa, I did I think two other kind of full houses which started to breathe a little bit of attention and got this client’s attention. So, it started off as a conversation, which turned into a kind of concept design for the project and the initial sort of idea was to create a house that's better connected with the site and with nature than some of its neighbors. And I can kind of touch upon that in a little bit. But it started off from there.
00;03;56;05 - 00;04;05;00
DP
I mean, I think that's a great place to start. So, give me a little bit about the history of the place, the location, the town, the neighborhood, the buildings.
00;04;05;09 - 00;05;17;11
MN
Yeah, to that point, I think that's such an incredible and important part of the story of this project. So much of where we drive inspiration from is context. You know, where is this thing located and why is that important. In the case of this area, so, the town is called Manotick. It used to be flagged with a number of agricultural fields.
It was a really kind of agrarian farming village some 75 to 100 years ago. And it hasn't developed much since that. Manotick itself is a small little town, you know, with single family homes surrounded by kind of two rivers and the kind of external area of that, the sort of periphery is surrounded by still some farming fields and some kind of larger sort of developments for larger scale homes.
So, where this property is located, it's in a neighborhood that was developed called Rideau Forest. So, it's filled with these two-acre wooded lots. So, it's quite a heavily forested area. But interestingly enough, like there are still traces of the agrarian history of the site. So, when you kind of meander through some of the still available properties there, you can see some of the old kind of stone walls which divvied up different fields for different species of crop and things like that. So, it has this really inherent tied to farming and to that kind of nature of the site, even though it's evolved now to be this neighborhood of two acre properties in really large houses.
00;05;17;17 - 00;05;21;28
DP
Is it typical to have an architect in that neighborhood?
00;05;21;28 - 00;06;17;09
MN
I would say no. Most of the houses that are built in that neighborhood – they come from two kind of forms. They come from either the client looking to have a sort of full-fledged design build project where they contact their custom home builder, per se, or they come ready with a plan that they've found or purchased or something like that. So, although the houses are quite custom in nature, they follow a kind of similar and typical pattern. Whether these large houses with these kind of large wings and adaptations. And what happens is they get quite visually noisy, they have quite deep floor plates, and the amount of carving that has to sculpt the roof geometry becomes very intangible from a visual perspective. And the way that we wanted to approach this project was sort of an antithesis to that was how do we marry the former context in kind of a gray and sort of idea of this site and its history with the understanding of what the site is today and the kind of neighborhood context.
00;06;17;18 - 00;06;41;06
DP
It sounds to me like – I mean it's pretty challenging to get sophisticated clients and then in a neighborhood like that, to end up with a client that's really interested in making great architecture, right? And listening to an architect and working through these challenges. So that must have been a nice experience because it doesn't sound like you knew them per se, right? They found you through relationships that you had with other people.
00;06;41;06 - 00;08;00;24
MN
Well, well, wait Doug, there's more.
So, we definitely started the conversation, the cons design with this client and to kind of emphasize the story a bit further, he also contacted my father, who has a construction company in Manotick in Ottawa. So, he has basically a custom home building company. He's one of these custom home builders in this area. So, he wanted to kind of work with us together at one point or another in the project, the client kind of backed away, you know, had alternative plans and sort of wanted to go in a different direction, I think ended up moving to a different country.
And so, we had this relatively well-developed design that was at a good point, a good conceptual point, and we had already invested a lot in how to create this marriage between site history and current context of neighborhood and things like that. And so, because my father was attached to the project, he kind of inherited its journey and was like, you know, I still want to move forward with this project, whether it becomes the project that we just build as a sort of passion project and sell, or whether it becomes something that is tied to our living, then he’s game.
So, he inherited the journey of the project. And so, from then on, we started to really look at incorporating nuances of my father, my mother's kind of Eastern European history into the project and see how the context of Eastern Europe and the area that they had lived in could start to influence materiality and tectonics of the project as well. So, it had this kind of new layer that was thrust upon it afterwards.
00;08;01;04 - 00;08;04;01
DP
So, am I getting this right? This was ultimately for your mom and dad?
00;08;04;06 - 00;08;05;10
MN
Yeah. So, they live there now.
00;08;05;12 - 00;08;06;12
DP
Oh, that's so cool.
00;08;06;12 - 00;08;07;12
MN
Yeah, they live there now.
00;08;07;12 - 00;08;08;11
DP
Unbelievable.
00;08;08;11 - 00;08;23;02
MN
It was an interesting kind of story of starting off with someone else, you know, and then kind of transferring it over, but not wanting to abandon it because so much was invested in in the first place. And then, you know, starting to layer on this new level of thinking to the project as it became more about them and less about the previous clients.
00;08;23;02 - 00;08;25;05
DP
So, you get along with your mom and dad?
00;08;25;05 - 00;08;29;06
MN
I do. I mean, yeah, Eastern European stubbornness aside, you know, I do for sure. Yeah.
00;08;30;14 - 00;08;31;19
DP
Do you have brothers and sisters?
00;08;31;28 - 00;08;34;29
MN
I have one brother. He works for the company as well. He's like, Yeah.
00;08;35;02 - 00;08;38;29
DP
So, your interest in architecture was early on, right? Your dad was a builder?
00;08;39;04 - 00;09;42;03
MN
Yeah, for as long as I can remember, since I was ye tall – for the listener, I’m pointing very low to the ground. Yeah. I've been on construction sites with my dad. I fully attribute my interest in architecture to him and to kind of him putting me in a context of watching things materialize and happen. And so, I think as a child, I was just inherently interested in – what are we actually building? You know? Like, it's great that we're building it, but what does it look like? What does it form? What kind of space does it create afterwards? And so, I married that with another interest of mine, which was really kind of urban thinking. Though this project is in a rural context, I think my suburban upbringing really planted the seed in me to want to think about a kind of different way of thinking about architecture and living and urban qualities of sites and things like that.
And so, when you look at it through that scope, this project was sort of the evolution of those things of me being kind of surrounded in this type of, you know, suburban, rural kind of context as a child, being able to come back and work on a project with my dad was a sort of full circle moment.
00;09;42;06 - 00;09;51;23
DP
Yeah, it's an amazing experience. That's wonderful. You seem like a very intuitive, very curious guy. So, let's go through quickly what were the client's programmatic requirements?
00;09;52;02 - 00;11;14;12
MN
So, a kind of synthesis of space, really trying to tighten the space a lot so that there was no wasted space in terms of program. So, I mean, at its core of programs, there's a living room and a kitchen in the dining. There's no accessory spaces, there's not a secondary living or sitting room or a secondary nook for eating.
It's just a simple kitchen, dining, living space associated with that typical mudroom powder room, a small home office, a main bedroom, and then a series of bedrooms with individual on-suites upstairs, as well as a library kind of gallery space. But the idea was to kind of be able to synthesize all these into a very tight knit floorplan.
So, when you look at the plan of the project, it's actually only a bar, the kind of adaptations that come off of the ends, house a garage, kind of veranda, lanai space off of the back, another garage on the other side. We kind of broke them into two. And then the main bedroom is actually the only programed interior floor space that comes off.
So, the house is quite tight. It's all housed into kind of one bar, and that tightness allows for the program to kind of work its way around each other. So, there's this constant sort of voyeurism as people move through the house. They're seeing each other from multiple levels and multiple rooms, and it invites cross ventilation, which is really important to the way I approach projects. There's a certain depth to the floor plate, which allows you to cross ventilate the space and creates really good environments for living, quality of light wise and ventilation wise.
00;11;14;19 - 00;11;27;19
DP
Yeah, there's a lot to unpack there. I mean, I’m going to keep going and maybe we’ll come back to it. So, tell me a little bit about the site, the topographic features. Is it flat? Is there any change in elevation and how did that affect your plan?
00;11;27;25 - 00;12;03;29
MN
It's a relatively flat site. It's not a site that has really strong topography to it. It does drop off a little bit at the back. But we didn't see the design from the get go as something that could start to play with elevation because it would feel forced if we would do that, you know, if we were starting to carve out spaces out of the topography to create walkouts or things like that, we really looked at the site as something that we said, okay, this is a planar condition. It's quite nicely treed around. So really, let's emphasize the connection to the sort of natural vegetation on the site and create the sense of living within this forest condition, which is, you know, why the house is heavily glazed towards the kind of more rare private conditions.
00;12;03;29 - 00;12;11;01
DP
Yep. Not everybody is that lucky. Sometimes it's a little easier when you don't have a ton of topographic issues to deal with.
00;12;11;09 - 00;12;16;07
MN
It's certainly easier. You tend to seek out the challenges in other places… At least, I do.
00;12;16;07 - 00;12;29;28
DP
It's almost nicer, I find as an architect, to have a challenge because then it makes you really work at design, right? What about project restrictions? So, like zoning, building codes…was there anything that was challenged in regard to that?
00;12;30;09 - 00;13;58;13
MN
So, from a zoning perspective, not really, because in this area like that, the zoning is quite lenient for a neighborhood like this. Within the frame that we were building, the size that we were building, we didn't have to deal largely with zoning issues or setback issues or anything like that. From a challenge perspective, I think the biggest one is one that surrounds the way in which I approach all my projects, which is buildability.
With that I mean, I try to find a way to create really interesting and engaging architecture using really conventional methodologies. So, this is a stick frame house that limits its use of steel, and yet we see cantilevers and floor protrusions and things like that. It's like, how do we get there if you're not building a full house out of steel?
And largely like my kind of interest in that was trying to make engaging and good architecture available to both clients and contractors at a better price in a way that feels more approachable from a building standpoint. And because with this house – my father being the contractor working on it – I knew inherently how he likes to build things and what his limitations are as a builder.
I use that as a framework within which to start thinking about the design, thinking about the tectonics, thinking about really strategically, where we're using more costly steel, where we were using larger expanses of glass, but also where we were tightening them up. And so, though the house looks like it's tectonically a lot more maybe complex than it looks, if you peel all of it back to the bones, it's no different than all the neighbors, which are just typical conventional stick-built houses with wood trusses.
00;13;58;21 - 00;14;03;00
DP
Right. So, a lot of thought went into, I would imagine, how much this thing was going to cost.
00;14;03;11 - 00;14;50;19
MN
Certainly how much it was going to cost, and just the approach to how it was going to be built. So, I remember, you know, when we were working through the construction documents on the project, having weekly conversations with the contractor and with trades that were involved from the early onset of how do we want to actually make this thing materialize, how do we want to build this thing? Like, you know, how is this beam going to sit? What kind of posts is it going to sit on? And almost working through it with a really solid understanding of structural engineering without going right to the consultant and asking him what to do. Like, we had this really intimate relationship with how this thing was going to be built and in a way that sort of harkened back to the agrarian structures that it's influenced by was the individual who owns that property is going to come in and look at the timber he has and build it himself. And we're sort of creating a modern interpretation of that approach in some degree.
00;14;51;01 - 00;15;02;15
DP
So, a big question would be, in particular, if I was working with my folks, the style choice. So how did you guys end up doing a modern building? Was that something they wanted right away?
00;15;02;23 - 00;16;37;27
MN
Yeah, it started off as a contemporary project with the first client that we were working with, and they were interested in a sort of a contemporary expression of a sort of farmhouse condition, right, using sort of materials that were natural and kind of warm tone to work with the site really well. And so, we kind of kept in that vein, but certainly started to work more specifically once my father was on board with kind of continuing the journey of the project.
So, from a style perspective, the houses certainly a deviation from them like they used to kind of live in a house that was quite ornamented and detailed and things like that was a beautiful house. Right? But I think them seeing me continue to work on projects and the kind of projects I was working on, it really started to kind of have an effect on them and me coming on home at Christmas and talking about how important natural light is and that kind of stuff.
It really had an impact. So, they saw that as something that they could kind of work with themselves in terms of how to approach the house. And then on top of that, we looked at references of Eastern European architecture that felt familiar to them in terms of their context, right? So, they grew up in small villages in southern Poland where a lot of the typical houses there are just built out of like clay brick, and the clay brick is exposed, all the mortar is exposed.
So it's all load bearing. One could look at that and say, well, that's really utilitarian and reflective of the structure of the house and, you know, where's the cladding? But to me, I find that really interesting. I'm like, Oh, that is the cladding. And how do we kind of represent that in a new way? Hence where we landed with the materiality of this project, which is a kind of smoked darker tone sort of clay brick that ages really well and it has this kind of grace and it's a timeless quality. So, we looked at those precedents as a reference in terms of where the style of the house itself lands.
00;16;37;27 - 00;16;47;06
DP
So, your choice of brick masonry, really, you knew from the beginning that you were going to be using masonry there at some point, right?
00;16;47;16 - 00;17;53;28
MN
It was set out at a conceptual level, yes. Though the tone or the color or things like that were sort of up in the air. Then when my father and mother had, during the project, they kind of seemed interested in carrying on that idea. Specifically, I remember for my mother when I said, you know, we're thinking about this kind of clay colored brick and something that looks really natural.
She loved that idea. She really never understood why more houses in a kind of contemporary context didn't do that, at least in the context where they live. And to some degree because the house, you know, in its design, in its formal and massing quality, it can appear really stark compared to its neighbors. The materiality choices of it are meant to sensitize that approach.
So, this notion of really conventional brick is meant to appear familiar to kind of an onlooker or to the person that lives at that home. It has this really timeless quality to it. It's like I can understand that house because it's made of brick. It's made of a conventional thing that I know that's been around for ages and has its conventional color. That's the color that brick usually looks like. When you ask a child to draw a brick, they're going to draw a red brick, maybe with three cores, if the child is advanced enough. Right? There's this familiarity which helps make the architecture more digestible.
00;17;54;08 - 00;17;59;22
DP
So, set up the building materials in general for us because the palette isn't just brick.
00;17;59;22 - 00;18;09;04
MN
Yeah. So, the kind of two wings that ground the house at the base are a Smoked Tudor Velour modular brick. So, it has this kind of rusty sort of clay color.
00;18;09;10 - 00;18;15;10
DP
And those colors, I would use the word variegated. Right? So, we see a series of different colors in that red clay.
00;18;15;11 - 00;18;40;01
MN
Yeah. The specification of the brick itself has a variation in it. It's up to a good bricklayer to make sure they patronize it quite well. But a lot of that is just coming from like the brick looks like it's been smoked at its edges and some are more smoked than others, which is where you start to get that kind of differentiation. And we like that a lot because the house has these really monolithic large brick volumes. And so, the kind of variation, the slight variation in the tone really help to kind of break that monotony apart a little bit.
00;18;40;08 - 00;18;43;07
DP
Was it hard to find a mason?
00;18;43;07 - 00;18;44;05
MN
A good mason? Yes. It’s always hard to find a good mason.
00;18;44;06 - 00;18;45;25
DP
It is! It's crazy!
00;18;45;25 - 00;19;18;20
MN
Yeah. And so this is why, you know, as a studio, we think it's important to kind of collaborate with trades early on because they can help kind of understand or they can help kind of propose ideas about how to get the masonry right at these angles or at the cantilevers that we’re proposing, things like that. And then the other materials were using a black standing seam metal above. So conceptually the volume that hovers above these two things floats. So, metal felt more appropriate. And then we're using a composite wood system in between the windows. So that's meant to kind of be a homage to sort of old wooden shutters that kind of peel away from the window itself.
00;19;18;24 - 00;19;20;15
DP
Where did you find that?
00;19;20;15 - 00;19;35;08
MN
It’s a product – I think it's based in the States. I can't recall. It's meant to be a veneer, but it's made out of wood fibers that are infused with like fiberglass and resin. So from a durability perspective. There's no maintenance. And it retains its color over time really well.
00;19;35;12 - 00;19;41;03
DP
And you're using steel lintels over these large openings that you're then using this wood infill between the windows.
00;19;41;09 - 00;19;45;05
MN
Correct. With the main one being the cantilever at the front entry of the home.
00;19;45;14 - 00;19;47;25
DP
So how did you pull that off?
00;19;47;25 - 00;20;06;05
MN
So, you know, we're looking at brick as a simple material and it's execution that appears very traditional in the way that we're applying it. But we found moments where we could start to kind of give it a more contemporary execution, and the main one being the cantilever at the front entry, which is just upheld by steel beams that are cantilevering out and transferring their way back to kind of point loads in the house.
00;20;06;05 - 00;20;07;23
DP
So they're tied back into the walls.
00;20;08;00 - 00;20;20;19
MN
Yeah, correct. And that cantilever holds a terrace on the upper floor, so a dormer above the entry that opens out onto a south facing terrace that you can use. And even in the kind of cooler spring months, because the sun engages that terrace quite nicely.
00;20;20;25 - 00;20;23;23
DP
Right. And that's a clear glass guardrail up there.
00;20;23;23 - 00;20;24;08
MN
Just a butt joint across.
00;20;24;08 - 00;20;25;07
DP
No frames.
00;20;25;07 - 00;21;03;01
MN
No frames. Yeah. So that it just kind of appears really minimal and visually to kind of carry on the notion of this house being an antithesis, that's exemplified in this entry now. You know, just talking about it, so many of the houses in the context, you know, the entries are these large columnar conditions, you know, with very ornamented roofs and things like that meant to kind of evoke this kind of grandiosity.
And here I think we're trying to evoke a grandeur, but we're doing so in a more nuanced way, layered elements, a kind of a structural acrobatic of this cantilever, the brick kind of enveloping you, your eye moving vertically towards that dormer. It's creating that grandeur, but doing so in using kind of tectonic architectural elements.
00;21;03;11 - 00;21;08;20
DP
So, did using bricks of any particular design challenges for you or for your clients?
00;21;09;01 - 00;21;42;17
MN
From a design challenge perspective, I think you sort of touched on it before, but it was how to allow the house to bridge the gap between the history of the site, the approachability of this kind of architecture in this kind of neighborhood and this sort of nostalgia of materiality for the client's past. Right? When we looked at those three conditions, Brick felt like a very natural material to kind of start to solidify that.
So that was the challenge of how do you build something like this in this kind of neighborhood? And brick really started to provide an answer for that in terms of how to bridge those gaps and how to create an architecture that feels timeless.
00;21;42;25 - 00;21;50;11
DP
You've got these traditional gable forms and yet you have these modern flat roof forms. What are the neighbors think? Have you heard from any of them?
00;21;50;21 - 00;21;52;20
MN
From when I'm around the house and I've been there.
00;21;52;20 - 00;21;53;10
DP
Yeah.
00;21;53;10 - 00;21;59;23
MN
A lot of cars roll by very slowly, I suppose. Although, I haven't heard many words being spoken, right?
00;21;59;29 - 00;22;00;21
DP
Do your folks hear anything?
00;22;00;21 - 00;22;18;25
MN
You know, I'm sure they only hear the good things. No one's going to say their real opinions. But to me, architecture is not about pleasing everyone. It's a subjective, you know, discourse, right? So it's about creating something that feels specific to the client, but also feels like it's mindful of its context and of where it came from in a really intelligent way.
00;22;19;04 - 00;22;27;21
DP
That's well put. Besides the cantilevers with the masonry, with the brick, were there any other unique construction details that you came across as you were building this thing?
00;22;28;02 - 00;24;22;01
MN
Yeah. So I mean, you can see in one of the photos we're looking at here in the studio, the interior, we use the bricks in the interior as well on the main kind of fireplace wall. So, the interior planning is kind of regimented by these volumes. So, as I mentioned before, the kitchen dining and living spaces are sort of one holistic space and they're separated by these equal 16 foot wide, almost like objects, one being the kind of back bar of the kitchen clad in a kind of white oak, one being the sort of kitchen island, 16 foot long cloud, and of course the main one being the fireplace clad in the brick, and then the third one being a kind of double height staircase, which has these sort of steel slatted risers that link the two levels together.
So, the main rooting element was the brick on the interior. And so, from a kind of challenge perspective, we had to just understand how to reinforce that brick on a conventional concrete foundation system with two steel beams trying to look at how to do that in the most conventional and cheapest way that we can make it work from a size of a beam perspective. But in execution, we found when you lay brick inside, you have to sequence that really specifically with all the other materials that are going in the house of the all the other trades that are coming in the house. You know, when is the right time to install the brick?
And we had to perform a few acrobatics with there because there's a kind of linear expression of the fireplace that's clad in a kind of thin steel plate reveal. So, we had to kind of cantilever the brick around that as well and kind of find a meaningful way to transfer it down. And then to express the tectonics of the build – and thankfully, the good work of the trades – we have uplighting that shines up on the brick in the kind of evening moments which really help to kind of show its tactility and it's rough surfacing. This brick specifically has a really natural finish to it. It's not polished or anything like that. We really like to use materials that look like they're supposed to look what they are. Bricks should look like brick. It should feel natural, it should feel rough, it shouldn't feel metallic or shiny or things like that. And so updating it felt like a celebration of selection of the brick, too.
00;24;22;01 - 00;24;32;15
DP
So, who did all the drawing? I love to ask that question because I love to draw, and this must have been really a wonderful experience for you because you're working with people that you really know well.
00;24;32;26 - 00;25;13;12
MN
It was primarily me. Like, I was doing the drawing from kind of early concept design to the CD's – construction documents – and to the landscape design as well. We didn't touch upon that one either, but because of the H form of the house, it forms two courtyards, one at the front and one of the back of the house. You know, conventional front and back.
And then the orientation of the pool is actually perpendicular to the orientation of the house, which kind of pulls the eye out towards the backyard and then towards a kind of pool house which is not pictured on these images we're looking at. So that sort of tertiary structure, that pool house there, kind of completes the series of objects that encapsulate that rear design of the site. We looked at an execution of that as well when I was drawing this thing up.
00;25;13;21 - 00;25;20;04
DP
Did you create three dimensional renderings for your folks? So, this is 3D modeled and then what software did you use?
00;25;20;15 - 00;25;22;00
MN
A number of different software.
00;25;22;04 - 00;25;24;12
DP
Like Revit, ArchiCAD?
00;25;24;12 - 00;25;31;19
MN
Sketch paper to start. You know, trace. A lot of rolls of trace paper. And then software wise, yeah, I mean, it starts in CAD and then it moves to Revit and then--
00;25;32;00 - 00;25;33;13
DP
Revit was the main software?
00;25;33;13 - 00;25;36;24
MN
Yeah. And then some studies in Rhino and SketchUp, and some rendering--.
00;25;36;24 - 00;25;40;13
DP
So, you know your way around that whole suite of products.
00;25;40;13 - 00;25;45;04
MN
Like most things, architects know a little bit about a lot of stuff. So, I know a little bit about every program.
00;25;45;04 - 00;25;47;08
DP
That’s so well-put. It’s so true. I'm not an.
00;25;47;08 - 00;25;48;03
MN
But I’m not an expert at any of them.
00;25;48;03 - 00;26;02;19
DP
So, tell me, sustainability is something we talk a lot about and you talked a little bit about that. Could you expand on this notion, the idea that you used Brick because I guess partially because it is a sustainable material.
00;26;03;02 - 00;27;37;14
MN
Sustainability from the perspective of the material choice? Yes. That's exactly why. Like, we like that on this project, brick is long-lasting. It is a material that requires zero to no maintenance and only improves over time. The patina that it develops over time is a likable factor of the project. Thinking about, let's say in Toronto, downtown Toronto, a lot of the older buildings that were built in the late 1800s or early 1900s were built from brick that was made at Toronto factories. And it usually is just the clay brick, right? And the exterior walls are all masonry load bearing walls and the interior structure is usually heavy timber. A lot of those went down in a large fire like most projects in the Chicago, right? But the ones that are still there, which there are quite a bit of them, they're looked at as precedents of really good, timeless architecture.
And you think about why that is a big influence. That is the long lasting quality of brick. You lay it and it feels organically and naturally sustainable without having to look at other projects as a precedent, given that the manufacturing process of the brick and also have a pretty low carbon footprint. And if you're sourcing it from a plant that's close to the site itself, that all kind of engages in that sort of sustainable approach of the brick.
And then outside of that, as a piece of architecture, we talked about the tightness of the project, the tightness of the envelope, all to create forced air ventilation that feels really well rounded because the air doesn't have to move all through the house. The HVAC design of the project is really, really tight in terms of how, you know, air movement gets kind of forced into all these spaces.
And of course, in the summer months you can all but turn off all of your heating and cooling systems because the house is so naturally ventilated. So, it creates really cool environments in the hotter summer months as well.
00;27;37;27 - 00;27;51;08
DP
So, give me one thing that you guys learned. It doesn't have to be about brick, but something that you learned through this process of designing a house, having two different clients, and then getting to the finish line.
