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Nova Iorque | 100 11th Avenue Housing Building | Jean Nouvel


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Project Overview
100 11th Avenue is described by its architect Jean Nouvel as “a vision machine” designed to create visual excitement for both residents inside the building and passers-by on the street. The 23-storey condominium tower will feature the most highly engineered and technologically advanced curtain wall ever constructed in New York City – a curved, glittering mosaic of nearly 1,700 different-sized panes of colorless glass, each set at a unique angle and torque, sheathing one of the most meticulously customized, high performance residential addresses in the nation. This curtain wall mosaic will frame splendid views from within the tower while producing an exterior texture that is a poetic analog for the vibrancy, density and changeability of New York.
At 100 11th Avenue’s base, a separate seven-storey street wall of mullioned glass will stand 15 feet from the building’s façade, creating a semi-enclosed atrium unprecedented in New York City. Within it, suspended gardens of ornamental vegetation and trees will appear to float in mid-air; private indoor and outdoor terraces will extend from residences; and an open-air dining patio for the lobby restaurant.
The 72 homes within 100 11th Avenue will range in size from 890 square feet to 4,675 square feet and include one-, two-, three- and four-bedroom apartments, and five penthouses. All residences have super-customized interiors designed by Jean Nouvel and inspired by the sleek minimalism of the West Chelsea district’s many art galleries. The building’s top floor will comprise a single grand residence with full-roof private terrace featuring “outdoor rooms.”
Prices for the residences will range from $1.6 million to $22 million.

100 11th Avenue at West 19th Street, New York, NY, 10011

The building faces Frank Gehry’s newly completed headquarters for the IAC/InterActive Corporation across the street and the Chelsea Piers Sports and Entertainment Complex across the avenue, in the heart of a neighborhood now considered one of the world’s foremost contemporary arts districts.
LEED Certification
100 11th Avenue will be certified under the U.S. Green Building Council’s LEED certification system. Innovative features, such as natural ventilation, and low-emission and recycled materials, steward a healthier environment within and beyond the building.
Reducing ozone depletion: All refrigerants used at 100 11th Avenue have low ozone depletion compounds.
Saving old growth forests: At least 50% of the wood specified will be certified by the Forest Stewardship Council (FSC).
High air quality: An indoor air quality management plan will be implemented at the building to protect air quality during construction.
Recycled content materials: Among products specified for 100 11th Avenue, preference has been given to those made with recycled content

to reduce the amount of raw, virgin material that would have been harvested for manufacturing.
Non-toxic materials: In specifying, preference has been given to materials with low Volatile Organic Compounds (VOCs), such as adhesives and sealants, low emitting carpet systems, paints and wood products.
Daylight and views: All occupants will benefit from a design that conscientiously maximizes access to views and daylight in a building that connects individuals to the outdoors.

Building Features and Amenities
24-hour doorman
On-site daytime concierge and 24 hour off-site concierge services provided by Luxury Attaché, Jenene Danenberg’s highly acclaimed concierge firm
Lobby restaurant and café
Dramatic private rear slope garden, off the lobby for residents and their guests
A vertical, suspended garden at the building’s main south façade, including mature trees and perennials cantilevered within the building’s structure, between the street wall and interior curtain wall up to the seventh floor.
Central mailroom with concealed automatic teller machine (ATM) for residents’ banking needs
Sunken garden encompassing a 70-foot indoor–outdoor lap pool (with a 46-foot enclosed area for winter swimming) adjacent to the state of the art fitness center/spa area with steam rooms, sauna, private changing and shower cabanas, and private residents’ lounge
Private screening room for residents
On-site building superintendent
Cellar-level personal storage units (available at additional cost)
Valet parking service (available at additional cost)

Residence Features
Open plan and one- to four- bedroom residences available
Residences range from 890 Sq. Ft. to 4675 Sq. Ft.
Select residences offer indoor/outdoor and outdoor space, ranging from year- round glass-enclosed terraces with tree line exposures, to balconies and set-back terraces
Terraces, loggias and balconies of select residences range from 45 Sq. Ft. to 3715 Sq. Ft., with all loggia spaces heated by in-floor radiant heat
Top-floor penthouse features a sky atrium and private rooftop terrace with Nouvel-designed outdoor “rooms”

