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  #2021  
Old Posted Aug 2, 2022, 4:24 AM
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Credit: 5Bfilms
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  #2022  
Old Posted Aug 3, 2022, 1:08 AM
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“Office buildings are our factories – whether for tech, creative or traditional industries we must continue to grow our modern factories to create new jobs,” said United States Senator Chuck Schumer.

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  #2023  
Old Posted Aug 3, 2022, 6:34 PM
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My goodness, this is a gorgeous building.

New Yorkers are really blessed in terms of beautiful skyscrapers. This building is arguably prettier than any skyscraper in Canada, and it's one of dozens in NYC.
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  #2024  
Old Posted Aug 3, 2022, 8:27 PM
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Holy hell
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  #2025  
Old Posted Aug 4, 2022, 1:35 AM
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“Office buildings are our factories – whether for tech, creative or traditional industries we must continue to grow our modern factories to create new jobs,” said United States Senator Chuck Schumer.
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  #2026  
Old Posted Aug 5, 2022, 2:23 PM
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  #2027  
Old Posted Aug 5, 2022, 8:57 PM
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  #2028  
Old Posted Aug 12, 2022, 2:21 PM
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  #2029  
Old Posted Aug 12, 2022, 4:16 PM
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https://www.dezeen.com/2022/08/12/sh...k-interviews/#

SHoP Architects principal knew Brooklyn Tower would be "like the Empire State Building of Brooklyn"





Ben Dreith
8/12/2022


Quote:
Early adoption of digital technology and the competitive nature of working in the architectural "pressure cooker" of New York City helped SHoP Architects become successful, say principals Gregg Pasquarelli and John Cerone in this interview.

Pasquarelli, one of five architects who founded SHoP Architects 1996, and Cerone, an employee since 2008 and principal since 2020, spoke to Dezeen about the origins of the studio whose recent projects include the Brooklyn Tower and 111 W 57th, the skinniest supertall skyscraper in the world.
Quote:
Ben Dreith: What has it meant to start designing in New York as student and wind up being responsible for some of the most talked-about buildings in the city?

Gregg Pasquarelli: I think we started at a very odd time; there was a big recession in the 1990s. And I was part of the beginning of using the digital to design like using animation software. We were using some of the first 3D printers. We were at the very beginning of the digital and saw how it was going to transform things. And some of the people we worked for were using it, like Frank Gehry and Greg Lynn, but they were using it for drawing.

We very early on wanted to work in New York. We all went to Columbia. We wanted to start here, we wanted to learn in the pressure cooker of New York, like not only how to make radical buildings, but buildings that made financial sense and also building that you couldn't make.
Quote:
Ben Dreith: It's so popular now doing digital renders and it's you know, it's just pretty much the mainstream. What was the reaction when you first came to developers with these ideas?

Gregg Pasquarelli: They thought we were completely nuts. Virgin Atlantic hired us for the first class lounge at JFK for, and we digitally made the screens. We were dealing with The Port Authority guys, and they were kind of like 'you can't build this and we said 'yeah, you can't but robots can.' And they said 'don't you tell me how to build.' Then like five or eight years later, you're with the same guys and they were like, 'Oh, we'll get a five-axis mill robot to carve that.'

Between 1998 and 2006, the whole world changed in its understanding of using that technology. We believed in it, but it was a way for us to be able to compete with firms that were much older and had more resources. 'They're too old to understand the computer. So let's take that to our advantage to try and be able to build these buildings,' we said.

.....We were put in that pressure cooker in New York, and had to be highly theoretical, highly radical in design, but super competent, and, and straightforward and financially responsible.
Quote:
Ben Dreith: John, you began around the time of Barclays. Was the technological approach something that attracted you to the firm?

John Cerone: The ethos of the firm is what brought me. Modelling for design was relatively new in undergrad. But people were getting into [3D] modelling to make renderings. I realized you could use modelling for instruction. There were no other places that were genuinely using these tools for production. And that distinguished itself. So I was brought in for production technology, of using it not just for renderers – we had renderers – but as a way to communicate with people making the buildings so take our design models, use the tools to create instructions for how to make pieces.

Gregg Pasquarelli: We learned very early on that this idea of plan section and elevation is a bad way to communicate. So you've got people who are architects who are thinking incredibly well in three dimensions, and then we reduce this information to a 2D section, handing it to other people who understand what you're trying to do, then they have to extract that. We were like why are we pushing it through this process? When we can take the digital that's got all this other information and invent new ways of communicating. And if we didn't, there's no way these buildings get built.