00;27;51;19 - 00;28;28;21
MN
Working with a family member can be challenging, but can also be very rewarding. It can be challenging in the sense that a family member like my father, who has years and years of experience of building houses already, right? So they're really ingrained in how they've been doing things and here comes this young’in that's trying to look at a new way of thinking about this.
So that butting of heads and that friction can be very challenging. So, it's important to kind of keep your eye on the ultimate goal that you're trying to achieve together from the outset and not lose sight of that and let cool heads prevail, essentially. Right? I think that was a big lesson learned and so much so that, you know, my father and I are still continuing to work on some projects together.
00;28;28;21 - 00;28;29;16
DP
You're still talking?
00;28;29;16 - 00;29;24;28
MN
Yeah, still talking and still doing this stuff together, which is fantastic. At the end of the day, we love and I particularly am really thankful that I get to leave this kind of legacy behind with him, you know, of doing a project together with him. It's really a great kind of thing to leave behind, you know, a physical thing.
And outside of that, we talked about it before, but getting trades involved early. You know, we had some hiccups, of course, on site, as every project does. But we did learn on this project that getting trades involved early in the process was helpful in terms of how we were able to execute exactly what we wanted because we could have those conversations and planting the seed in whoever is, you know, working on whatever the product may be that they're installing or are working on. They also feel like the project is partly theirs.
Getting good trades is a challenge from any project’s perspective, but I find when you get them excited about it, they feel like they can bring their best work, you know, in terms of trying to suffice. The challenge of presenting them and make them feel proud that they're part of the process. And I think that's a really important one.
00;29;24;28 - 00;29;49;12
DP
Yeah, it's interesting to personalize that. I always ask the clients to bring in our contractors in schematic design, right at the end of schematic design, so we can get a preliminary price on the job. But I like how you describe this as more of a kind of relationship with these people that then grows and they get excited about the job. They're in early, they get to look at the drawings and then they have something to say about the project.
00;29;49;18 - 00;30;59;03
MN
Yeah, it's a kind of evolution of the typical kind of architecture delivery methods. So, you've got your design bid build, which really can create a divide between the architect and the contractor and the client to some degree. Then you've got the design build model which tries to integrate the contractor or an architect to some degree and create a more holistic approach.
And so, this is kind of an evolution of that. It's a design build with integrated input from trades and from the clients so that everyone feels like the project belongs to each and every individual that's working on it. There's forms of that called integrated process delivery that can be really timely right? But because we're just looking at house design and house construction, we can still be really intimate and fast tracked about the process as well.
So, this project, from initial design to final conception and kind of move in was two and a half years. I've worked at offices on custom bespoke residential architecture where projects of a similar scale, but with much more rigor and structural acrobatics and things like that were 5 to 6 year process. Right? That's part of what I think is interesting to us as a studio is how do we deliver these projects in a timely manner as well and not abuse the sort of amount of time that these things take.
00;30;59;14 - 00;31;07;05
DP
Yeah, particularly important with your parents.
MN
Yeah, indeed, indeed.
DP
Well, Mateusz, thank you very much for being here.
00;31;07;05 - 00;31;08;10
MN
Yeah, thanks so much for having me.
00;31;08;10 - 00;31;10;14
DP
And tell everybody how they can find you.
00;31;10;17 - 00;31;24;22
MN
We're somewhat engaged on social media. So, our website is www.everyday-studio.ca. At Instagram where everydaystudio_ that would probably cover most of the social media, but yeah, we try to keep up to date as much as we can.
00;31;24;23 - 00;31;27;12
DP
Okay, well, Mateusz Nowacki, thank you very much.
00;31;27;12 - 00;31;28;05
MN
Yeah, thanks, Doug.
You May Also Be Interested In
We Can Help With Your Next Project
Discover the latest + greatest in design trends, industry news & pro tips from pros.
For all of your project needs, you’ll find everything you need at a Supply Center.
Let Us Know How We Can Help!
Design Vault Ep. 25 102 Bainbridge with Michelle Todd
ABOUT THE ARCHITECT:
![]()
|
A design firm specializing in progressive and innovative designs that enhance the environment and existing urban fabric. * Our focus is to design and develop projects that are sensitive and responsible to social wellness, cradle to cradle architecture and the planet. * Better buildings. Better change.
Michelle Todd is an architect and urban community activist who has a longstanding passion for socially responsive, innovatively progressive, and restorative preservation design. Michelle grew up in Brooklyn’s Bedford-Stuyvesant neighborhood in the 1970s before it was hip, in one of Mayor John Lindsay’s modular housing developments. She knew she wanted to be an architect at ten and had big plans for the empty lot across from her apartment building.
It was the beginning of her interest in Urban Planning and how socially responsive architecture can do something positive for people and the planet. After a brief stint at Perkins Eastman, she opened her own firm in 2008. Since then, she has worked for small and large corporations such as Snapple, the New York City agency Office of Emergency Management and private residential projects. Since 2008 she has since set up her own studio in Brooklyn, New York and focuses on historic renovations and additions to collaborate more directly with clients and be closer to the construction process. She has worked on landmark designated buildings, bakeries, restaurants, school projects and completed dexterous renovations which push the envelope of the expected, creating simple beautiful spaces. Michelle has a Master of Science from Columbia University GSAPP in Architecture and Urban Design, where she was awarded the Lucille Smyser Lowenfish Honors Award for work in Urban Design. Master Planning of Community Developments is an initiative she is well versed in accomplishing. She is certified as a consultant with the International Institute of Building Enclosures (IIBEC) and Living Future Accredited (LFA) with the International Living Future Institute. She also studied at the famous École de Beaux-Arts in Fontainebleau, France. She is an adjunct Professor at New York City CUNY College and a licensed architect in New York State and Maryland State. You can find her gardening and planning programming with the AIA Brooklyn COTE Committee and AIA National Regional & Urban Design Committee.
|
---|
ABOUT THE PROJECT:
Residents of New York City take immense pride in their city, renowned for its vibrant energy, rich culture, and remarkable history. Among the numerous neighborhoods, Brooklyn's Bedford-Stuyvesant, fondly known as Bed-Stuy, stands out with its collection of over 8,000 buildings pre-dating the 20th century.
One of those buildings immersed in this historical tapestry is the beautiful home of 102 Bainbridge Street located in the Bedford Stuyvesant original Stuyvesant Heights Historic District which was designated on September 14th, 1971. It was built within a row of building Nos. 76-104 and is a long group of houses planned to form seven freestanding architectural units, consisting of fourteen paired houses plus a single house at the eastern end. These unusual two-story houses, designed by W. F. McCarthy, are of red brick laid in Flemish bond, and were built in 1919 for Samuel Willen, treasurer of the Prosser Construction Company. 102 Bainbridge itself is a modified Spanish Renaissance style with a triple arch loggia surmounted by a group of five (5) double hung windows. The roof parapet rises at the center in an arch supported on concave shoulders. The house is set back behind brick terraces with brick balustrades and are approached by L-shape stoops set back at a common wall.
The initiation for the restoration for this building was due to the exterior façade along the roof parapet on the west and north elevation were buckling with severe step cracking occurring along masonry segments in the façade with patches of damaged stucco. Within the west façade along the base of the stepped parapet were damaged steel tie rods. At the north façade, the center stone pediment needed to be supported correctly and coping stones above it had to be repaired. At grade, the front façade along the brick terraces walls showed signs of masonry buckling and deterioration. The entire existing roof, skylights, roof hatch and areas of limestone and blue stone above and below the windows were in dire need of repair.
The premise to rectify the structural conditions of the home began early in the design to utilize sustainable means and methods to restore the building. A major step taken was not to replace the areas along the façade again with new stucco. Stucco accounts for 8.2% of carbon emissions and is a material that is hard to maintain due to temperature change effects, dealing with moisture and freezing. During the removal process of the existing stucco along the rear east elevation the homeowners genuinely liked the appearance of the natural brick underneath. The advantage of keeping the natural brick exposed was its resilience to harsh climatic resistance, durable, low-maintenance, fireproof, noise cancelling, energy efficient and just made the building more attractive. The existing brick under the stucco in the rear of the home was a different brick color and style from the original masonry brick along the front east elevation and north elevation. We therefore chose a brick like the underlining brick called Glen Gehry Cushwa Calvert Series Middle Plantation Brick 52-DD along with 403 mortars to match masonry bond style.
As the construction project continued upon removal of the stucco face, it was revealed that a 1956 addition to 102 Bainbridge Street along the second-floor rear east and south façade was framed with wood along the exterior instead of masonry as per the original blueprints and approval submitted. Even though this construction was done before the landmark designation in 1971, the use of wood was illegal back then and present-day NYC building code because the building is along a shared property line with an adjacent building. This plot twist made the project move from being an exterior renovation to a demolition and reconstruction of a new addition.
To address this issue, the structural engineering firm Silman Structural Engineering was brought in to provide consultation on the next steps. Their recommendation was to reuse the existing steel lintels that were located under the wood along the exterior façade where the original windows were located and the roof structure. An entirely new structural design was created to merge the old methodologies of the 2-wythe masonry wall with the new steel framing from Marino\WARE. Scott Hughes Principal Director of Structural Engineering at Silman stated he specified Marino-Ware products because of the wealth of publicly available published information about them and their sustainable qualities of steel being robust, long-lasting, and 100% recyclable, making it unmatched by most other building materials in terms of its lifecycle. The new wall construction entailed the structural steel from Marino Ware which has the environmental product declaration from UL, USG glass mat sheathing made of recycled material and is 100% recyclable, the Blueskin vapor barrier to contribute the energy efficiency of the home and Glen Gehry bricks for the 2-wythe exterior wall. The existing steel lintels rediscovered remained to install the original style windows back at those locations along the east and south façade.
In correcting the existing parapet at the roof, we replaced the existing steel tie rods with the assistance of a local steel maker in Brooklyn who created each unique piece separately. This became handy when we had to go back to him again to create additional steel tie rods, upon the demolition of the top parapet along the north façade. There it was discovered the masonry construction was three wythe and within it were steel tie rods hidden from view to support the center of the arch with the stone pediment along with the concave shoulders.
The masonry wall along the front porch during the demolition process existing bricks were analyzed closely to see which ones could be salvaged and reused. This helped to maintain the budget of the project but also to have less impact to add to the wasteful construction materials to landfills which brick encompasses about 6.54% sadly. Areas within the masonry façade that were in decent shape stayed and dilapidated areas were replaced with new bricks. The entire roof was professionally abated and replaced using Siplast roofing system which uses reusable insulation to bright white liquid-applied roof membranes and granule surface that helps reduce atmospheric pollution. The environmental and sustainable goals were met with the reduction of building energy use, increase roof longevity and reduction of urban heat island effect. The large skylight was replicated and replaced. The small skylight on the roof was replaced with an operable solar skylight which aids natural light and ventilation to come into the building.
All existing coping stones were cleaned, repaired, reused, and restored. New limestone and blue stone used in the restoration was advocated from quarries and manufacturers who met ANSI/NSC 373 Standard.
Completing the exterior façade restoration entailed the replacement of the steel window lintels for some of the existing windows. The steel used was recyclable. The homeowners desired to have all the windows replaced for the home to save energy, save money obtain ultimate insulation, climate control, more light, less noise, dust, and outside pollutants. The windows was provided by Norwood Window and Doors because of their strong advocacy of their products created from sustainable harvested lumber and NRFC rating.
![102 bainbridge construction brick architecture michelle todd architects](/sites/default/files/inline-images/Screenshot%202024-05-14%20at%209.51.25%E2%80%AFAM.png)
![102 bainbridge construction brick architecture michelle todd architects](/sites/default/files/inline-images/Screenshot%202024-05-14%20at%209.51.08%E2%80%AFAM.png)
![102 bainbridge construction brick architecture michelle todd architects](/sites/default/files/inline-images/Screenshot%202024-05-14%20at%209.50.50%E2%80%AFAM.png)
![102 bainbridge construction brick architecture michelle todd architects](/sites/default/files/inline-images/Screenshot%202024-05-14%20at%209.50.42%E2%80%AFAM.png)
![102 bainbridge construction brick architecture michelle todd architects](/sites/default/files/inline-images/Screenshot%202024-05-14%20at%209.50.32%E2%80%AFAM.png)
TRANSCRIPT
00;00;00;02 - 00;00;05;10
Doug Pat (DP)
Let's go inside the vault. The design vault.
00;00;05;12 - 00;00;34;05
Michelle Todd (MT)
So the whole idea was to fix the parapet and also to fix all of the step cracking within the facade. It was a beautiful building of brick in the front and the original status was that it had stucco on the very rear portion. We wind up finding out that this particular building, it wasn't brick behind it, it was actually wood.
So that therefore became more of an extensive project in which it wasn't just a renovation of the exterior facade, it was now a whole new addition and also an entire new rebuild.
00;00;34;07 - 00;01;01;23
DP
This is my guest, Michelle Todd. I'll share more about her shortly. In this episode from The Design Vault. We highlight Michelle's restoration project at 102 Bainbridge Street in Brooklyn's Bedford-Stuyvesant neighborhood. The Bainbridge Street renovation project is located in the Stuyvesant Heights Historic District. It was built within a row of buildings, which is a long group of houses planned to form seven freestanding architectural units.
00;01;01;28 - 00;03;46;13
DP
102 is situated at the end of the row. It's a modified Spanish residential style home with a triple arched loggia made of red brick laid in Flemish pond. The roof parapet rises at the center in an arch supported on concave shoulders. The restoration was begun to repair a buckling roof parapet, deteriorated walls, damaged pediment and cracking stucco facade.
Renovation work was extensive and a decision was made early not to replace the stucco, but rather leave and repair the natural brick masonry. The building scope also changed during construction from an exterior renovation to demolition and reconstruction due to construction material issues. Structural engineers were also consulted to create a necessary and unique wall construction method. The existing roof skylights, roof hatch and areas of limestone and bluestone were also repaired.
The project was also recently awarded the 2023 Lucy G. Moses New York Landmark Conservancy Award. Hi, I'm Doug Pat and this is Design Vault. Michelle Todd is an architect and principal of M.Todd Architects in Bedford-Stuyvesant, New York. Michelle has a master of science from Columbia University in architecture and urban design. She also studied at the École des Beaux-Arts in France.
Michelle grew up in Brooklyn's Bedford-Stuyvesant neighborhood in the 1970s. She knew she wanted to be an architect by the age of ten. Her interests today focus on urban planning and socially responsive architecture. After a brief stint at Perkins Eastman, she opened her own firm in 2008. Since then, she's worked for small and large corporations such as Snapple, the New York City Agency Office of Emergency Management, as well as private residential projects.
Her studio in Brooklyn, New York, focuses on historic renovations and additions, collaborating directly with clients and working closely with the general contractor during construction. Michelle's worked on Landmark designated buildings, bakeries, restaurants, schools and renovation projects. She's an adjunct professor at the New York City CUNY College and a licensed architect in New York State and Maryland. She's certified as a consultant with the International Institute of Building Enclosures, and Living Future accredited with the International Living Future Institute.
Welcome, Michelle. It's nice to have you with us today. So tell us a little bit about M.Todd Architects in Brooklyn. So where in Bed-Stuy are you located? What's the size of the firm? How long have you been around? And tell us a little more about project types.
00;03;46;16 - 00;04;19;19
MT
The firm is in the heart of Bedford-Stuyvesant on the whole Z Street. Been around since 2008 was almost 15 years as of March of this year, 2024. And basically the firm is small, is about three people, we specialize specifically in historical preservation, as well as residential private editions, commercial projects such as restaurants, bake houses and also schools. So basically you have a realm of achievement in different areas, which is commercial, residential and also business.
00;04;19;21 - 00;04;26;09
DP
So tell us a little bit about yourself. How long have you been practicing architecture and what's your role in the office as principal?
00;04;26;12 - 00;05;00;18
MT
I've been practicing architecture since 2008, when I received my license. However, I do have decades of experience before then in working at previous larger offices, in smaller offices to gain the experience I needed. Because, as you know, as an architect, you have to have at least three years working first in the field and then afterwards you're able to take the examination.
So once I did that, then just made initiative to just start my own practice. And basically I am the principal where I do a lot of marketing as well as clients in order to obtain business.
00;05;00;20 - 00;05;02;15
DP
And you said you have some employees?
00;05;02;21 - 00;05;13;16
MT
I do have employees. They're basically consultants. So basically I have a expediter. I have a drafts person. I have also my consultants, such as structural engineer, mechanical engineers.
00;05;13;19 - 00;05;21;08
DP
That's interesting. So you have an expediter that you guys use. And is that to make the process working with the city a little easier?
00;05;21;11 - 00;05;33;17
MT
It really does make it easier because as a person with a small firm, your hands are in everything. So to have somebody to be on the outside, to be able to do that type of work is appreciative and helpful.
00;05;33;19 - 00;05;46;05
DP
That's really cool. I mean, just as an aside, I hadn't really thought about the need for an expediter in a firm like that, but that makes perfect sense. So let's dig in here and talk about the home. How did your office get the project?
00;05;46;07 - 00;06;08;01
MT
I received the project in regards to as a dear friend, where I'm on the New York City Landmark Committee for Bedford-Stuyvesant specifically, and Community Board three, and he was a good member, Fred Jones, rest in peace. He had a friend who was in need of architectural services, so he recommended me to the client, which is the richest family, about this project.
00;06;08;03 - 00;06;10;01
DP
So you didn't know the clients before you got the job?
00;06;10;06 - 00;06;18;04
MT
I didn't know the clients. It was a friend of a friend, and he just talked highly about me and said that you should work with me in regards to this project.
00;06;18;06 - 00;06;24;26
DP
So give us a little history about the location. And was I correct in stating that the unit is an end unit?
00;06;24;29 - 00;07;08;00
MT
It is. It's in the beautiful, original, historic district of Bedford-Stuyvesant, which is known as Stuyvesant Heights, and it was established as a landmark district in 1971. So this set of buildings, it's literally between Stuyvesant and Lewis on Bainbridge. There's about 14 series of the buildings, and it's at the end row and there are Spanish style Renaissance buildings. That was created by W.f. McCarthy, who was an architect back in 1919.
And the unique thing about these buildings is that it's the only buildings I've ever been in with it has two staircases inside where there's one in the back and one in the front. So I guess back in those days they would have the servants come through the back and then the owners come through the front.
00;07;08;03 - 00;07;10;14
DP
Roughly, what's the square footage of the project?
00;07;10;16 - 00;07;13;09
MT
It's about 1200 square feet.
00;07;13;11 - 00;07;17;05
DP
And what was the scope and the programmatic requirements from the owner?
00;07;17;07 - 00;10;08;12
MT
Well, the original scope and program was that it was in terrible need in regards to the existing structure, the parapet was buckling. So on the north facade as well as the south and west facades, it was just crumbling. They were scared that it was going to fall down in some way. So the whole idea was to fix the parapet and also to fix all of the step cracking within the facade.
But then as we went along, we started to think also, it was a beautiful building of brick in the front. And the original status was that it had stucco on the very rear portion. Once we started to do the renovation was like, you know, we don't really need the stucco. It really looks beautiful with the brick itself. So we started to expose all the stucco, and by exposing all the stucco, we wound up finding out that this particular building, it wasn't brick behind it, it was actually wood.
So that therefore became more of an extensive project in which it wasn't just the renovation of the exterior facade, it was now a whole new addition and also an entire new rebuild. So we found out the history, and that was the nice thing about it. We really had to go back in the history of it. This is where the assistance of the expediter really came into play, because basically we found out that back in 1956, the building itself had a permit to actually do a addition because all of these beautiful houses.
What makes them so special in this neighborhood, too, is that they have their own private driveway, which many people don't have in that area. And also they have a garage. But then also on the second floor of each of these houses, they have a beautiful sunroom with a balcony. The person who owned the property at 102 Bainbridge, he basically wanted to make an addition.
So he eliminated that balcony and extended the whole square footage of the building so it can be enclosed. When we removed the stucco, we found out that instead of it masonry, he had it wood. So that was back in 1956. So we had to go back all the way to the building department to find out what the original drawings were, which we found out which were these beautiful blueprint drawings that you don't see anymore.
And it said that year they were legally supposed to have an addition, but it was supposed to be made out of brick, not wood. So that's where the whole expedition kind of came in. I had to go back to New York City building department, as well as the landmarks, because everyone was like shocked that it was wood versus masonry.
And we basically had to do a whole reconstruction. And that's where I guess the product of Glen-Gery came into play, because what happened to you is that on the back of the facade, all the bricks in the building weren't the same. The bricks in the front of the building were made out of Beldon, and it was a different type of color scheme.
But then when we removed the stucco in the back, it was a beautiful match with the Glen-Gery Kushwaha Calvert Plantation Middle Plantation, 52DD. It was a perfect match to it. Again, we had to go back to landmarks to make sure that they were approve of that brick to match what was in the rear facade that was being used.
00;10;08;15 - 00;10;17;12
DP
So what's interesting about the photographs that you sent is that the building looks as though some of these walls were completely taken down.
00;10;17;18 - 00;10;59;01
MT
It was because due to the fact it was stucco and I'm an architect that's very conscious about the environment. And stucco is something I concrete and it adds to the carbon footprint. So the whole idea was that this project specifically was to eliminate that process in really being more progressive and more enhancing to the environment. So that's why we didn't use stucco.
We wanted to just expose the beautiful masonry itself. And therefore, by eliminating the stucco, we saw the building was in need of much deeper repair than we expected. That was the thing, because in 1956 you figured that the contractors would be honest and they would do what they were supposed to do. But he wasn’t. And therefore that made this more of an adventure to get it right.
00;10;59;03 - 00;11;05;27
DP
So I would imagine there are a number of other buildings on that block that were also made of wood, that the interior wall construction. Is that correct?
00;11;06;00 - 00;11;44;10
MT
I don't know. That's the whole thing. What happened is, what makes this special is that this is the only house that has the addition. That's it. Everybody else has the sunroom. So this once in particular you thought that you would put it in masonry, but it's in it makes sense. First landmarks had to come and see it.
They were, like, shocked. Then I received the structural engineer, which was SOMA Engineering Firm, which is a great engineering firm. They came, they were shocked. The construction company that we work with, Naim Construction, all of us was basically shocked that this was behind the stucco because it looked like everything was fine. But when exposed, that's when we all gathered together as a team to like how we can resolve this.
00;11;44;16 - 00;11;52;22
DP
Interesting. Let's back up and talk a little bit about the plan of the building. I would assume it's just a large rectangle, two storey rectangle.
00;11;52;24 - 00;11;54;23
MT
Exactly. It was a two storey rectangle.
00;11;55;00 - 00;11;59;29
DP
And had you been contracted to design the interiors as well?
00;12;00;04 - 00;12;20;18
MT
I have for later date because what happens is based on the fact that now the photographs that you have here show of what it was existing. We went back to the premise of what it was back in 1919 when the solarium had these beautiful corner windows. So the design now is encompassing back the original style of that format.
00;12;20;20 - 00;12;25;05
DP
So you had to work with the city. How long did that process take?
00;12;25;08 - 00;12;53;21
MT
This is how it began. The project began in May 2020, during the pandemic. Then we actually had approval to start construction in April of 2021. Then all of these items, open issues about the facade not being what it was, and reconstruction, we basically spent about two years after that, and it was completed around October 20, 23. So it was back and forth with New York Landmarks as well as New York City Building Department.
00;12;53;27 - 00;12;55;09
DP
And the client had somewhere to live.
00;12;55;16 - 00;13;08;12
MT
He lived on the first floor. So the top floor. It was a blessing that he was able to live on the first floor while all this construction was going on. And in the top floor, basically, he had tenants, but then they moved out. When this major construction of us doing the rebuild.
00;13;08;15 - 00;13;09;07
DP
A lot of noise.
00;13;09;13 - 00;13;11;04
MT
It was a lot of noise.
00;13;11;04 - 00;13;11;23
DP
Very dusty.
00;13;11;24 - 00;13;15;00
MT
But it was fun.
00;13;15;02 - 00;13;24;10
DP
That's great. I'm interested as an architect about the drawings that you created in the very beginning. Did you work in 3D or just 2D?
00;13;24;12 - 00;13;33;28
MT
I worked in 2D, but then afterwards, when we started to look at what this condition that was taking place in the rear, I started looking at it in 3D and how it would be.