Innovative curtain wall offers expanses of uninterrupted, true floor-to-ceiling windows in every residence (minimum of 35 linear feet)
White hand-crafted terrazzo flooring throughout residence interiors
Perimeter radiant heat (flush-to-floor) along curtain wall
Zoned heat/air-conditioning heat pump system, offering totally flexible control of heat and/or cooling
Jean Nouvel custom-designed light fixtures throughout residences
Primary ceiling heights range from 10’1” to 11’1.5” (floors 3-22)
12’-16’ ceiling heights in top-floor penthouse
Bosch (Germany) front loading, stacked washer and self-venting dryer
FSB (Germany) entry door and hardware
High speed Internet and cable TV wiring (CAT 6)

Kitchens by Valcucine (Italy) custom designed for Ateliers Jean Nouvel
Stainless steel cabinetry by Demode (Italy)
Stainless steel counter top, backsplash, and fully-integrated sink by Steel Time (Italy)
Illuminated light bar by Vode (USA) with integrated utensil rail
Sculpted terrazzo kitchen island custom designed by Ateliers Jean Nouvel, with two concealed stainless steel push carts contained within for kitchen storage
Armando Vicario Pro Chef (Italy) faucet and Waste King (USA) food disposal
Sub Zero (USA) 600 Series glass-front refrigerator-freezer, 30” or 36”
Viking (USA) VESO 0130 oven in stainless steel finish
Fisher & Paykel (New Zealand) GC912SS super-low-profile 5-burner cook top and Max Fire re-circulating hood (Italy)
Bosch (Germany) SHX36L15UC fully-integrated dishwasher
Wine cooler featured in select residences

Custom-designed fixtures by Ateliers Jean Nouvel for Jado (Italy) with digital water flow and temperature sensors
White terrazzo flooring and walls of Corian, spandrel glass, fritted glass, mirror and plaster
Kohler (USA) Ladena under-mounted lavatories with Corian top and surround
Kohler Tea-For-Two 6’ tub with Corian surround, deck and apron in Glacier White finish (two-bedroom or larger residences)
Kohler Maestro 5’6” tub with Corian surround, deck and apron in Glacier White finish (one-bedroom residences)

Glass-enclosed shower with terrazzo shower pan and Corian walls
Kohler San Raphael water closets
Custom-designed medicine cabinets by Ateliers Jean Nouvel

Imagem colocada Imagem colocada Imagem colocada Imagem colocada Imagem colocada Imagem colocada Imagem colocada Imagem colocada Imagem colocada Imagem colocada Imagem colocada Imagem colocada Imagem colocada

fonte: europaconcorsi.com

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  • 2 weeks later...

Jean Nouvel’s “Vision Machine” a 23-storey residential tower located in the Chelsea neighborhood of Manhattan along the Hudson River has begun construction. The stunning building which features a Mondrian-like curtain wall comprised of nearly 1,700 different size panes of glass that change character according to lighting conditions, is, according to its architect, a direct conceptual and material descendent of his Arab World Institute in Paris, which is celebrating its 20th anniversary this year. The building, which stands next to the recently completed, Gehry-designed Interactive Corporation headquarters, will contain 72 residences that will range in size from 890 square feet to 4,675 square feet. The buildings top floor will be a single grand residence with a full rooftop terrace. Each unit will have a sparely designed top of line kitchen and baths. At the base of the building is a dramatic lobby space with 20-foot high ceilings. It will a concierge, a ground floor restaurant and dining patio, a residents’ mail room, package and refrigerated storage room, access to a garden and a private elevator landing serving the residences above and the pool, gym and spa areas below. At 70 feet long, the building’s mirror-canopied pool will be one of the largest in Manhattan. Prices for the units will range from US $1.6 million to $22 million. The building will be LEED certified. Beyer Blinder Belle is serving as executive architect for the project.

Sharon McHugh
WAN US Correspondent

Fonte: WorldArchitectureNews
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Não negando a qualidade estetica do edificio, ha uma coisa que nos leva a questionar. Anteriormente o jardim ficava na parte de trás da habitação formando grandes logradouros, agora pela falta de espaços verdes na cidade este jardim ocupa um espaço no interior da habitação, de futuros teremos que pensar no jardim como pensamos na cozinha? O proprio conceito de habitar esta cada vez mais a mudar, temos presente um exemplo, uma máquina de habitar.

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Maquina de habitar????? Mas o homem e por acaso uma galinha ou um porco para viver numa maquina? Sera o homem uma coisa? Se os arquitectos desenham maquinas entao nao sao arquitectos, sao designers...

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Maquina de habitar?????

Mas o homem e por acaso uma galinha ou um porco para viver numa maquina?
Sera o homem uma coisa?

Se os arquitectos desenham maquinas entao nao sao arquitectos, sao designers...