And to do it in the pressure cooker of New York was the proof that we had to go through. So we focused for the first decade or so on New York. And once we prove that we could build them. Then we just started saying well now can you do it in other places can you do in Africa, and Asia can do it? And like it's just now getting out there.
Quote:
Ben Dreith: Your building types cover many different uses. Does this come from New York? From building for the city rather than kind of building a typology?

Gregg Pasquarelli: In New York, every street is different. Every corner is different. Every neighbourhood is different. You get on that street and there's that energy. That's what makes it an interesting place. And so maybe there's a similar way that we think about architecture in the sense that it's like if we're just doing towers, or we're just doing libraries, or we're just doing parks or we're just doing NBA arenas, or airports, it's seeing the same thing all the time, why do that? What's interesting is every time coming out with a fresh approach, How do I solve a problem? Not how do I repeat the technology? I think that just comes from being New Yorkers. We love that.

Ben Dreith: Coupled with technological innovation, why is it important for you to maintain historical aspects like maintaining the bank for the Brooklyn Tower or using terracotta for 111 W 57?

Gregg Pasquarelli: I did grow up here and there's this background, there's a fabric that exists. Restoring a building is a pain in the ass, right? I also think that it's part of the DNA that helps drive the design of the building, right? But what can we extract from what's here, its context, its history, the narrative, the story, all that stuff to drive us to make something new and fresh, that looks back and forward simultaneously? So I kind of love having a historic building on the site, even though it's because it gives you a kind of texture that you can draw from. And I find that super interesting. I love seeing these towers that feel like they're part of a historic building but are not. That contradiction in New York.
Quote:
Ben Dreith: How does the technological approach still leave room for the human element?

Gregg Pasquarelli: One of our buildings gets done and it's like you're looking at and you're like, wow, that feels like an incredible accomplishment. I always see people around our buildings and they're smiling or they're pointing or they're yelling at me. A building for us doesn't end when the building hits the sidewalk. Right? Like, and this might be a New York thing, too. It's like, there are these neighbourhoods and stuff is happening and there's infrastructure and subway in parks and open space and light hits differently. And the building drops into this energy and it radiates energy out. I like to think of the building as the mediator between these two energies.

John Cerone: So all the technology is not for the sake of technology itself but for making these beautiful buildings significant.

Gregg Pasquarelli: And the intensity of New York and the people here really affect the program.

John Cerone: New York is always changing. Nothing is permanent, but it needs to be authentic and people can tell when something is forced, not authentic.
Quote:
Ben Dreith: The Barclays Center is such a public space, it's so seen and used by the public. How do you feel about the contrast between that and something like the Brooklyn Tower, which everyone sees, but then has an aspect of being more closed?

Gregg Pasquarelli: One is private and one is a public forum, so they're going to be different. Both with the Brooklyn Tower and with 111 W 57 to Seventh Street, we took the position with our client that though extraordinarily wealthy people are going to live inside of this building, eight million of us have to live with it every day. So you need to spend at least as much money on the outside as you do on the inside. We need to think about the detailing and the materiality and the way that the building is viewed from all over as much as we think about how the apartments are laid out. And I think also saving the two landmark buildings and making them publicly accessible and integrated into the building, as opposed to knocking them down and building a fortress with like doorman and security on the outside allows a certain amount of interaction.

So there's the interaction at 40 feet there's the interaction from a block away. There's the interaction from 10 blocks away. There's the interaction flying in Laguardia, seeing buildings on the skyline, and thinking about them that all those levels are super important. On 111, because it's in Manhattan, and it's a grid, you always know the primary and secondary way the building is going to be viewed. And that's why the terracotta is on two sides and the glass is on the other.

In Brooklyn, all the grids are different, right? They all collide. And this building, which is the only one zoned for that kind of height, we knew would be kind of like the Empire State Building of Brooklyn. We wanted to make sure that no matter what grid you were on, looking at it from wherever you were in Brooklyn, you felt like you were looking at the front.

And so the interlocking hexagons of the building kind of gave it that ability that you never felt like you were looking at the side or the back and the other thing that that did was you're always looking at two facades in the oblique. And so by putting the texture on the building, it made the building look solid, not all glass, and we felt that that was important. To see that solid building gives you the kind of gravitas on the skyline and it becomes this anchor, it becomes an orienting device and that was a huge part of how we were thinking about what it needed to do when it radiates out from the center.