00;13;34;05 - 00;13;38;05
DP
And did you have to present drawings to a historic commission?
00;13;38;07 - 00;13;47;14
MT
Yes, we present it to Brian Blazak, is one of the senior preservationists on in New York City Landmarks. We had to show the drawings of what we planned to do.
00;13;47;16 - 00;13;48;26
DP
Exterior elevations?
00;13;49;03 - 00;13;50;24
MT
Yeah, exterior elevations.
00;13;50;26 - 00;13;58;25
DP
So again, backing up a little bit, you removed the stucco on one facade and replaced masonry on another. Is that correct?
00;13;58;28 - 00;14;25;03
MT
It's on the same facade. What happens is, is that the entire facade was placed in stucco. But then when we looked at the south elevation, so the windows were there, but it was infilled with wood. And that's what was shocking to everybody because basically it was really dilapidated and it also kind of made sense for the owner later on because he said his tenants always felt cold in that part of the room.
And it made sense because it was the wood and that masonry, there was no insulation whatsoever.
00;14;25;06 - 00;14;30;17
DP
So tell us a little bit about the new wall system that you guys had to create because of that condition.
00;14;30;19 - 00;15;17;03
MT
So the new wall system was still going back to what was historically done in regards to the rear facade was made out of three widths of brick, which basically is like three layers. And what we had to do is that we had to abide by what the actual, once we removed the stucco, what the actual pattern was, because it was a common bond, because as I stated in the beginning, the pattern in the front of the house was completely different than the pattern in the back of the house.
So once we established that, then we wanted to really make it structurally sound and we incorporated steel within the wall. So basically you have the three whiffs of brick on the outside, then you have the steel. It was stainless steel that made sure it was resource sustainably. And then we have our insulation and then our finishes in the inside.
00;15;17;06 - 00;15;26;25
DP
So the project sounds really interesting. Did you guys learn anything new about construction technologies or about building typologies in working on this project?
00;15;26;27 - 00;15;58;06
MT
Yes, the use of materials because again, was very selective about which materials we're going to use because since this building was already historically landmarked since 1919, we wanted to make sure that it lasts for another 100 years. So was very selective on who the steel came from, where the insulation came from, where the bricks came from. All of these were really mindful things and I think moving forward with other projects, I continue doing that, making sure that they are friendly to the planet as well as to the people who are going to live and utilize the buildings.
00;15;58;08 - 00;16;04;18
DP
So did the client bring the general contractor to the project or did you interview a number of contractors?
00;16;04;20 - 00;16;10;09
MT
We did interview a number of contractors, but then the client himself selected Naim Construction for it.
00;16;10;12 - 00;16;15;19
DP
And clearly there's a lot of masonry work. Did you have any challenges finding a good mason?
00;16;15;21 - 00;16;45;27
MT
Oh no. He has very excellent masons and they were very accommodating because we had to go back and forth with New York City Landmarks when we were selecting the bricks where we had to actually do a sample of the wall where the wood infill was of how the brick was going to look. So one of his masons, George, was really who's one of the oldest ones there.
It has most experience. He was very patient. We went on the scaffolding and it was a really cold day, but we did the whole mock up and it came out beautiful. And therefore Landmark said, Yes, go with it.
00;16;45;29 - 00;16;49;16
DP
So you did the mock up and the city came out and took a look at it?
00;16;49;19 - 00;16;56;05
MT
No, we took photographs and then afterwards they were like, because it was cold.
00;16;56;07 - 00;17;05;24
DP
So the city doesn't like to go out on cold days? I think we’ll leave that in there. That's good. So I assume the client's living there now?
00;17;06;02 - 00;17;09;17
MT
He is. He's living in the bottom floor still, but he's happy with the work.
00;17;09;20 - 00;17;12;25
DP
So is it complete? And he has a tenant on the second floor?
00;17;13;00 - 00;17;22;21
MT
He doesn't have a tenant on the second floor. And it's not quite complete yet because now we're just waiting for the historical windows to come in. So that is the last crème de la crème.
00;17;22;23 - 00;17;24;27
DP
And who is the manufacturer of the windows?
00;17;25;03 - 00;17;36;10
MT
It is Norwood Manufacturers, a Canadian company. And again, it was very selective on them because the way they use and harvest wood in order to make the windows, we're really mindful about that.
00;17;36;17 - 00;17;39;23
DP
Interesting. Are they double glazed? Triple glazed?
00;17;39;25 - 00;17;49;03
MT
They're triple glazed, low e glass index and they're quite beautiful. They're the original to what was there before of the windows? So they're replicating those.
00;17;49;05 - 00;17;57;00
DP
So I'm curious in terms of color, you were able to find a brick that you were happy with. You said that matched on the exterior.
00;17;57;02 - 00;18;12;16
MT
The contractor has suggested he was like, this will be a perfect break. I did research and was a Glen-Gery Kushwaha Calvert 52 DD Middle Plantation. That was the one that was selected. And when we put it in place, it was perfect to what was there from 1919.
00;18;12;22 - 00;18;15;27
DP
So do all these row homes, they all must look the same?
00;18;16;02 - 00;18;45;16
MT
They basically all look the same. And the other fascinating thing too, with the project, when we were doing the demo for the wood infield, all the bricks, I learned this like recently from my practice that the bricks that we were removing, that were there all had the names of the brick companies on there. And you don't see that anymore in which they were actually etched into the brick.
I was like, Wow, It's like, fascinating. So it was like an archeological project in the same way of doing something better for the building for another hundred years.
00;18;45;19 - 00;18;52;24
DP
So when you guys put these new windows in, what about the color? Can you do whatever color you want or the colors have to match the other homes.
00;18;52;26 - 00;18;57;13
MT
The colors have to match. It is going to be made out of wood, but they're going to be of a white finish.
00;18;57;16 - 00;19;00;10
DP
And they have to be traditional in style to match the others.
00;19;00;16 - 00;19;01;06
MT
Exactly.
00;19;01;06 - 00;19;11;17
DP
Interesting. So, Michelle, you've been an architect for some time. Based on what you know today about being an architect, you have any words of advice for your younger self or maybe architects coming up in the ranks?
00;19;11;19 - 00;19;41;21
MT
I would say don't quit on yourself. That's for me personally, as a woman and a woman of color in this industry, to always just believe in yourself, that what you find really interesting and powerful within yourself will just keep working at it and you'll get recognition. But it's not really about the recognition. I've always known I wanted to be an architect.
I feel architecture is like a stewardship. You are helping other people to obtain their desires and dreams and designs, but then also, too, helping the planet.
00;19;41;24 - 00;19;49;23
DP
So, Michelle, it's been great to have you here today. Thank you so much for your time. Where could people go to learn more M.Todd Architect and yourself?
00;19;49;26 - 00;19;56;06
MT
You can find me on my website at MToddArchitects.com and then also I'm on LinkedIn.
00;19;56;08 - 00;19;58;10
DP
Well, thank you very much. It has been great to have you.
00;19;58;17 - 00;20;00;24
MT
Thank you so much. Appreciate the opportunity.
You May Also Be Interested In
We Can Help With Your Next Project
Discover the latest + greatest in design trends, industry news & pro tips from pros.
For all of your project needs, you’ll find everything you need at a Supply Center.
Let Us Know How We Can Help!
Design Vault Ep. 10 44 Union Square with Todd Poisson
ABOUT THE ARCHITECT:
![]()
|
For Todd Poisson, great design is beautiful, inventive, buildable, and responsible. Uniquely, Todd is both a big picture thinker and a stickler for details, with natural talent for building consensus. By collaborating closely with colleagues and clients, he consistently achieves multi-faceted success on his projects, for today's beneficiaries and generations to come.
An exemplary leader of complex teams, Todd's current work is mainly comprised of ground-up buildings in New York City. Particularly notable are The Jefferson and Citizen Manhattan condominiums, as well as 529 Broadway, a six-story retail building in the Soho Cast Iron District, who facade reflects its context with a gradient from the punched windows of one historic neighbor to the expansive glazing of the next. Todd's interest in the tools of architectural practice, as well as his commitment to excellence in project delivery, result in his teams being at the forefront of today's design research, technologies, and processes.
In addition to architecture, Todd has a contagious passion for sports. He is an active volunteer with the American Youth Soccer Organization and a former coach and referee of regional leagues. In addition, Todd is a lecturer and interviewer for Cornell University's College of Architecture, Art, and Planning, of which is an alumnus. |
---|
44 Union Square
BKSK
View ProjectTRANSCRIPT
00;00;00;00 - 00;00;05;16
Doug Patt (DP)
Let's go inside the vault. The design vault.
00;00;05;19 - 00;00;34;08
Todd Poisson (TP)
They wanted to expand the building, and a vertical expansion is taboo for individual landmarks. So, in order to get them any significant square footage additions up there, we wanted to go bold. Why not propose a more robust, bold roof scape? And given the history of Chief Tamanend being the namesake of Tammany and with this desire to really honor the Lenape, why not be inspired by the Lenape's origin story of a rising turtle coming out of the water, shedding water?
00;00;34;11 - 00;03;33;28
DP
This is my guest, Todd Poisson. I'll share more about him shortly. In this episode from the Design Vault, we’ll highlight Todd's project, 44 Union Square.
44 Union Square sits at the northeast corner of Union Square Park in Manhattan. The project includes a remarkable contemporary steel and glass dome addition to the storied landmark building on Union Square's northeast corner for Redding International Ink.
The new building expands the usable square footage of the historic building and adds an iconic anchor to Union Square. The building's former life was as the last headquarters for the political machine, Tammany Hall, an American organization founded in 1786, famous for controlling New York City and state politics for a time.
The restoration and expansion of the building includes preserving two facades, new bronze storefronts in the likeness of the original 1928 design and a three-story rooftop addition. This wild steel and glass building cap is composed of a self-supporting free form shell grid dome atop a reconstructed hipped roof with gray terracotta sunshades.
If you're wondering, the New York City Landmarks Preservation Commission unanimously approved this incredibly creative design.
Hi, I'm Doug Pat and this is Design Vault.
Today we're talking to Todd Poisson. Todd received his Bachelor of Architecture degree from Cornell University. He became a partner at BKSK in 2007 and has over 30 years of experience in the architecture profession. Todd has been responsible for the design and construction of some of the firm's most ambitious projects, ranging between residential mixed use and institutional works. Recent award-winning projects include the Gansevoort Row redevelopment for Aurora Capital and 44 Union Square, which we'll discuss today.
Other notable recent projects of Todd's are 200 East 21st Street, a 20 story, highly sustainable residential tower in Gramercy for Alpha Development and 470 Columbus, a passive house, multifamily development on the Upper West Side for the Rowe Corporation. Todd is currently a volunteer with the American Youth Soccer Organization and a long-term coach of regional athletic leagues.
In addition, Todd is a lecturer and volunteer interviewer for Cornell University's College of Architecture, Art, and Planning. So welcome, Todd. Nice to have you with us today.
We're going to talk about 44 Union Square. But before we do, I should mention that we recently interviewed one of Todd's peers at BKSK, David Kubik. He told us a bit about the firm. But for those who haven't listened to that episode, tell us a little bit about BKSK in New York City. Where are you guys located? What's the size of the firm and what type of work do you do?
00;03;34;01 - 00;04;31;07
TP
Sure. So, thank you for having me. BKSK Architects is headquartered in New York City in Manhattan, not too far away from your center here on West 38th Street in the garment center of Manhattan. We've been in business since 1985 celebrating 38 years. David and I are kind of second-generation partners. We've been in business about 38 years. We have over 200 built projects. David and I both joined the firm about 20 years ago plus and were made partners about the same time.
BKSK specializes in many things. We like to say if you know New York, you know our work. Our work is kind of separated between, generally speaking, cultural, institutional work, libraries, religious structures, parks, and commercial buildings and residential buildings. Residential projects ranging from new condominium buildings, towers or private residential projects, combining units or renovating someone's home.
00;04;31;10 - 00;04;34;01
DP
Do you guys do residential projects outside of New York City?
00;04;34;07 - 00;04;45;21
TP
We do. In fact, we have a little annex office out in Oklahoma City that we had so much Midwest work. Now we have private residential projects, upstate New York and in Connecticut and in New Jersey.
00;04;45;23 - 00;04;53;11
DP
So, tell us a little bit about yourself. How did you end up at BKSK? How long have you been there – I believe you just said that. What's your role in the office?
00;04;53;13 - 00;05;49;13
TP
Well, I joined back in 1998. So, 25 years ago I answered a New York Times wanted ad – remember those, actually where you had to get the newspaper Saturday, the Sunday paper? You got to subscribe to get them a day early to rifle through the want ads. And I answered a want ad for a project manager at an architecture firm called Burns, Kendall, Schieferdecker, with this crazy name. I thought it was a law firm. Back then there was no websites. You couldn't look up the firms. You had to go to these places, and you'd open the front door and you'd be disappointed but had to sit through the interviews to see what kind of work they did.
But the moment I met George Schieferdecker – he interviewed me 25 years ago, he's still there, one of the founding partners – knew immediately that I had found the mothership. You know, these guys knew each other from school way back. They were so intellectual. They all had lives outside the office. This was not a sweatshop kind of architecture firm that one sometimes encounters. And I've just had just a great time with them.
00;05;49;16 - 00;06;05;23
DP
It's funny, when you were saying that, all these awful memories started flooding in of making one phone call after another and going through the phone book and then showing up and knowing nothing about the work of that architect, and endless interviews. So where were you working before BKSK?
00;06;05;25 - 00;06;23;21
TP
I was here in Manhattan already. I was working for Stephen Jacobs Group, an architect who specialized, at the time, in new construction residential work. So, I really cut my teeth as a young architect in the field, hardcore development construction experience in Manhattan, which has paid off a great deal.
00;06;23;24 - 00;06;28;20
DP
So now you're partners. So, what's your role like now? Has it changed significantly?
00;06;28;22 - 00;07;48;02
TP
Sure. So over time, our roles change as partners as we grow in the firm. David and I and Julie Nelson, the other second-generation partner. Julie, David, and I really grew up there and our roles have evolved from being in the trenches and drawing every line and every detail for projects that get built. Lucky for us, our sites tend to be in Manhattan.
We're also a little bit regional. We have some work in New Jersey and Philadelphia and Connecticut, but still about 80% in Manhattan. So, we are very lucky. We could visit sites very easily to get hands on experience. And so, our roles really evolved quickly into project management, into client facing roles, consultant coordination, field work. When we were promoted to partners, our roles shift gradually into more finding work, finding new work, finding repeat clients, developing those relationships to continue getting new projects, setting the design direction for new projects, and then just kind of being the face of the project.
We pride ourselves to being involved with every phase of design as partners. We don't just disappear after landing a new project. We really stay involved in the trenches at meetings. I just came from a mechanical coordination meeting for a new hotel project we're doing. I really love that stuff. I really love the details – love the field work as well as the design and the client facing opportunities.
00;07;48;04 - 00;07;51;00
DP
I'm curious how big was BKSK when you joined them?
00;07;51;07 - 00;07;54;08
TP
So, they were about 15 people, I think, in 1998.
00;07;54;12 - 00;07;55;15
DP
And now you're 50.
00;07;55;15 - 00;07;57;19
TP
We're about 50, 52 people. Yes.
00;07;57;26 - 00;08;03;24
DP
Interesting. I love the field stuff, too. I love the people stuff. It's just the best part of the job.
00;08;03;26 - 00;08;21;19
TP
The soap opera arcs during it, like a seven, eight year project are just terrific. We refer to them at project meetings or say previously on this project in season two, you might recall that the elevator consultant said the opposite of what you just said. Like years later, it's a way to keep things light at these construction meetings.
00;08;21;23 - 00;08;22;20
DP
That is really funny.
00;08;23;04 - 00;08;43;02
TP
We try to keep it light and funny, and the construction industry has changed a great deal, as you could imagine, along with everything else. But in the last 35 years since I've been working, you know, sites are tech savvy. It seems to be it's a much more civilized kind of operation, and there's opportunities to really develop great relationships with the builders and consultants.
00;08;43;09 - 00;08;50;28
DP
Great insight. Totally true. So, let's dig in here and talk about the building. Tell us about 44 Union Square. So how did your office get the project?
00;08;51;00 - 00;17;44;06
TP
So back in 2012, the phone rang. It was Michael Buckley calling from Edifice Real Estate Partners. He invited us – because of our strength of our record of getting very challenging approvals through the Landmark Commission of New York City – invited us to join, I think it was a group of five firms that competed in a competition that lasted a month of design work, and then we each presented our work to the owner, Margaret Cotter of Redding International that month.
The design happened to coincide with when Hurricane Sandy hit Manhattan. So, our office, like many offices in Lower Manhattan, lost power. So, I brought the competition work home with me, and at the time I had a five-year-old daughter, and she sat in my lap, and we drew together. It really resonates with me to this day because fast forward ten years and there we were finishing the project during a global pandemic where we all had to work from home again. So, this project really bookended two kind of catastrophes in New York City, starting with Hurricane Sandy, working from home and then ending with the pandemic and closing out the project in 2020, using my daughter's big scooter to scoot down to Union Square. During the height of the pandemic, as work was finishing up.
So anyway, Michael invited BKSK to join this limited design competition. I dived into the history of the building. We're all students of history. We feel that every project, even if it's not a landmark project, has its history, has context to learn from. And immediately I learned the story of Tammany Hall that was different from what we're all taught in school, at least in the Northeast. We're taught that Tammany Hall is synonymous with greed and corruption and graft. And while that's all true, Tammany Hall is not named after an Irish politician of the 19th century, which you might think given the Boss Tweed stories and the background of Tammany Hall, that's in the social conscious. But in fact, the namesake of Tammany Hall is an indigenous 17th century chief, Chief Tamanend of the Lenape, who signed a peaceful coexistence treaty with William Penn in 1680, an event that's documented in our Capitol's rotunda in Washington, DC, rules that really held in place for quite some time.
Chief Tamanend was revered and legendary to the European settlers as a native representative who welcomed visitors and who wanted to listen to all voices. And listening to all voices became kind of the theme of these early social clubs, which became known as Tammany Societies. We were surprised to learn that there were dozens of these Tammany societies that dotted the East Coast from New York to Cleveland in the early days of the Republic, and I think they even predated the revolution. I think they, maybe, formalized themselves after the revolution, but the clubhouses began even before the American Revolution, where people joined and sat around talking about what ideals the New Republic should represent. And they chose Chief Tamanend to represent them as a symbol of listening to all voices. Over the centuries that story was lost. The only Tammany society to make it into the 20th century was ours here in New York, only to become known for craft, greed and corruption.
So right from the beginning we thought it was an opportunity to rebrand the building in Chief Tamanend’s name – kind of erase this idea that Tammany is associated with just greed and corruption, but is associated with the indigenous population of North America, of the Northeast, especially of the Lenape. Given that background, looking at this Neo-Georgian red brick and limestone building at the corner Union Square, which was designed originally to emulate Federal Hall downtown. Federal Hall is where George Washington was inaugurated on the balcony. Federal Hall was demolished in 1812, but it looked like Tammany Hall does today, except Federal Hall had a much more robust roof line, had a big hipped roof and a cupola, whereas Tammany Hall and Union Square chose the architects Thompson, Holmes, and Converse out of Philadelphia in 1928 – chose to replicate the federal Hall facade quite literally, but they gave Tammany Hall here in Union Square a much more tepid roof.
And so, the thought was, given the brief from Edifice for Redding International, they wanted to expand the building, they wanted to rebrand the building, but they knew it was a landmark. They knew it was an individual New York City landmark. So, demolition was out of the question. And a vertical expansion is taboo for individual landmarks. Typically, the New York City Landmarks Commission approves maybe a handful each year, but they're very difficult to convince the commission that it's an appropriate addition to the base landmark. Union Square is such a vast public space that we knew immediately that even if you put like a shampoo bottle on top of the roof, it would be seen from across the square. So, in order to get them any significant square footage addition up there, we wanted to go bold. We felt that, given this Neo-Georgian base that used to have or was modeled after a building that had a bigger roof, why not propose a more robust, bold roof scape?
So, the question is what form should that take? And given the history of Chief Tamanend being the namesake of Tammany, and with this desire to really honor the Lenape, why not be inspired by the Lenape’s origin story of a giant turtle rising from the sea, creating land to give this Neo-Georgian building the dome that it would have, could have, should have had if Tammany Hall perhaps was more honest with its intentions in 1928, when Thompson, Holmes, and Converse designed this building, which really cloaked them in kind of quasi-governmental garb at this very federal style red brick and limestone building with a pediment, portico, but a tepid roof.
So, we decided to model a very contemporary glass and steel dome modeled after a rising turtle coming out of the water, shedding water as the kind of volume to hold, to house three additional floors. And the landmarks, as you mentioned, Landmarks Commission unanimously approved it. We only had to go back once to tweak the height of the dome and some of the details.
The dome kind of erupts from a reconstructed hip roof. So, we removed the slate hip roof and recreated it in the same inclined plane with terracotta sunshades that intermittently cover the beginning of the glass and steel dome. So, the glass and steel dome starts off as in the form of a hip roof, but then quickly transforms into this parametric shell that looks like classically proportioned when one stands in front of it in Union Square. Looks like any other dome on a classic building, in terms of its proportion. But when one turns the corner and looks more obliquely on it, its organic source kind of becomes more apparent. You kind of sense something is going on there and it's turtle like as it faces north over this arched pediment that was top of the Tammany Hall's balustrade in the middle of the East 17th Street North facade.
The original building had this odd arch pediment that was kind of just vertically cantilever in there. We didn't quite realize what it was until we looked more into the history of Tammany Hall. And sure enough, they used to – before this building was built in 1928 – they occupied a clubhouse on East 14th Street down at the other corner of Union Square. And on top of that building is a giant arched, decorative element with, in fact, a 15-foot-tall statue of Chief Tamanend. That building was demolished for ConEd’s expansion in the 1920s, and that's what spurred Tammany Hall to move to this location on the northeast corner of Union Square. Chief Tamanend is only recalled on our facade in 1928 with a headshot, a limestone medallion that faces, on the north facade, over what was Tammany Hall's front door. So, the classical portico facade that faces Union Square was really always a commercial facade. The ground floor was always a retail store location. In 1928 was a manufacturer's trust bank, for example. And now just last week, we celebrated the grand opening of Petco as the new national headquarters giant, 30,000 square foot new store in the ground floor cellar and second floor of the building.
So, it's still a retail presence. And then the upper floors are remodeled to be open office space. So Tammany Hall's front door used to be below that arched pediment facing northeast 17th Street and that's where we decided to kind of turn the turtle's head on the roof. So, the glass dome takes on a little bit more of a turtle-like form as it turns its head to give that arched pediment a little bit of a home. And we think it gives it a little bit more of a reason to exist than it ever did before. And it signals that that was Tammany's front door, once upon a time.
00;17;44;08 - 00;18;00;17
DP
Wow. Some great information. There's so much to talk about here, you know, it reminds me of - I'm still a big fan of Coop Himmelblau, it's far more organized, right – but it reminds me of that kind of approach to architecture. So, there were five entries. Did you see the entries?
00;18;00;23 - 00;18;39;25
TP
We never saw the other entries. We presented our work to Margaret at Redding, like December of 2012, after a bit of a delay because of Hurricane Sandy. We were awarded the project. It took about a year for contracts and everything to be negotiated to become their architect, but we were awarded the project so roughly late 2013. We brought it to the Landmarks Commission in, I believe in 2014. We received final building department and Landmarks approval in the following year or so, and then it took a few years to build. It was interrupted a bit by the pandemic, but we finished. Construction was finished in 2020.
00;18;39;28 - 00;18;42;16
DP
So, start to finish, how long was it then?
00;18;42;19 - 00;18;54;08
TP
From the day the phone rang in 2012 to 2020. So about eight years. We've stayed on call as the landlord's architect to help coordinate work for the tenants looking at space inside.
00;18;54;13 - 00;18;58;17
DP
And this was mostly a renovation project, but there was some new construction?
00;18;58;24 - 00;20;29;26
TP
So that's great that you ask that because it appears from a lot of photographs and even as you walk around it and even when you're in it, it's hard to realize that it's actually a new building behind the 100-year-old street walls. Everything was removed except the two street-facing walls. So, we think that's a real success, that people think it is a rooftop addition with maybe a little renovation inside, because that really was the intent to be as deferential and respectful of the historic landmark as possible. But, in fact, everything was removed. The historic masonry walls were decoupled from the structure. They were braced in place by tower braces that had their own foundation systems through the sidewalk, including through a giant vault that lines the 17th Street side that has a giant ConEd steam pipe running through it. So very complex coordination that the structural engineers at Thornton Tomasetti coordinated with our construction managers at CNY to develop this very intricate tower bracing system.