...não sei se já ouviste falar de um senhor chamado le corbusier....e se sim, se terás ouvido falar também da sua abordagem á problemática da habitação enquanto uma......................................
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vejam este linck aqui mesmo no site


e esse senhor que chamas de Corbusie, ele proprio não colocou o supermercado Modelo ou Continente à distancia de um click no ecrã, mas colocou dentro do edificio.
a propria linguagem da arquitectura contemporania, onde " a ornamentação é crime" é propria de uma sociedade mecanica e sem tempo para observar, sem tempo para viver.

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...não sei se já ouviste falar de um senhor chamado le corbusier....e se sim, se terás ouvido falar também da sua abordagem á problemática da habitação enquanto uma......................................

Le Corbusier????... deixa ca ver... hmmmmm!!!! O Corbusier.... nao tou a ver ... quem eh esse arquitecto?

Por amor de deus... claro que sei quem eh o Corbusier!!! Opah... sinceramente... agora temos que beijar os pes dos arquitectos que dizem que habitamos em maquinas de habitar????

O projecto eh simplesmente fabuloso, o do Nouvel. Afirmar que este projecto eh uma maquina de habitar e dar um tiro no pe... eh puro populismo ideologico... e conjugar toda a heranca modernista de Le Corbusier com este projecto e uma afirmacao populista de afirmar que o Nouvel eh o novo Le Corbusier. Penso que Nouvel poderia inventar um novo conceito...

Em relacao ao espanto do colega Celo... qual eh o espanto de nao aceitar a Moradia enquanto Maquina de Habitar?
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Por amor de deus... claro que sei quem eh o Corbusier!!! Opah... sinceramente... agora temos que beijar os pes dos arquitectos que dizem que habitamos em maquinas de habitar????

não chamei a este projecto uma maquina de habitar, apenas apartir do titulo dado a noticia, nem sem mesmo se é o titulo do projecto, e relacionei com a sociedade actual. Em certa parte vivemos mesmo de uma forma mecanica. A arquitectura ao longos dos tempos teem se adaptado a forma de vida do ser humano, não so mas também.
Eu "nunca" vou habitar numa máquina, espero habitar apenas.
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Eu penso que este projecto vem pôr a descoberto o período/época, para os mais aficcionado em catálogos, em que a arquitectura actual se encontra. Não obstantes os demais factores da evolução da arquitectura, estamos e estaremos (bem) situados nos´livros de teoria póstumos numa fase dum supra estruturalismo qualquer (o equivalente a um pré-cubismo cezzaniano). Ou não...:)

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Devo dizer que esta obra de Jean Nouvel é fenomenal. Continua com a sua marca - planos , estes bastantes marcantes na fachada! Sem dúvida New York ganha com ele.
Jean Nouvel é um dos grandes mestre da arquitectura.
Bem me podiam dar lá um casinha :)

"empty lots, blank brick walls, rooftop graffiti — that express New York’s essential gritty identity"


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Jean Nouvel é sem dúvida um dos meus arquitectos de eleição. Adorei o que vi deste projecto, os seus planos de vidro embrulhados em "momentos verdes" provocaram-me nostalgia de uma outra grande obra dele, a Fundação Cartier em Paris.

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  • 2 years later...

Architecture Review | Jean NouvelAt the Corner of Grit and Glamour Sign In to E-Mail

Published: March 14, 2010

During the past few years Chelsea became a one-stop-shopping destination for high-style contemporary architecture as well as high-end art, and the results can be depressing. For every significant building that went up, the neighborhood seemed to produce a half-dozen or so inferior knockoffs. The feeling on the streets now is the same as it is in most of the galleries: the sheer amount of work, and the mediocrity of most of it, can make the effort of sorting out the good from the bad too painful to contemplate.

Michael Appleton for The New York Times

Jean Nouvel’s new apartment building is at 100 11th Avenue, at 19th Street, in Chelsea.

Jean Nouvel

Cut-out windows frame contrasting views of Manhattan.

So Jean Nouvel’s new residential tower — at the western end of 19th Street, unveiled at an event this month — is a relief of sorts. It is a luxury building, and who would argue that we need more of those? But its mix of grit and glamour — embodied in a glittering facade that seems to have been wrapped around the curved front of a black brick tower like a tight-fitting sequined dress — is apt to temper whatever you may feel about the Wall Streeters and art-world insiders who are likely to move into its apartments. It conjures a downtown New York we once loved and can now barely remember, where rundown manufacturing buildings buzzed with cultural vitality.