Ben Dreith: Especially when it's competing with towers in Manhattan.

Gregg Pasquarelli: Why should Brooklyn have a second-grade tower? It's got a real skyline. It's a fantastic place to live. No, make serious architecture here. I'm proud that we did that building and I'm proud that we did the Barclays Center. Maybe with the Brooklyn Museum, the Wonder Wheel, and the Brooklyn Bridge, we got two of the top five buildings in Brooklyn, and I'm super proud.
Quote:
Ben Dreith: How does it feel for you and for everyone involved to work on these buildings?

Gregg Pasquarelli: It's amazing. I mean, our team is from all over the world. I lived in Queens when the original World Trade Center was going up, and I could see the construction from my bedroom window. And I kept the LEGO model of the Trade Center and as they were building it, so I was like looking at towers as a little boy. It's amazing how unbelievably proud I am of these buildings I’ve worked on because I'm a New Yorker, and I care about the city and I know some people don't like Billionaire's Row. I get that wealth disparity argument, but, if they're gonna go up, and they're gonna go up, make it the best one possible.

John Cerone:
I live right by there. People take selfies at Barclays and then they turn around and then take selfies down the street with the Brooklyn Tower. They don't know they are by the same architects. But then those are the things that drive their interests and that's what works and fits the design. It's the process. People think things made with technology need to look a certain way. And they don’t. They can fit into the fabric and take on different forms and styles. No one would think terracotta, this historical material, would be digitally fabricated, so shouldn’t it be "techie" looking? No, it looks incredibly elegant. It's certainly very sensual. It's very musical. It feels like a piano. It feels like a skyscraper. It feels like seduction, feels like material, it feels old and it feels new. Like that's when you're like okay, that technology got us there.
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“Office buildings are our factories – whether for tech, creative or traditional industries we must continue to grow our modern factories to create new jobs,” said United States Senator Chuck Schumer.
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  #2030  
Old Posted Aug 13, 2022, 12:01 AM
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“Office buildings are our factories – whether for tech, creative or traditional industries we must continue to grow our modern factories to create new jobs,” said United States Senator Chuck Schumer.

Last edited by NYguy; Aug 13, 2022 at 12:36 AM.
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  #2031  
Old Posted Aug 13, 2022, 1:40 AM
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^^^^

Those are some great shots. An overdose to be precise...
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  #2032  
Old Posted Aug 13, 2022, 3:30 PM
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^ i'll say -- it makes you dizzy -- and even with everything going on there wow does the brooklyn tower stand out.
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  #2033  
Old Posted Aug 15, 2022, 12:04 AM
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Brooklyn Tower appears in my latest view from here in Rockaway, Queens, BY NYCSKYSCRAPERS2020: https://www.youtube.com/watch?v=zAVeU4npQm8
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  #2034  
Old Posted Aug 15, 2022, 12:08 AM
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  #2035  
Old Posted Aug 15, 2022, 9:59 PM
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“Office buildings are our factories – whether for tech, creative or traditional industries we must continue to grow our modern factories to create new jobs,” said United States Senator Chuck Schumer.
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  #2036  
Old Posted Aug 19, 2022, 7:16 PM
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“Office buildings are our factories – whether for tech, creative or traditional industries we must continue to grow our modern factories to create new jobs,” said United States Senator Chuck Schumer.

Last edited by NYguy; Aug 19, 2022 at 9:24 PM.
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  #2037  
Old Posted Aug 20, 2022, 12:44 AM
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yesterday -- from wall street


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  #2038  
Old Posted Aug 20, 2022, 1:56 AM
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Remember when the brooklynare was the tallest building in Brooklyn ? Or the courthouses / Williamsburg tower ?

What an upgrade
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  #2039  
Old Posted Aug 20, 2022, 2:57 AM
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Great picture of the entire area's skylines. So close to including LIC and would have had all 5 major clusters in one shot.
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  #2040  
Old Posted Aug 21, 2022, 4:13 AM
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Quote:
Originally Posted by jigglysquishy View Post
My goodness, this is a gorgeous building.

New Yorkers are really blessed in terms of beautiful skyscrapers. This building is arguably prettier than any skyscraper in Canada, and it's one of dozens in NYC.
It's one of dozens, and it's not even in Manhattan, it's in Brooklyn.

And yes, it's a really nice building. Like you, I'm impressed
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