I should mention Buro Happold also as engineers of the project. So, the facades were decoupled from the structure. Everything was removed inside, including the foundation. A deeper foundation was dug to give the building a very deep cellar and six new stories. So, what was a three-story building with the little caretaker's apartment hidden behind the hipped roof at the front is now a 70,000 square foot class-A commercial building, growing from about 35,000 to begin with.
00;20;29;29 - 00;20;32;23
DP
So, you had to match the existing brick.
00;20;32;26 - 00;24;16;27
TP
So yes, finally we could talk about brick. Big part of the project was restoring those two street walls, the two 100-year-old historic street walls that are red brick and limestone, modeled after Federal Hall downtown. We researched the brick. Our design partners at Buro Happold gave us a roadmap – and the restoration contractors at Pullman – very detailed road map of the two street facades of which parts needed to be replaced. But remarkably, not a lot of the brick had to be removed. We did repoint 100% of the brick, meaning partially removing, breaking back the mortar joints and replacing the mortar. The front about three-quarters-inch of mortar on all the joints, but only replaced maybe about 15, 10%, maybe less of the brick.
The brick we found; we researched where the brick was in 1928. It was from the old Virginia brick company in Salem, Virginia. And we found an advertisement in 1929 after the building was completed, and they are bragging about their new building on Union Square, and they are linking it – as a Virginia company, they’re proud of this project for many reasons – but including the fact that Tammany Hall was linked to Thomas Jefferson's ideals and Thomas Jefferson, of course, is from Virginia and is famous for designing his home at Monticello. So, the old Virginia brick company has this advertisement that we found in the Archives of Public Library here in New York that they link the brick here at Tammany Hall to the brick used at Monticello. But if you read the fine print, it's not literally the same brick, it's not from the same kilns. They say it's, quote, “in the same size and made in the same kind of cherry and maple molds as those of Jefferson's beloved Monticello.” So even though Salem, Virginia, which is right next to Roanoke, Virginia, still is about, these days, even a two hour drive from Monticello, they wanted to connect themselves to the legacy of Thomas Jefferson with this new building for Tammany Hall, which was pretending to be or, you know, acting as a quasi-governmental building.
They were really a social agency too. We shouldn't forget that even though that they were known for terrible greed and corruption and fixed elections and did all kinds of bad stuff, they really operated as a social service organization for newly arrived immigrants here in New York City. So, they, however, used Lenape iconography in ways that weren't so appealing to us, from our point of view, looking back. They didn't care for the land of a people. They use their imagery. They used Chief Tamanend's name, but they didn't necessarily care for the Lenape people. And we wanted to reintroduce the Lenape authentic voice into this project. So early on, right after we won the competition, we reached out to the Lenape center here in Manhattan. We wanted to make sure that we weren't offending people by the use of Chief Tamanend’s clan's symbol of the rising turtle. We met with Joe Baker and Hadrien Coumans, some of the co-founders of the Lenape Center here in Manhattan, and they were thrilled. I was so relieved with their reaction when we showed them this design, a good ten years ago now. And they've been friends ever since. They've been great proponents of the project. They supported it through the regulatory process, writing letters to the Landmarks Commission, appearing with us side by side. So, they've been a great partner with this, and we've shared the design as it developed with them. So, we like to think of them as one of our collaborators in this project. It wasn't part of the brief, it wasn't part of the commercial real estate project, but we kind of thought it was very important to bring an authentic voice to this project from the Lenape point of view.
00;24;16;29 - 00;24;28;08
DP
So, we know that you guys had to match the existing brick out there. Was it challenging to find a brick that you could use, and what was that process? What did you ultimately go with?
00;24;28;10 - 00;25;50;02
TP
So, looking at the existing conditions of the brick walls, they were in remarkably good shape, considering it was 100-year-old building. We removed maybe five, ten percent of them. We used our construction manager partners at CNY, hired Pullman, incredibly talented folk at Pullman to restore the brick. They used, I think it was like a four-inch diameter grinder blade to remove the first, say, three quarters of an inch of mortar out of all the joints. 100% of the joints were repointed with mortar that we selected to match the original mortar.
The bricks themselves are an incredible mixture of Glen-Gery molded brick, and Heathcote, and spec sand DD-58, and Catawba, and a Roanoke Original. So that is all mixed in to create the dappled, dark red, velvety, rich red brick that are dappled with a very dark rowlock. Some of the rowlocks are very dark, so there's many bricks that are mixed into this, specifically chosen for each moment, each part of the facade that was being replaced. It's only about ten or twelve bricks at a time, in little clumps, that had to be replaced where there was a crack that was going through them. So that's how we restored the Flemish bond of the building. That bond of the landmark has a beautiful Flemish bond pattern to it that we restored.
00;25;50;05 - 00;26;02;13
DP
So, let's go back to the roof for a little bit. Was there any discussion internally when you were working on the design that it was just way too contemporary? This was not going to fly?
00;26;02;15 - 00;27;41;12
TP
Sure. So, we looked through history at examples of iconic, bold, contemporary rooftop additions onto landmark or historic structures. We looked at, specifically, for example, the Reichstag in Berlin. Lord Foster designed a striking, bold, contemporary glass dome onto the government building in Berlin. Of course, they lost their dome through war and bombing, and it was reconstructed in a contemporary fashion. But, interestingly enough the original Reichstag Dome did have glass in it. That's a fascinating case study for us.
We also looked at other freeform shell grid structures. That is the technical name for this structural system that can span over vast spaces without any vertical supports. So, the entire dome, the entire roof is not supported by any internal column or wall. It rests on new perimeter concrete walls that go all the way down to the new foundation. The loads are distributed down columns that are in between all the windows, in the historic facade, down to the new foundation in the cellar. So, we looked at Foster's courtyard cover at the British Museum, for example, that utilizes the same kind of system of freeform shell grid, which is also boldly, iconically, contemporary against a landmark base. The thought here was by restoring the base, by restoring all the brickwork and the limestone, we strengthen the landmark base in order to allow it to have a contrasting style on the roof, that the roof could be strikingly contemporary as long as we paid attention and were respectful to the restoration of the base.
00;27;41;14 - 00;27;55;03
DP
So, I read a little bit about the solar insulation, light infiltration. You were concerned glare clearly was going to be an issue. Could you elaborate on the probability studies you did investigating those elements and how they impacted design?
00;27;55;03 - 00;29;31;14
TP
Our partners at Buro Happold did fascinating studies with daylight. We directed them and wanted to make sure that we weren't going to cause reflection problems with this parabolic to other buildings. There are some case studies around the world of curved glass buildings causing problems to their neighbors, including there's one in London that focuses heat to the degree that it was causing fires on the sidewalk across the street. So, we certainly did not want to be known for that. So Buro Happold helped us study the probability of reflection on to the neighbors. We pinpointed the pieces of glass that would be the culprits – the whole selection process of the type of glass, with Buro Happold's help and all their studies – it was determined that a combination of tint and clear glass was the solution to inhibit reflection, but also to prevent too much solar heat gain and also to prevent too much internal glare.
So, from the outside, the glass appears a bit dark. On sunny days, it's reflective just enough to give it a shiny kind of silvery tone, and you can see the clouds, but it doesn't reflect rays of sunlight directly, like laser beams into the neighbors. And while you're on the inside, even though the glass on the outside has a darker appearance from the inside, your eyeballs adjust and it's all color corrected. Your eyes don't see dark. They see blue sky. They see the beautiful terracotta details of the neighboring historic buildings. It was, in the end, success of glass selection to inhibit all those potential problems.
00;29;31;16 - 00;29;40;17
DP
So, did your team learn anything interesting through the design and construction process doing something this unique? I would imagine you've never done a roof like this in the office before.
00;29;40;21 - 00;30;52;21
TP
We haven’t. It's our first freeform shell grid. It was New York's first freeform shell grid. There is a similar covering at Moynihan Train Hall to their barrel vaults, but they opened six months after we did, so we are happy to say, after an eight-year design process and construction, we kept saying we're going to be New York's first freeform shell grid. We're the first one to enclose internal space. I think there's a similar system that might be on some like entry canopies. There's one for like the seven-train extension to Hudson Yards and there's one out in Yonkers, but those do not enclose covered space and they're not nearly this large. So, we're proud to say we're New York's first freeform shell grid.
They use acres of this system in Asia and Europe. It's a very common system to span large swaths of space. It is used here in this country. For example, we visited the Smithsonian Institute down in Washington, DC. The Portrait Gallery has a courtyard cover that's similar to the British Museum cover. Foster came here and did kind of an encore for us in 2007 with the Smithsonian cover. We studied that system too, in terms of how it let light in, and in our studies of glare, etc..
00;30;52;24 - 00;31;05;21
DP
Yeah. What I find so interesting about the roof is that you could have simply created a typical Mansard roof and then added glass to the top. But the whole thing is glass, which is so unique.
00;31;05;21 - 00;31;52;26
TP
And a mansard roof, of an appropriate proportion, wouldn’t enclose nearly this much square footage. So, we wanted to get our client as much square footage as possible on top of this historic building. And it needed that extra oomph. The dome portion in the middle, which would never be able to be really enclosed by a mansard of any kind of historically accurate proportion. So that's what led us to both the form and the structure to enclose it, because the freeform shell grid is kind of the perfect device to span such great distances so the interior can be super flexible.
We built three floors within it, but those could be removed, they could be remodeled, they could be reconstructed to serve any purpose because all the loads from the roof system just go down the side perimeter walls.
00;31;53;02 - 00;32;18;06
DP
It's a great project for architecture students to look at in terms of learning how to develop an idea to make form, right. It's just so clear. And yet if you knew nothing about it, you just say, “Wow, they just put a glass dome on top.” But there's so much more to it that created so many unique details and so many beautiful things and facets, and I'm sure that space on the interior is wonderful.
00;32;18;09 - 00;32;25;04
TP
It's really terrific. There's opportunities to connect all three floors interconnecting and the possibilities are endless in there.
00;32;25;06 - 00;32;40;23
DP
So, you've obviously been an architect for quite some time, over 30 years. So, what career advice would you give your younger self, looking back after practicing for all this time? What have you learned? What's an idea that you've really locked on to that you'll never forget?
00;32;40;25 - 00;32;53;00
TP
One of the founding partners at BKSK, Joan Krevlin, said to me 25 years ago when I joined the - one of the things that she always kept with her as a young architect is do your job and tell the truth.
00;32;53;02 - 00;32;55;22
DP
What great advice! I love that!
00;32;55;29 - 00;33;42;02
TP
It's a great profession. And as you said, students of architecture have a great time in design studios. And this is a project that is really right out of studio in a way. I love showing it to students because like you said, it's super accessible in terms of the visuals, but it has a great connection to social history and the importance of context, the importance of research that you just don't come into a vacuum and design a building. You look at the context, you look at history, and you look at what you can learn from it. Because this could have been, like you said, just a flat top mansard roof. But discovering the history of the Lenape connection to this building was just remarkable and a great opportunity. I've met the Lenape Center folk. They've asked me to join their advisory steering committee. It's just been a wonderful experience.
00;33;42;04 - 00;34;03;22
DP
I love what you said. You don't just come into a vacuum and design a building. You don't. You don't. And that's what you learn in school. And hopefully you get to use that information, use that process, use that paradigm when you graduate, and you become a real architect. Right. So, Todd, it's been great to have you here. Thanks so much for your time. Where can people go to learn more about BKSK architects?
00;34;03;27 - 00;34;09;06
TP
We can be found at www.bksk.com
00;34;09;08 - 00;34;11;09
DP
Todd, it’s been great to have you, man. That was really cool.
00;34;11;25 - 00;34;16;12
TP
Thanks. This was really fun.
You May Also Be Interested In
We Can Help With Your Next Project
Discover the latest + greatest in design trends, industry news & pro tips from pros.
For all of your project needs, you’ll find everything you need at a Supply Center.
Let Us Know How We Can Help!
Design Vault Ep. 3 Front + York with Michelle Wagner
ABOUT THE ARCHITECT:
![]()
|
Michelle Wagner is a Project Director at MA | MorrisAdjmiArchitects. Withmore than 25 years of experience as an architect, she excels in themanagement of large-scale projects and has played a vital role in leading thedesign and delivery of some of the firm’s most ambitious assignments. Mostrecently, this includes the delivery of Front & York, a 1.2 million-square-footmixed-use multifamily complex in Brooklyn, NY. The large-scale, two-towerdevelopment occupies an entire city block and encompasses a unique blendof apartments, condos, and luxury penthouses, as well as an unparalleledpackage of indoor and outdoor amenities and more than 140,000 squarefeet of retail. Before joining MA, Michelle worked on the World Trade CenterMaster Plan and Design Guidelines with Studio Daniel Libeskind. Michellereceived a Bachelor of Environmental Design from the University of Coloradoand is a Registered Architect, licensed in New York and Colorado. |
---|
ABOUT THE PROJECT:
Informed by the past but designed for the future, Front & York adapts Dumbo's historic warehouse aesthetic at agrand scale with a contemporary residential reinterpretation.The Manhattan Bridge is the spine of the Dumbo Historic District. Its monumental stone anchor is as essential tolocalcharacter as brick warehouses and Belgian-block streets. Front & York is a new multifamily developmentinspired by the evolution of this post-industrial context. Like the bridge’s stone anchor, it is a bold contribution to theurban fabric that is emblematic of the neighborhood.The new1,200,000-square-foot building occupies a full city block, but thoughtful massing reduces its perceived size.All four facades are pulled back 15 feet from the property line to create a generous new pedestrian zone lined withmore than 140,000 square feet of retail.Continuing to recall the Manhattan Bridge, storefronts are framed with a highly customized system ofblue steelarches and industrial-inspired entry canopies featuring corrugated glass. Above, theresidential levels of the buildingare clad in acustom gray engobebrick, hand-laid and organizedinto a grid by a glass-fiber reinforced concrete“Superframe” that helps the facade read from afar.More than 2,500factory-style divided light windows providepanoramic views of Lower Manhattan, DowntownBrooklyn, and the multi-tiered courtyard at the building’s core—the largest private park in Dumbo.Within, every detail was considered. The building’s condos and apartments feature 10-foot ceilings,chevron-patterned white oak flooring, and custom millwork, fixtures, and finishes throughout.Offering one of New York City's largest and most comprehensive amenity collections, Front & York providesresidents with access to nearly 100,000 square feet of leisure and lifestyle spaces. To create a club-likeexperience for residents, most amenities are co-located on “Level Eight” within two wings linked by alandscaped wrap-around terrace featuring two outdoor pools, cabanas and outdoor kitchen space, anoutdoor screening area, and an outdoor fireplace.
![front and york](/sites/default/files/inline-images/20872-Front_York-055-X3.jpg)
Front + York
Michelle Wagner, Morris Adjmi Architects
See MoreTRANSCRIPT
00;00;00;00 - 00;00;05;22
Doug Patt
Let's go inside the vault. The Design Vault.
00;00;05;25 - 00;00;20;17
Michelle Wagner
One of the nice things about the site is it's next to the landmark districts. So the heights to the north are low and set, and they won't go any higher. So we knew we wanted to be tall and get as many apartments above that height for views to Manhattan.
00;00;20;20 - 00;02;15;29
DP
This is my guest, Michelle Wagner. I'll share more about her shortly. In this episode from the Design Vault we’ll highlight Michelle's project Front and York. Front and York is a 1.2 million square foot mixed use and multi-family complex in Brooklyn, New York. The large scale two tower development occupies an entire city block and encompasses a unique blend of apartments, condos, and luxury penthouses, as well as an unparalleled package of indoor and outdoor amenities, and more than 140,000 square feet of retail.
The project features a blend of more than 750 condo and rental units, as well as an interior courtyard that spans nearly one acre. Not to mention a challenging 25-foot grade change across the site. The building resembles that of a late 19th or early 20th century warehouse or factory, but significantly more luxuriant. With a glass fiber reinforced concrete frame and light gray brick infill, the building is quite beautiful and absolutely massive.
Hi, I'm Doug Pat and this is Design Vault. Today we're talking to Michelle Wagner, registered architect, LEED AP. Michelle has her Bachelor of Environmental Design from the University of Colorado and is a registered architect licensed in New York and Colorado. Michelle is a project director at Morris Adjmi Architects. Before joining Morris Adjmi, Michelle worked on the World Trade Center Master Plan and design guidelines with studio Daniel Libeskind.
With more than 25 years of experience, she excels in the management of large-scale projects and has played a vital role in leading the design and delivery of some of the firm's most ambitious assignments. So, let's get into the details. Welcome, Michelle.
00;02;16;03 - 00;02;18;08
MW
Thank you, Doug. Thanks for that introduction.
00;02;18;12 - 00;02;26;08
DP
So first, tell us a little bit about Morris Adjmi Architects. Where are they located in New York. What's the size of the firm and what type of work do you do?
00;02;26;16 - 00;02;49;29
MW
Sure. We are in lower Manhattan, downtown, really. Right near the stock exchange. It's about a 100 person firm in New York. We also have a small office in New Orleans, about maybe a dozen people now. And that's where Morris grew up, actually. So he still has a home there and family there. And that office covers a lot of our work that's in the South now as we really branched out.
00;02;49;29 - 00;02;57;23
MW
We started as a very New York based firm in 1997. Do you want me to go ahead and tell the story of Morris's origin story?
00;02;57;24 - 00;02;59;13
DP
Yeah, sure. I'd love to hear it. Absolutely.
00;02;59;15 - 00;03;25;27
MW
OK. He was working with Aldo Rossi in Italy. He speaks Italian and he became kind of Aldo Rossi's right hand man in New York when he got the commission of the Scholastic Building in Soho, which you probably know. It's kind of a very modern, but fitting into that historical context very well, right next to the Little Singer building, which is a very famous piece of architecture we all probably learned about an architectural history class.
00;03;25;27 - 00;03;36;29
MW
So Aldo was tragically killed in a car accident in the nineties, and Morris finished that project for him and kept the office going and started his office from there.
00;03;37;06 - 00;03;39;23
DP
Wow. So what kind of work do you guys do today?
00;03;40;00 - 00;04;00;04
MW
We really focused on multifamily, office, hospitality work, our core. We also have art services and interior design, so we really try to deliver all of those services whenever we can. We also have a guy that focuses on urban design, so we've got some multi parcel experience in master planning as well.
00;04;00;07 - 00;04;03;21
DP
Wow. So, a comprehensive list of services that you guys offer.
00;04;03;24 - 00;04;04;26
MW
Absolutely.
00;04;04;29 - 00;04;11;08
DP
So, tell us a little bit about yourself. How did you end up at Morris Adjmi? How long have you been there and what's your role in the office?
00;04;11;10 - 00;04;49;02
MW
I came to New York originally to work on the World Trade Center Master Plan with Daniel Libeskind, which - with my husband - which was really supposed to be a six-month contract. And we've been in New York for 20 years now. So that's the way things go. After that, I really enjoyed the experience of working on large scale master planning projects.
So, I went to another firm for a while that focused on master planning and architecture. And then through a friend that I met at that firm, I just heard about this great architect, Morris, and I started to look at the work and I got invited for an interview and that was seven years ago, and I haven't looked back.
00;04;49;04 - 00;04;51;06
DP
Oh, that's so great. So, you're clearly enjoying it.
00;04;51;06 - 00;04;52;16
MW
Very happy there. Yeah.
00;04;52;18 - 00;05;00;12
DP
So, let's dig in here and talk a little bit about our building. Tell us about the Front and York project. So how did your office get the project?
00;05;00;14 - 00;05;14;08
MW
It was an invited competition. It was LIVWRK and CIM. There were three or four architects, I think. Bjarke Ingels was one of them... ODA. So, we all had a charrette. It was paid, but you know, not a lot.
00;05;14;10 - 00;05;15;13
DP
Sure. Of course.
00;05;15;15 - 00;05;28;02
MW
It was a lot of excitement around this competition because it was a big, big block. And you just don't get projects this big in the city very often. So, a lot of effort went in, and we won. So that was great.
00;05;28;05 - 00;05;35;20
DP
So just as an aside, are there a lot of competitions like that in New York that firms like yours or firms that are your size try to get?
00;05;35;25 - 00;05;51;04
MW
We're often invited to competitions where they've already kind of pre-selected architects and asked to participate. And of course, it's optional if you want to do that, because you know when you're going in for a competition that you're going to put a lot of effort in really to win that project.
00;05;51;12 - 00;05;53;16
DP
And how many firms do you usually compete against?
00;05;53;22 - 00;06;11;09
MW
We don't always know, honestly. At the time, sometimes it's a blind, so we don't really know. And then we try to find out, with some difficulty. But, you know, three or four small group, I think if it was a large number, we'd be less interested. Yeah, because you got to feel like there's a good chance.
00;06;11;11 - 00;06;14;07
DP
That's great. And how long does that process take?
00;06;14;13 - 00;06;15;13
MW
Usually, six weeks.
00;06;15;22 - 00;06;18;27
DP
So, you have six weeks to complete the project. And then...
00;06;18;27 - 00;06;20;00
MW
A concept design.
00;06;20;00 - 00;06;29;00
DP
The concept design. Okay. And then they pick somebody. Well, that's going to be challenging to like scheduling projects in the office. Are we going to get this one or are we going to get that one?
00;06;29;02 - 00;06;42;16
MW
Oh, yeah. Well, that's a lot of what I do now as a director. A lot of the scheduling. When I worked on Front and York, I was the project manager, so it was really about the project but have been elevated to director. So, it really is more about scheduling and staffing.
00;06;42;17 - 00;06;44;17
DP
I bet, with all those people.
00;06;44;17 - 00;06;45;05
MW
Yeah.
00;06;45;07 - 00;06;54;03
DP
So, tell us a little bit about Front and York. So, tell us some of the history of the location of Front and York and then how did that impact the design?
00;06;54;05 - 00;07;03;07
MW
So, the location is a full city block in Dumbo and it was formerly a lead factory and so there was contamination on site.
00;07;03;07 - 00;07;04;09
DP
I can only imagine.
00;07;04;09 - 00;07;23;12
MW
Yeah. And I think maybe that's why it sat vacant since the eighties. I think maybe it was a private parking lot and fenced for decades. So, you know, it really needed a big development like this to afford to clean off the site because really, we remediated like 50 feet of soils in some areas.
00;07;23;12 - 00;07;24;07
DP
50 feet?!
00;07;24;09 - 00;07;38;14
MW
Yeah. So, all of the contaminated soils were dealt with, some carted away somewhere, cleaned on the site under supervision of AKRF, our environmental engineer. So, it really took a big project like this to kind of utilize that site.
00;07;38;16 - 00;07;41;08
DP
Was the area around the site already well developed or...
00;07;41;10 - 00;07;49;01
MW
It was. There were already towers around the site. 100 J Next door was a tall tower. I don't know. It's probably 20 years old at least.
00;07;49;04 - 00;07;59;09
DP
So, what were the client's programmatic requirements? You guys won the competition and they said, okay, this is what we need. Or you already knew that because you had entered the earlier competition and won it.
00;07;59;11 - 00;08;14;27
MW
Yeah, they came with a residential program, mixed use. They already knew what they wanted the program to be, of course. We weren't sure how we were going to handle the middle of the block because it is an extra-large block. So, some of our early options had a road in the middle.
00;08;14;28 - 00;08;15;16
DP
Oh, wow.
00;08;15;20 - 00;08;54;17
MW
One thing they really wanted; they wanted cars to be thought of as part of the site. Whether we drove up with a big turnaround in the middle, like the Antwerp, I think it's got a big turnaround in the middle. So, we looked at that. At the end of the day, we decided that the center of the block really should be a park and it would bring the value up for all the interior apartments as well as the street side.
One of the nice things about the site is it's next to the landmark district. So, the heights to the north are low and set and they won't go any higher. So, we knew we wanted to be tall and get as many apartments above that height for views to Manhattan.
00;08;54;19 - 00;09;03;02
DP
For those of you who are listening, should take a look at the site plan and the floor plan because it really is quite beautiful with almost like a park-like feature right in the middle.