The building’s rough-edged sex appeal may actually overshadow what’s best about the project, the remarkable skill with which Mr. Nouvel embeds it into its surroundings. Rising on the brief stretch of 11th Avenue that doubles as the West Side Highway, directly across the street from the billowing glass forms of Frank Gehry’s IAC building and abutting a somber brick women’s prison on the other side, the tower is part of a taut composition of disparate — even conflicting — urban realities. Its shifting appearance in the skyline is a sly commentary on the conflict between public and private realms that is an inevitable byproduct of gentrification.

That process has become particularly savage in New York, a city divided between big development companies that see architectural novelty as a tool for inflating prices for their luxury projects, and local activists who have marginalized themselves by their refusal to accept any kind of change at all. (If the financial collapse has slowed this trend, it has done little to alter the mentalities behind it.)

Mr. Nouvel did not invent that world, but he knows that his name is used to sell real estate, and he understands that fashionable forms can disguise the damage caused by heedless market forces behind a gloss of radical chic. Like many of his generation — Mr. Nouvel is 64 — he retains a stubborn, some might say naïve, belief that architecture should make us alert to the conflicts that shape the modern city rather than conceal them.

That attitude is apparent in the mixed signals the building sends. Seen from across the West Side Highway, the tower’s twinkling facade, with its hundreds of irregularly shaped windows tilted at odd angles to reflect fragments of sky or the surrounding city, offers a striking counterpoint to the soft, sail-like curves of Mr. Gehry’s creation. Rows of older brick buildings flank them to the north and south, and the contrast between glass and masonry, straight and curved lines, creates a nice rhythm along what was once a bleak strip of decrepit offices and warehouses.

I prefer the view from the east, however, along West 19th Street. The side of the building is made of matte-black bricks and punctured by a few small sporadic windows, evoking the unadorned backsides of prewar tenements. All you see of the main glass facade is a thin sliver of steel running along its front edge.

As you approach the corner, the facade’s riotous forms suddenly come into view, and it’s startling. Close up, the steel frames that support the windows look beefier, and the effect is more frenetic. A second glass-and-steel screen wraps around the building’s lower floors. Supported on a heavy concrete base, the frames of this screen interlock at the street corner like interwoven fingers, enclosing a small open-air terrace that will serve a ground-floor restaurant and bar.

These spaces have no tenants yet, and for now remain hidden behind fencing and construction equipment. Some of the window frames have been left intentionally empty, so that it may take a moment to sort out whether you’re indoors or out. A network of heavy steel beams reaching up several stories connects the screen back to the main facade; the beams will eventually support big planters containing trees that will seem to hover in midair.

It’s a nice surrealistic touch. Yet the punched-out windows and ragged corner also suggest an erosion of the boundary between the public life of the street and the guarded, private realm inside. The future restaurant’s terrace is made of the same concrete as the sidewalk, as if to suggest that it really belongs to the city. Glass-enclosed terraces off the lower-floor apartments will push out into the space of the elevated trees, as if the building’s residents were reaching out to grab more for themselves.

These same tensions continue to play out inside. There’s a sexiness to the main lobby, with its floors and walls of sleek black granite and painted glass, and its fleeting view of a swimming pool set between the tower and the back of the older brick building behind it.

Once you get to the apartments, however, that eroticism is mixed with a certain urban toughness. Details are simple and straightforward (despite the Viking stoves). The apartment terraces are reached through pivoting, industrial-scale doors. Mr. Nouvel imagines the terraces filling up with potted plants, bicycles and other odds and ends once the tenants have settled in.

Conversely, the backs of the apartments have small cut-out windows placed at odd heights — some at eye level, others up near the ceiling — that frame contrasting views of the city: the clock on the old Metropolitan Life Tower; a caged recreational area on the roof of the prison; a sooty brick wall covered with pipes, the Empire State Building. The care with which the views are framed — reinforced by the windows’ simple heavy steel borders — is such that you can almost feel the city tugging at you.

(The penthouse, not surprisingly, is the least seductive of all the apartments. Vast and airy, it could have been shaped by a real estate agent’s checklist. Sweeping river views, marble fireplaces, walk-in closets: these are today’s equivalent of gold faucets and sunken tubs.)

Some will argue that all of this simply provides a veneer of civility to a culture that is sliding deeper and deeper into narcissism. For me, though, the building is a lesson on how to navigate an enlightened path in an era of extremes. It’s not utopia, but it demonstrates what a major talent can accomplish when he focuses his mind on a small corner of the city.

in http://www.nytimes.com/2010/03/15/arts/design/15nouvel.html?scp=24&sq=&st=nyt

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