00;09;03;06 - 00;09;22;21
MW
Yeah. As you mentioned, in the beginning, there's a massive park. It's like almost the size of a football field. It's for all the residents. We have a mixture of apartments and condos, front York, but everybody can access the park and even there's a lifetime fitness there as well. And they have some access to that park.
00;09;22;26 - 00;09;35;03
DP
Oh wow, that's so great. So, I know there's something unique about the site, right? There's a change in topography. So, when you guys first went out there and looked at that, am I correct, it was 25 feet approximately.
00;09;35;08 - 00;09;35;27
MW
About 20.
00;09;35;28 - 00;09;47;23
DP
So that's a big deal for a lot. That is as big as this one. You have to start to think about this going to be a really big building. Where do we enter? What floor we entering? How did you guys deal with that?
00;09;47;25 - 00;10;09;24
MW
It was a real challenge and of course we had to look at many iterations on how to deal with that. One thing we did know is that we wanted the condo lobbies really to see through to the park, and the condos are sited on opposite corners of the site. So, there's a big grade change from the lobby floors on each corner, like 20 feet.
00;10;09;29 - 00;10;24;04
MW
But we wanted to see that park. So, you know, eventually what we came up with was really like rolling hills in the park. I think when you go there, you'll notice it's very kind of hilly and there's a lot of winding path and it feels very organic and natural.
00;10;24;08 - 00;10;33;20
DP
Not like a city. So, tell me a little bit about the zoning ordinances there. You said you guys could be taller than buildings that were nearby. How is that even possible? And what were your restrictions.
00;10;33;23 - 00;10;57;02
MW
Actually, we are an as of right project. We did not apply for any variances. That was part of the directive from the beginning. We didn't want to wait for that. It can take months to get a ULURP or a zoning amendment here. So, we were as of right. So, we just maximized the floor area and the height limit and really didn't have to get special approvals.
00;10;57;04 - 00;10;58;24
DP
Interesting. So that's kind of nice.
00;10;59;02 - 00;10;59;22
MW
Yeah.
00;10;59;29 - 00;11;05;07
DP
Right? Walk into a project like that. So, tell us a little bit about the building plan. So, it's like a big donut.
00;11;05;12 - 00;11;31;16
MW
It's a big donut, yeah. With a large park in the middle, there's sort of a lower podium level that's about eight stories and then on opposite corners there's the towers, which are the condo apartments that are 22 stories tall, and those were sited on diagonal corners and also diagonally from another existing tower in the neighborhood, just to maximize view corridors and make sure that we weren't blocking any view corridor.
00;11;31;18 - 00;11;37;06
DP
Did you guys go through a lot of design iterations in terms of where those towers were and how tall the building was?
00;11;37;06 - 00;11;38;01
MW
Absolutely.
00;11;38;02 - 00;11;38;29
DP
A dumb question!
00;11;39;01 - 00;12;07;24
MW
Well, an interesting thing is, though, in our competition, it was similar massing with the two tall towers on the corner, but they told us, okay, that was the competition. Now we're starting over. So, we looked at every possible massing scenario again. And then of course, we ended up back with the towers on the corner. But the big changes, they were more massive. They were bigger towers, more like bars, because they really wanted to have great views in these apartments.
00;12;08;01 - 00;12;25;03
DP
So, style, I said in the intro, it looks a little bit like a factory warehouse building. I mean, it does, but it doesn't, right? I mean, it's incredibly stylistic. Talk a little bit about how you chose the particular style because it's a little traditional and it's still contemporary.
00;12;25;05 - 00;13;03;23
MW
You know, I think we were inspired by all the factory buildings in Dumbo. I mean, that is the period of significance, that early American factory building, which were very large, and they had big factory windows and were usually brick or masonry.
The storefront, you might notice we have a very tall sort of metal, blue metal storefront, and it looks very muscular, almost like structural steel. It's aluminum, but it looks like structural steel that was really inspired by the Manhattan Bridge, which you can see just down the block from both Front and York. You see the structural steel of the bridge.
00;13;03;25 - 00;13;09;05
DP
So, you guys decided from the get go that you were going to make a brick building, right?
00;13;09;07 - 00;13;48;22
MW
We did. We always wanted the brick. We actually looked at this building as precast donuts initially, just really a client directive thinking that was going to be the most economical solution. But even as precast, we wanted that gray brick. I mean, we were really trying to kind of fit into the neighborhood. There's a lot of granite, gray cobblestone in Dumbo and it was a big building, so we wanted something a little recessive and quiet, I think, in the brick color. So, we were looking for that dark gray brick, even when it was a precast building, which ultimately, it's not precast. It’s hand-laid Glen-Gery brick.
00;13;48;25 - 00;13;53;04
DP
So, what are some of the unique construction details that you guys employed here using brick?
00;13;53;25 - 00;14;37;23
MW
Well, the first thing is the brick itself. I mean, we had actually gone pretty far down the road with the precast and had a gray color in mind. But, you know, of course, economics are always a factor. And we couldn't find an economical gray brick that suited us.
So thankfully, we had a great salesperson that told us about, new at the time, custom color Glen-Gery on go clay coating, which is not like a clay coat that's very opaque and solid. It's actually more translucent and we could pick any color that we wanted and it was pretty economical. So that's what we did. We found a beautiful kind of dark, medium gray, very muted, and then a little lighter gray at the penthouse. On the kind of additions on top.
00;14;37;26 - 00;14;48;01
DP
And I'm looking at some really beautiful details here, particularly the recess in between that kind of frames out every one of those windows. Was that a detail that you guys spent a lot of time working on?
00;14;48;01 - 00;15;04;08
MW
Yes, that was actually a detail that we developed when it was precast donuts. And funny enough, we really liked it because it just gave that little bit of detail to the facade that without it, it felt a little bit flat. So that was originally there to hide the precast joint.
00;15;04;08 - 00;15;05;20
DP
Oh my gosh. So, it's a remnant of an earlier design.
00;15;05;20 - 00;15;14;01
MW
It's a remnant of an earlier design. I think at one point the client suggested maybe we should take it off. And we all said that we really like it.
00;15;14;08 - 00;15;16;15
DP
Yeah, it does an awful lot for the facades.
00;15;16;15 - 00;15;23;14
MW
We're going to use it to hide the brick control joint instead. So, that's tucked in there. And that's why you don't see them at the windows.
00;15;23;16 - 00;15;25;01
DP
So the control joints are inside.
00;15;25;03 - 00;15;26;17
MW
There in that reveal to one side.
00;15;26;26 - 00;15;32;05
DP
Oh, I'd love to see a blow-up detail on that. Tell me a little bit about the concrete structural frame.
00;15;32;07 - 00;15;34;18
MW
That's the GFRC. The white frame.
00;15;34;18 - 00;15;35;19
DP
Yes. Is that structural?
00;15;36;08 - 00;15;53;18
MW
Really beautiful. It's not structural, it's trim. This is a concrete building. So yeah, that is a device really to help modulate the scale of the building and also to help it read from a distance. I mean, you can see, actually, you can see that from a plane. I've seen it flying overhead.
00;15;53;19 - 00;15;54;22
DP
Are you serious?
00;15;54;24 - 00;16;12;15
MW
Yeah, it really does help bring down the scale because, you know, could you imagine if you didn't have that trim? I think the white color, it's really kind of neat standing on Front and York and seeing the blue and white bridge just right there and just kind of the colors just feel good. They fit into the neighborhood. There's white on the bridge.
00;16;12;22 - 00;16;17;28
DP
Had you guys looked at doing that in any other color, like gray, having it melt back into the facade?
00;16;18;05 - 00;16;34;02
MW
We study everything. We're very iterative, I think in our process. And you - we always internally look at three options. You know, we really push it and then we narrow down the options for the client usually, but lots of options.
00;16;34;04 - 00;16;38;08
DP
So, did brick solve any particular design challenges for you guys or for the client?
00;16;38;14 - 00;17;10;07
MW
I think the choice to go to brick was just feeling competitively at the time it was cost, but also just the control of knowing that you could go to different masons if you needed to. I think a lot of times there were more than one trade for - I don't know about the brick. I think that was just one mason in the end, but because it was such a big building, they wanted to make sure that there was some duplicity, I guess, of trades being able to work on things. And I think they got nervous about getting all the precast from one place.
00;17;10;14 - 00;17;20;17
DP
Did you guys have any challenges finding a good mason? I mean, I would imagine in New York it's not a big deal, but even in a Westchester County where I do a lot of work, we always have a challenge finding good masons.
00;17;20;17 - 00;17;35;25
MW
The masons were great. Everybody was great. New Line was the CM, New Line Structures. And we worked on this three years in construction. After three years, it was really hard ending construction because we were kind of a big happy family at that point. It was great.
00;17;35;27 - 00;17;44;18
DP
So, into the office I often think about how many people work on a project. How many people were on this team, and how many people did the drawing for the job?
00;17;44;25 - 00;17;50;01
MW
I'd say at least 20 at its peak, when we were in construction documents.
00;17;50;11 - 00;17;53;07
DP
Yeah. Now, did you guys do this in 3D?
00;17;53;10 - 00;18;35;11
MW
Oh, yeah. We did this in Revit. We usually start with Rhino, something very, you know, design-y and flexible and fast. But once you get into Revit, it becomes you're building a building, right. And a computer. So, becomes more cumbersome. But we absolutely did it in Revit. And actually that ended up being tremendously helpful because we use BIM in construction all the way through. That is, New Line did. That's something they like to do and always do. So, they have specialists that can really run Revit and they model in great detail all of the MEP plumbing and electrical systems throughout the building. So, we find clashes in construction on the computer before they ever happen in the field.
00;18;35;14 - 00;18;38;01
DP
How long have you guys been on Revit? Just curious.
00;18;38;03 - 00;19;04;14
MW
I think we transitioned, probably fully by 2018. When I started in 2016, I think we had one or two projects in Revit. Now we're all Revit. I think we're starting to lose people that know how to work in CAD, but we still have a few. Well, because everybody does Revit. So, we really, we can export to CAD and everything, but we just don't have many people drawing in CAD anymore - and doing the layers.
00;19;04;18 - 00;19;13;07
DP
Oh my goodness. Right. That that's how I operate right now. Well, I do both, but I'm on ArchiCAD. Are most of the people in the city on Revit?
00;19;13;14 - 00;19;21;15
MW
I think so. I'm sure there are still people working in CAD, but I think more and more people are going to Revit, especially for big projects.
00;19;21;18 - 00;19;29;18
DP
So, did sustainability ever come up as a factor in choosing brick, for example, color, texture, thermal, code compliance?
00;19;29;21 - 00;20;03;03
MW
This isn't a LEED project, so we didn't consider it for its sustainability, per se. But we did do something at Front and York, which was we qualified for Zone Green, which is a New York City zoning rule, that if you make your exterior wall thicker and heavily insulate it up to 16 inches thick, you actually get a zoning bonus for that. So, we did that. So, these are 16-inch-thick walls with lots of insulation, CMU back up. That's how this is a sustainable project in terms of the brick wall.
00;20;03;08 - 00;20;05;20
DP
So, it's an efficient veneer - it's an efficient facade.
00;20;05;21 - 00;20;22;21
MW
It's a very, yes, efficient façade. Helps with heating and cooling loads. We also won the Big Apple Brownfield Award for environmental protection for the clean-up effort I mentioned. Yeah, 2020. So, cleaning up that site was a very good move for Dumbo.
00;20;22;28 - 00;20;26;20
DP
Just curious, where does all that go? Where does all the land that they've removed...
00;20;26;26 - 00;20;38;12
MW
Sometimes they can actually treat it on site. It depends on - they test certain segments like it's a very involved process. If it's very, very bad then there are places out west that will accept it.
00;20;38;12 - 00;20;38;28
DP
Okay.
00;20;39;01 - 00;20;54;09
MW
If it's not, that can be landfill like for other projects that can be cleaned and kept local. So, the good fill was - actually like people would come, they put a call out and people would come if they needed fill for their construction projects and they'd cart it away.
00;20;54;14 - 00;20;59;09
DP
Yeah. Interesting. So, I'm thinking here, do we see any masonry on the interior?
00;20;59;13 - 00;21;08;27
MW
We do a little bit up on the eighth floor and amenities. We have some sort of indoor-outdoor fireplaces that have brick. So yeah, there's a little bit.
00;21;09;04 - 00;21;18;10
DP
That’s great. So did your team learn anything interesting through the design and construction process, something maybe that you guys hadn't been through in the past?
00;21;18;13 - 00;22;15;18
MW
I would say that one thing that we found very difficult at first was the redlining process in architecture, where the more senior architects will redline drawings and then give them to the junior staff to pick up the changes. That was very difficult with a 20-person team. So that kind of prompted us to find a tool which we eventually found Blue Beam Studio, which now we use on every project in the office where you can go in and do group markups together and highlight together. So, it's one document and you refresh the document periodically. So, we had a lot of logistical challenges like that.
We had to set certain meeting pulses internally to make sure we were communicating. So, we weren't overlapping or ignoring a corner of the building, which you can sometimes do, and it's 1.2 million square feet. I think there were a lot of things we learned internally through this process that actually help us now on some of our larger projects.
00;22;15;26 - 00;22;18;10
DP
How long was it until you guys implemented Blue Beam?
00;22;18;12 - 00;22;25;03
MW
It really like started, I think with Front and York and now the whole office is on it and we really do all of our markups that way.
00;22;25;11 - 00;22;26;08
DP
That's really cool.
00;22;26;10 - 00;22;34;23
MW
QAQC reviews and Blue Beam’s, probably the new CAD, I would say for a lot of us, because it is a very good markup and measuring tool.
00;22;34;29 - 00;22;35;24
DP
Yes.
00;22;35;26 - 00;22;39;02
MW
And it's cloud based or it can be. So, you can work in a big group.
00;22;39;03 - 00;22;40;26
DP
So, you can go in and draw in 2D.
00;22;41;02 - 00;22;41;20
MW
Yep.
00;22;41;22 - 00;22;44;21
DP
Wow, that's pretty cool. We've been using Procore.
00;22;44;28 - 00;22;50;07
MW
Yeah. We also use Procore. New Line Structures did and that was tremendously helpful.
00;22;50;07 - 00;22;53;05
DP
Yeah, for project management, it's been great. Super helpful.
00;22;53;09 - 00;23;20;08
MW
Yeah. And just the process of using Navisworks and Revit is basically - Navisworks is the software that helps you look at Revit and really find those clashes in the field. This was the easiest CA project, maybe not easy for all of the staff, but in terms of the leadership, we weren't running into big problems. It was very smooth. We were finding the problems in the model in the field. So that was great.
00;23;20;11 - 00;23;25;19
DP
How many drawings does a job like this have? Like what does a construction document set look like?
00;23;25;19 - 00;23;27;09
MW
Yeah, I think about 500 drawings.
00;23;27;09 - 00;23;28;00
DP
Oh, my goodness gracious.
00;23;28;03 - 00;23;31;27
MW
Yeah, something like that. Three or four volumes, you know. Lots of trades.
00;23;32;01 - 00;23;34;22
DP
Wow. And construction was three years.
00;23;34;25 - 00;23;35;15
MW
That’s about right.
00;23;35;20 - 00;23;37;19
DP
Wow. So how long has it been complete?
00;23;37;26 - 00;23;44;22
MW
I think it's been complete release since the summer. Last summer? I could be off by a month or two.
00;23;44;29 - 00;23;46;26
DP
Are they happy? Is it full?
00;23;46;29 - 00;23;53;06
MW
I don't know if it's full, but it's very well occupied. I do know that there's 16 penthouses are all sold.
00;23;53;09 - 00;23;54;08
DP
Wow.
00;23;54;13 - 00;24;12;23
MW
The views are spectacular all around. So, I think maybe they wish they built more larger apartments because really when this was landing, I mean, seems like the trend started to go to larger apartments. With COVID and everything. A lot of one-bedrooms, but they're really nice sized one-bedrooms, you know.
00;24;13;00 - 00;24;13;26
DP
Yeah. The photographs are beautiful.
00;24;13;29 - 00;24;28;00
MW
Yeah. And the amenities are - we've had so many developers and other people touring the amenities on the eighth floor. There's 15,000 square feet of amenities up there and they're spectacular. And a couple of swimming pools.
00;24;28;03 - 00;24;28;25
DP
Oh, my gosh.
00;24;28;26 - 00;24;31;13
MW
On the roof. I think that's a real selling point.
00;24;31;15 - 00;24;39;12
DP
So, one last question before you go. Personal question, What's your favorite part of the job and what's your least favorite part of the job as an architect?
00;24;39;14 - 00;25;01;17
MW
Well, I like to solve problems with teams. I really like large projects because you get to work with large teams and it's just really fun. We have a lot of people that we have a lunchroom at, at MA and we have people that sit around and do the New York Times crossword puzzle together every day, and we just like solving problems together. So that's my favorite part.
00;25;01;24 - 00;25;05;05
DP
Yeah, that's great. You don't have to tell me what you don't like.
00;25;05;07 - 00;25;10;04
MW
What I don't like, I think would be obvious, which is the stress and the headaches. And, you know...
00;25;10;04 - 00;25;13;09
DP
Yes. I can only imagine on projects that are this big.
00;25;13;09 - 00;25;18;24
MW
Right. Running into things that you didn't expect in the field. Those are the things that I like the least.
00;25;18;24 - 00;25;23;10
DP
Yeah. My boss used to say, “it's always the thing you don't see coming that gets you.”
00;25;23;11 - 00;25;24;03
MW
That's right.
00;25;24;03 - 00;25;37;09
DP
It really is. It's not the stuff you worry about all the time. It's the one thing you just never saw coming. Well, Michelle Wagner, thank you very much for your time today. Where can people go to find out more about you and Morris Adjmi Architects?
00;25;37;12 - 00;25;40;14
MW
I’d suggest our website, which is ma.com
00;25;40;16 - 00;25;50;01
DP
All right. You got it. Well, super simple. And thank you very much. It's been great. Front and York’s gorgeous. Thank you very much.
You May Also Be Interested In
We Can Help With Your Next Project
Discover the latest + greatest in design trends, industry news & pro tips from pros.
For all of your project needs, you’ll find everything you need at a Supply Center.
Let Us Know How We Can Help!
Design Vault Ep. 11 Surf Avenue with Jay Valgora
ABOUT THE ARCHITECT:
![]()
|
Inspired by the industrial architecture in his hometown of Buffalo, from the grain elevators to the steel mills where his father worked, Mr. Valgora pursued his passion for architecture. Receiving degrees from Cornell University, Harvard University GSD, and a Fulbright Fellow to the United Kingdom, he gained valuable experience in firms from Boston to London. Finally arriving in New York City, he honed his experience at classic firms before founding STUDIO V Architecture, a practice dedicated to the reinvention of the city. Mr. Valgora’s work is defined by an extraordinary range of projects and scales, encompassing new construction, adaptive re-use, renovation, and interiors. His designs have been internationally recognized for engaging history, culture and context with innovative contemporary design: creating inspirational public spaces, encouraging diversity, restoring historic artifacts, and bringing new life to the edges and interstices of our city while reconnecting communities. |
---|
Surf Avenue
Studio V
View ProjectTRANSCRIPT
00;00;00;02 - 00;00;05;12
Doug Patt (DP)
Let's go inside the vault. The design vault.
00;00;05;14 - 00;00;33;10
Jay Valgora (JV)
So, it's very complex. It's two residential towers and it's mixed use. It has retail at the base with a series of astonishing amenities and public spaces that link them together, including a fantastic pool deck overlooking the ocean, overlooking the roller coaster, and a whole series of public spaces. Because, you know, there's a social life to a building, too.
00;00;33;17 - 00;02;02;09
DP
This is my guest, Jay Valgora. I'll share more about him shortly. In this episode of The Design Vault, we highlight Jay's project 1515 Surf Avenue. It is a two tower, 26 and 16 story residential building complex in Coney Island, Brooklyn, designed by Studio V Architecture. This street corner project will span 470,000 square feet and yield 461 units 139 designated for affordable housing and 11,000 square feet of ground floor retail.
The building facade is variegated white to cream colored brick, with the main building podium facing Surf Avenue, featuring a soaring ground floor elevation with several diagonal columns, its sloped roofline is further defined by a stepped series of wooden platforms the design team calls the vertical boardwalk. The building features curved glass lined balconies and amenity deck heated pool and green roof.
Residents have panoramic views of Coney Island Amusement Park and the Atlantic Ocean. The total outdoor space will span over 20,000 square feet. The building includes a fitness center, lounges, co-working spaces, indoor basketball court, handball court and accessory off street parking. When completed in 2024, the property will be the largest geothermal heated and cooled building in New York City.
00;02;02;12 - 00;03;17;08
DP
Hi, I'm Doug Pat and this is Design Vault. Jay Valgora is the founder and principal of the architectural design firm Studio V Architecture in New York City. Jay grew up in Buffalo. He tells the story that it was the steel mills where his father worked and the historic grain elevators of Buffalo that influenced him to become an architect.
Jay received his Bachelor of Architecture at Cornell University and his master's degree at the Harvard Graduate School of Design. He was also a fellow in the Fulbright program to the United Kingdom. At Harvard, Jay studied under Pritzker Prize winning Portuguese architect Alvaro Cesar. Mr. Valdora is on the forefront of urban design with nine projects on the New York City waterfront.
He works closely with entrepreneurs to create innovative designs and programs, collaborates with government agencies to address policy infrastructure, environmental issues and approvals, and is deeply engaged with communities through innovative public space design. Welcome, Jay. Nice to have you with us today. So tell us a little bit about Studio V architecture in New York City. Where are you guys located? What's the size of your firm and what type of work do you do?
00;03;17;11 - 00;04;07;23
JV
So Studio V is right in the heart of Manhattan. You know, we're right in the middle of the island. I like to say that we live in a city of four islands and a peninsula, and we're right in the middle on 32nd Street and Park Avenue. Actually, by the time you broadcast this or soon thereafter, we've even purchased a small building, which we're currently redesigning right now, and we'll be moving to 111 East 29th Street, where we've created our own studio, which is currently under construction.
I guess the only other thing I can tell you is that Studio V is really all about the people. We have a really incredible range of people that work with us. We're about two dozen, and so we really see ourselves as a boutique architecture firm, but we handle tremendously large and complex projects because we have a really wonderful team and very diverse clients and very diverse projects. So we really pride ourselves on doing things that are a little bit different.
00;04;07;26 - 00;04;13;20
DP
So tell us a little bit about the firm. When did you get started and what's your role in the office now?
00;04;13;27 - 00;04;57;04
JV
So I began the firm and founded it in 2006. So I guess we've been around about nearly eight years and I'm the principal and the founder of the firm, but I have seven senior staff. They collaborate with me on all the projects. It's really an open atelier. I intentionally always call it a studio. It's not really an office, it's not really a firm.
It has the whole atmosphere and character of a studio. We have no offices, we have entirely open spaces. We have huge collaborative areas. So my role really is to work with and inspire the great designers and talented architects with whom I work and to provide leadership. But really they play an essential role. It's not Valgora architects, it's Studio V, and the studio really comes first.
00;04;57;08 - 00;05;10;16
DP
It's really interestingly described. I haven't heard somebody talk about their office like that. So tell me a little bit about how you get your people to pull mostly from New York City? And do people hear about your office and they want to work for you?
00;05;10;20 - 00;05;59;16
JV
We have a really diverse range of people, but there's sort of a running joke in Studio V that isn't really intentional, but somehow it proves to be true. I would say that many of the people at Studio V come from two places. It's really not intentional. It's not a policy. But many come from the heartland of America. I myself grew up in Buffalo and I consider that really secretly to be part of Ohio, not New York state.
It's completely part of a midwestern kind of ethos. And many of our talented architects come from around the American heartland in the Midwest, but the other half come from all over the world, throughout Europe, Asia, South America. And so I'm very proud of the fact that we really are part of New York City and kind of represent the diverse talents that come from New York City. And yet I think we're also grounded in certain optimistic ideals that come from my upbringing.
00;05;59;18 - 00;06;08;03
DP
Well, it's really great to hear. So let's dig in here and talk about your buildings. So tell us a little bit about 1515 Surf Avenue. So how did your office get the project?
00;06;08;05 - 00;06;58;14
JV
Well, first, we really can't do great projects without having a great client. And LCOR is our client on this. And they approached us with the building and it was really a breakthrough building for us. So Anthony Tortora, who is the partner at LCOR, knew me from another firm at which he had worked before, and he decided he wanted to give us a try.
But they did a competition and they put us against some really other serious architects, and we were really proud of the fact that we were able to prevail in that. I think it's all about the power of our ideas. It's about the design concepts that we bring, but also about solving our client's problems. And I think Studio V is really about those two things.
It's about maintaining ideals and an optimism about what a great design could be, and at the same time solving our client's real problems about bringing a project in on budget and doing something creative that they can actually build and that meets their needs.
00;06;58;17 - 00;07;01;28
DP
So how many people were involved in the competition to get the job?
00;07;02;04 - 00;07;45;09
JV
There were a handful of us. I put a couple of my best designers on it. It was a paid competition, albeit a small amount. Yes. And so we were up against these other serious firms. And really, I'm sure we spent three times the amount, but I was determined to do something special for it. And also I was inspired by Coney Island.
The principal, the partner, Anthony, actually grew up near there and he really was committed to the idea of remaking this neighborhood and that also fit studio visit. Those were really interested in transforming communities, rebuilding communities. And Coney Island has an incredible history and past and yet has suffered terribly under urban renewal and other elements. And so now we see this as one of the signature projects that's helping reestablish this really important and historic neighborhood.
00;07;45;17 - 00;07;51;07
DP
So that's a great place to start. So tell us a little bit about the history of the location where this building is.
00;07;51;14 - 00;08;49;12
JV
So this is right at the corner of Surf Avenue there, these great street names in Coney Island. You know, it's between Surf and Mermaid Avenue, and it's between 15th and 16th Streets. As a matter of fact, it's right across the street from a roller coaster and sits right on the beach with stunning views of the iconic Coney Island Beach and boardwalk.
So to me, I don't know if I'll ever get to work on a site again that is next to a roller coaster overlooking the Atlantic Ocean with stunning views of the historic parachute drop. It looks diagonally right down at Nathan's Hot Dogs. And it's catty corner to the iconic cyclone. So really, it's a fantastic site. Historically, all of these elements that I just described were part of it.
And historically it was part of the whole Coney Island landscape. But by the time we got there, it was a parking lot. There was nothing there. And so really it's an opportunity on this major avenue that had so much historic importance in Coney Island to really help rebuild one of the essential centers of this community.
00;08;49;19 - 00;08;55;18
DP
Yeah, you must have been amazed when you got out there and stood on that property and looked out, thought, wow, this is going to be really cool.
00;08;55;25 - 00;09;17;26
JV
Even now that construction is going along very well and it's fully tapped out and they're adding all the facade elements as we climb up through the building. It's stunning the relationship it has to the Manhattan skyline, to the ocean, to these iconic architectural rides and amusements and buildings. It really sits in the landscape and kind of draws these elements into it in a way like no other site I've ever had.
00;09;17;28 - 00;09;21;24
DP
So what was the scope of the project? What were the client's programmatic requirements?
00;09;21;27 - 00;10;02;00
JV
So it's very complex. It's two residential towers and it's mixed use. It has retail at the base and one of the towers is market rate and the other is affordable. And yet they wanted us to treat them both with the highest degree of quality, with a series of kind of astonishing amenities and public spaces that link them together, including a fantastic pool deck overlooking the ocean, overlooking the roller coaster, and a whole series of public spaces.
Public spaces, meaning spaces for the residents to share because, you know, there's a social life to a building, too. And I think this is one of the key elements of the building that we were inspired by the social life of residential buildings in New York and how we could create spaces that would bring people together.
00;10;02;07 - 00;10;14;15
DP
So let's talk a little bit about the building design. So we already discussed the site. There weren't any unique topographic features raised, just a giant flat parking lot. Was it a parking deck or was it just a giant lot?
00;10;14;21 - 00;11;14;17
JV
It was an open parking lot, and I guess the geographic features would just be these iconic buildings and structures that surrounded it and the ocean itself. The ocean is one of the key elements that did really influence the project, though, because there's a topography to the project, even though the site was flat that responds to the ocean. And that, of course, is resiliency.
You'd mentioned earlier, Doug, that we do a lot of waterfront projects. And one of the things for me is that this sits in the middle of a vast floodplain and we're creating 461 new residences, and we're really at the forefront of dealing with resiliency and climate change. We're very proud of the work we do there, including pro-bono work.
So one of the things we had to do is elevate the entire building and yet still really engage the streetscape. So as a matter of fact, this led to the main design concept, the vertical boardwalk, the idea of elevating the building with a series of step platforms that protects it, and major storm events such as Sandy, and yet also creates a series of spiraling public spaces that work their way up through the building and create these stunning views of the surrounding landscape.
00;11;14;24 - 00;11;23;13
DP
So that's a good way to segue. Tell us a little bit about the project restrictions, the zoning codes, how far off the ground to the building have to be raised?
00;11;23;16 - 00;12;56;02
JV
Sure. So of course, like most buildings in New York City, it's an as of right building. So we worked within the existing zoning ordinance. And so in a sense, some of the massing of the towers was pre-established city planning had done a rezoning of this community a few years before, and that actually led to this development and has helped catalyze the transformation of Coney Island.
But then within that, there are certain requirements from FEMA and from flood requirements. But I'll tell you also that the client was very supportive of this. We exceeded those requirements. We didn't just meet the code, we added additional feet of elevation. We did three feet of free board. On top of that, we really pride ourselves on exceeding the code requirements.
As a matter of fact, after we finished the initial permitting of the building, the city amended the code partly in response to advocating that we had done in order to allow buildings to increase their height, to allow extra elevation for climate change and have that not count against the development because it's a positive thing to lift the building up.
The other thing we did that was also important though, is not just lifting it up, it's still engaging the street. So for example, at the corner of 15th Street and Surf Avenue, we created this great porch as the client had this idea that we really need to bring back the streetscape, the retail streetscape, and that would be a fantastic site for a restaurant.
So we created this wonderful porch that has multiple levels that actually allows it to engage the street instead of being too far elevated seven or eight feet up. That's only three feet up. And we allow that to flood in a storm event. But it doesn't go into the building. And that way we can have these series of stepped platforms and public spaces that activate the streetscape and bring Surf Avenue back to life.
00;12;56;05 - 00;13;01;23
DP
So how do you do that? How do you make these objects that can flood and yet they're still functional?
00;13;01;29 - 00;13;53;26
JV
So we really worked with a great team of people, the overall residential levels and all the habitable levels are well above the floodplain. So they're really up to about elevation 13, which is three feet of freeboard above. These are NAVD 88, which is the datum that's used in New York City. And then for the lower areas, really the lobby is accessible.
So we're using flood barriers there to protect one tiny small area, which is a grade which allows the full lobby to be accessible. But all the areas are elevated and then the retail spaces are also elevated. But we stepped it down with this outdoor porch, and that's designed very specifically so that the floodwaters can come in, but they won't enter the building.
They just enter this kind of lower porch level that really engages the street. There's also a parking garage and that does go a bit below grade, and that is allowed to flood. But it has special vents and special technical requirements for the materials that allow it to be flooded and to drain out. And that's the right way to do it.
00;13;53;29 - 00;13;57;10
DP
So tell us about the building plans. We've got two buildings out there.
00;13;57;13 - 00;15;41;24
JV
So the building plans were really interesting. And this is one of the things we did in the competition. It's a little hard to describe, but there are the kind of inside corners of buildings where it's difficult to put residences, the kind of the reentrant in corners when you have large, complex residential buildings, it's difficult because you can't put windows there.
And so we came up with a really, I think, creative scheme, and that's actually what helped us win the competition. What we did is we took the left over the dead spaces where you could put windows and we created double height amenity spaces, public spaces for the residents, and we created the coolest, craziest collection of these spaces. There's a media library with a basketball court overlooking it and an elaborate kitchen and a pool deck and a gym.
All these different elements weave together and overlook one another. So we took the kind of hidden corners and places that you normally can't use in the development. And we created instead vast, soaring two story spaces overlooking one another, creating this almost voyeuristic experience where one space in one activity overlooks another. We find today, too, in a post-COVID environment or whatever environment we're in now, that more people are living and working in more creative ways, sometimes they're working from home, sometimes they're going to work.
And we think the idea of having this fantastic residence right on the Coney Island beach, but then you can work within the building. We created many different spaces for people to interact socially, for co-working, for living, for entertaining. And so these staggered multilevel spaces work their way all the way up through the plan. And it's even kind of telegraphed under the facade with this series of folded plans that you referred to earlier that really bring you all the way up to the rooftop and to the pool deck. And so this was really the big move on the plan. And the client was so excited about that that they awarded us the project.
00;15;41;27 - 00;15;45;04
DP
So how long was the design process then?
00;15;45;04 - 00;16;36;15
JV
Overall to do a building of this complexity, the complete design probably takes about a year. One reason why I think this was also a great client is we really collaborated from the beginning. We didn't just do a design and then hope it would work out. We worked with them at every step with their marketing people, their technical people, their construction people.
We did budgeting throughout, which is really important to me. As a matter of fact, it's critical that if we're going to do a creative design, we have to work with the client in order to figure out how we're going to hit their budget exactly, which I'm very proud of with this project. For example, we have a whole series of highly sculptural elements that are made of GFRC, glass fiber reinforced concrete, and they really wrap around the brick elements, which we'll talk about a little bit later and kind of create these wonderful transitions.
These are very complex forms, and we really had to work closely from the beginning to make sure we could meet budgets. Same thing on the brick. We're using some really unusual and more expensive and more fine forms of brick and custom brick that we'll talk about. And we had to make sure that we could really work within budgets and yet maximize the impact and create something that would be really special that hadn't really been done in this neighborhood before.
00;16;51;25 - 00;17;02;12
DP
So that's a good segway to style choice and the style that your office works within and the style that you chose for this building. Can you tell us a little bit about that?
00;17;02;18 - 00;17;58;10
JV
Well, I believe I'm an unrepentant modernist. I believe that we live in an astonishing time in the 21st century when we're redefining so many things technologically, socially. So I believe very much in creating works that are of our time and that are contemporary. But I love to combine that with traditional understandings of urbanism, of the way people live within cities and materials.
So, for example, a project like this really combines both of those where we're really using first we're creating very unusual forms, complex shapes. We're working with special computer technology in order to model these. We're working with computer numerically controlled bills and robots to actually build components of the building. And on the other hand, we're working with Brick, which is one of the most ancient materials that we have, one of the most enduring and beautiful materials.
And I love the idea that we're combining these different elements together to create something that is both timeless and of our time.
00;17;58;12 - 00;18;06;26
DP
So you said design was about a year long after that. What about city review? And then ultimately it's still under construction right?
00;18;06;28 - 00;18;59;24
JV
So I would say the total design process to complete all the technical documents and we did this project in Revit, we did it to the highest technical standards and construction documents, which is really helpful to figure out the different components takes about a year overall for the full design, but really at the same time as we're doing that, we're working on the permitting.
And so the permitting was really ready to go right at the conclusion of that. And because the project was as of right as we were developing the final technical documents, we were already going through the process of doing permits and then obtaining the foundation permit and then moving directly into constructions that really allowed us to facilitate the schedule and go quickly.
I would say one of the challenges on the design, which is really one of its greatest features, is the geothermal, because that required a lot of planning up ahead and doing a geothermal project of this scale in New York was very difficult in the construction because it required coordinating all of the geothermal wells with the foundation elements and doing that right from the beginning.
00;18;59;27 - 00;19;02;25
DP
So whose idea was it to do geothermal?
00;19;02;28 - 00;20;13;23
JV
I have to give the client credit again, like we really do a lot of projects that address sustainability, and I was very excited to do the largest geothermal project in New York, but it really required the commitment of the client and they had a great partner in Eco Save who was the engineering and geothermal firm that actually helped develop the geothermal systems and also work out the financial models that would allow it to work.
So this was really a terrific thing, but the client gets the credit and that's really also due to the changing codes in New York City, which are so stringent that the client felt it was worth the investment in new sustainable technologies. Well, actually, geothermal is a very old technology, but applying it in new ways, in ways that aren't typically done.
One of the things I'm most proud of is the second largest geothermal project in New York today, after this one's finished, is called St Patrick's Cathedral. So really doing geothermal on this scale for a residential rental building is the bread and butter of New York City, that kind of makes up the fabric of neighborhoods for me as groundbreaking. And also one of the buildings is an affordable building.
So the fact that we could do that level of sustainable design and help combat some of the future issues we're dealing with energy and climate change with this kind of building, I think is the extraordinary thing.
00;20;13;25 - 00;20;33;07
DP
So you said that you brought in the contractor early, so as a high end residential architect, we typically bring a contractor in right after schematic design to take a look at the project and help us determine whether or not we're going to be even close in terms of price, did that help you guys working with the contractor early on?
00;20;33;14 - 00;21;24;10
JV
Absolutely. And again, L Corps had a partnership with LRC Construction, So they're the construction manager doing the job. And really we worked with them on a pre-construction basis closely with the client. You know, often it's described as sort of a three legged stool with architects, you know, the architect, the owner and the contractor and really if one leg of the stool doesn't hold up, you know, it falls down.
And so really all three of us worked together intensely from the beginning. And this was critical, for example, with some of the brick elements, because we wanted to work with this beautiful format called Roman Maximus, very unusual format. We really found that very compelling. It was something we wanted to do from the beginning of the job and we had to work out how would we meet budgets, what would the cost of that be, how would we integrate that with the other elements, how much of it would we use? And so we really worked out those elements of the pricing very early in the schematic phases of the design. Instead of waiting till the end.
00;21;24;13 - 00;21;28;01
DP
Did you ever think about using another material rather than rrick?
00;21;28;03 - 00;21;56;05
JV
You know, we looked at different things for the building and we looked at GFRC at first for the whole building. But I love the idea of brick because I think it's such a classic material and in the end we ended up doing a hybrid where the brick is the majority material for the building, which I think works very well.
And the GFRC elements, these kind of sculptural concrete pieces are sort of the transitional pieces around the front entries and around the main amenity spaces and public spaces of the building. So I think it's very balanced by having both of them, although brick is the main material.
00;21;56;07 - 00;21;58;20
DP
So how did you end up dealing with Glen Gary.
00;21;58;22 - 00;23;19;27
JV
So Glen Gary really was very special for the project because they had this really unique product we've been looking for actually for years before I'd even heard of Glen Gary, I loved Roman Brick for my own studies. Even as a student at Cornell and at Harvard, I would travel extensively around the world. I would travel through Europe, and I loved the old Roman brick, which of course is a longer thinner brick.
And I saw in contemporary brick manufacturing they were starting to return to that. As a matter of fact, for years I tried to use it and so few manufacturers would really work with it. Then we found Glen Gary was doing something even more special. It was a longer thinner brick, what they call Roman Maximus, if you will. It's even more elongated and there's something special about that proportion.
It doesn't just stack up in the way that regular bricks do, which is fine too, but it almost creates a beautiful surface. And then we also did the detailing which was very important, where we created deep reveals along the horizontal edges of the brick. It's an old trick that Frank Lloyd Wright used to use. And so by creating a raked joint at the horizontals, it kind of creates this beautiful texture, almost like corduroy, and that along with the long, thin proportions of the brick, gives it a kind of a beautiful surface quality that's much more monolithic and much more beautiful.
And so we use this material all around the base of the building in order to really accentuate that and create a very strong presence to the street.
00;23;20;00 - 00;23;22;05
DP
So you had a good mason from the get go.
00;23;22;11 - 00;23;33;08
JV
We had to work very closely with our Mason and work out all of the details. Let's just say that there were a lot of mockups and a lot of reviews in order to make sure that we would maintain the quality of the project.
00;23;33;10 - 00;23;40;07
DP
So did you do drawings in house? First of combinations of brick or colors or you worked most of that out in the field?
00;23;40;09 - 00;24;06;17
JV
We actually worked extensively on all of that, so we had to work out special brick shapes. We did do curved bricks because they're a series of curves throughout the project, which were critical and we had to do specials for that. We work closely with the technicians at Glen-Gery as well as with the masons in order to work out how to do the specials.
We also had a great facade consultant, Frank Seta & Associates who were really integral to helping us work out the different components of the brick, the attachment, the waterproofing. They're really terrific.
00;24;06;24 - 00;24;16;10
DP
Interesting. We had talked a little bit about geothermal and sustainability. Was that a larger issue for some of the wall systems, insulation, etc.?
00;24;16;14 - 00;24;30;23
JV
Absolutely. I mean, the building has a very, very robust energy envelope and again, as I say, helped us with that as well as we did full energy modeling with IMG Engineering of the building in order to make sure that it met and exceeded really all the sustainability standards. Absolutely.
00;24;30;26 - 00;24;34;23
DP
So you talked a little bit about Revit. How long has your office been on Revit?
00;24;34;25 - 00;25;44;26
JV
That is a great question, Doug. So really, I guess we probably did our first Revit project ten years ago, and it was pretty early for us. We've always embraced new forms of technology and always embraced tools that help us be better designers. But I would say in the last several years, we've really moved towards using Revit on all of our larger projects.
We don't use it on every project yet, but more and more, even in our own office building, even on our own studio building that we're building out now for ourselves, we're doing the project and Revit, so we're moving towards using it now on smaller projects as well as definitely on all of our larger ones. I have to tell you what I like about it, in addition to the technical aspects, the way it helps you with construction takeoffs, integrating different components in real time of the architectural drawings, having them refer to each other, updating drawings. But I love it as a design tool. And in this project where we had this whole series of really interesting, complex spaces, Revit was terrific for actually allowing us to really make cuts through the building and understand the relationship of all the different components, relationship of inside to outside, relationship of one space to another, relationship of one material and how it meets another. Revit was fantastic as a design tool and really helped us do this building in particular.
00;25;45;04 - 00;25;57;23
DP
Yeah, I would imagine clients. Well, I already know this. I mean, clients love looking at three dimensional renderings. They come in and or you send them drawings by email and they're blown away right? I mean, it's like the building's already done.
00;25;57;25 - 00;26;53;19
JV
Renderings are a big part of what we do. And it's interesting here we were talking a little bit earlier because to me, one of the things I'm impressed by is we work really hard to make the renderings reflect the final design, but it's almost impossible to convey ideas of color and lighting and in renderings. People often think they represent reality, but you can manipulate it.
One of the things we did in the renderings for this project was we really tried to convey the color and character of the brick, where you could really sense the warmth of it when the light hit it and how it changes color and becomes a little bit more neutral and shadow. And it creates a real modeling for the building in sunlight, which I think is really critical.
And something I'm proud of with the renderings that we did is I'm amazed as the brick goes on now, I can see that it really reflects exactly how the brick is operating and how it takes on different colors and textures in changing patterns of light. It's especially important on a site like this, which is open and facing south directly overlooking the ocean. So it really gets tremendous light.
00;26;53;21 - 00;26;58;00
DP
Did you guys end up with any masonry on the interior? Any brick on the interior?
00;26;58;02 - 00;27;51;25
JV
So I love the idea of bringing inside and outside together. And so there are a few key places where we brought the brick into the interior. Actually, in the lobby we're doing something very special where I brought the brick right into the inside and actually made it a major feature right behind the front desk, kind of the entry point and I even pushed and pulled that great Roman Maximus brick to give it fantastic texture.
And we lit it beautifully. We're working with Susanne Tillotson, a remarkable lighting designer who's going to light up the texture of that. We're going to put artwork there too, and we brought brick into a few other places in the interior. Also, it's at the rooftop space that we call the Skydeck, where it folds in and becomes the base for some of the seating.
There's an area that we call the living room with the kitchen that overlooks a giant garden over the parking garage. And we pulled the brick in there too. It's in a few places in the entry sequence, going up to the gardens from the lobby. So I like the idea of referring to the brick. It's mostly on the outside, but there's a couple of key places where it makes its appearance on the interior.
00;27;52;02 - 00;28;10;29
DP
Might be a dumb question. You do a lot of projects along the water. Of course it affects the materials and the choices you make, but is it a large consideration for you in most of the buildings that you do? I see a lot of wood on the interior at the front entryway here. What are you guys doing? Are you treating those materials differently?
00;28;11;01 - 00;28;42;01
JV
Absolutely. So it's very important when doing projects on the water that we have to address that it really probably affects other things more. It certainly affects our window specifications. It affects the coatings used on the windows, which have to be to a higher standard. Again, this is where FSA was a great help to us. Brick is a great material for the waterfront because it's really a rain screen.
Brick doesn't really stop the water. The water barriers are behind the brick, but the brick itself is so durable that it does really well in, you know, difficult environments such as Coney Island where we really have a maritime environment and a lot of salt in the air.
00;28;42;03 - 00;28;44;22
DP
So how big was the team that worked on the job?
00;28;44;24 - 00;28;51;07
JV
Gosh, it's hard to say because there were so many different people. I would say, you know, a dozen people. And then, of course, there's a really wonderful team of consultants that we worked with. So a very large number, probably 12 or 15 consultants who really played a key role. And then the client too. It was really a tremendous team and a really great group effort.
00;29;06;26 - 00;29;16;01
DP
So did your office or you in specific learn anything unusual or interesting along this journey of making these two buildings?
00;29;16;07 - 00;30;10;16
JV
You know, I learned things from every project. My favorite thing about my job today is that I feel like I'm certainly teaching a great deal and hopefully working hard too, if I can lead and inspire. But I find my younger staff are teaching me every day. They're showing me how they're using the technology, they're showing me better ways of doing things.
So I learned a tremendous amount in this. I certainly learned a lot about and I thought I knew quite a lot about brick detailing, doing special bricks, some of the special fabrication we're doing, the robotic fabrication with the GFRC. And to me, every project is really an opportunity to figure out how can we do that even better? How can we apply to the next job, how can we build our body of knowledge?
I also love the fact that all of our projects are different. Our real signature at Studio V is that each design is really unique to that site, that client. So for example, we're doing another building with this client now on a different site in New Rochelle, and it's a completely different look and feel, even if the program is somewhat similar.
00;30;10;22 - 00;30;23;20
DP
It must be reassuring for the client, right? Because they feel a lot more special because the building you're designing every time the program changes and the site changes, you change with that, right? So that must be great for them.
00;30;23;25 - 00;31;20;04
JV
Exactly. Doug I don't believe in the idea of like the architect as an agent where they kind of put their name on it even. That's why I said it's not Valgora Architects, it's Studio V, it's a collective of people. And to me what's really important is that we find a solution for each project. We definitely have obsessions and themes that I think work through our work.
For example, we were just in the Venice Biennale early this year and we're still up actually, it's up through November and we showcase this project along with four other projects. And so one of the themes of that show was called On Edge, where we talked about all of our work, which is about edges, gaps, interstices, kind of repairing the frayed edges of our cities.
And Coney Island is one of them, both literally and figuratively as a community, as well as an oceanfront site. And so to me, the idea of instilling a series of social spaces within that and yet kind of repairing the edge of this community, remaking Surf Avenue and really helping be an agent for transformation is really what our work is about.
00;31;20;07 - 00;31;28;17
DP
So you've been an architect for some time. If you could give your younger self some career advice, can you think of something you'd tell yourself many years ago?
00;31;28;19 - 00;32;50;11
JV
I guess I've certainly made many mistakes in my career, and although those have been things that I've learned greatly from. But the other thing that's driven my career is optimism. Where I would often go from project to project, place to place, city to city early in my career, I actually found myself going from San Francisco to London to Toronto and eventually ending up in New York.
And really I feel lucky about that. So I guess in terms of advice, I'm wondering if there was a kind of serendipity to that kind of an unplanned nature to that, and I would almost hate to interfere with that. I think the freedom that I had in my youth to try different things, learn from different people, live different places, was actually the most transformative thing.
So I guess I would say that to myself, but I guess I was lucky enough just to fall into that. Maybe some of it came from where I grew up because I guess I couldn't really stay in Buffalo when my dad worked in the steel mills when I was part of those industrial buildings. That was just at the point when that was all failing and they were getting ready to tear it down.
Now, the mill where my father worked is no longer there, but now my greatest inspiration is to go back and try to reinvent those communities. One of the things I'm most proud of is that I'm going back to Buffalo and doing work there now to bring back my hometown and to create transformative buildings there, including at the old grain elevators at Silo City are other projects in the heart of Buffalo, like where we're doing projects over in the Elmwood District, our wonderful historic district where we're doing a new building now.
00;32;50;13 - 00;32;57;07
DP
Wow. Well Jay it's been great to have you here. Thanks for your time. Where can people go to learn more about Studio V Architects and yourself?
00;32;57;09 - 00;33;23;22
JV
Well, they can certainly find us online at StudioV.com. They can find us at our Instagram site. And most of all, you know, if you're ever in New York City, we'd encourage you to come see us. Come visit us at our studio itself, which is going to be at 111 East 29th Street. Or visit some of our projects, such as the Empire Stores, one of our most iconic projects in Brooklyn that's been very popular with people. We'd really welcome to have people get in touch with us or please come by the studio.
00;33;23;26
DP
Thank you very much.
You May Also Be Interested In
We Can Help With Your Next Project
Discover the latest + greatest in design trends, industry news & pro tips from pros.
For all of your project needs, you’ll find everything you need at a Supply Center.
Let Us Know How We Can Help!
Design Vault Ep. 16 Z House with Shane Neufeld
ABOUT THE ARCHITECT:
![]()
|
Shane Neufeld, RA is an American architect and artist born in Brooklyn, New York, in 1982. He received his BA in Fine Arts in 2004 from Amherst College, where he studied painting and literature, and his masters degree in 2009 from the Yale School of Architecture. He is the founder of Light and Air Architecture, (www.landa-arch.com) a architecture and design firm based in Brooklyn NY. The firm’s work has been widely published, and completed projects include the Z House, Switchback House, Sterling Place, Skylit House and Nassau Street Loft. The office also focuses on issues concerning social justice, such as L/AND/A’s competition winning entry for the Trans-Atlantic Slave Trade Memorial in Richmond, Virgina.
After graduate school, Shane spent three years with Rogers Marvel Architects in New York, working on a variety of projects that focused on urban, residential, commercial as well as institutional architecture. Such designs include Pierhouse, a large-scale residential building to be completed on Brooklyn’s waterfront, SandRidge Energy’s amenities campus in downtown Oklahoma City, and RAMPed Up, a USGBC National Competition Winner for an affordable house in New Orleans. Additionally, he was a Project Architect at Christoff : Finio Architecture where he oversaw the design and construction of the Kentucky Museum of Arts in Craft in Louisville. Shane has also served as a faculty member at the New Jersey Institute of Technology School of Architecture. He is a Registered Architect in New York.
|
---|
ABOUT THE PROJECT:
The Z House (named for the shape of its stair) is a transformative renovation providing a different model for the urban, domestic experience. At the project’s center is a new “switchback” stair that integrates the house vertically and horizontally, carving out the existing structure in order to shape dynamic sightlines that connect inhabitants in new and exciting ways. The stair’s drama is heightened by the placement of large windows punctuating the rear façade, allowing the vertical space to open to the exterior - directing views from the stair, through the house, and to the yard beyond.
Z House
Designed by L/AND/A
View ProjectTRANSCRIPT
00;00;00;02 - 00;00;05;13
Doug Pat (DP)
Let's go inside the vault. The design vault.
00;00;05;16 - 00;00;20;14
Shane Neufeld (SN)
I think what was special about this project was that the clients were able to generate a lot of input that forced me out of my comfort zone, think about things in new ways, and take some of the systems and strategies I had in place, but to create something completely different than had been done before.
00;00;20;20 - 00;02;47;11
DP
This is my guest, Shane Neufeld. I'll share more about him shortly. In this episode from the Design Vault, we highlight Shane's project in Brooklyn, New York, called The Z House. The Z house, named for the shape of its stair is a renovation, providing a unique model for the urban domestic experience. At the Project Center is a new switchback stair that integrates the house vertically and horizontally, carving out the existing structure in order to shape dynamic sightlines that connect inhabitants in new ways.
The stairs drama is heightened by the placement of large windows punctuating the rear facade. These allow the vertical space to open to the exterior directing views from the stair through the house and to the yard beyond. Descending from the rear of the parlor floor is a smaller stair slotted between a steel guardrail and oak millwork. This connects the living room to the new horizontal additions below.
Here, the added square footage accommodates the kitchen and dining room in a single dramatic double height space that visually unites the rear yard and the parlor floor above. A green roof located above the garden level helps to buffer sightlines and cultivates a natural intimacy for the residents inside.
Hi, I'm Doug Pat and this is Design Vault. Shane Neufeld is an architect and artist born in Brooklyn, New York.
He received his B.A. in Fine Arts from Amherst College, where he studied painting and literature and his master's degree from the Yale School of Architecture. He is a registered architect and the founder of Light and Air Architecture and Design in Brooklyn. The firm's work has been widely published and completed projects include the Z House, Switchback House, Sterling Place, Skylight House and Nassau Street Loft.
After graduate school, Shane spent three years with Rogers Marvel Architects in New York, working on a variety of projects that focused on urban, residential, commercial as well as institutional architecture. Additionally, he was a project architect at Christopher Fernyhough Architecture. Shane is also served as a faculty member at the New Jersey Institute of Technology's School of Architecture. So welcome, Shane.
Nice to have you with us today. So tell us a little bit about Light and Air Architecture in Brooklyn, New York. So obviously you're located in Brooklyn. What's the size of your firm and what type of work do you do?
00;02;47;13 - 00;03;42;19
SN
It's great to be here. Thanks for having me. Our office is 2 to 3 people. It varies from project to project. We do mainly residential work in Brooklyn, although we have done apartments as well in the city. We're trying to get beyond residential for institutional projects, so we're very open minded about the kind of work we want to do.
But we see a lot of potential spatially, in particular with residential work and in townhouses here in New York. For us, the townhouse is rich with opportunities to explore, and in a city that tends to maximize every square foot, we kind of take a more artful approach where we want places that people want to spend time in rather than maximize.
And so we pursue clients and tell clients this off the bat so they know what they're getting into. And it's a different type of work in our mind than what new people normally see and people are used to.
00;03;42;21 - 00;03;44;11
DP
So how long has a firm been around?
00;03;44;17 - 00;03;55;15
SN
We were founded in 2017. I founded the office on my own house, the Switchback House, which was a derelict brownstone in Bed-Stuy, Brooklyn, and I used that as a starting point.
00;03;55;20 - 00;03;59;01
DP
So that's your home? Yes. Oh, that's so great. It's beautiful.
00;03;59;05 - 00;03;59;19
SN
Thanks.
00;03;59;25 - 00;04;01;28
DP
It must have been a great project for you.
00;04;02;04 - 00;04;28;12
SN
It was intense. I was working still at an office, so I was drawing the plans at night and eventually left my job to work on it full time during construction. It was an incredible learning experience. I hadn't really worked with Townhouse in New York before. I'd work on the Louisville Museum of Arts and Craft, which was a masonry building that would use steel. So I was familiar with the kind of means and methods are getting into, but not in Brooklyn itself.
00;04;28;14 - 00;04;32;13
DP
So you have a family and you all lived through construction.
00;04;32;16 - 00;04;45;05
SN
I actually had a loft in Bed-Stuy, what I call Home Depot Heights, which wasn't so nice at the time. It's loud, but we lived there at the time. My son wasn't born yet, so it worked for us.
00;04;45;07 - 00;04;54;03
DP
So tell us a little bit about the history of the location, the building. How long has it been there? Was it always three stories?
00;04;54;06 - 00;05;33;01
SN
Yeah. So with the Switchback House, my work got out there pretty fast and a young couple came up to me interested in exploring ideas of a new house for themselves that wasn't traditional, that had aspects and qualities that they saw in the Switchback House. And so they had purchased a derelict brownstone in Clinton Hill. It was two stories and a basement, so I guess that's three.
But it can be confusing, but parlor with one above. Basically it had a kind of 1960s faux concrete facade at the time. It was split up into multiple units. They had a big vision for transforming this house entirely from the get-go.
00;05;33;03 - 00;05;39;14
DP
So let's back up a little bit. So you explained how your office got the project. Did you know the clients?
00;05;39;16 - 00;06;31;22
SN
I did not. And so that's something that I've tried to be, you know, getting clients in architecture is very, very difficult. It's very much word of mouth. Obviously, people are spending lots of money. They want to work with someone they're comfortable with, someone they know will provide a product that they're happy with and that works. But it's a catch 22 at the very beginning.
Those connections don't exist. And so what I've really tried to do, and I think this originates from my background as a painter, is that I try to make work that's evocative and I want people to see the images. I want them to say, Hey, that's what I like, that's what I want, and kind of bypass a lot of the other stuff.
That's the hope at least. And so I think thus far I've been able to do that. And so they saw my projects online and had that reaction. And through a series of interviews and get togethers and walkthroughs, eventually they felt comfortable with me through other recommendations, obviously, as well.
00;06;31;26 - 00;06;36;06
DP
So what was the scope of the project? What were the clients’ programmatic requirements?
00;06;36;09 - 00;07;54;17
SN
That's pretty interesting as well. So I mean, there was this idea early on that we sketched of a kind of grand public floor on the stoop level. Basically, they knew they wanted to add to the building horizontally. We weren't yet sure about vertically, but the original building, it was wider than most townhouses, 22 and a half feet, but it was only 32 feet deep.
So the addition was necessary in order to function, basically. Then the idea of the living space on the parlor floor and with bedrooms above and originally, as I've done in other projects, I thought of the adult level on the second floor with the kids above. They pushed me to invert this, which created a very interesting programmatic and spatial result.
Basically with the vertical addition on the rear, you end up having a terrace on the top floor off the master bedroom. I think what was special about this project was that the clients were able to generate a lot of input that forced me out of my comfort zone, think about things in new ways and take some of the systems and strategies I had in place, but to create something completely different than had been done before.
So in that respect, when I first started this project, I thought about it as, you know, Switchback House 2.0. I like this idea of the Switchback as a typology that offers a multitude of spatial outcomes depending on the family's needs.
00;07;54;19 - 00;08;04;07
DP
So it can't be easy getting a new addition done in Brooklyn, right? I mean, what do you go through in terms of project restrictions, zoning codes, etc.?
00;08;04;10 - 00;08;27;29
SN
That's a very good question. I mean, luckily this building wasn't landmarked, so we didn't have to go through landmarks review. We were given kind of free range to do what we wanted. But a horizontal and vertical submission is significant. It requires an old one change of use. We went from a two family or three family to a single family.
It was significant time for approvals. We did not do SOE. We we didn't dig out the cellar in the rear.
00;08;28;02 - 00;08;30;18
DP
So the building plan, straight rectangle?
00;08;30;20 - 00;08;47;05
SN
It's actually staggered slightly in plan and the addition and that has to do with the lot line itself. So you can see that in the kitchen, the area where the sink and window are that that actually pushes out slightly beyond where the sliding doors are that defined the end of the dining room space.
00;08;47;11 - 00;08;48;12
DP
Do they have a backyard?
00;08;48;13 - 00;08;49;15
SN
They do.
00;08;50;39 - 00;08;52;12
DP
So they were encroaching on it when you put the addition on?
00;08;53;29 - 00;08;54;03
SN
Slightly but 30 feet to the rear is the code.
00;08;54;09 - 00;08;56;11
DP
So they still have a backyard. They've got room.
00;08;56;18 - 00;08;57;25
SN
Oh, yes, significant room.
00;08;58;02 - 00;09;04;27
DP
So how long did the planning process take? City Review design to construction? Like start to finish? How long were you on the job?
00;09;05;03 - 00;09;17;15
SN
Well, I started the project. I started designing think it was the end of 2018. It took about a year to get started and the project itself took another two years to finish. Year and a half. Two years.
00;09;17;15 - 00;09;18;07
DP
And pandemic.
00;09;18;11 - 00;09;34;10
SN
Yes, through that as well, through price increases on plywood and windows that took over a year to arrive, miserable at times. But a truly wonderful client who trusted us trusted the process, communicated well, and we really got through it together.
00;09;34;15 - 00;09;41;02
DP
Yeah, a common story for we architects. I mean, everything took longer, cost more. It was insanity.
00;09;41;09 - 00;10;38;09
SN
Yeah. I mean, I think what's really interesting for me about this project was that this addition that we had, we wanted it to feel completely different than the front of the building. We actually restored the front of the building to its original state, which was a cementitious or brownstone facade. Despite adding a floor, we made it look, appear as if that's the way it had always been.
So we were playing up this Jekyll and Hyde inside, outside contrasting relationship. And so the rear is this monolithic kind of earthy force in a way that appears entirely different from the front of the house. And there was a real desire with the large windows to bring light and air into the space, to feel continuous ness of the space between the inside of the building and the rear.
And I think that's really where the search also for the right brick came into play because we knew that whatever we did, which we wanted to be masonry on the rear also had to be that same masonry on the inside of the addition as well.
00;10;38;17 - 00;10;52;02
DP
So tell us a little bit about style choice. So the owners, did they just say right away, hey, we want to do something contemporary? They're looking at your project, the Switchback House, and they're thinking, this is what we want to do. That's why we came to you.
00;10;52;04 - 00;11;14;22
SN
To be honest, I always tried to actually sidestep away from conversations about style, but there was an idea from the get-go that they had seen our work. They wanted something in that vein. There was no conversations about whether something should be stylistically historical or modern or contemporary. There was just questions about where things should be, how they should function, and what material should be the outcome.
00;11;14;29 - 00;11;20;07
DP
Did the city dictate that the third story on that front elevation had to be a traditional aesthetic?
00;11;20;09 - 00;11;22;25
SN
Absolutely not. That that was a client driven.
00;11;22;25 - 00;11;23;16
DP
Client driven.
00;11;23;19 - 00;12;04;00
SN
Yes. And you know what? At first I thought, you know what? If the vertical edition was something modern, stepped back and those were ideas that I was really interested in to play as a counterpoint to the historical facade. But the client and I think to their credit, in the end, this idea of really disguising the kind of dynamism that was going on inside that the front played a more subtle, subdued role.
I really like that. In the end, the front door is a reference to their heritage. Actually, it's a mahogany lattice that references Geoffrey Bauer's work and some of the screens that he developed in his work. So there's suggestions of a kind of different world within, but it's very subtle.
00;12;04;02 - 00;12;10;15
DP
So tell us a little bit about the building restrictions. Was there an FAR? Zoning codes?
00;12;10;17 - 00;12;28;14
SN
Yeah, sure. So it's a 20 to by, I think a little under a hundred foot deep lot. So obviously you have to do your calculations. But no, we are not maximizing FAR, we're close, but not maximizing the envelope is, I believe, 50 feet on the street side. But we're not engaging any of those limits.
00;12;28;20 - 00;12;31;12
DP
You guys used masonry on the interior as well.
00;12;31;16 - 00;12;34;11
SN
We did. And those are full masonry bricks on the inside.
00;12;34;18 - 00;12;35;17
DP
So it's load bearing.
00;12;35;24 - 00;13;13;10
SN
Well, we're not using the bricks for load bearing purposes. It is a CMU all in the addition, but the bricks take up the three and five eighths inch width, which is I think really interesting. I think this is again speaks to the kind of work that we do is that we looked at tile products. I think Glen-Gery very makes tile products too of some of those bricks but we wanted it to turn corners.
We wanted it to move, we wanted it to appear fully authentic. And in the end, I think once we had reflected on all the products available, that using the same brick, the same finish was the right move. And with the 22 and a half foot wide lot, it really afforded us that opportunity.
00;13;13;12 - 00;13;18;29
DP
So tell us about some of the unique construction details that you guys ended up using on the project.
00;13;19;01 - 00;14;20;08
SN
This whole project, this whole house was bespoke. I mean, it kind of drove us mad how difficult it was. We were there almost every other day figuring things out. You know, my office is near Clinton Hill, so it's a five minute bike ride. And there were lots of things to consider constantly as the construction progress went on. But I think that one quality that we like to achieve in all of our projects is this notion of materials and volumes, kissing or abutting in very sensitive ways.
So knowing that if you want two finish materials to have a tolerance of, let's say an eighth of an inch or a 16th of an inch next to each other, one has to constantly move back from those materials and think about what's on the inside. So we worked with Henrybuilt on this kitchen. Henrybuilt produces very beautiful high end kitchens.
But I the architect am the verifying field for that if you can believe it we actually designed and dimension this kitchen before the masonry was built so the masonry that you see in the kitchen was actually designed to the specs of the kitchen.
00;14;20;13 - 00;14;22;16
DP
Wow, that is backwards.
00;14;22;21 - 00;14;38;26
SN
But I had to know where everything was. So we have the CMU in place. I had to understand the depth of all the materials where they would end up. And using that information we decided what the kitchen was, where it would be. And then I'm on the field supervising, making sure that the masonry is indeed where I think it will be.
00;14;39;03 - 00;14;50;06
DP
Yeah, I think it's pretty cool. It's pretty rare to see masonry on the interior of a building. You just referenced, there were other materials you guys talked about using for both the interior and maybe even the rear facade.
00;14;50;08 - 00;16;19;11
SN
The client, they had this dream of a masonry rear facade. I did too. I mean, it's what made sense. I mean, masonry is a East Coast material. It is something we see a lot here. The beautiful old buildings, you know, of the Northeast are made of brick, many of them red brick. And so that was a theme that came up as well.
The client did have a bit of a dream of this red brick facade, but knowing that this brick would live on the inside as well, esthetically, I felt that a red brick spoke too much of exterior use and would be a kind of too much of a contrast to the type of mood and space we were trying to create on the inside.
A lighter brick reflects light. It bounces light around. It doesn't present itself as a color so much as an opportunity for variations in tone throughout a space. There's so much light in this house that we kind of, after some time and looking at many, many different products in many Glen-Gery products, we decided that a white light cream colored brick was the right choice.
And then it came to question, Well, how do we get a white brick that has the texture that works both on the outside and on the inside, and doesn't force someone to see that as an issue in one way or the other. And so we went with, in the end, white velour, which we felt was this perfect middle ground of cream colored was not too white, was not too beige, not too reflective, not too matte, and had a wonderful kind of authentic handed texture to it that I think really helped the house out a lot.
00;16;19;13 - 00;16;23;21
DP
And used a slightly darker mortar. Right? So we didn't know it's brick.
00;16;23;21 - 00;16;39;26
SN
Correct. We tested it out. So that was a sense of do we want the lines to go away? That's always a question you know, architects deal with. I think we found something that wasn't too much of a contrast, but very clearly spoke to the manual craft that goes into putting brick walls together.
00;16;39;29 - 00;16;41;29
DP
So you guys have a green roof on this?
00;16;42;04 - 00;16;42;23
SN
We do.
00;16;42;26 - 00;16;46;11
DP
So sustainability was something you guys talked about?
00;16;46;12 - 00;17;13;21
SN
For sure. We have solar panels on the roof and a green roof, 100 square feet of green roof is required now of new construction in New York on residential projects. If you don't have solar panels, we kind of decided to do both. The solar panels actually came a little later on in the project, but the green roof is integrated into the addition, so that actually when one descends down the stair from the second to the first floor, they look out of a window that views out upon the green roof.
00;17;13;24 - 00;17;30;24
SN
And that green roof also, the intention is over time it grows, it's exotic, it falls down the facade. And so the idea of the brick as a kind of monumental monolithic material that as a counterpoint to the organic quality of the roof itself, our hope is that they really begin to work together in a lovely way.
00;17;31;01 - 00;17;34;05
DP
How much energy can they generate with the solar panels?
00;17;34;08 - 00;17;40;23
SN
Probably anywhere between 40 to 50%. You know, I think obviously in the winter, not so much, but in the summer a lot.
00;17;40;26 - 00;17;49;03
DP
Yeah, that's pretty cool. Let's talk a little bit about the architectural process, 2D 3D. Do you work in both? What are the programs you're using?
00;17;49;08 - 00;19;06;00
SN
Yeah, well, I'm an artist in the truest sense of the word. You know, I'm a draftsman and I was a painter in college. I still paint, I think, with a pencil and paper. I think through watercolors and painting. And that's how ideas begin to formulate in my mind. And so everything begins in a kind of old school way for me, it's kind of funny.
I like digital tools, but I think that I'm most creative on working directly with my hands. So I also think that's very exciting for clients. People forget that you're sitting at a table with paper and you're with a client, and to be able to communicate ideas through drawing is a privilege and it's fun.
And so that's how I begin the process. And then very quickly, we're moving to we use Rhino for all of our 3D design and a lot of model making. So our office, we have a 3D printer, we've created a hybrid process where, you know, as you can see in the photograph, our models have 3D printed components, wood components that are done by hand, concrete.
In a funny way, the models are a kind of precursor to the actuality of the house itself in that image. That's a quarter inch model there. It's a significantly large model and I think we use that with clients. They enjoy it. The model really offers a quality of light and experience that the renderings don't.
00;19;06;02 - 00;19;08;06
DP
Yeah, I was going to say clients love models.
00;19;08;09 - 00;19;12;26
SN
Yeah, they do. We don't charge for them, but we should.
00;19;12;28 - 00;19;17;04
DP
So you said you had two other people in the office working with you on this project?
00;19;17;11 - 00;19;35;07
SN
On this project, it was just me and one employee. You know, we worked together. Hands and hands, both of us. All hands on deck, figuring this out. I did most of the CA, Construction Administration, on this project, and I'm very hands on on site as well, drawing, sketching with builders, working directly with the foremen. And, you know, those are all things I really enjoy.
00;19;35;10 - 00;19;39;08
DP
So you're out on site every two or three days, which is wonderful?
00;19;39;15 - 00;19;43;11
SN
Or terrible, depending how you think about it. But in this case it was wonderful.
00;19;43;11 - 00;20;01;24
DP
Of course, I was just wondering, you know, you spend so much time with the GC and the subs. There's something you learn like every day. I mean, I feel like I learn an awful lot. I'm 54. I've been an architect for close to 30 years, and I feel like I'm learning something new, whenever I'm in the field that happened with his job or any other jobs?
00;20;02;02 - 00;20;44;15
SN
Yeah, I mean, I really enjoy it because it's really humbling. I mean, I'm not the type of architect who thinks they know the right answer all the time. I really approach my projects from a kind of artful spatial perspective, and I rely on the different trades and the experts that I surround myself with to help me through the process to get the project realized.
And so that means I have a trusting relationship with GCs as best as I can, that, you know, we work together. I take their advice. You know, I follow their lead at times to help resolve certain things that I might not know how to do. That's not frustrating for me. That's the best. And I like architecture because of that. Every project offers me a chance to learn something new and I find that challenge exciting.
00;20;44;17 - 00;20;53;05
DP
It's a great attitude. It's a humble one, and it's one most architects should have, right? We go out there and we can learn an awful lot from the people that are doing their job.
00;20;53;12 - 00;21;17;29
SN
Yeah, I mean, at some point I want to be in a position to maybe have a bit more knowledge. But I also think you can't be too trusting. I mean, there are moments when things aren't done right or mistakes are made that will realize in making the project not what it should be. It's hard to speak up at those moments and take agency, But yeah, it's a fine line. But all in all, I approach it through teamwork and being humble and listening to those around me.
00;21;18;01 - 00;21;21;07
DP
Did you guys end up using the Mason that you found right away?
00;21;21;09 - 00;21;30;20
SN
This project is pretty amazing in that the crew that we worked with did everything so the Mason was not someone subbed out. It was a crew of guys that did everything on this project.
00;21;30;22 - 00;21;31;29
DP
That's pretty unusual.
00;21;32;04 - 00;21;34;12
SN
Yes, maybe not as much in Brooklyn, but yes.
00;21;34;17 - 00;22;02;27
DP
So Shane, you're a young architect with a presumably long runway in front of you. Do you have any advice to young architects out there that are looking for projects and they're wondering, like, how does this work? You had said early in our discussion that in the very beginning it's really hard to find work. I mean, you've got to kind of wait for somebody to find you.
And how do you get your work in a magazine and then somebody finds it and then, you know, you're recognizable. It's a long it takes a long time.
00;22;03;00 - 00;23;29;16
SN
I have a lot of varied interest in my life. You know, I have a family, I paint, I do other things. Architecture, obviously is my career and it's what I want to do. But I think, one, it's helpful not to have all your eggs in one basket so that there are many things in life that make you happy.
And I think that helps and affords one with the patience that's needed to be an architect because a project from its beginning to its end to its publishing is five years even on a house, right? So that kind of patients you need, that can be really frustrating I think if you take a step back and think about it that way.
But it's just the reality. Working hard to get the images out there. I do believe I hate to say it, but the photographs are the medium by which our work is understood. It's very important to photograph your work with someone you trust in the way that you imagine it to be understood. I don't think people do that enough.
I work with my best friend is someone I grew up with who's my photographer, and it's very collaborative. We spend one day actually just in the house taking 500 shots. We then go through all of them, choose our favorites, revise, edit, iterate, and you know, then it's a two day shoot and it's a lot of work. We didn't hire a stylist or anything like that for this project.
This is us moving things around, using the client's furniture itself. This is all their stuff. And that's something I worked with the clients on as well. But yeah, just making sure that the project ends up looking recorded the way you intended to be. I think that's really, really important.
00;23;29;18 - 00;23;36;16
DP
So Shane, it's been great to have you here. Thanks for your time. Where could people go to learn more about Light and Air Architecture and yourself?
00;23;36;18 - 00;24;09;27
SN
Yeah, I mean, they should go to my website and look through the work. You can email me at Shane@landa-arch.com, or just search Light and Air Architecture. Either way, you'll end up at my website, and my website shows a selection of finished work and ongoing work. We have a really interesting townhouse that's in construction uptown on 95th Street.
Similar ideas, but completely different type of stair, all constructed out of steel offsite and being brought in more constantly, exploring different ways of thinking about the New York house. So yeah, feel free to get in touch.
00;24;10;00 - 00;24;35;12
DP
Well, thank you very much, Shane.
You May Also Be Interested In
We Can Help With Your Next Project
Discover the latest + greatest in design trends, industry news & pro tips from pros.
For all of your project needs, you’ll find everything you need at a Supply Center.
Let Us Know How We Can Help!
Design Vault Ep. 7 Henhawk House with Sussan Lari
ABOUT THE ARCHITECT:
![]()
|
As a graduate of the University of Tehran's School of Architecture in her native Iran, Sussan Lari continued her studies in America by completing two master's degrees in architecture and planning from the University of Pennsylvania. She began her professional career with the Eggers Group P.C., Architects, Planners, Interior Designers, where she was the first woman to be named Vice President and stayed with them for 13 years.
After giving birth to her daughter, Sussan founded her own firm - Sussan Lari Architect PC - in 1992, jumpstarting the new company with corporate interior architecture projects in Manhattan. In time, Sussan's interest evolved and today Sussan Lari Architect is a full-service boutique architectural and design build firm that crafts custom residential and commercial architecture in the greater tri-state area. This change of direction brought about a change of personnel; a new team of well-trained, devoted, and detail-oriented collaborators capable of handling the required creative and technical challenges. Sussan was elected President of the Long Island Chapter of the AIA for the year 2000, and her firm is an ongoing member.
Sussan Lari Architect aims to design and help build functional, comfortable, and beautifully designed spaces for modern living. The firm prides themselves on maintaining a mindful collaboration with all their clients, while also accomplishing their goals within budget and on schedule. By implementing a multidisciplinary approach, every project encompasses the entire spectrum of design and the construction process. Through meticulous attention to detail and passion for creative design solutions, their work is a unique reflection of each client's needs. This year, Sussan is celebration the 30-year anniversary of Sussan Lari Architect PC. |
---|
ABOUT THE PROJECT:
This project was a gut renovation and major expansion of an existing residence. The existing structure was approximately 4,100 square feet of a Tudor style architecture. Sussan's client purchased the house mostly because of the size of the property and its location. What they ended up keeping was the dining room, as the client liked the architectural, plaster ceiling and its decorative elements. We also kept the living room and its fireplace with the brick chimney that stood tall above the roof. Everything else was eliminated including the cellars.
The new 13,300 square foot construction framed these two existing rooms and expanded in three directions. The revised second floor added height to the first floor, except for the dining room that remained with a lower ceiling height. This design outcome was a L-shaped structure with a multi-level first and second floor which added playfulness and provided much higher ceilings for most rooms in the house.
The gallery was maintained all along the first and second floors overlooking the internal garden where the pool is located. The house enjoys plenty of windows to bring in natural light and connect the inside to the outside. Although the house is a Tudor style design language on the outside with intricate brick design layering, stucco & wood paneling, the inside is completely open, expansive, bright, and modern.
An excellent combination for today's modern residences with a classical exterior and a delightfully modern interior.
Henhawk House
Sussan Lari Architect PC
View MoreTRANSCRIPT
00;00;00;03 - 00;00;05;13
Doug Patt (DP)
Let's go inside the vault. The design vault.
00;00;05;15 - 00;00;36;20
Sussan Lari (SL)
The idea become into doing a L-shape design, and because it was kind of long L-shape, it gave me the opportunity to create the design as there are certain components of structures together with the playfulness of the roof, which is important for Tudor style and also different height and introduction of stucco and introduction of wood paneling, framing, stucco and brick.
00;00;36;23 - 00;02;42;08
DP
This is my guest, Sussan Lari. I'll share more about her shortly. In this episode from the Design Vault we’ll highlight Sussan's project, Henhawk House. This project was a renovation and major expansion of an existing 4,100 square foot residence. The new home is approximately 13,300 square feet.
The home features steeply pitched slate roofs, multiple gables of varying size, light red brick facades and half-timbered elevations with stucco infill and light gray wood. The homemade brick is highly detailed, with soldier, diagonal and herringbone coursing. The design also features tall, narrow windows, elliptical masonry archways and red copper gable finials, all of which reference early English domestic architecture and of course, the Tudor style. Although the exterior of the house is a traditional design language, the inside is completely open, functional, expansive, bright and modern.
Hi, I'm Doug Pat, and this is Design Vault.
Today we're talking to Sussan Lari, AIA. Sussan is a graduate of the University of Tehran School of Architecture in her native Iran. Sussan continued her studies in America with two master's degrees in architecture and planning from the University of Pennsylvania. She began her professional career with the Eggers group, P.C. in New York, where she was the first woman to be named vice president.
Sussan founded her own firm in 1992. Her businesses have full service, boutique, architectural and design build firm that crafts custom residential and commercial architecture in the greater tri state area. Sussan was elected president of the Long Island chapter of the American Institute of Architects for the year 2000, and her firm is an ongoing member. Sussan Lari, Architect, P.C. is celebrating their 30-year anniversary.
So, let's get into the details. Welcome, Sussan.
00;02;42;13 - 00;02;43;12
SL
Thank you.
00;02;43;14 - 00;02;51;15
DP
So, Susan, tell us a little bit about your firm. Where are you located? What's the size of the firm and what type of work do you typically do?
00;02;51;21 - 00;03;43;22
SL
My firm, located in Village of Rosslyn in Long Island. It's about half an hour drive from Manhattan, is on the north shore of Long Island, Nassau County. The space that we occupy is a very old building that was built in 1796. And we actually are the very first tenant of that upper portion of the building. The building was used mostly for offices, for timber construction. And it's a landmark building.
The owner of the building eventually was changed and turned into medical offices on the lower level. And then the upper portion was like an office space and a magnificent space in the attic that has never been used.
00;03;43;25 - 00;03;47;25
DP
And the space worked out in terms of your size and number of people you have.
00;03;48;00 - 00;05;05;05
SL
You know, I always wanted to have a smaller firm. I am a bit of a control freak, a bit OCD with perfectionism. So fortunately, or unfortunately, applies to my projects as well. I need to be intimately involved in the entire process, not only design but also selection of material finishes, you know, detailing selection of the trades. So, I thought that we really wouldn't and shouldn't have many, many projects at once.
So, my intention has never been to have a very large office. So, we all kind of involve on purpose intimately with every single project going on in the office. I believe that if I get my staff involved in the life of the project, then they will be more interested to contribute and perform to their best ability and they’re all involved with the client. So, it's like we all together. The number of people working for me at this point are five. So, we are six of us altogether. And at this point and for a while actually majority of our concentration has been on residential projects.
00;05;05;07 - 00;05;09;03
DP
So, what is your role in the office? What are you involved with?
00;05;09;06 - 00;05;11;01
SL
I put so many different hats.
00;05;11;04 - 00;05;12;13
DP
I kind of thought so.
00;05;12;15 - 00;06;00;03
SL
It's bringing marketing and bring client in. Although I have help. But then interviewing, accepting the project, preparing fee proposals. Design is all mine. That's what I do. Although right now Riccardo from my office, who is actually on paternal leave, has trained to be very good designer as well. As much as possible, I could make it happen, I let him get involved to have his point of view and he's really getting better and better. Majority I would say the concept is mine, detailing is mine, the bricks should be on an angle is mine, the interior architecture is mine, furniture furnishing... So I do a lot.
00;06;00;05 - 00;06;06;01
DP
So, tell me, you do a lot of drawing by hand, a lot of sketching. Is that the way you pass along your information and the ideas?
00;06;06;04 - 00;06;17;20
SL
No. Actually, yes, I do hand sketch. I do hand sketch during schematic and when I would like to explain an idea is all hand sketch, but everything else is CAD.
00;06;17;22 - 00;06;20;03
DP
Okay, so what CAD system are you guys on?
00;06;20;10 - 00;06;57;29
SL
Your basic CAD. Actually, because we are too detailed. I checked all different advancements of CAD, and I kind of thought that what we have, which is really basic CAD, has been incredibly helpful for us to provide us the possibility to go detailed. We detail everything. Like our set of construction drawing is close to maybe 30 drawings, just architecture. And when it gets to interior architecture is another like 30 drawings. We detail like cabinetry and bathroom tiles, that kind of stuff.
00;06;57;29 - 00;07;04;16
DP
Yeah, you get into everything. So, let's talk about the Henhawk house. So, tell me how your office got the project.
00;07;04;18 - 00;07;07;05
SL
Well, as usual, they find us-
00;07;07;07 - 00;07;07;26
DP
Word of mouth?
00;07;08;03 - 00;07;36;26
SL
Word of mouth. And they came to us. And it's a young couple. Very young. And the house was - they fall in love with the land. Location is really a fantastic location. The tree lined boulevard type street in Long Island. The house itself was Tudor style, brick, relatively small. Zoning wise, we were allowed to build close to 8,000 square feet and the existing house was close to 4,400 square feet.
00;07;36;27 - 00;07;38;13
DP
So, there's an FAR there?
00;07;38;15 - 00;08;06;10
SL
Yes. Yes. Everything we do is full force zoning and rules and that kind of I've learned them really well as much as can be played with, we have learned it all. But the house had character. But the house was dim, like typically Tudor style houses from outside are just stunningly gorgeous piece of structure. And when you go in, it’s just sad, dark.
00;08;06;15 - 00;08;11;23
DP
I love the way you describe that. It's so true. So many Tudors really feel that way. Absolutely.
00;08;11;29 - 00;08;47;14
SL
You know, in a way, it gives this kind of fear of people to the Tudor because they think Tudors are supposed to be dark interior and that is not going to happen with my approach to design, because I like the style of Tudor and I don't like the style of sad inside spaces. So, it's bright and happy and is open, is spacious. You know, lots of windows. And in this particular case, the expansion of the house was extensive because I needed to keep a chimney.
00;08;47;21 - 00;08;50;00
DP
Was this a functional chimney or boiler flues?
00;08;50;02 - 00;09;09;17
SL
Yes, functional chimney. And then we wanted to keep a fireplace. We wanted to keep a chimney and they wanted to keep the ceiling - plasterwork ceiling of a dining room - so I said, okay, if we keep all those three, but we get rid of everything else and that's what we-
00;09;09;18 - 00;09;12;10
DP
Wow, Right. I'm sure the contractor loved that.
00;09;12;14 - 00;10;27;23
SL
I work with a contractor. I absolutely love him. I'll get to the stories of my contractors because we are very involved in the construction process. So, my knowledge of construction is very high. And the contractor on this job was incredibly knowledgeable man who loved to do stuff like that but didn't care much to deal with clients and with everything else, paperwork,
So, it worked perfect. The idea become into doing a L-shape design, and because it was kind of long L-shape, it gives me the opportunity to create the design as there are certain components of structures together, section by section with the playfulness of a roof, which is important for Tudor style and also different height and also introduction of stucco and introduction of wood paneling, framing stucco and brick, and also playfulness of a brick. I think we were good in accomplishing that because it has its playfulness, and although it is relatively large, but it is not overwhelmingly massive.
00;10;27;29 - 00;10;29;18
DP
Yeah, I'd say it's well scaled.
00;10;29;21 - 00;11;23;02
SL
It is small scale, right? And then at the end we realized that there's no way we could match the old brick. So, I know Glen-Gery very well, because if I ever have done any brickwork, has been Glen-Gery. And why? Because the quality of the material, and I get service. So, I am fussy enough to worry about the size and also worry about the color of the grout. And I want to have two samples of it made before I even decide what color bricks. So, a rep does that service for us. And due to color, we provide the color to what brick and between those is what I chose. And eventually – and I have awesome mason that are Italian and five brothers and they’re one better than the other. They're local. And they do a magnificent job. And also they built a good size.
00;11;23;05 - 00;11;25;18
DP
They did a mockup for you.
00;11;25;20 - 00;12;06;23
SL
Mockup. Absolutely. And one other thing that I was almost kind of experimenting on this project was that I love the style of Tudor on the outside. I don't like the inside. So that was one issue. Second issue, I like the playfulness of how we could create interesting textures and playfulness of the laying of the brick, but Tudor would allow me to do that because we are compartmentalizing pieces, here and there. Other styles don't do that. And then that herringbone style has to be compartmentalized. Right?
00;12;06;26 - 00;12;08;23
DP
Yeah. And between the boards, I think at one.
00;12;08;23 - 00;12;55;10
SL
And between the board would work. We shouldn't do too much of it because too much of accessory, not good. So it allowed me to experiment and do detailed work and also choosing of the color of the brick and the color of the stucco and the freedom I had in detailing and designing and working also with the roof and with the roofer - I’m friend with the roofer, I'm friend with the Mason man, I’m friend - and to make sure that we get eventually a beautifully detailed house on the outside. And then when it come to the inside, our life is modern. We are living in this time. Our space should be representing our era.
00;12;55;17 - 00;12;57;29
DP
Did you guys use any brick on the interior?
00;12;58;06 - 00;13;00;14
SL
Not on this project.
00;13;00;16 - 00;13;08;06
DP
What were some of the historical precedents we were talking about? Details. Were there any local buildings that were Tudors? Was this the only Tudor locally?
00;13;08;06 - 00;13;27;22
SL
Yes. Actually, no. No, it's not. In this particular street, there are many other brick buildings. Typically, I would drive out on and look at the center and say, ‘Oh, this is so gorgeous.’ And, you know, it's one more beautiful than the other one. But I think mine, right now, it's really complete, in good level.
00;13;27;26 - 00;13;42;27
DP
I love – I love it. It's so great. Were there any significant setback issues? So, we were talking about the size of the existing houses almost three times smaller. Were there a significant number of zoning issues other than FAR, setback things?
00;13;42;29 - 00;13;51;21
SL
Yes. The chimney that I wanted to keep, which was right above the fireplace, was outside of skyline exposure.
00;13;51;22 - 00;13;54;09
DP
Okay. There was a height restriction.
00;13;54;11 - 00;15;41;16
SL
Yes, we always have height restriction. In this case, I said this an existing building. This is not a new house. This is a renovation of an existing house. So, I'm allowed to keep the chimney. And that chimney the end up to really change the inside of the chimney and outside of the chimney and all the bricks and everything.
But we kept the height – now, the zoning, building department going to hear that – fortunately, we had no issue of the setback because we had plenty of space from the front of the house in Kings Point, the setback requirement for front yard is 60 feet and we had way more than 60 feet. It was deep enough that I was able to create a parking courtyard in front of the house and the garage. We have one two car garage on the upper level and then three car garage in the lowest level. The garage is actually coming further out from the front of the house, but I don't think we had any other zoning issues.
But one other feature of the house that I thought it’s kind of important, as I was driving around and see all these Tudor houses, Tudor is not a box. Tudor is never a box. Tudor span, and that is one beautiful feature of when these all expand. We had a lot of width. Plenty of available width. The size of the property was very large, and we had enough room on the site and I thought that if I could add an extra width to the house we’ll be introducing a brick wall extending from the garage and that will be the access from the front of the house to the garden.
00;15;41;18 - 00;15;45;06
DP
And then you did a series of small windows along the garage, correct?
00;15;45;10 - 00;16;03;14
SL
Yes, because a simple wall without any detail in the front elevation was not a good idea. If I can introduce fenestration into the wall and breaking it because this is, again, the style of Tudor.
00;16;03;16 - 00;16;08;21
DP
Did you guys get to do any new details on this project that you hadn't done in the past?
00;16;08;23 - 00;16;23;28
SL
Yes. That brick herringbone is new. The playfulness of the brick above the entrance hall in the front and back. Front and back are identical in what they represent, and we don't repeat ourself. Literally, none of our projects are the same.
00;16;24;00 - 00;16;29;11
DP
I love the red copper finials on the gable ends. Does that double as lightning protection?
00;16;29;17 - 00;17;19;16
SL
Yes. And our roofer is just a master roofer. Unfortunately, he retired after pandemic. We loved him. Just spend a lot of time together coming up with ideas. And he performed beautifully.
And the door - there's also some - another feature we kept many of the existing trees. Trees are valuable. Don't like to cut trees. Doesn't matter if the tree is close to the house or tree is in front of the house. What’s wrong? Tree wants to be where tree wants to be. So, it was a tree that was really beautiful and wouldn't end up to be right in front of that passage to the garden. I couldn't cut the tree, said ‘let it be.’ And actually, in some of the pictures, you could see that the tree is right in front of the passage.
00;17;19;18 - 00;17;28;18
DP
So, this is a traditional home, but this question is kind of top of mind for most people today. Does sustainability come up with your clients at all, and materiality that you guys are using?
00;17;28;18 - 00;18;51;12
SL
Not with the client, but with my – with me, my office. We always do that. I've learned that maybe I've been kind of lucky here and there, having people who really care about sustainability. Sadly enough, majority don't, or they do not necessarily connect building material to sustainability. So, my office does for years. We do it without naming it because then they're concerned about the cost.
There are many different areas that we could really think about building the quality of heating and cooling system, the energy conservation insulation system. Those I do with that saying. My clients often who would not be bothered with that. Selection of the windows, undoubtedly. Using windows with the UL rated that transform the least amount of light, not brightness, but UV into the house we do. When it comes to insulation system, all spray foam. This goes without saying in every project we do. Selection of the material, natural, as much as we can. Selection of materials that are not biodegradable. I fight for that, to not do it.
00;18;51;15 - 00;18;53;27
DP
Did your clients want to use brick from the very beginning?
00;18;53;27 - 00;19;14;28
SL
Yeah, because their house was already brick. So, I thought that they liked the house, they loved the ceiling of the dining room. So fine, that was. And then I said, what else do you like? “We like the fireplace.” Okay, I like the chimney, but they like the fireplace. Fine. What else? “Brick.” And I said, okay, because Tudor style is brick.
00;19;15;04 - 00;19;23;24
DP
Well, I'm thinking it's solved so many design challenges for you guys. I mean, you got to be really playful with brick, but it also solved a lot of problems.
00;19;23;26 - 00;19;39;20
SL
Well, with brick, needless to say, is an amazing material. And it has been used for centuries and centuries and centuries, and still doing well. So, I don't quarrel when it comes to selection of brick.
00;19;39;23 - 00;19;44;00
DP
Did your team learn anything interesting through the process of building this building?
00;19;44;07 - 00;19;46;08
SL
We do on every building, actually.
00;19;46;10 - 00;19;53;22
DP
Isn't that interesting? It doesn’t matter how long you've been practicing, every one of us seems to learn something new every - every job. More than one thing.
00;19;53;28 - 00;19;57;26
SL
Undoubtedly. Information constantly changing.
00;19;57;27 - 00;20;00;09
DP
Yeah, that's a good point. It really does. Yeah.
00;20;00;11 - 00;20;30;09
SL
And what is available in the market constantly change. I think we become obsolete if we do not pay attention to what's happened. If we become comfortable in doing the same thing on and on, then our curiosity also lacks. And then we become so proud in what we do because we are successful and we are, you know, making money and we made it and we repeat the same thing. That is kind of the end of creativity.
00;20;30;11 - 00;20;35;18
DP
Off subject, have you thought at all about A.I. and what it means for our profession?
00;20;35;20 - 00;20;59;05
SL
Yes. I kind of love the idea. Yes. And I know that so much of worries there is there of AI to replace human beings. At the end, we are using the AI either to our benefit or not, but I think the benefits that AI could do are so amazingly high.
00;20;59;07 - 00;21;00;18
DP
So, using it as a tool.
00;21;00;22 - 00;21;01;27
SL
Like everything else.
00;21;02;04 - 00;21;20;23
DP
Well, I just wonder at what point, how much control are we going to have over how we're using AI, how our clients who aren't coming to architects are using AI, whether or not architects will ultimately use it as part of their services? It's a huge can of worms, but it's definitely something I've been thinking about.
00;21;21;00 - 00;21;24;01
SL
Let me tell you something. When I was graduating from UPenn-
00;21;24;02 - 00;21;25;11
DP
I went to Penn, by the way, too.
00;21;25;12 - 00;21;26;15
SL
Did you?
00;21;26;19 - 00;21;27;21
DP
I did. For graduate school, yeah.
00;21;27;26 - 00;22;02;19
SL
Okay. So same with me, graduate school. When I was graduating, they had a lecture, a farewell lecture. And the lecture was kind of gloomy because now you're done, graduated. We're sending you off to practice architecture, but we want to let you know the number of percentage of American buildings being designed by architects – I don’t remember exact number, but it was between nine and 11 – and then they said, compared to European – that I remember very well – 45%.
00;22;02;19 - 00;22;03;14
DP
Wow.
00;22;03;16 - 00;23;39;10
SL
So, I left school knowing that. Then I was thinking that that is not the problem necessarily with architect, but the problem of American not know what we do and the importance of our presence for every project. And that is again and again and again, we need to somehow change that level of knowledge of public work, which I think AIA is trying to do the best of their ability to inform public as the importance of architect, because we are not a set of drawings.
If anybody thinks that our work is a blueprint, then they have no clue of the importance of architect in any project. And we should also never try to compare ourself or believe that builders have taken our spot because typically, especially for residential architecture, people go to a contractor sometime before coming to the architect, and that is because contractor has been available and present for years and architects have not been available and present.
And the majority of quality architects, they don't want to even go to residential architecture because to them is just not good enough. And they have left this vast possibilities. We have – our builders build these buildings, by not the fault of themselves, because they don't know better of whatever is left of the world of residential architecture in America is sad.
00;23;39;12 - 00;24;14;07
DP
Wow. What I like about your position is that it's very positive, right? You could sit there and say, you know what, we're done designing, AI is going to be able to do it. It's going to have access to every design in the world and it's going to take over the world. And I love your explanation of being in school and hearing that architects – and I think I heard the same thing, that they were only responsible for a very small percentage of what was actually being done out there – and the reality is you still have a job and I still have a job, and although our jobs may change, I think we're going to be busy for a long time.
00;24;14;08 - 00;24;59;13
SL
We're going to be fine. We're going to be fine. And I think is gradually shifting. If people are shifting toward being concerned about their well-being, if shifting about being concerned about their health, their eating habit, small percentage, but we are small percentage when it comes to using our services. So, I think architecture and our part of the work, which is the importance of aesthetic, this is something I cannot put more emphasis on than anything else. Even if you don't need my knowledge, fine. But then the contractor’s knowledge – yes, he has knowledge of construction and maybe knowledge of material, but doesn't have knowledge of-
00;24;59;13 - 00;25;00;23
DP
Doesn't have the aesthetic training.
00;25;00;26 - 00;25;01;22
SL
No.
00;25;01;24 - 00;25;04;10
DP
Well, Sussan, it's been really nice to meet you.
00;25;04;15 - 00;25;05;28
SL
Thank you so much.
00;25;06;00 - 00;25;09;21
DP
So where do people go to find out more about Sussan Lari Architect, PC.
00;25;09;21 - 00;25;14;24
SL
I have a website, sussanlariarchitect and Instagram.
00;25;15;00 - 00;25;18;04
DP
Very good. Well, thank you very much for being here. It was really nice to meet you.
00;25;18;05 - 00;25;19;13
SL
Thank you very much for inviting me.
00;25;19;15 - 00;25;20;28
DP
I love your house. It's beautiful.
00;25;21;03 - 00;25;24;10
SL
Thank you.
You May Also Be Interested In
We Can Help With Your Next Project
Discover the latest + greatest in design trends, industry news & pro tips from pros.
For all of your project needs, you’ll find everything you need at a Supply Center.
Let Us Know How We Can Help!